<![CDATA[DAYDREAMIN COMICS STUDIO - Children Library]]>Sun, 12 May 2024 03:39:16 -0700Weebly<![CDATA[The neverending story by michael ende]]>Sun, 05 Mar 2023 08:35:38 GMThttp://daydreaminstudios.org/children-library/march-05th-2023
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Read the book that inspired the classic coming-of-age film! From award-winning German author Michael Ende, The Neverending Story is a classic tale of one boy and the book that magically comes to life. 

When Bastian happens upon an old book called The Neverending Story, he's swept into the magical world of Fantastica--so much that he finds he has actually become a character in the story! And when he realizes that this mysteriously enchanted world is in great danger, he also discovers that he is the one chosen to save it. Can Bastian overcome the barrier between reality and his imagination in order to save Fantastica?





THIS EPIC WORK of the imagination has captured the hearts of millions of readers worldwide since it was first published more than a decade ago. Its special story within a story is an irresistible invitation for readers to become part of the book itself. And now this modern classic and bibliophiles dream is available in hardcover again.

The story begins with a lonely boy named Bastian and the strange book that draws him into the beautiful but doomed world of Fantastica. Only a human can save this enchanted place—by giving its ruler, the Childlike Empress, a new name. But the journey to her tower leads through lands of dragons, giants, monsters, and magic—and once Bastian begins his quest, he may never return. As he is drawn deeper into Fantastica, he must find the courage to face unspeakable foes and the mysteries of his own heart.

Readers, too, can travel to the wondrous, unforgettable world of Fantastica if they will just turn the page....

 

Jacket illustration © Dan Craig, 1997





 

 

Copyright © 1979 by K. Thienemanns Verlag, Stutgart Translation Copy right © 1983 by Doubleday & Company. Inc.

All rights reserved. No part of this publication may reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording,or

any information storage and retrieval system now known or to be invented, without permission in writing from the publisher, except by a reviewer who wishes to quote brief passages in

connection with a review for inclusion in a magazine, newspaper, or broadcast.

CIP Data is available.

This edition published in the United States 1997 by Dutton's Children's Books,

a division of Penguin Books USA INC.

357 Hudson Street, New York, New York 10014

First published in Germany 1979 as Die unendliche Geschichte by

  1. Thienemanns Verlag

This translation first published in the United States of America 1983 by Doubleday & Company, Inc. and by Penguin Books 1984

Display typography by Semadar Megged Printed in the U.S.A.

First Edition ISBN 0-525-45758-5

1 3 5 7 9 10 8 6 4 2

 

ePub created by Orannis 2011











 






 





This inscription could be seen on the glass door of a small shop, but naturally this was only the way it looked if you were inside the dimly lit shop, looking out at the street through the plate-glass door.

Outside, it was a gray, cold, rainy November morning. The rain ran down the glass and over the ornate letters. Through the glass there was nothing to be seen but the rain-splotched wall across the street.

Suddenly the door was opened so violently that a little cluster of brass bells tinkled wildly, taking quite some time to calm down. The cause of this hubbub was a fat little boy of ten or twelve. His wet, dark-brown hair hung down over his face, his coat was soaked and dripping, and he was carrying a school satchel slung over his shoulder.

He was rather pale and out of breath, but, despite the hurry he had been in a moment before, he was standing in the open doorway as though rooted to the spot.

Before him lay a long, narrow room, the back of which was lost in the half- light. The walls were lined with shelves filled with books of all shapes and sizes. Large folios were piled high on the floor, and on several tables lay heaps of smaller, leather-bound books, whose spines glittered with gold. The far end of the room was blocked off by a shoulder-high wall of books, behind which the light of a lamp could be seen. From time to time a ring of smoke rose up in the lamplight, expanded, and vanished in darkness. One was reminded of the smoke signals that Indians used for sending news from hilltop to hilltop. Apparently someone was sitting there, and, sure enough, the little boy heard a cross voice from behind the wall of books: “Do your wondering inside or outside, but shut the door. There’s a draft.”

The boy obeyed and quietly shut the door. Then he approached the wall of books and looked cautiously around the corner. There, in a high worn leather wing chair sat a short, stout man in a rumpled black suit that looked frayed and somehow dusty. His paunch was held in by a vest with a flower design. He was bald except for outcroppings of white hair over his ears. His red face suggested a vicious bulldog. A gold-rimmed pince-nez was perched on his bulbous nose. He was smoking a curved pipe, which dangled from one corner of his mouth and pulled his whole cheek out of shape. On his lap he held a book, which he had evidently been reading, for in closing it he had left the thick forefinger of his left hand between the leaves as a kind of bookmark.

With his right hand he now removed his spectacles and examined the fat little boy, who stood there dripping. After a while, the man narrowed his eyes, which made him look more vicious than ever, and muttered: “Goodness gracious.” Then he opened his book and went on reading.

The little boy didn’t know quite what to do, so he just stood there, gaping. Finally the man closed his book—as before, with his finger between the pages— and growled: “Listen, my boy, I can’t abide children. I know it’s the style nowadays to make a terrible fuss over you—but I don’t go for it. I simply have no use for children. As far as I’m concerned, they’re no good for anything but screaming, torturing people, breaking things, smearing books with jam and tearing the pages. It never dawns on them that grown-ups may also have their troubles and cares. I’m only telling you this so you’ll know where you’re at. Anyway, I have no children’s books and I wouldn’t sell you the other kind. So now we understand each other, I hope!”

After saying all this without taking his pipe out of his mouth, he opened his book again and went on reading.

The boy nodded silently and turned to go, but somehow he felt that he couldn’t take this last remark lying down. He turned around and said softly: “ All children aren’t like that.”

Slowly the man looked up and again removed his spectacles. “You still here? What must one do to be rid of you? And what was this terribly important thing you had to tell me?”

“It wasn’t terribly important,” said the boy still more softly. “I only wanted

. . . to say that all children aren’t the way you said.”

Really?” The man raised his eyebrows in affected surprise. “Then you must be the big exception, I presume?”

The fat boy didn’t know what to say. He only shrugged his shoulders a little,

and turned to go.

“And anyway,” he heard the gruff voice behind him, “where are your manners? If you had any, you’d have introduced yourself.”

“My name is Bastian,” said the boy. “Bastian Balthazar Bux.”

“That’s a rather odd name,” the man grumbled. “All those B ’s. Oh well, you can’t help it. You didn’t choose it. My name is Carl Conrad Coreander.”

“That makes three C’ s.”

“Hmm,” the man grumbled. “Quite right.”

He puffed a few clouds. “Oh well, our names don’t really matter, as we’ll never see each other again. But before you leave, there’s just one thing I’d like to know: What made you come bursting into my shop like that? It looked to me as if you were running away from something. Am I right?”

Bastian nodded. Suddenly his round face was a little paler than before and his eyes a little larger.

“I suppose you made off with somebody’s cashbox,” Mr. Coreander conjectured, “or knocked an old woman down, or whatever little scamps like you do nowadays. Are the police after you, boy?”

Bastian shook his head.

“Speak up,” said Mr. Coreander. “Whom were you running away from?” “The others.”

“What others?”

“The children in my class.” “Why?”

“They won’t leave me alone.” “What do they do to you?”

“They wait for me outside the schoolhouse.” “And then what?”

“Then they shout all sorts of things. And push me around and laugh at me.” “And you just put up with it?”

Mr. Coreander looked at the boy for a while disapprovingly. Then he asked: “Why don’t you just give them a punch on the nose?”

Bastian gaped. “No, I wouldn’t want to do that. And besides, I can’t box.” “How about  wrestling?” Mr.  Coreander asked.  “Or running,  swimming,

football, gymnastics? Are you no good at any of them?” The boy shook his head.

“In other words,” said Mr. Coreander, “you’re a weakling.” Bastian shrugged his shoulders.

“But you can still talk,” said Mr. Coreander. “Why don’t you talk back at them when they make fun of you?”

“I tried . . .”

“Well . . .?”

“They threw me into a garbage can and tied the lid on. I yelled for two hours before somebody heard me.”

“Hmm,” Mr. Coreander grumbled. “And now you don’t dare?” Bastian nodded.

“In that case,” Mr. Coreander concluded, “you’re a scaredy-cat too.” Bastian hung his head.

“And probably a hopeless grind? Best in the class, teacher’s pet? Is that it?” “No,” said Bastian, still looking down. “I was put back last year.”

“Good Lord!” cried Mr. Coreander. “A failure all along the line.”

Bastian said nothing, he just stood there in his dripping coat. His arms hung limp at his sides.

“What kind  of  things  do  they  yell  when  they  make  fun  of  you?”  Mr.

Coreander wanted to know. “Oh, all kinds.”

“For instance?”

“Namby Pamby sits on the pot. The pot cracks up, says Namby Pamby: I guess it’s ‘cause I weigh a lot!”

“Not very clever,” said Mr. Coreander. “What else?”

Bastian hesitated before listing: “Screwball, nitwit, braggart, liar . . .” “Screwball? Why do they call you that?”

“I talk to my self sometimes.” “What kind of things do you say?”

“I think up stories. I invent names and words that don’t exist. That kind of thing.”

“And you say these things to yourself? Why?” “Well, nobody else would be interested.”

Mr. Coreander fell into a thoughtful silence. “What do your parents say about this?”

Bastian didn’t answer right away. After a while he mumbled: “Father doesn’t say anything. He never says anything. It’s all the same to him.”

“And your mother?” “She—she’s gone.”

“Your parents are divorced?”

“No,” said Bastian. “She’s dead.”

At that moment the telephone rang. With some difficulty Mr. Coreander pulled himself out of his armchair and shuffled into a small room behind the shop. He picked up the receiver and indistinctly Bastian heard him saying his name. After that there was nothing to be heard but a low mumbling.

Bastian stood there. He didn’t quite know why he had said all he had and admitted so much. He hated being questioned like that. He broke into a sweat as it occurred to him that he was already late for school. He’d have to hurry, oh yes, he’d have to run—but he just stood there, unable to move. Something held him fast, he didn’t know what.

He could still hear the muffled voice from the back room. It was a long telephone conversation.

It came to Bastian that he had been staring the whole time at the book that Mr. Coreander had been holding and that was now lying on the armchair. He couldn’t take his eyes off it. It seemed to have a kind of magnetic power that attracted him irresistibly.

He went over to the chair, slowly held out his hand, and touched the book. In that moment something inside him went click! , as though a trap had shut. Bastian had a vague feeling that touching the book had started something irrevocable, which would now take its course.

He picked up the book and examined it from all sides. It was bound in copper- colored silk that shimmered when he moved it about. Leafing through the pages, he saw the book was printed in two colors. There seemed to be no pictures, but there were large, beautiful capital letters at the beginning of the chapters. Examining the binding more closely, he discovered two snakes on it, one light and one dark. They were biting each other’s tail, so forming an oval. And inside the oval, in strangely intricate letters, he saw the title:

 

The Neverending Story

 

Human passions have mysterious ways, in children as well as grown-ups. Those affected by them can’t explain them, and those who haven’t known them have no understanding of them at all. Some people risk their lives to conquer a mountain peak. No one, not even they themselves, can really explain why. Others ruin themselves trying to win the heart of a certain person who wants nothing to do with them. Still others are destroyed by their devotion to the pleasures of the table. Some are so bent on winning a game of chance that they lose everything they own, and some sacrifice every thing for a dream that can never come true. Some think their only hope of happiness lies in being somewhere else, and spend their whole lives traveling from place to place. And some find no rest until they have become powerful. In short, there are as many different passions as there are people.

Bastian Balthazar Bux’s passion was books.

If you have never spent whole afternoons with burning ears and rumpled hair, forgetting the world around you over a book, forgetting cold and hunger—

If you have never read secretly under the bedclothes with a flashlight, because your father or mother or some other well-meaning person has switched off the lamp on the plausible ground that it was time to sleep because you had to get up so early—

If you have never wept bitter tears because a wonderful story has come to an end and you must take your leave of the characters with whom you have shared so many adventures, whom you have loved and admired, for whom you have hoped and feared, and without whose company life seems empty and meaningless—

If such things have not been part of your own experience, you probably won’t understand what Bastian did next.

Staring at the title of the book, he turned hot and cold, cold and hot. Here was just what he had dreamed of, what he had longed for ever since the passion for books had taken hold of him: A story that never ended! The book of books!

He had to have this book—at any price.

At any price? That was easily said. Even if he had had more to offer than the bit of pocket money he had on him—this cranky Mr. Coreander had given him clearly to understand that he would never sell him a single book. And he certainly wouldn’t give it away. The situation was hopeless.

Yet Bastian knew he couldn’t leave without the book. It was clear to him that he had only come to the shop because of this book. It had called him in some mysterious way, because it wanted to be his, because it had somehow always belonged to him.

Bastian listened to the mumbling from the little back room. In a twinkling, before he knew it, he had the book under his coat and was hugging it with both arms. Without a sound he backed up to the street door, keeping an anxious eye on the other door, the one leading to the back room. Cautiously he turned the door handle. To keep the brass bells from ringing, he opened the glass door just wide enough for him to slip through. He quietly closed the door behind him.

Only then did he start running.

The books, copybooks, pens and pencils in his satchel jiggled and rattled to the rhythm of his steps. He had a stitch in his side. But he kept on running.

The rain ran down his face and into his collar. The wet cold passed through his coat, but Bastian didn’t feel it. He felt hot all over, but not from running.

His conscience, which hadn’t let out a peep in the bookshop, had suddenly woken up. All the arguments that had seemed so convincing melted away like snowmen under the fiery breath of a dragon.

He had stolen. He was a thief!

What he had done was worse than common theft. That book was certainly the only one of its kind and impossible to replace. It was surely Mr. Coreander’s greatest treasure. Stealing a violinist’s precious violin or a king’s crown wasn’t at all the same as filching money from a cash drawer.

As he ran, he hugged the book tight under his coat. Regardless of what this book might cost him, he couldn’t bear to lose it. It was all he had left in the world.

Because naturally he couldn’t go home anymore.

He tried to imagine his father at work in the big room he had furnished as a laboratory. Around him lay dozens of plaster casts of human teeth, for his father was a dental technician. Bastian had never stopped to ask himself whether his father enjoyed his work. It occurred to him now for the first time, but now he would never be able to ask him.

If he went home now, his father would come out of his lab in a white smock, possibly holding a plaster cast, and he would ask: “Home so soon?” “Yes,” Bastian would answer. “No school today?” He saw his father’s quiet, sad face, and he knew he couldn’t possibly lie to him. Much less could he tell him the truth. No, the only thing left for him was to go away somewhere. Far, far away.

His father must never find out that his son was a thief. And maybe he wouldn’t even notice that Bastian wasn’t there anymore. Bastian found this thought almost comforting.

He had stopped running. Walking slowly, he saw the schoolhouse at the end of the street. Without thinking, he was taking his usual route to school. He passed a few people here and there, yet the street seemed deserted. But to a schoolboy arriving very, very late, the world around the schoolhouse always seems to have gone dead. At every step he felt the fear rising within him. Under the best of circumstances he was afraid of school, the place of his daily defeats, afraid of his teachers, who gently appealed to his conscience or made him the butt of their rages, afraid of the other children, who made fun of him and never missed a chance to show him how clumsy and defenseless he was. He had always thought of his school years as a prison term with no end in sight, a misery that would continue until he grew up, something he would just have to live through.

But when he now passed through the echoing corridors with their smell of floor wax and wet overcoats, when the lurking stillness suddenly stopped his ears like cotton, and when at last he reached the door of his classroom, which was painted the same old spinach color as the walls around it, he realized that this, too, was no place for him. He would have to go away. So he might as well go at once.

But where to?

Bastian had read stories about boys who ran away to sea and sailed out into the world to make their fortune. Some became pirates or heroes, others grew rich and when they returned home years later no one could guess who they were.

But Bastian didn’t feel up to that kind of thing. He couldn’t conceive of anyone taking him on as a cabin boy. Besides, he had no idea how to reach a seaport with suitable ships for such an undertaking.

So where could he go?

Suddenly he thought of the right place, the only place where—at least for the time being—no one would find him or even look for him.

The attic of the school was large and dark. It smelled of dust and mothballs. Not a sound to be heard, except for the muffled drumming of the rain on the enormous tin roof. Great beams blackened with age rose at regular intervals from the plank floor, joined with other beams at head height, and lost themselves in the darkness. Here and there spider webs as big as hammocks swayed gently in the air currents. A milky light fell from a skylight in the roof.

The one living thing in this place where time seemed to stand still was a little

mouse that came hobbling across the floor, leaving tiny footprints in the dust— and between them a fine line, a tailprint. Suddenly it stopped and pricked up its ears. And then it vanished— whoosh! —into a hole in the floor.

The mouse had heard the sound of a key in a big lock. The attic door opened slowly, with a loud squeak. For a moment a long strip of light crossed the room. Bastian slipped in. Then, again with a squeak, the door closed. Bastian put the big key in the lock from inside and turned it. Then he pushed the bolt and heaved a sigh of relief. Now no one could possibly find him. No one would look for him here. The place was seldom used—he was pretty sure of that—and even if by chance someone had something to do in the attic, today or tomorrow, he would simply find the door locked. And the key would be gone. And even if they somehow got the door open, Bastian would have time to hide behind the junk that was stored here.

Little by little, his eyes got used to the dim light. He knew the place. Some months before, he had helped the janitor to carry a laundry basket full of old copybooks up here. And then he had seen where the key to the attic door was kept—in a wall cupboard next to the topmost flight of stairs. He hadn’t thought of it since. But today he had remembered.

Bastian began to shiver, his coat was soaked through and it was cold in the attic. The first thing to do was find a place where he could make himself more or less comfortable, because he took it for granted that he’d have to stay here a long time. How long? The question didn’t enter his head, nor did it occur to him that he would soon be hungry and thirsty.

He looked around for a while. The place was crammed with junk of all kinds; there were shelves full of old files and records, benches and ink-stained desks were heaped up every which way, a dozen old maps were hanging on an iron frame, there were blackboards that had lost a good deal of their black, and cast- iron stoves, broken-down pieces of gymnasium equipment—including a horse with the stuffing coming out through the cracks in its hide—and a number of soiled mats. There were also quite a few stuffed animals—at least what the moths had left of them—a big owl, a golden eagle, a fox, and so on, cracked retorts and other chemical equipment, a galvanometer, a human skeleton hanging on a clothes rack, and a large number of cartons full of old books and papers. Bastian finally decided to make his home on the pile of old gym mats. When he stretched out on them, it was almost like lying on a sofa. He dragged them to the place under the skylight where the light was best. Not far away he found a pile of gray army blankets; they were dusty and ragged but that didn’t matter now.

He carried them over to his nest. He took off his wet coat and hung it on the clothes rack beside the skeleton. The skeleton jiggled and swayed, but Bastian had no fear of it, maybe because he was used to such things at home. He also removed his wet shoes. In his stocking feet he squatted down on the mats and wrapped himself in the gray blankets like an Indian. Beside him lay his school satchel—and the copper-colored book.

It passed through his mind that the rest of them down in the classroom would be having history just then. Maybe they’d be writing a composition on some deadly dull subject.

Bastian looked at the book.

“I wonder,” he said to himself, “what’s in a book while it’s closed. Oh, I know it’s full of letters printed on paper, but all the same, something must be happening, because as soon as I open it, there’s a whole story with people I don’t know yet and all kinds of adventures and deeds and battles. And sometimes there are storms at sea, or it takes you to strange cities and countries. All those things are somehow shut up in a book. Of course you have to read it to find out. But it’s already there, that’s the funny thing. I just wish I knew how it could be.”

Suddenly an almost festive mood came over him.

He settled himself, picked up the book, opened it to the first page, and began to read

 

The Neverending Story





 

































ll the beasts in Howling Forest

were safe in their caves, nests, and burrows.

It was midnight, the storm wind was whistling through the tops of the great ancient trees. The towering trunks creaked and groaned.

Suddenly a faint light came zigzagging through the woods, stopped here and there, trembling fitfully, flew up into the air, rested on a branch, and a moment later hurried on. It was a glittering sphere about the size of a child’s ball; it moved in long leaps, touched the ground now and then, then bounded up again. But it wasn’t a ball.

It was a will-o’-the-wisp. It had lost its way. And that’s something quite unusual even in Fantastica, because ordinarily will-o’-the-wisps make others lose their way.

Inside this ball of light there was a small, exceedingly active figure, which ran and jumped with all its might. It was neither male nor female, for such distinctions don’t exist among will-o’-the-wisps. In its right hand it carried a tiny

white flag, which glittered behind it. That meant it was either a messenger or a flag-of-truce bearer.

You’d think it would have bumped into a tree, leaping like that in the darkness, but there was no danger of that, for will-o’-the-wisps are incredibly nimble and can change directions in the middle of a leap. That explains the zigzagging, but in a general sort of way it moved in a definite direction.

Up to the moment when it came to a jutting crag and started back in a fright.

Whimpering like a puppy, it sat down on the fork of a tree and pondered awhile before venturing out and cautiously looking around the crag.

Up ahead it saw a clearing in the woods, and there in the light of a campfire sat three figures of different sizes and shapes. A giant, who looked as if the whole of him were made of gray stone, lay stretched out on his belly. He was almost ten feet long. Propped up on one elbow, he was looking into the fire. In his weather-beaten stone face, which seemed strangely small in comparison with his powerful shoulders, his teeth stood out like a row of steel chisels. The will- o’-the-wisp recognized him as belonging to the family of rock chewers. These were creatures who lived in a mountain range inconceivably far from Howling Forest—but they not only lived in the mountain range, they also lived on it, for little by little they were eating it up. Rocks were their only food. Luckily a little went a long way. They could live for weeks and months on a single bite of this— for them—extremely nutritious fare. There weren’t very many rock chewers, and besides it was a large mountain range. But since these giants had been there a long time—they lived to a greater age than most of the inhabitants of Fantastica

—those mountains had come, over the years, to look very strange—like an enormous Swiss cheese, full of holes and grottoes. And that is why they were known as the Cheesiewheezies.

But the rock chewers not only fed on stone, they made everything they needed out of it: furniture, hats, shoes, tools, even cuckoo clocks. So it was not surprising that the vehicle of this particular giant, which was now leaning against a tree behind him, was a sort of bicycle made entirely of this material, with two wheels that looked like enormous millstones. On the whole, it suggested a steamroller with pedals.

The second figure, who was sitting to the right of the first, was a little night- hob.

No more than twice the size of the will-o’-the-wisp, he looked like a pitch- black, furry caterpillar sitting up. He had little pink hands, with which he gestured violently as he spoke, and below his tousled black hair two big round

eyes glowed like moons in what was presumably his face.

Since there were night-hobs of all shapes and sizes in every part of Fantastica, it was hard to tell by the sight of him whether this one had come from far or near. But one could guess that he was traveling, because the usual mount of the night-hobs, a large bat, wrapped in its wings like a closed umbrella, was hanging head-down from a nearby branch.

It took the will-o’-the-wisp some time to discover the third person on the left side of the fire, for he was so small as to be scarcely discernible from that distance. He was one of the tinies, a delicately built little fellow in a bright- colored suit and a top hat.

The will-o’-the-wisp knew next to nothing about tinies. But it had once heard that these people built whole cities in the branches of trees and that the houses were connected by stairways, rope ladders, and ramps. But the tinies lived in an entirely different part of the boundless Fantastican Empire, even farther away than the rock chewers. Which made it all the more amazing that the mount which had evidently carried the tiny all this way was, of all things, a snail. Its pink shell was surmounted by a gleaming silver saddle, and its bridle, as well as the reins fastened to its feelers, glittered like silver threads.

The will-o’-the-wisp couldn’t get over it that three such different creatures should be sitting there so peacefully, for harmony between different species was by no means the rule in Fantastica. Battles and wars were frequent, and certain of the species had been known to feud for hundreds of years. Moreover, not all the inhabitants of Fantastica were good and honorable, there were also thieving, wicked, and cruel ones. The will-o’-the-wisp itself belonged to a family that was hardly reputed for truthfulness or reliability.

After observing the scene in the firelight for some time, the will-o’-the-wisp noticed that each of the three had something white, either a flag or a white scarf worn across his chest. Which meant that they were messengers or flag-of-truce bearers, and that of course accounted for the peaceful atmosphere.

Could they be traveling on the same business as the will-o’-the-wisp?

What they were saying couldn’t be heard from a distance because of the howling wind in the treetops. But since they respected one another as messengers, mightn’t they recognize the will-o’-the-wisp in the same capacity and refrain from harming him? It had to ask someone the way, and there seemed little likelihood of finding a better opportunity at this hour in the middle of the woods. So plucking up courage, it ventured out of its hiding place and hovered trembling in mid-air, waving its white flag.

The rock chewer, whose face was turned in that direction, was first to notice the will-o’-the-wisp.

“Lots of traffic around here tonight,” he crackled. “Here comes another one.” “Hoo, it’s a will-o’-the-wisp,” whispered the night-hob, and his moon eyes

glowed. “Pleased to meet you!”

The tiny stood up, took a few steps toward the newcomer, and chirped: “If my eyes don’t deceive me, you are here as a messenger.”

“Yes indeed,” said the will-o’-the-wisp.

The tiny removed his red top hat, made a slight bow, and twittered: “Oh, do join us. We, too, are messengers. Won’t you be seated?”

And with his hat he motioned toward an empty place by the fire. “Many thanks,” said the will-o’-the-wisp, coming timidly closer. “Allow me to introduce myself. My name is Blubb.” “Delighted,” said the tiny. “Mine is Gluckuk.”

The night-hob bowed without getting up. “My name is Vooshvazool.” “And mine,” the rock chewer crackled, “is Pyornkrachzark.”

All three looked at the will-o’-the-wisp, who was wriggling with embarrassment.

Will-o’-the-wisps find it most unpleasant to be looked full in the face. “Won’t you sit down, dear Blubb?” said the tiny.

“To tell the truth,” said the will-o’-the-wisp, “I’m in a terrible hurry. I only wanted to ask if by any chance you knew the way to the Ivory Tower.”

“Hoo,” said the night-hob. “Could you be going to see the Childlike Empress?”

“Exactly,” said the will-o’-the-wisp. “I have an important message for her.” “What does it say?” the rock chewer crackled.

“But you see,” said the will-o’-the-wisp, shifting its weight from foot to foot, “it’s a secret message.”

“All three of us—hoo—have the same mission as you,” replied Vooshvazool, the night-hob. “That makes us partners.”

“Maybe we even have the same message,” said Gluckuk, the tiny. “Sit down and tell us,” Pyornkrachzark crackled.

The will-o’-the-wisp sat down in the empty place.

“My home,” it began after a moment’s hesitation, “is a long way from here. I don’t know if any of those present has heard of it. It’s called Moldymoor.”

“Hoo!” cried the night-hob delightedly. “A lovely country!” The will-o’-the-wisp smiled faintly.

“Yes, isn’t it?”

“Is that all you have to say, Blubb?” Pyornkrachzark crackled. “What is the purpose of your trip?”

“Something has happened in Moldymoor,” said the will-o’-the-wisp haltingly, “something impossible to understand. Actually, it’s still happening. It’s hard to describe—the way it began was—well, in the east of our country there’s a lake— that is, there was a lake—Lake Foamingbroth we called it. Well, the way it began was like this. One day Lake Foamingbroth wasn’t there anymore—it was gone. See?”

“You mean it dried up?” Gluckuk inquired.

“No,” said the will-o’-the-wisp. “Then there’d be a dried-up lake. But there isn’t.

Where the lake used to be there’s nothing—absolutely nothing. Now do you see?”

“A hole?” the rock chewer grunted.

“No, not a hole,” said the will-o’-the-wisp despairingly. “A hole, after all, is something. This is nothing at all.”

The three other messengers exchanged glances. “What—hoo—does this nothing look like?” asked the night-hob.

“That’s just what’s so hard to describe,” said the will-o’-the-wisp unhappily. “It doesn’t look like anything. It’s—it’s like—oh, there’s no word for it.”

“Maybe,” the tiny suggested, “when you look at the place, it’s as if you were blind.”

The will-o’-the-wisp stared openmouthed.

“Exactly!” it cried. “But where—I mean how—I mean, have you had the same. ..?”

“Wait a minute,” the rock chewer crackled. “Was it only this one place?”

“At first, yes,” the will-o’-the-wisp explained. “That is, the place got bigger little by little. And then all of a sudden Foggle, the father of the frogs, who lived in Lake Foamingbroth with his family, was gone too. Some of the inhabitants started running away. But little by little the same thing happened to other parts of Moldymoor. It usually started with just a little chunk, no bigger than a partridge egg. But then these chunks got bigger and bigger. If somebody put his foot into one of them by mistake, the foot—or hand—or whatever else he put in—would be gone too. It didn’t hurt—it was just that a part of whoever it was would be missing. Some would even fall in on purpose if they got too close to the Nothing. It has an irresistible attraction—the bigger the place, the stronger the

pull. None of us could imagine what this terrible thing might be, what caused it, and what we could do about it. And seeing that it didn’t go away by itself but kept spreading, we finally decided to send a messenger to the Childlike Empress to ask her for advice and help. Well, I’m the messenger.”

The three others gazed silently into space.

After a while, the night-hob sighed: “Hoo! It’s the same where I come from.

And I’m traveling on the exact same errand—hoo hoo!”

The tiny turned to the will-o’-the-wisp. “Each one of us,” he chirped, “comes from a different province of Fantastica. We’ve met here entirely by chance. But each one of us is going to the Childlike Empress with the same message.”

“And the message,” grated the rock chewer, “is that all Fantastica is in danger.”

The will-o’-the-wisp cast a terrified look at each one in turn.

“If that’s the case,” it cried, jumping up, “we haven’t a moment to lose.”

“We were just going to start,” said the tiny. “We only stopped to rest because it’s so awfully dark here in Howling Forest. But now that you’ve joined us, Blubb, you can light the way.”

“Impossible,” said the will-o’-the-wisp. “Would you expect me to wait for someone who rides a snail? Sorry.”

“But it’s a racing snail,” said the tiny, somewhat miffed.

“Otherwise—hoo hoo—” the night-hob sighed, “we won’t tell you which way to go.”

“Who are you people talking to?” the rock chewer crackled.

And sure enough, the will-o’-the-wisp hadn’t even heard the other messengers’ last words, for it was already flitting through the forest in long leaps.

“Oh well,” said the tiny, pushing his top hat onto the back of his head, “maybe it wouldn’t have been such a good idea to follow a will-o’-the-wisp.”

“To tell the truth,” said the night-hob, “I prefer to travel on my own. Because I, for one, fly.”

With a quick “hoo hoo” he ordered his bat to make ready. And whish! Away he flew.

The rock chewer put out the campfire with the palm of his hand.

“I, too, prefer to go by myself,” he crackled in the darkness. “Then I don’t need to worry about squashing some wee creature.”

Rattling and grinding, he rode his stone bicycle straight into the woods, now and then thudding into a tree giant. Slowly the clatter receded in the distance.

Gluckuk, the tiny, was last to set out. He seized the silvery reins and said: “All right, we’ll see who gets there first. Geeyap, old-timer, geeyap.” And he clicked his tongue.

And then there was nothing to be heard but the storm wind howling in the treetops.

 

The clock in the belfry struck nine. Reluctantly Bastian’s thought turned back to reality. He was glad the Neverending Story had nothing to do with that.

He didn’t like books in which dull, cranky writers describe humdrum events in the very humdrum lives of humdrum people. Reality gave him enough of that kind of thing, why should he read about it? Besides, he couldn’t stand it when a writer tried to convince him of something. And these humdrum books, it seemed to him, were always trying to do just that.

Bastion liked books that were exciting or funny, or that made him dream. Books where made-up characters had marvelous adventures, books that made him imagine all sorts of things.

Because one thing he was good at, possibly the only thing, was imagining things so clearly that he almost saw and heard them. When he told himself stories, he sometimes forgot everything around him and awoke—as though from a dream—only when the story was finished. And this book was just like his own stories! In reading it, he had heard not only the creaking of the big trees and the howling of the wind in the treetops, but also the different voices of the four comical messengers. And he almost seemed to catch the smell of moss and forest earth.

Down in the classroom they were starting in on nature study. That consisted almost entirely in counting pistils and stamens. Bastian was glad to be up here in his hiding place, where he could read. This, he thought, was just the right book for him!

 

A week later Vooshvazool, the little night-hob, arrived at his destination. He was the first. Or rather, he thought he was first, because he was riding through the air.

Just as the setting sun turned the clouds to liquid gold, he noticed that his bat was circling over the Labyrinth. That was the name of an enormous garden, extending from horizon to horizon and filled with the most bewitching scents and dreamlike colors.

Broad avenues and narrow paths twined their way among copses, lawns, and

beds of the rarest, strangest flowers in a design so artful and intricate that the whole plain resembled an enormous maze. Of course, it had been designed only for pleasure and amusement, with no intention of endangering anyone, much less of warding off an enemy. It would have been useless for such purposes, and the Childlike Empress required no such protection, because in all the unbounded reaches of Fantastica there was no one who would have thought of attacking her. For that there was a reason, as we shall soon see.

While gliding soundlessly over the flowery maze, the night-hob sighted all sorts of animals. In a small clearing between lilacs and laburnum, a group of young unicorns was playing in the evening sun, and once, glancing under a giant bluebell, he even thought he saw the famous phoenix in its nest, but he wasn’t quite certain, and such was his haste that he didn’t want to turn back to make sure. For at the center of the Labyrinth there now appeared, shimmering in fairy whiteness, the Ivory Tower, the heart of Fantastica and the residence of the Childlike Empress.

The word “tower” might give someone who has never seen it the wrong idea. It had nothing of the church or castle about it. The Ivory Tower was as big as a whole city.

From a distance it looked like a pointed mountain peak twisted like a snail shell. Its highest point was deep in the clouds. Only on coming closer could you notice that this great sugarloaf consisted of innumerable towers, turrets, domes, roofs, oriels, terraces, arches, stairways, and balustrades, all marvelously fitted together. The whole was made of the whitest Fantastican ivory, so delicately carved in every detail that it might have been taken for the latticework of the finest lace.

These buildings housed the Childlike Empress’s court, her chamberlains and maidservants, wise women and astrologers, magicians and jesters, messengers, cooks and acrobats, her tightrope walkers and storytellers, heralds, gardeners, watchmen, tailors, shoemakers and alchemists. And at the very summit of the great tower lived the Childlike Empress in a pavilion shaped like a magnolia blossom. On certain nights, when the full moon shone most gloriously in the starry sky, the ivory petals opened wide, and the Childlike Empress would be sitting in the middle of the glorious flower.

Riding on his bat, the little night-hob landed on one of the lower terraces, where the stables were located. Someone must have announced his arrival, for five imperial grooms were there waiting for him. They helped him out of his saddle, bowed to him, and held out the ceremonial welcome cup. As etiquette

demanded, Vooshvazool took only a sip and then returned the cup. Each of the grooms took a sip, then they bowed again and led the bat to the stables. All this was done in silence. On reaching its appointed place, the bat touched neither food nor drink, but immediately rolled up, hung itself head-down on a hook, and fell into a deep sleep. The little night-hob had demanded a bit too much of his mount. The grooms left it alone and crept away from the stable on tiptoes.

In this stable there were many other mounts: two elephants, one pink and one blue, a gigantic griffon with the forequarters of an eagle and the hindquarters of a lion, a winged horse, whose name was once known even outside of Fantastica but is now forgotten, several flying dogs, a few other bats, and several dragonflies and butterflies for especially small riders. In other stables there were still other mounts, which didn’t fly but ran, crawled, hopped, or swam. And each had a groom of its own to feed and take care of it.

Ordinarily one would have expected to hear quite a cacophony of different voices: roaring, screeching, piping, chirping, croaking, and chattering. But that day there was utter silence.

The little night-hob was still standing where the grooms had left him. Suddenly, without knowing why, he felt dejected and discouraged. He too was exhausted after the long trip. And not even the knowledge that he had arrived first could cheer him up.

Suddenly he heard a chirping voice. “Hello, hello! If it isn’t my good friend Vooshvazool! So glad you’ve finally made it!”

The night-hob looked around, and his moon eyes flared with amazement, for on a balustrade, leaning negligently against a flower pot, stood Gluckuk, the tiny, tipping his red top hat.

“Hoo hoo!” went the bewildered night-hob. And again: “Hoo hoo!” He just couldn’t think of anything better to say.

“The other two haven’t arrived yet. I’ve been here since yesterday morning.” “How—hoo hoo—how did you do it?”

“Simple,” said the tiny with a rather condescending smile. “Didn’t I tell you I had a racing snail?”

The night-hob scratched his tangled black head fur with his little pink hand. “I must go to the Childlike Empress at once,” he said mournfully.

The tiny gave him a pensive look.

“Hmm,” he said. “I put in for an appointment yesterday.”

“Put in for an appointment?” asked the night-hob. “Can’t we just go in and see her?”

“I’m afraid not,” chirped the tiny. “We’ll have a long wait. You can’t imagine how many messengers have turned up.”

“Hoo hoo,” the night-hob sighed. “How come?”

“You’d better take a look for yourself,” the tiny twittered. “Come with me, my dear Vooshvazool. Come with me!”

The two of them started out.

The High Street, which wound around the Ivory Tower in a narrowing spiral, was clogged with a dense crowd of the strangest creatures. Enormous beturbaned djinns, tiny kobolds, three-headed trolls, bearded dwarfs, glittering fairies, goat- legged fauns, nixies with wavy golden hair, sparkling snow sprites, and countless others were milling about, standing in groups, or sitting silently on the ground, discussing the situation or gazing glumly into the distance.

Vooshvazool stopped still when he saw them.

“Hoo hoo,” he said. “What’s going on? What are they all doing here?” “They’re all messengers,” Gluckuk explained. “Messengers from all over

Fantastica. All with the same message as ours. I’ve spoken with several of them. The same menace seems to have broken out everywhere.”

The night-hob gave vent to a long wheezing sigh.

“Do they know,” he asked, “what it is and where it comes from?” “I’m afraid not. Nobody knows.”

“What about the Childlike Empress?”

“The Childlike Empress,” said the tiny in an undertone, “is ill, very ill. Maybe that’s the cause of this mysterious calamity that’s threatening all Fantastica. But so far none of the many doctors who’ve been conferring in the Magnolia Pavilion has discovered the nature of her illness or found a cure for it.”

“That,” said the night-hob breathlessly, “is—hoo hoo—terrible.” “So it is,” said the tiny.

In view of the circumstances, Vooshvazool decided not to put in for an appointment.

Two days later Blubb, the will-o’-the-wisp, arrived. Of course, he had hopped in the wrong direction and made an enormous detour.

And finally—three days after that—Pyornkrachzark, the rock chewer, appeared.

He came plodding along on foot, for in a sudden frenzy of hunger he had eaten his stone bicycle.

During the long waiting period, the four so unalike messengers became good friends. From then on they stayed together.

But that’s another story and shall be told another time.





 

































ecause of their special importance, deliberations concerning the welfare of all Fantastica were held in the great throne room of the palace, which was situated only a few floors below the Magnolia Pavilion.

The large circular room was filled with muffled voices. The four hundred and ninety-nine best doctors in Fantastica had assembled there and were whispering or mumbling with one another in groups of varying sizes. Each one had examined the Childlike Empress—some more recently than others—and each had tried to help her with his skill. But none had succeeded, none knew the nature or cause of her illness, and none could think of a cure for it. Just then the five hundredth doctor, the most famous in all Fantastica, whose knowledge was said to embrace every existing medicinal herb, every magic philtre and secret of nature, was examining the patient. He had been with her for several hours, and all his assembled colleagues were eagerly awaiting the result of his examination. Of course, this assembly was nothing like a human medical congress. To be

sure, a good many of the inhabitants of Fantastica were more or less human in appearance, but at least as many resembled animals or were even farther from the human. The doctors inside the hall were just as varied as the crowd of messengers milling about outside.

There were dwarf doctors with white beards and humps, there were fairy doctoresses in shimmering silvery-blue robes and with glittering stars in their hair, there were water sprites with big round bellies and webbed hands and feet (sitz baths had been installed for them) . There were white snakes, who had coiled up on the long table at the center of the room; there were witches, vampires, and ghosts, none of whom are generally reputed to be especially benevolent or conducive to good health.

If you are to understand why these last were present, there is one thing you have to know:

The Childlike Empress—as her title indicates—was looked upon as the ruler over all the innumerable provinces of the Fantastican Empire, but in reality she was far more than a ruler; she was something entirely different.

She didn’t rule, she had never used force or made use of her power. She never issued commands and she never judged anyone. She never interfered with anyone and never had to defend herself against any assailant; for no one would have thought of rebelling against her or of harming her in any way. In her eyes all her subjects were equal.

She was simply there in a special way. She was the center of all life in Fantastica.

And every creature, whether good or bad, beautiful or ugly, merry or solemn, foolish or wise—all owed their existence to her existence. Without her, nothing could have lived, any more than a human body can live if it has lost its heart.

All knew this to be so, though no one fully understood her secret. Thus she was respected by all the creatures of the Empire, and her health was of equal concern to them all. For her death would have meant the end of them all, the end of the boundless Fantastican realm.

 

Bastian’s thoughts wandered.

Suddenly he remembered the long corridor in the hospital where his mother had been operated on. He and his father had sat waiting for hours outside the operating room. Doctors and nurses hurried this way and that. When his father asked about his wife, the answer was always evasive. No one really seemed to know how she was doing.

Finally a bald-headed man in a white smock had come out to them. He looked tired and sad. Much as he regretted it, he said, his efforts had been in vain. He had pressed their hands and mumbled something about “heartfelt sympathy.”

After that, everything had changed between Bastion and his father. Not outwardly. Bastion had everything he could have wished for. He had a three- speed bicycle, an electric train, plenty of vitamin pills, fifty-three books, a golden hamster, an aquarium with tropical fish in it, a small camera, six pocketknives, and so forth and so on. But none of all this really meant anything to him.

Bastian remembered that his father had often played with him in the past. He had even told him stories. No longer. He couldn’t talk to his father anymore. There was an invisible wall around his father, and no one could get through to him. He never found fault and he never praised. Even when Bastian was put back in school, his father hadn’t said anything. He had only looked at him in his sad, absent way, and Bastian felt that as far as his father was concerned he wasn’t there at all. That was how his father usually made him feel. When they sat in front of the television screen in the evening, Bastian saw that his father wasn’t even looking at it, that his thoughts were far away. Or when they both sat there with books, Bastian saw that his father wasn’t reading at all. He’d been looking at the same page for hours and had forgotten to turn it.

Bastian knew his father was sad. He himself had cried for many nights— sometimes he had been so shaken by sobs that he had to vomit—but little by little it had passed. And after all he was still there. Why didn’t his father ever speak to him, not about his mother, not about important things, but just for the feel of talking together?

 

“If only we knew,” said a tall, thin fire sprite, with a beard of red flames, “if only we knew what her illness is. There’s no fever, no swelling, no rash, no inflammation. She just seems to be fading away—no one knows why.”

As he spoke, little clouds of smoke came out of his mouth and formed figures. This time they were question marks.

A bedraggled old raven, who looked like a potato with feathers stuck onto it every which way, answered in a croaking voice (he was a head cold and sore throat specialist):

“She doesn’t cough, she hasn’t got a cold. Medically speaking, it’s no disease at all.” He adjusted the big spectacles on his beak and a cast a challenging look around.

“One thing seems obvious,” buzzed a scarab (a beetle, sometimes known as a pill roller): “There is some mysterious connection between her illness and the terrible happenings these messengers from all Fantastica have been reporting.”

“Oh yes!” scoffed an ink goblin. “You see mysterious connections everywhere.”

“My dear colleague!” pleaded a hollow-cheeked ghost in a long white gown. “Let’s not get personal. Such remarks are quite irrelevant. And please—lower

your voices.”

Conversations of this kind were going on in every part of the throne room. It may seem strange that creatures of so many different kinds were able to communicate with one another. But nearly all the inhabitants of Fantastica, even the animals, knew at least two languages: their own, which they spoke only with members of their own species and which no outsider understood, and the universal language known as High Fantastican. All Fantasticans used it, though some in a rather peculiar way.

Suddenly all fell silent, for the great double door had opened. In stepped Cairon, the far-famed master of the healer’s art.

He was what in older times had been called a centaur. He had the body of a man from the waist up, and that of a horse from the waist down. And Cairon was furthermore a black centaur. He hailed from a remote region far to the south, and his human half was the color of ebony. Only his curly hair and beard were white, while the horselike half of him was striped like a zebra. He was wearing a strange hat plaited of reeds. A large golden amulet hung from a chain around his neck, and on this amulet one could make out two snakes, one light and one dark, which were biting each other’s tail and so forming an oval.

 

Everyone in Fantastica knew what the medallion meant. It was the badge of one acting on orders from the Childlike Empress, acting in her name as though she herself were present.

It was said to give the bearer mysterious powers, though no one knew exactly what these powers were. Everyone knew its name: AURYN.

But many, who feared to pronounce the name, called it the “Gem” or the “Glory”.

 

In other words, the book bore the mark of the Childlike Empress!

 

A whispering passed through the throne room, and some of the doctors were heard to cry out. The Gem had not been entrusted to anyone for a long, long

time.

Cairon stamped his hooves two or three times. When the disorder subsided, he said in a deep voice: “Friends, don’t be too upset. I shall only be wearing AURYN for a short time. I am merely a go-between. Soon I shall pass the Gem on to one worthier.”

A breathless silence filled the room.

“I won’t try to misrepresent our defeat with high-sounding words. The Childlike Empress’s illness has baffled us all. The one thing we know is that the destruction of Fantastica began at the same time as this illness. We can’t even be sure that medical science can save her. But it is possible—and I hope none of you will be offended at what I am going to say—it is possible that we, we who are gathered here, do not possess all knowledge, all wisdom. Indeed it is my last and only hope that somewhere in this unbounded realm there is a being wiser than we are, who can give us help and advice. Of course, this is no more than a possibility. But one thing is certain: The search for this savior calls for a pathfinder, someone who is capable of finding paths in the pathless wilderness and who will shrink from no danger or hardship. In other words: a hero. And the Childlike Empress has given me the name of this hero, to whom she entrusts her salvation and ours. His name is Atreyu, and he lives in the Grassy Ocean beyond the Silver Mountains. I shall transmit AURYN to him and send him on the Great Quest. Now you know all there is to know.”

With that, the old centaur thumped out of the room.

Those who remained behind exchanged looks of bewilderment. “What was this hero’s name?” one of them asked.

“Atreyu or something of the kind,” said another.

“Never heard of him,” said the third. And all four hundred and ninety-nine doctors shook their heads in dismay.

 

The clock in the belfry struck ten. Bastian was amazed at how quickly the time had passed. In class, every hour seemed to drag on for an eternity. Down below, they would be having history with Mr. Drone, a gangling, ordinarily ill- tempered man, who delighted in holding Bastian up to ridicule because he couldn’t remember the dates when certain battles had been fought or when someone or other had reigned.

 

The Grassy Ocean behind the Silver Mountains was many days’ journey from the Ivory Tower. It was actually a prairie, as long and wide and flat as an ocean.

Its whole expanse was covered with tall, juicy grass, and when the wind blew, great waves passed over it with a sound like troubled water.

The people who lived there were known as “Grass People” or “Greenskins”. They had blue-black hair, which the men as well as the women wore long and often in pigtails, and their skin was olive green. They led a hard, frugal life, and their children, girls as well as boys, were brought up to be brave, proud, and generous. They learned to bear heat, cold, and great hardship and were tested for courage at an early age. This was necessary because the Greenskins were a nation of hunters. They obtained everything they needed either from the hard, fibrous prairie grass or from the purple buffaloes, great herds of which roamed the Grassy Ocean.

These purple buffaloes were about twice the size of common bulls or cows; they had long, purplish-red hair with a silky sheen and enormous horns with tips as hard and sharp as daggers. They were peaceful as a rule, but when they scented danger or thought they were being attacked, they could be as terrible as a natural cataclysm. Only a Greenskin would have dared to hunt these beasts, and moreover they used no other weapons than bows and arrows. The Greenskins were believers in chivalrous combat, and often it was not the hunted but the hunter who lost his life. The Greenskins loved and honored the purple buffaloes and held that only those willing to be killed by them had the right to kill them.

News of the Childlike Empress’s illness and the danger threatening all Fantastica had not yet reached the Grassy Ocean. It was a long, long time since any traveler had visited the tent colonies of the Greenskins. The grass was juicier than ever, the days were bright, and the nights full of stars. All seemed to be well.

But one day a white-haired black centaur appeared. His hide was dripping with sweat, he seemed totally exhausted, and his bearded face was haggard. On his head he wore a strange hat plaited of reeds, and around his neck a chain with a large golden amulet hanging from it. It was Cairon.

He stood in the open space at the center of the successive rings of tents. It was there that the elders held their councils and that the people danced and sang old songs on feast days. He waited for the Greenskins to assemble, but it was only very old men and women and small children wide-eyed with curiosity who crowded around him. He stamped his hooves impatiently.

“Where are the hunters and huntresses?” he panted, removing his hat and wiping his forehead.

A white-haired woman with a baby in her arms replied: “They are still

hunting.

They won’t be back for three or four days.” “Is Atreyu with them?” the centaur asked.

“Yes, stranger, but how can it be that you know him?” “I don’t know him. Go and get him.”

“Stranger,” said an old man on crutches, “he will come unwillingly, because this is his hunt. It starts at sunset. Do you know what that means?”

Cairon shook his mane and stamped his hooves.

“I don’t know, and it doesn’t matter. He has something more important to do now. You know this sign I am wearing. Go and get him.”

“We see the Gem,” said a little girl. “And we know you have come from the Childlike Empress. But who are you?”

“My name is Cairon,” the centaur growled. “Cairon the physician, if that means anything to you.”

A bent old woman pushed forward and cried out: “Yes, it’s true. I recognize him. I saw him once when I was young. He is the greatest and most famous doctor in all Fantastica.”

The centaur nodded. “Thank you, my good woman,” he said. “And now perhaps one of you will at last be kind enough to bring this Atreyu here. It’s urgent. The life of the Childlike Empress is at stake.”

“I’ll go,” cried a little girl of five or six.

She ran away and a few seconds later she could be seen between the tents galloping away on a saddleless horse.

“At last!” Cairon grumbled. Then he fell into a dead faint. When he revived, he didn’t know where he was, for all was dark around him. It came to him only little by little that he was in a large tent, lying on a bed of soft furs. It seemed to be night, for through a cleft in the door curtain he saw flickering firelight.

“Holy horseshoes!” he muttered, and tried to sit up. “How long have I been lying here?”

A head looked in through the door opening and pulled back again. Someone said:

“Yes, he seems to be awake.”

Then the curtain was drawn aside and a boy of about ten stepped in. His long trousers and shoes were of soft buffalo leather. His body was bare from the waist up, but a long purple-red cloak, evidently woven from buffalo hair, hung from his shoulders. His long blue-black hair was gathered together and held back by leather thongs. A few simple white designs were painted on the olive-green skin

of his cheeks and forehead. His dark eyes flashed angrily at the intruder; otherwise his features betrayed no emotion of any kind.

“What do you want of me, stranger?” he asked. “Why have you come to my tent? And why have you robbed me of my hunt? If I had killed the big buffalo today—and my arrow was already fitted to my bowstring—I’d have been a hunter tomorrow. Now I’ll have to wait a whole year. Why?”

The old centaur stared at him in consternation. “Am I to take it,” he asked, “that you are Atreyu?”

“That’s right, stranger.”

“Isn’t there someone else of the same name? A grown man, an experienced hunter?”

“No. I and no one else am Atreyu.”

Sinking back on his bed of furs, old Cairon gasped: “A child! A little boy!

Really, the decisions of the Childlike Empress are hard to fathom.” Atreyu waited in impassive silence.

“Forgive me, Atreyu,” said Cairon, controlling his agitation with the greatest difficulty. “I didn’t mean to hurt your feelings, but the surprise has been just too great. Frankly, I’m horrified. I don’t know what to think. I can’t help wondering: Did the Childlike Empress really know what she was doing when she chose a youngster like you? It’s  sheer  madness!  And  if  she  did  it  intentionally, then . . . then . . .”

With a violent shake of his head, he blurted out: “No! No! If I had known whom she was sending me to, I’d have refused to entrust you with the mission. I’d have refused!”

“What mission?” Atreyu asked.

“It’s monstrous!” cried Cairon indignantly. “It’s doubtful whether even the greatest, most experienced of heroes could carry out this mission . . . and you! . . . She’s  sending  you  into  the  unfathomable  to  look  for  the unknown . . . No one can help you, no one can advise you, no one can foresee what will befall you. And yet you must decide at once, immediately, whether or not you accept the mission. There’s not a moment to be lost. For ten days and nights I have galloped almost without rest to reach you. But now—I almost wish I hadn’t got here. I’m very old, I’m at the end of my strength. Give me a drink of water, please.”

Atreyu brought a pitcher of fresh spring water. The centaur drank deeply, then he wiped his beard and said somewhat more calmly: “Thank you. That was good. I feel better already. Listen to me, Atreyu. You don’t have to accept this

mission. The Childlike Empress leaves it entirely up to you. She never gives orders. I’ll tell her how it is and she’ll find someone else. She can’t have known you were a little boy. She must have got you mixed up with someone else. That’s the only possible explanation.”

“What is this mission?” Atreyu asked.

“To find a cure for the Childlike Empress,” the centaur answered, “and save Fantastica.”

“Is she sick?” Atreyu asked in amazement.

Cairon told him how it was with the Childlike Empress and what the messengers had reported from all parts of Fantastica. Atreyu asked many questions and the centaur answered them to the best of his ability. They talked far into the night. And the more Atreyu learned of the menace facing Fantastica, the more his face, which at first had been so impassive, expressed unveiled horror.

“To think,” he murmured finally with pale lips, “that I knew nothing about it!”

Cairon cast a grave, anxious look at the boy from under his bushy white eyebrows.

“Now you know the lie of the land,” he said. “And now perhaps you understand why I was so upset when I first laid eyes on you. Still, it was you the Childlike Empress named. ‘Go and find Atreyu,’ she said to me. ‘I put all my trust in him,’ she said. ‘Ask him if he’s willing to attempt the Great Quest for me and for Fantastica.’ I don’t know why she chose you. Maybe only a little boy like you can do whatever has to be done. I don’t know, and I can’t advise you.”

Atreyu sat there with bowed head, and made no reply. He realized that this was a far greater task than his hunt. It was doubtful whether the greatest hunter and pathfinder could succeed; how then could he hope . . .?

“Well?” the centaur asked. “Will you?” Atreyu raised his head and looked at him. “I will,” he said firmly.

Cairon nodded gravely. Then he took the chain with the golden amulet from his neck and put it around Atreyu’s.

“AURYN gives you great power,” he said solemnly, “but you must not make use of it. For the Childlike Empress herself never makes use of her power. AURYN will protect you and guide you, but whatever comes your way you must never interfere, because from this moment on your own opinion ceases to count. For that same reason you must go unarmed. You must let what happens happen. Everything must be equal in your eyes, good and evil, beautiful and ugly, foolish

and wise, just as it is in the eyes of the Childlike Empress. You may only search and inquire, never judge. Always remember that, Atreyu!”

“AURYN!” Atreyu repeated with awe. “I will be worthy of the Glory. When should I start?”

“Immediately,” said Cairon. “No one knows how long your Great Quest will be. Every hour may count, even now. Say goodbye to your parents and your brothers and sisters.”

“I have none,” said Atreyu. “My parents were both killed by a buffalo, soon after I was born.”

“Who brought you up?”

“All the men and women together. That’s why they called me Atreyu, which in our language means ‘Son of All’!”

 

No one knew better than Bastion what that meant. Even though his father was still alive and Atreyu had neither father nor mother. To make up for it, Atreyu had been brought up by all the men and women together and was the “son of all”, while Bastian had no one—and was really “nobody’s son”. All the same, Bastian was glad to have this much in common with Atreyu, because otherwise he resembled him hardly at all, neither physically nor in courage and determination. Yet Bastian, too, was engaged in a Great Quest and didn’t know where it would lead him or how it would end.

 

“In that case,” said the old centaur, “you’d better go without saying goodbye.

I’ll stay here and explain.”

Atreyu’s face became leaner and harder than ever. “Where should I begin?” he asked.

“Everywhere and nowhere,” said Cairon. “From now on you will be on your own, with no one to advise you. And that’s how it will be until the end of the Great Quest—however it may end.”

Atreyu nodded. “Farewell, Cairon.”

“Farewell, Atreyu. And—much luck!”

The boy turned away and was leaving the tent when the centaur called him back.

As they stood face to face, the old centaur put both hands on Atreyu’s shoulders, looked him in the eye with a respectful smile, and said slowly: “I think I’m beginning to see why the Childlike Empress chose you, Atreyu.”

The boy lowered his head just a while. Then he went out quickly.

His horse, Artax, was standing outside the tent. He was small and spotted like a wild horse. His legs were short and stocky, but he was the fastest, most tireless runner far and wide. He was still saddled as Atreyu had ridden him back from the hunt.

“Artax,” Atreyu whispered, patting his neck. “We’re going away, far, far away. No one knows if we shall ever come back!”

The horse nodded his head and gave a brief snort. “Yes, master,” he said. “But what about your hunt?”

“We’re going on a much greater hunt,” said Atreyu, swinging himself into the saddle.

“Wait, master,” said the horse. “You’ve forgotten your weapons. Are you going without your bow and arrow?”

“Yes, Artax,” said Atreyu. “I have to go unarmed because I am bearing the Gem.”

“Humph!” snorted the horse. “And where are we going?”

“Wherever you like, Artax,” said Atreyu. “From this moment on we shall be on the Great Quest.”

With that they galloped away and were swallowed up by the darkness.

At the same time, in a different part of Fantastica, something happened which went completely unnoticed. Neither Atreyu nor Artax had the slightest inkling of it.

On a remote night-black heath the darkness condensed into a great shadowy form.

It became so dense that even in that moonless, starless night it came to look like a big black body. Its outlines were still unclear, but it stood on four legs and green fire glowed in the eyes of its huge shaggy head. It lifted up its great snout and stood for a long while, sniffing the air. Then suddenly it seemed to find the scent it was looking for, and a deep, triumphant growl issued from its throat.

And off it ran through the starless night, in long, soundless leaps.

 

The clock in the belfry struck eleven. From the downstairs corridors arose the shouts of children running out to the playground.

Bastian was still squatting cross-legged on the mats. His legs had fallen asleep. He wasn’t an Indian after all. He stood up, took his sandwich and an apple out of his satchel, and paced the floor. He had pins and needles in his feet, which took some time to wake up.

Then he climbed onto the horse and straddled it. He imagined he was Atreyu galloping through the night on Artax’s back. He leaned forward and rested his head on his horse’s neck.

“Gee!” he cried. “Run, Artax! Gee! Gee!”

Then he became frightened. It had been foolish of him to shout so loud. What if someone had heard him? He waited awhile and listened. But all he heard was the intermingled shouts from the yard.

Feeling rather foolish, he climbed down off the horse. Really, he was behaving like a small child!

He unwrapped his sandwich and shined the apple on his trousers. But just as he was biting into it, he stopped himself.

“No,” he said to himself aloud. “I must carefully apportion my provisions.

Who knows how long they will have to last me.”

With a heavy heart he rewrapped his sandwich and returned it to his satchel along with the apple. Then with a sigh he settled down on the mats and reached for the book.





 

































airon, the old black centaur, sank back on his bed of furs as Artax’s hoofbeats were dying away. After so much exertion he was at the end of his strength. The women who found him next day in Atreyu’s tent feared for his life. And when the hunters came home a few days later, he was hardly any better, but he managed nevertheless to tell them why Atreyu had ridden away and would not be back soon. As they were all fond of the boy, their concern for him made them grave. Still, they were proud that the Childlike Empress had chosen him for the Great Quest—though none claimed to understand her choice.

Old Cairon never went back to the Ivory Tower. But he didn’t die and he didn’t stay with the Greenskins in the Grassy Ocean. His destiny was to lead him over very different and unexpected pathways. But that is another story and shall be told another time.

That same night Atreyu rode to the foot of the Silver Mountains. It was almost morning when he finally stopped to rest. Artax grazed a while and drank water

from a small mountain stream. Atreyu wrapped himself in his red cloak and slept a few hours.

But when the sun rose, they were already on their way.

On the first day they crossed the Silver Mountains, where every road and trail was known to them, and they made quick progress. When he felt hungry, the boy ate a chunk of dried buffalo meat and two little grass-seed cakes that he had been carrying in his saddlebag—originally they had been intended for his hunt.

 

“Exactly,” said Bastian. “A man has to eat now and then.”

He took his sandwich out of his satchel, unwrapped it, broke it carefully in two pieces, wrapped one of them up again and put it away. Then he ate the other. Recess was over. Bastian wondered what his class would be doing next. Oh yes, geography, with Mrs. Flint. You had to reel off rivers and their tributaries, cities, population figures, natural resources, and industries. Bastian shrugged his

shoulders and went on reading.

 

By sunset the Silver Mountains lay behind them, and again they stopped to rest.

That night Atreyu dreamed of purple buffaloes. He saw them in the distance, roaming over the Grassy Ocean, and he tried to get near them on his horse. In vain. He galloped, he spurred his horse, but they were always the same distance away.

The second day they passed through the Singing Tree Country. Each tree had a different shape, different leaves, different bark, but all of them in growing—and this was what gave the country its name—made soft music that sounded from far and near and joined in a mighty harmony that hadn’t its like for beauty in all Fantastica. Riding through this country wasn’t entirely devoid of danger, for many a traveler had stopped still as though spellbound and forgotten everything else. Atreyu felt the power of these marvelous sounds, but didn’t let himself be tempted to stop.

The following night he dreamed again of purple buffaloes. This time he was on foot, and a great herd of them was passing. But they were beyond the range of his bow, and when he tried to come closer, his feet clung to the ground and he couldn’t move them.

His frantic efforts to tear them loose woke him up. He started out at once, though the sun had not yet risen.

The third day, he saw the Glass Tower of Eribo, where the inhabitants of the

region caught and stored starlight. Out of the starlight they made wonderfully decorative objects, the purpose of which, however, was known to no one in all Fantastica but their makers.

He met some of these folk; little creatures they were, who seemed to have been blown from glass. They were extremely friendly and provided him with food and drink, but when he asked them who might know something about the Childlike Empress’s illness, they sank into a gloomy, perplexed silence.

The next night Atreyu dreamed again that the herd of purple buffaloes was passing. One of the beasts, a particularly large, imposing bull, broke away from his fellows and slowly, with no sign of either fear or anger, approached Atreyu. Like all true hunters, Atreyu knew every creature’s vulnerable spot, where an arrow wound would be fatal. The purple buffalo put himself in such a position as to offer a perfect target. Atreyu fitted an arrow to his bow and pulled with all his might. But he couldn’t shoot. His fingers seemed to have grown into the bowstring, and he couldn’t release it.

Each of the following nights he dreamed something of the sort. He got closer and closer to the same purple buffalo—he recognized him by a white spot on his forehead—but for some reason he was never able to shoot the deadly arrow.

During the days he rode farther and farther, without knowing where he was going or finding anyone to advise him. The golden amulet he wore was respected by all who met him, but none had an answer to his question.

One day he saw from afar the flaming streets of Salamander, the city whose inhabitants’ bodies are of fire, but he preferred to keep away from it. He crossed the broad plateau of the Sassafranians, who are born old and die when they become babies. He came to the jungle temple of Muwamath, where a great moonstone pillar hovers in midair, and he spoke to the monks who lived there. And again no one could tell him anything.

He had been traveling aimlessly for almost a week, when on the seventh day and the following night two very different encounters changed his situation and state of mind.

Cairon’s story of the terrible happenings in all parts of Fantastica had made an impression on him, but thus far the disaster was something he had only heard about. On the seventh day he was to see it with his own eyes.

Toward noon, he was riding through a dense dark forest of enormous gnarled trees. This was the same Howling Forest where the four messengers had met some time before. That region, as Atreyu knew, was the home of bark trolls. These, as he had been told, were giants and giantesses, who themselves looked

like gnarled tree trunks. As long as they stood motionless, as they usually did, you could easily mistake them for trees and ride on unsuspecting. Only when they moved could you see that they had branchlike arms and crooked, rootlike legs. Though exceedingly powerful, they were not dangerous—at most they liked to play tricks on travelers who had lost their way.

Atreyu had just discovered a woodland meadow with a brook twining through it, and had dismounted to let Artax drink and graze. Suddenly he heard a loud crackling and thudding in the woods behind him.

Three bark trolls emerged from the woods and came toward him. A cold shiver ran down his spine at the sight of them. The first, having no legs or haunches, was obliged to walk on his hands. The second had a hole in his chest, so big you could see through it. The third hopped on his right foot, because the whole left half of him was missing, as if he had been cut through the middle.

When they saw the amulet hanging from Atreyu’s neck, they nodded to one another and came slowly closer.

“Don’t be afraid,” said the one who was walking on his hands, and his voice sounded like the groaning of a tree. “We’re not exactly pretty to look at, but in this part of Howling Forest there’s no one else left who might warn you. That’s why we’ve come.”

“Warn?” Atreyu asked. “Against what?”

“We’ve heard about you,” moaned the one with the hole in his chest. “And we’ve been told about your Quest. Don’t go any further in this direction, or you’ll be lost.”

“The same thing will happen to you as happened to us,” sighed the halved one.

“Would you like that?”

“What has happened to you?” Atreyu asked.

“The Nothing is spreading,” groaned the first. “It’s growing and growing, there’s more of it every day, if it’s possible to speak of more nothing . All the others fled from Howling Forest in time, but we didn’t want to leave our home. The Nothing caught us in our sleep and this is what it did to us.”

“Is it very painful?” Atreyu asked.

“No,” said the second bark troll, the one with the hole in his chest. “You don’t feel a thing. There’s just something missing. And once it gets hold of you, something more is missing every day. Soon there won’t be anything left of us.”

“In what part of the woods did it begin?” Atreyu asked.

“Would you like to see it?” The third troll, who was only half a troll, turned to

his fellow sufferers with a questioning look. When they nodded, he said: “We’ll take you to a place where there’s a good view of it. But you must promise not to go any closer. If you do, it will pull you in.”

“All right,” said Atreyu. “I promise.”

The three turned about and made for the edge of the forest. Leading Artax by the bridle, Atreyu followed them. For a while they went this way and that way between enormous trees, then finally they stopped at the foot of a giant tree so big that five grown men holding hands could scarcely have girdled it.

“Climb as high as you can,” said the legless troll, “and look in the direction of the sunrise. Then you’ll see—or rather not see it.”

Atreyu pulled himself up by the knots and bumps on the tree. He reached the lower branches, hoisted himself to the next, climbed and climbed until he lost sight of the ground below him. Higher and higher he went; the trunk grew thinner and the more closely spaced side branches made it easier to climb. When at last he reached the crown, he turned toward the sunrise. And then he saw it:

The tops of the trees nearest him were still green, but the leaves of those farther away seemed to have lost all color; they were gray. A little farther on, the foliage seemed to become strangely transparent, misty, or, better still, unreal. And farther still there was nothing, absolutely nothing. Not a bare stretch, not darkness, not some lighter color; no, it was something the eyes could not bear, something that made you feel you had gone blind.

For no eye can bear the sight of utter nothingness. Atreyu held his hand before his face and nearly fell off his branch. He clung tight for a moment, then climbed down as fast as he could. He had seen enough. At last he really understood the horror that was spreading through Fantastica.

When he reached the foot of the great tree, the three bark trolls had vanished.

Atreyu swung himself into the saddle and galloped as fast as Artax would carry him in the direction that would take him away from this slowly but irresistibly spreading Nothing. By nightfall he had left Howling Forest far behind him; only then did he stop to rest.

That night a second encounter, which was to give his Great Quest a new direction, awaited him.

He dreamed—much more distinctly than before—of the purple buffalo he had wanted to kill. This time Atreyu was without his bow and arrow. He felt very, very small and the buffalo’s face filled the whole sky. And the face spoke to him. He couldn’t understand every word, but this is the gist of what it said:

“If you had killed me, you would be a hunter now. But because you let me

live, I can help you, Atreyu. Listen to me! There is, in Fantastica, a being older than all other beings. In the north, far, far from here, lie the Swamps of Sadness. In the middle of those swamps there is a mountain, Tortoise Shell Mountain it’s called. There lives Morla the Aged One. Go and see Morla the Aged One.”

Then Atreyu woke up.

 

The clock in the belfry struck twelve. Soon Bastian’s classmates would be going down to the gym for their last class. Today they’d probably be playing with the big, heavy medicine ball which Bastian handled so awkwardly that neither of the two teams ever wanted him. And sometimes they played with a small hard rubber ball that hurt terribly when it hit you. Bastian was an easy mark and was always getting hit full force. Or perhaps they’d be climbing rope

—an exercise that Bastian especially detested. Most of the others would be all the way to the top while he, with his face as red as a beet, would be dangling like a sack of flour at the very bottom of the rope, unable to climb as much as a foot. They’d all be laughing their heads off. And Mr. Menge, the gym teacher, had a special stock of gibes just for Bastian.

Bastian would have given a good deal to be like Atreyu. He’d have shown them.

He heaved a deep sigh.

 

Atreyu rode northward, ever northward. He allowed himself and his little horse only the most necessary stops for sleep and food. He rode by day and he rode by night, in the scorching sun and the pelting rain. He looked neither to the left nor the right and asked no more questions.

The farther northward he went, the darker it grew. An unchanging, leaden- gray twilight filled the days. At night the northern lights played across the sky.

One morning, when time seemed to be standing still in the murky light, he looked out from a hilltop and finally glimpsed the Swamps of Sadness. Clouds of mist drifted over them. Here and there he distinguished little clumps of trees. Their trunks divided at the bottom into four, five, or more crooked stilts, which made the trees look like great many-legged crabs standing in the black water. From the brown foliage hung aerial roots resembling motionless tentacles. It was next to impossible to make out where there was solid ground between the pools of water and where there was only a covering of water plants.

Artax whinnied with horror. “Are we going in there, master?”

“Yes,” said Atreyu. “We must find Tortoise Shell Mountain. It’s at the center of those swamps.”

He urged Artax on and Artax obeyed. Step by step, he tested the firmness of the ground, but that made progress very slow. At length Atreyu dismounted and led Artax by the bridle. Several times the horse sank in, but managed to pull himself loose. But the farther they went into the Swamps of Sadness, the more sluggish became his movements.

He let his head droop and barely dragged himself forward. “Artax,” said Atreyu. “What’s the matter?”

“I don’t know, master. I think we should turn back. There’s no sense in all this. We’re chasing after something you only dreamed about. We won’t find anything. Maybe it’s too late even now. Maybe the Childlike Empress is already dead, and everything we’re doing is useless. Let us turn back, master.”

Atreyu was astonished. “Artax,” he said. “You’ve never spoken like this.

What’s the matter? Are you sick?”

“Maybe I am,” said Artax. “With every step we take, the sadness grows in my heart. I’ve lost hope, master. And I feel so heavy, so heavy. I can’t go on!”

“But we must go on!” cried Atreyu. “Come along, Artax!”

He tugged at the bridle, but Artax stood still. He had sunk in up to his belly.

And he made no further effort to extricate himself.

“Artax!” cried Atreyu. “You mustn’t let yourself go. Come. Pull yourself out or you’ll sink.”

“Leave me, master,” said the little horse. “I can’t make it. Go on alone. Don’t bother about me. I can’t stand the sadness anymore. I want to die!”

Desperately Atreyu pulled at the bridle, but the horse sank deeper and deeper. When only his head emerged from the black water, Atreyu took it in his arms. “I’ll hold you, Artax,” he whispered. “I won’t let you go under.”

The little horse uttered one last soft neigh.

“You can’t help me, master. It’s all over for me. Neither of us knew what we were getting into. Now we know why they are called the Swamps of Sadness. It’s the sadness that has made me so heavy. That’s why I’m sinking. There’s no help.”

“But I’m here, too,” said Atreyu, “and I don’t feel anything.” “You’re wearing the Gem, master,” said Artax. “It protects you.”

“Then I’ll hang it around your neck!” Atreyu cried. “Maybe it will protect you too.”

He started taking the chain off his neck.

“No,” the little horse whinnied. “You mustn’t do that, master. The Glory was entrusted to you, you weren’t given permission to pass it on as you see fit. You must carry on the Quest without me.”

Atreyu pressed his face into the horse’s cheek. “Artax,” he whispered. “Oh, my Artax!”

“Will you grant my last wish?” the little horse asked. Atreyu nodded in silence.

“Then I beg you to go away. I don’t want you to see my end. Will you do me that favor?”

Slowly Atreyu arose. Half the horse’s head was already in the black water. “Farewell, Atreyu, my master!” he said. “And thank you.”

Atreyu pressed his lips together. He couldn’t speak. Once again he nodded to Artax, then he turned away.

 

Bastion was sobbing. He couldn’t help it. His eyes filled with tears and he couldn’t go on reading. He had to take out his handkerchief and blow his nose before he could go on.

 

Atreyu waded and waded. For how long he didn’t know. The mist grew thicker and he felt as if he were blind and deaf. It seemed to him that he had been wandering around in circles for hours. He stopped worrying about where to set his foot down, and yet he never sank in above his knees. By some mysterious means, the Childlike Empress’s amulet led him the right way.

Then suddenly he saw a high, steep mountain ahead of him. Pulling himself up from crag to crag, he climbed to the rounded top. At first he didn’t notice what this mountain was made of. But from the top he overlooked the whole mountain, and then he saw that it consisted of great slabs of tortoise shell, with moss growing in the crevices between them.

He had found Tortoise Shell Mountain.

But the discovery gave him no pleasure. Now that his faithful little horse was gone, it left him almost indifferent. Still, he would have to find out who this Morla the Aged One was, and where she actually lived.

While he was mulling it over, he felt a slight tremor shaking the mountain. Then he heard a hideous wheezing and lip-smacking, and a voice that seemed to issue from the innermost bowels of the earth: “Sakes alive, old woman, somebody’s crawling around on us.”

In hurrying to the end of the ridge, where the sounds had come from, Atreyu

had slipped on a bed of moss. Since there was nothing for him to hold on to, he slid faster and faster and finally fell off the mountain. Luckily he landed on a tree, which caught him in its branches.

Looking back at the mountain, he saw an enormous cave. Water was splashing and gushing inside, and something was moving. Slowly the something came out. It looked like a boulder as big as a house. When it came into full sight, Atreyu saw that it was a head attached to a long wrinkled neck, the head of a turtle. Its eyes were black and as big as ponds. The mouth was dripping with muck and water weeds. This whole Tortoise Shell Mountain—it suddenly dawned on Atreyu—was one enormous beast, a giant swamp turtle; Morla the Aged One.

The wheezing, gurgling voice spoke again: “What are you doing here, son?”

Atreyu reached for the amulet on his chest and held it in such a way that the great eyes couldn’t help seeing it.

“Do you recognize this, Morla?”

She took a while to answer: “Sakes alive! AURYN. We haven’t seen that in a long time, have we, old woman? The emblem of the Childlike Empress—not in a long time.”

“The Childlike Empress is sick,” said Atreyu. “Did you know that?”

“It’s all the same to us. Isn’t it, old woman?” Morla replied. She seemed to be talking to herself, perhaps because she had had no one else to talk to for heaven knows how long.

“If we don’t save her, she’ll die,” Atreyu cried out. “The Nothing is spreading everywhere. I’ve seen it myself.”

Morla stared at him out of her great empty eyes. “We don’t mind, do we, old woman?”

“But then we shall all die!” Atreyu screamed. “Every last one of us!”

“Sakes alive!” said Morla. “But what do we care? Nothing matters to us anymore. It’s all the same to us.”

“But you’ll be destroyed too, Morla!” cried Atreyu angrily. “Or do you expect, because you’re so old, to outlive Fantastica?”

“Sakes alive!” Morla gurgled. “We’re old, son, much too old. Lived long enough. Seen too much. When you know as much as we do, nothing matters. Things just repeat. Day and night, summer and winter. The world is empty and aimless. Everything circles around. Whatever starts up must pass away, whatever is born must die. It all cancels out, good and bad, beautiful and ugly. Everything’s empty. Nothing is real. Nothing matters.”

Atreyu didn’t know what to answer. The Aged One’s dark, empty, pond-sized

eyes paralyzed his thoughts. After a while, he heard her speak again:

“You’re young, son. If you were as old as we are, you’d know there’s nothing but sadness. Why shouldn’t we die, you and I, the Childlike Empress, the whole lot of us? Anyway, it’s all flim-flam, meaningless games. Nothing matters. Leave us in peace, son.

Go away.”

Atreyu tensed his will to fight off the paralysis that flowed from her eyes.

“If you know so much,” he said, “you must know what the Childlike Empress’s illness is and whether there’s a cure for it.”

“We do, we do! Don’t we, old woman?” Morla wheezed. “But it’s all the same to us whether she’s saved or not. So why should we tell you?”

“If it’s really all the same to you,” Atreyu argued, “you might just as well tell me.”

“We could, we could! Couldn’t we, old woman?” Morla grunted. “But we don’t feel like it.”

“Then it’s not all the same to you. Then you yourself don’t believe what you’re saying.”

After a long silence he heard a deep gurgling and belching. That must have been some kind of laughter, if Morla the Aged One was still capable of laughing. In any case, she said: “You’re a sly one, son. Really sly. We haven’t had so much fun in a long time. Have we, old woman? Sakes alive, it’s true. We might just as well tell you. Makes no difference. Should we tell him, old woman?”

A long silence followed. Atreyu waited anxiously for Morla’s answer, taking care not to interrupt the slow, cheerless flow of her thoughts. At last she spoke:

“Your life is short, son. Ours is long. Much too long. But we both live in time. You a short time. We a long time. The Childlike Empress has always been there. But she’s not old. She has always been young. She still is. Her life isn’t measured by time, but by names. She needs a new name. She keeps needing new

names. Do you know her name, son?”

“No,” Atreyu admitted. “I never heard it.”

“You couldn’t have,” said Morla. “Not even we can remember it. Yet she has had many names. But they’re all forgotten. Over and done with. But without a name she can’t live. All the Childlike Empress needs is a new name, then she’ll get well. But it makes no difference whether she gets well or not.”

She closed her pond-sized eyes and began slowly to pull in her head.

“Wait!” cried Atreyu. “Where can she get a name? Who can give her one?

Where can I find the name?”

“None of us,” Morla gurgled. “No inhabitant of Fantastica can give her a new name. So it’s hopeless. Sakes alive! It doesn’t matter. Nothing matters.”

“Who then?” cried Atreyu in despair. “Who can give her the name that will save her and save us all?”

“Don’t make so much noise!” said Morla. “Leave us in peace and go away.

Even we don’t know who can give her a name.”

“If you don’t know,” Atreyu screamed even louder, “who does?” She opened her eyes a last time.

“If you weren’t wearing the Gem,” she wheezed, “we’d eat you up, just to have peace and quiet. Sakes alive!”

“Who?” Atreyu insisted. “Tell me who knows, and I’ll leave you in peace forever.”

“It doesn’t matter,” she replied. “But maybe Uyulala in the Southern Oracle knows. She may know. It’s all the same to us.”

“How can I get there?”

“You can’t get there at all, son. Not in ten thousand days’ journey. Your life is too short. You’d die first. It’s too far. In the south. Much too far. So it’s all hopeless. We told you so in the first place, didn’t we, old woman? Sakes alive, son. Give it up. And most important, leave us in peace.”

With that she closed her empty-gazing eyes and pulled her head back into the cave for good. Atreyu knew he would learn no more from her.

 

At that same time the shadowy being which had condensed out of the darkness of the heath picked up Atreyu’s trail and headed for the Swamps of Sadness. Nothing and no one in all Fantastica would deflect it from that trail.

 

Bastian had propped his head on his hand and was looking thoughtfully into space.

“Strange,” he said aloud, “that no one in all Fantastica can give the Childlike Empress a new name.” If it had been just a matter of giving her a name, Bastian could easily have helped her. He was tops at that. But unfortunately he was not in Fantastica, where his talents were needed and would even have won him friends and admirers. On the other hand, he was glad not to be there. Not for anything in the world would he have ventured into such a place as the Swamps of Sadness. And then this spooky creature of darkness that was chasing Atreyu without his knowing it. Bastian would have liked to warn him, but that was impossible. All he could do was hope, and go on reading.





 

































ire hunger and thirst pursued Atreyu. It was two days since he had left the Swamps of Sadness, and since then he had been wandering through an empty rocky wilderness. What little provisions he had taken with him had sunk beneath the black waters with Artax. In vain, Atreyu dug his fingers into the clefts between stones in the hope of finding some little root, but nothing grew there, not even moss or lichen.

At first he was glad to feel solid ground beneath his feet, but little by little it came to him that he was worse off than ever. He was lost. He didn’t even know what direction he was going in, for the dusky grayness was the same all around him. A cold wind blew over the needlelike rocks that rose up on all sides, blew and blew.

Uphill and downhill he plodded, but all he saw was distant mountains with still more distant ranges behind them, and so on to the horizon on all sides. And nothing living, not a beetle, not an ant, not even the vultures which ordinarily follow the weary traveler until he falls by the wayside.

Doubt was no longer possible. This was the Land of the Dead Mountains. Few had seen them, and fewer still escaped from them alive. But they figured in the legends of Atreyu’s people. He remembered an old song:

 

Better the huntsman

Should perish in the swamps,

For in the Dead Mountains There is a deep, deep chasm,

Where dwelleth Ygramul the Many, The horror of horrors.

 

Even if Atreyu had wanted to turn back and had known what direction to take, it would not have been possible. He had gone too far and could only keep on going. If only he himself had been involved, he might have sat down in a cave and quietly waited for death, as the Greenskin hunters did. But he was engaged in the Great Quest: the life of the Childlike Empress and of all Fantastica was at stake. He had no right to give up.

And so he kept at it. Uphill and down. From time to time he realized that he had long been walking as though in his sleep, that his mind had been in other realms, from which they had returned none too willingly.

 

Bastion gave a start. The clock in the belfry struck one. School was over for the day.

He heard the shouts and screams of the children running into the corridors from the classrooms and the clatter of many feet on the stairs. For a while there were isolated shouts from the street. And then the schoolhouse was engulfed in silence.

The silence descended on Bastian like a great heavy blanket and threatened to smother him. From then on he would be all alone in the big schoolhouse—all that day, all that night, there was no knowing how long. This adventure of his was getting serious.

The other children were going home for lunch. Bastian was hungry too, and he was cold in spite of the army blankets he was wrapped in. Suddenly he lost heart, his whole plan seemed crazy, senseless. He wanted to go home, that very minute. He could just be in time. His father wouldn’t have noticed anything yet. Bastian wouldn’t even have to tell him he had played hooky. Of course, it would come out sooner or later, but there was time to worry about that. But the stolen book? Yes, he’d have to own up to that too.

In the end, his father would resign himself as he did to all the disappointments Bastian had given him. Anyway, there was nothing to be afraid of. Most likely his father wouldn’t say anything, but just go and see Mr. Coreander and straighten things out.

Bastian was about to put the copper-colored book into his satchel. But then he

stopped.

“No,” he said aloud in the stillness of the attic. “Atreyu wouldn’t give up just because things were getting a little rough. What I’ve started I must finish. I’ve gone too far to turn back. Regardless of what may happen, I have to go forward.”

He felt very lonely, yet there was a kind of pride in his loneliness. He was proud of standing firm in the face of temptation.

He was a little like Atreyu after all.

 

A time came when Atreyu really could not go forward. Before him lay the Deep Chasm.

The grandiose horror of the sight cannot be described in words. A yawning cleft, perhaps half a mile wide, twined its way through the Land of the Dead Mountains. How deep it might be there was no way of knowing.

Atreyu lay on a spur at the edge of the chasm and stared down into darkness which seemed to extend to the innermost heart of the earth. He picked up a stone the size of a tennis ball and hurled it as far as he could. The stone fell and fell, until it was swallowed up in the darkness. Though Atreyu listened a long while, he heard no sound of impact.

There was only one thing Atreyu could do, and he did it. He skirted the Deep Chasm. Every second he expected to meet the “horrors of horrors”, known to him from the old song. He had no idea what sort of creature this might be. All he knew was that its name was Ygramul.

The Deep Chasm twisted and turned through the mountain waste, and of course there was no path at its edge. Here too there were abrupt rises and falls, and sometimes the ground swayed alarmingly under Atreyu’s feet. Sometimes his path was barred by gigantic rock formations and he would have to feel his way, painfully, step by step, around them. Or there would be slopes covered with smooth stones that would start rolling toward the Chasm as soon as he set foot on them. More than once he was within a hairbreadth of the edge.

If he had known that a pursuer was close behind him and coming closer by the hour, he might have hurried and taken dangerous risks. It was that creature of darkness which had been after him since the start of his journey. Since then its body had taken on recognizable outlines. It was a pitch-black wolf, the size of an ox. Nose to the ground, it trotted along, following Atreyu’s trail through the stony desert of the Dead Mountains. Its tongue hung far out of its mouth and its terrifying fangs were bared. The freshness of the scent told the wolf that its prey was only a few miles ahead.

But suspecting nothing of his pursuer, Atreyu picked his way slowly and cautiously.

As he was groping through the darkness of a tunnel under a mountain, he suddenly heard a noise that he couldn’t identify because it bore no resemblance to any sound he had ever heard. It was a kind of jangling roar. At the same time Atreyu felt that the whole mountain about him was trembling, and he heard blocks of stone crashing down its outer walls. For a time he waited to see whether the earthquake, or whatever it might be, would abate. Then, since it did not, he crawled to the end of the tunnel and cautiously stuck his head out.

And then he saw: An enormous spider web was stretched from edge to edge of the Deep Chasm. And in the sticky threads of the web, which were as thick as ropes, a great white luckdragon was struggling, becoming more and more entangled as he thrashed about with his tail and claws.

Luckdragons are among the strangest animals in Fantastica. They bear no resemblance to ordinary dragons, which look like loathsome snakes and live in deep caves, diffusing a noxious stench and guarding some real or imaginary treasure. Such spawn of chaos are usually wicked or ill-tempered, they have batlike wings with which they can rise clumsily and noisily into the air, and they spew fire and smoke.

Luckdragons are creatures of air, warmth, and pure joy. Despite their great size, they are as light as a summer cloud, and consequently need no wings for flying. They swim in the air of heaven as fish swim in water. Seen from the earth, they look like slow lightning flashes. The most amazing thing about them is their song. Their voice sounds like the golden note of a large bell, and when they speak softly the bell seems to be ringing in the distance. Anyone who has heard this sound will remember it as long as he lives and tell his grandchildren about it.

But the luckdragon Atreyu saw could hardly have been in a mood for singing. His long, graceful body with its pearly, pink-and-white scales hung tangled and twisted in the great spider web. His bristling fangs, his thick, luxuriant mane, and the fringes on his tail and limbs were all caught in the sticky ropes. He could hardly move. The eyeballs in his lionlike head glistened ruby-red.

The splendid beast bled from many wounds, for there was something else, something very big, that descended like a dark cloud on the dragon’s white body. It rose and fell, rose and fell, all the while changing its shape. Sometimes it resembled a gigantic long-legged spider with many fiery eyes and a fat body encased in shaggy black hair; then it became a great hand with long claws that

tried to crush the luckdragon, and in the next moment it changed to a giant scorpion, piercing its unfortunate victim with its venomous sting.

The battle between the two giants was fearsome. The luckdragon was still defending himself, spewing blue fire that singed the cloud-monster’s bristles. Smoke came whirling through the crevices in the rock, so foul-smelling that Atreyu could hardly breathe. Once the luckdragon managed to bite off one of the monster’s long legs. But instead of falling into the chasm, the severed leg hovered for a time in mid-air, then returned to its old place in the black cloud- body. And several times the dragon seemed to seize one of the monster’s limbs between its teeth, but bit into the void.

Only then did Atreyu notice that the monster was not a single, solid body, but was made up of innumerable small steel-blue insects which buzzed like angry hornets. It was their compact swarm that kept taking different shapes.

This was Ygramul, and now Atreyu knew why she was called “the Many”.

He sprang from his hiding place, reached for the Gem, and shouted at the top of his lungs: “Stop! In the name of the Childlike Empress, stop!”

But the hissing and roaring of the combatants drowned out his voice. He himself could barely hear it.

Without stopping to think, he set foot on the sticky ropes of the web, which swayed beneath him as he ran. He lost his balance, fell, clung by his hands to keep from falling into the dark chasm, pulled himself up again, caught himself in the ropes, fought free and hurried on.

At last Ygramul sensed that something was coming toward her. With the speed of lightning, she turned about, confronting Atreyu with an enormous steel- blue face. Her single eye had a vertical pupil, which stared at Atreyu with inconceivable malignancy.

 

A cry of fear escaped Bastian.

 

A cry of terror passed through the ravine and echoed from side to side. Ygramul turned her eye to left and right, to see if someone else had arrived, for that sound could not have been made by the boy who stood there as though paralyzed with horror.

 

Could she have heard my cry? Bastion wondered in alarm. But that’s not possible.

 

And then Atreyu heard Ygramul’s voice. It was very high and slightly hoarse,

not at all the right kind of voice for that enormous face. Her lips did not move as she spoke. It was the buzzing of a great swarm of hornets that shaped itself into words.

“A Twolegs,” Atreyu heard. “Years upon years of hunger, and now two tasty morsels at once! A lucky day for Ygramul!”

Atreyu needed all his strength to keep his composure. He held the Gem up to the monster’s one eye and asked: “Do you know this emblem?”

“Come closer, Twolegs!” buzzed the many voices. “Ygramul doesn’t see well.”

Atreyu took one step closer to the face. The mouth opened, showing innumerable glittering feelers, hooks, and claws in place of a tongue.

“Still closer,” the swarm buzzed.

He took one more step, which brought him near enough to distinguish the innumerable steel-blue insects which whirled around in seeming confusion. Yet the face as a whole remained motionless.

“I am Atreyu,” he said. “I have come on a mission from the Childlike Empress.”

“Most inopportune!” said the angry buzzing after a time. “What do you want of Ygramul? As you can see, she is very busy.”

“I want this luckdragon,” said Atreyu. “Let me have him.” “What do you want him for, Atreyu Twolegs?”

“I lost my horse in the Swamps of Sadness. I must go to the Southern Oracle, because only Uyulala can tell me who can give the Childlike Empress a new name. If she doesn’t get one, she will die and all Fantastica with her—you too, Ygramul.”

“Ah!” the face drawled. “Is that the reason for all the places where there is nothing?”

“Yes,” said Atreyu. “So you too know of them. But the Southern Oracle is too long a journey for a lifetime. That’s why I’m asking you for this luckdragon. If he carries me through the air, I may get there before it’s too late.”

Out of the whirling swarm that made up the face came a sound suggesting the giggling of many voices.

“You’re all wrong, Atreyu Twolegs. We know nothing of the Southern Oracle and nothing of Uyulala, but we do know that this dragon cannot carry you. And even if he were in the best of health, the trip would take so long that the Childlike Empress would die of her illness in the meantime. You must measure your Quest, Atreyu, in terms not of your own life but of hers.”

The gaze of the eye with the vertical pupil was almost unbearable. “That’s true,” he said in a small voice.

“Besides,” the motionless face went on, “the luckdragon has Ygramul’s poison in his body. He has less than an hour to live.”

“Then there’s no hope,” Atreyu murmured. “Not for him, not for me, and not for you either, Ygramul.”

“Oh well,” the voice buzzed. “Ygramul would at least have had one good meal. But who says it’s Ygramul’s last meal? She knows a way of getting you to the Southern Oracle in a twinkling. But the question is: Will you like it?”

“What is that way?”

“That is Ygramul’s secret. The creatures of darkness have their secrets too, Atreyu Twolegs. Ygramul has never revealed hers. And you too must swear you’ll never tell a soul. For it would be greatly to Ygramul’s disadvantage if it were known, yes, greatly to her disadvantage.”

“I swear! Speak!”

The great steel-blue face leaned forward just a little and buzzed almost inaudibly.

“You must let Ygramul bite you.” Atreyu shrank back in horror.

“Ygramul’s poison,” the voice went on, “kills within an hour. But to one who has it inside him it gives the power to wish himself in any part of Fantastica he chooses.

Imagine if that were known! All Ygramul’s victims would escape her.” “An hour?” cried Atreyu. “What can I do in an hour?”

“Well,” buzzed the swarm, “at least it’s more than all the hours remaining to you here.”

Atreyu struggled with himself.

“Will you set the luckdragon free if I ask it in the name of the Childlike Empress?” he finally asked.

“No!” said the face. “You have no right to ask that of Ygramul even if you are wearing AURYN, the Gem. The Childlike Empress takes us all as we are. That’s why Ygramul respects her emblem.”

Atreyu was still standing with bowed head. Ygramul had spoken the truth. He couldn’t save the white luckdragon. His own wishes didn’t count.

He looked up and said: “Do what you suggested.”

Instantly the steel-blue cloud descended on him and enveloped him on all sides.

He felt a numbing pain in the left shoulder. His last thought was: “To the Southern Oracle!”

Then the world went black before his eyes.

 

When the wolf reached the spot a short time later, he saw the giant spider web

—but there was no one in sight. There the trail he had been following broke off, and try as he might, he could not find it again.

 

Bastian stopped reading. He felt miserable, as though he himself had Ygramul’s poison inside him.

“Thank God I’m not in Fantastica,” he muttered. “Luckily, such monsters don’t exist in reality. Anyway, it’s only a story.”

But was it only a story? How did it happen that Ygramul, and probably Atreyu as well, had heard Bastian’s cry of terror?

Little by little, this book was beginning to give him a spooky feeling.





 

































ver so slowly Atreyu awoke to the world. He saw that he was still in the mountains, and for a terrible moment he suspected that Ygramul had deceived him.

But these, he soon realized, were entirely different mountains. They seemed to consist of great rust-red blocks of stone, piled in such a way as to form strange towers and pyramids. In between these structures the ground was covered with bushes and shrubbery. The air was blazing hot. The country was bathed in glaring sunlight.

Shading his eyes with his hand, Atreyu looked around him and discovered, about a mile away, an irregularly shaped arch, perhaps a hundred feet high. It too appeared to consist of piled stone blocks.

Could that be the entrance to the Southern Oracle? As far as he could see, there was nothing behind the arch, only an endless empty plain, no building, no temple, no grove, nothing suggesting an oracle.

Suddenly, while he was wondering what to do, he heard a deep, bronzelike

voice:

“Atreyu!” And then again: “Atreyu!”

Turning around, he saw the white luckdragon emerging from one of the rust- red towers. Blood was pouring from his wounds, and he was so weak he could barely drag himself along.

“Here I am, Atreyu,” he said, merrily winking one of his ruby-red eyes. “And you needn’t be so surprised. I was pretty well paralyzed when I was caught in that spider web, but I heard everything Ygramul said to you. So I thought to myself: She has bitten me too, after all, so why shouldn’t I take advantage of the secret as well? That’s how I got away from her.”

Atreyu was overjoyed.

“I hated leaving you to Ygramul,” said. “But what could I do?”

“Nothing,” said the luckdragon. “You’ve saved my life all the same—even if I had something to do with it.”

And again he winked, this time with the other eye.

“Saved your life,” Atreyu repeated, “for an hour. That’s all we have left. I can feel Ygramul’s poison burning my heart away.”

“Every poison has its antidote,” said the white dragon. “Everything will turn out all right. You’ll see.”

“I can’t imagine how,” said Atreyu.

“Neither can I,” said the luckdragon. “But that’s the wonderful part of it. From now on you’ll succeed in everything you attempt. Because I’m a luckdragon. Even when I was caught in the web, I didn’t give up hope. And as you see, I was right.”

Atreyu smiled.

“Tell me, why did you wish yourself here and not in some other place where you might have been cured?”

“My life belongs to you,” said the dragon, “if you’ll accept it. I thought you’d need a mount for this Great Quest of yours. And you’ll soon see that crawling around the country on two legs, or even galloping on a good horse, can’t hold a candle to whizzing through the air on the back of a luckdragon. Are we partners?”

“We’re partners,” said Atreyu.

“By the way,” said the dragon. “My name is Falkor.”

“Glad to meet you,” said Atreyu, “but while we’re talking, what little time we have left is seeping away. I’ve got to do something. But what?”

“Have luck,” said Falkor. “What else?”

But Atreyu heard no more. He had fallen down and lay motionless in the soft folds of the dragon’s body.

Ygramul’s poison was taking effect.

When Atreyu—no one knows how much later—opened his eyes again, he saw nothing but a very strange face bent over him. It was the wrinkliest, shriveledest face he had ever seen, and only about the size of a fist. It was as brown as a baked apple, and the eyes in it glittered like stars. The head was covered with a bonnet made of withered leaves.

Atreyu felt a little drinking cup held to his lips.

“Nice medicine! Good medicine!” mumbled the wrinkled little lips in the shriveled face. “Just drink, child. Do you good.”

Atreyu sipped. It tasted strange. Kind of sweet and sour.

Atreyu found it painful to speak. “What about the white dragon?” he asked. “Doing fine!” the voice whispered. “Don’t worry, my boy. You’ll get well.

You’ll both get well. The worst is over. Just drink. Drink.”

Atreyu took another swallow and again sleep overcame him, but this time it was the deep, refreshing sleep of recovery.

 

The clock in the belfry struck two.

Bastian couldn’t hold it in any longer. He simply had to go. He had felt the need for quite some time, but he hadn’t been able to stop reading. Besides, he had been afraid to go downstairs. He told himself that there was nothing to worry about, that the building was deserted, that no one would see him. But still he was afraid, as if the school were a person watching him.

But in the end there was no help for it; he just had to go!

He set the open book down on the mat, went to the door and listened with pounding heart. Nothing. He slid the bolt and slowly turned the big key in the lock. When he pressed the handle, the door opened, creaking loudly.

He padded out in his stocking feet, leaving the door behind him open to avoid unnecessary noise. He crept down the stairs to the second floor. The students’ toilet was at the other end of the long corridor with the spinach-green classroom doors. Racing against time, Bastian ran as fast as he could—and just made it.

As he sat there, he wondered why heroes in stories like the one he was reading never had to worry about such problems. Once—when he was much younger— he had asked his religion teacher if Jesus Christ had had to go like an ordinary person. After all, he had taken food and drink like everyone else. The class had howled with laughter, and the teacher, instead of an answer, had given him

several demerits for “insolence”. He hadn’t meant to be insolent.

“Probably,” Bastian now said to himself, “these things are just too unimportant to be mentioned in stories.”

Yet for him they could be of the most pressing and embarrassing importance.

He was finished. He pulled the chain and was about to leave when he heard steps in the corridor outside. One classroom door after another was opened and closed, and the steps came closer and closer.

Bastian’s heart pounded in his throat. Where could he hide? He stood glued to the spot as though paralyzed.

The washroom door opened, luckily in such a way as to shield Bastian. The janitor came in. One by one, he looked into the stalls. When he came to the one where the water was still running and the chain swaying a little, he hesitated for a moment and mumbled something to himself. But when the water stopped running he shrugged his shoulders and went out. His steps died away on the stairs.

Bastian hadn’t dared breathe the whole time, and now he gasped for air. He noticed that his knees were trembling.

As fast as possible he padded down the corridor with the spinach-green doors, up the stairs, and back into the attic. Only when the door was locked and bolted behind him did he relax.

With a deep sigh he settled back on his pile of mats, wrapped himself in his army blankets, and reached for the book.

 

When Atreyu awoke for the second time, he felt perfectly rested and well. He sat up.

It was night. The moon was shining bright, and Atreyu saw he was in the same place where he and the white dragon had collapsed. Falkor was still lying there. His breathing came deep and easy and he seemed to be fast asleep. His wounds had been dressed.

Atreyu noticed that his own shoulder had been dressed in the same way, not with cloth but with herbs and plant fibers.

Only a few steps away there was a small cave, from which issued a faint beam of light.

Taking care not to move his left arm, Atreyu stood up cautiously and approached the cave. Bending down—for the entrance was very low—he saw a room that looked like an alchemist’s workshop in miniature. At the back an open fire was crackling merrily. Crucibles, retorts, and strangely shaped flasks were

scattered all about. Bundles of dried plants were piled on shelves. The little table in the middle of the room and the other furniture seemed to be made of root wood, crudely nailed together.

Atreyu heard a cough, and then he saw a little man sitting in an armchair by the fire. The little man’s hat had been carved from a root and looked like an inverted pipe bowl. The face was as brown and shriveled as the face Atreyu had seen leaning over him when he first woke up. But this one was wearing big eyeglasses, and the features seemed sharper and more anxious. The little man was reading a big book that was lying in his lap.

Then a second little figure, which Atreyu recognized as the one that had bent over him, came waddling out of another room. Now Atreyu saw that this little person was a woman. Apart from her bonnet of leaves, she—like the man in the armchair—was wearing a kind of monk’s robe, which also seemed to be made of withered leaves.

Humming merrily, she rubbed her hands and busied herself with a kettle that was hanging over the fire. Neither of the little people would have reached up to Atreyu’s knee.

Obviously they belonged to the widely ramified family of the gnomes, though to a rather obscure branch.

“Woman!” said the little man testily. “Get out of my light. You are interfering with my research!”

“You and your research!” said the woman. “Who cares about that? The important thing is my health elixir. Those two outside are in urgent need of it.”

“Those two,” said the man irritably, “will be far more in need of my help and advice.”

“Maybe so,” said the little woman. “But not until they are well. Move over, old man!”

Grumbling, the little man moved his chair a short distance from the fire.

Atreyu cleared his throat to call attention to his presence. The two gnomes looked around.

“He’s already well,” said the little man. “Now it’s my turn.”

“Certainly not!” the little woman hissed. “He’ll be well when I say so. It’ll be your turn when I say it’s your turn.”

She turned to Atreyu.

“We would invite you in, but it’s not quite big enough, is it? Just a moment.

We shall come out to you.”

Taking a small mortar, she ground something or other into a powder, which

she tossed in the kettle. Then she washed her hands, dried them on her robe, and said to the little man: “Stay here until I call you, Engywook. Understand?”

“Yes, Urgl, I understand,” the little man grumbled. “I understand only too well.”

The female gnome came out of the cave and looked up at Atreyu from under knitted brows.

“Well, well. We seem to be getting better, don’t we?” Atreyu nodded.

The gnome climbed up on a rocky ledge, level with Atreyu’s face, and sat down.

“No pain?” she asked.

“None worth mentioning,” Atreyu answered.

“Nonsense!” the old woman snapped. “Does it hurt or doesn’t it?” “It still hurts,” said Atreyu, “but it doesn’t matter.”

“Not to you, perhaps, but it does to me! Since when does the patient tell the doctor what matters? What do you know about it? If it’s to get well, it has to hurt. If it stopped hurting, your arm would be dead.”

“I’m sorry,” said Atreyu, who felt like a scolded child. “I only wanted to say . . . that is, I wanted to thank you.”

“What for?” said Urgl impatiently. “I’m a healer, after all. I’ve only done my professional duty. Besides, Engywook, that’s my old man, saw the Glory hanging on your neck. So what would you expect?”

“What about Falkor?” Atreyu asked. “How’s he getting along?” “Falkor? Who’s that?”

“The white luckdragon.”

“Oh. I don’t know yet. Took a little more punishment than you. But then he’s bigger and stronger, so he ought to make it. Why not? Needs a little more rest. Where did you ever pick up that poison? And where have you come from all of a sudden? And where are you going? And who are you in the first place?”

Engywook was standing in the mouth of the cave. He listened as Atreyu answered Urgl’s questions. When Urgl opened her mouth to speak again, he shouted: “Hold your tongue, woman! Now it’s my turn.”

Removing his pipe-bowl hat, he scratched his bald head, and said: “Don’t let her tone bother you, Atreyu. Old Urgl is a little crude, but she means no harm. My name is Engywook. We are the well-known Gnomics. Ever hear of us?”

“No,” Atreyu confessed. Engywook seemed rather offended.

“Oh well,” he said. “Apparently you don’t move in scientific circles, or

someone would undoubtedly have told you that you couldn’t find a better adviser than yours truly if you’re looking for Uyulala in the Southern Oracle. You’ve come to the right address, my boy.”

“Don’t give yourself airs,” Urgl broke in. Then she climbed down from her ledge and, grumbling to herself, vanished into the cave.

Engywook ignored her comment.

“I can explain everything,” he went on. “I’ve studied the question all my life. Inside and out. I set up my observatory just for that. I’m in the last stage of a great scientific work on the Oracle. “The Riddle of Uyulala, solved by Professor Engywook.”

That’s the title. Sounds all right, doesn’t it? To be published in the very near future.

Unfortunately a few details are still lacking. You can help me, my boy.” “An observatory?” asked Atreyu, who had never heard the word.

Engywook nodded and, beaming with pride, motioned Atreyu to follow him.

A narrow path twined its way upward between great stone blocks. In some places where the grade was especially steep, tiny steps had been cut out of the stone. Of course, they were much too small for Atreyu’s feet and he simply stepped over them. Even so, he had a hard time keeping up with the gnome.

“Bright moonlight tonight,” said Engywook. “You’ll see them all right.” “See who?” Atreyu asked. “Uyulala?”

Engywook only frowned and shook his head.

At last they came to the top of the hill. The ground was flat, but on one side there was a natural stone parapet. In the middle of this wall there was a hole, obviously the work of gnomian hands. And behind the hole, on a stand made of root wood, stood a small telescope.

Engywook looked through the telescope and made a slight adjustment by turning some screws. Then he nodded with satisfaction and invited Atreyu to look. To put himself on a level with it, Atreyu had to lie down on the ground and prop himself on his elbows.

The telescope was aimed at the great stone arch, or more specifically at the lower part of the left pillar. And beside this pillar, as Atreyu now saw, an enormous sphinx was sitting motionless in the moonlight. The forepaws, on which she was propped, were those of a lion, the hindquarters were those of a bull; on her back she bore the wings of an eagle, and her face was that of a human woman—in form at any rate, for the expression was far from human. I was hard to tell whether this face was smiling or whether it expressed deep grief

or utter indifference. After looking at it for some time, Atreyu seemed to see abysmal wickedness and cruelty, but a moment later he had to correct his impression, for he found only unruffled calm.

“Don’t bother!” he heard the gnome’s deep voice in his ear. “You won’t solve it. It’s the same with everyone. I’ve observed it all my life and I haven’t found the answer.

Now for the other one.”

He turned one of the screws. The image passed the opening of the arch, through which one saw only the empty plain. Then the right-hand pillar came into Atreyu’s view.

And there, in the same posture, sat a second sphinx. The enormous body shimmered like liquid silver in the moonlight. She seemed to be staring fixedly at the first, just as the first was gazing fixedly at her.

“Are they statues?” asked Atreyu, unable to avert his eyes.

“Oh no!” said Engywook with a giggle. “They are real live sphinxes—very much alive! You’ve seen enough for now. Come, we’ll go down. I’ll explain everything.”

And he held his hand in front of the telescope, so that Atreyu could see no more.

Neither spoke on the way back.





 

































alkor was still sound asleep when Engywook brought Atreyu back to the gnomes’ cave. In the meantime Urgl had moved the little table into the open and put on all sorts of sweets and fruit and herb jellies.

There were also little drinking cups and a pitcher of fragrant herb tea. The table was lit by two tiny oil lamps.

“Sit down!” Urgl commanded. “Atreyu must eat and drink something to give him strength. Medicine alone is not enough.”

“Thank you,” said Atreyu. “I’m feeling fine already.”

“No back talk!” Urgl snapped. “As long as you’re here, you’ll do as you’re told. The poison in your body has been neutralized. So there’s no reason to hurry, my boy. You’ve all the time you need. Just take it easy.”

“It’s not on my account,” said Atreyu. “But the Childlike Empress is dying.

Even now, every hour may count.”

“Rubbish!” the old woman grumbled. “Haste makes waste. Sit down! Eat!

Drink!”

“Better give in,” Engywook whispered. “I know the woman from A to Z. When she wants something, she gets it. Besides, you and I have a lot to talk about.”

Atreyu squatted cross-legged at the tiny table and fell to. Every bite and every swallow made him feel as if warm, golden life were flowing into his veins. Only then did he notice how weak he had been.

 

Bastion’s mouth watered. It seemed to him that he could smell the aroma of the gnomes’ meal. He sniffed the air, but of course it was only imagination.

His stomach growled audibly. In the end he couldn’t stand it any longer. He took his apple and the rest of his sandwich out of his satchel and ate them both. After that, though far from full, he felt a little better.

Then he realized that this was his last meal. The word “last” terrified him. He tried not to think of it.

 

“Where do you get all these good things?” Atreyu asked Urgl.

“Ah, sonny,” she said. “It takes lots of running around to find the right plants. But he—this knuckleheaded Engywook of mine—insists on living here because of his all-important studies. Where the food is to come from is the least of his worries.”

“Woman,” said Engywook with dignity, “how would you know what’s important and what isn’t? Be off with you now, and let us talk.”

Mumbling and grumbling, Urgl withdrew into the little cave and a moment later Atreyu heard a great clatter of pots and pans.

“Don’t mind her,” said Engywook under his breath. “She’s a good old soul, she just needs something to grumble about now and then. Listen to me, Atreyu. I’m going to let you in on a few things you need to know about the Southern Oracle. It’s not easy to get to Uyulala. In fact, it’s rather difficult. But I don’t want to give you a scientific lecture. Maybe it will be better if you ask questions. I tend to lose myself in details. Just fire away.”

“All right,” said Atreyu. “Who or what is Uyulala?”

Engywook gave him an angry look. “Botheration!” he spluttered. “You’re so blunt, so direct. Just like my old woman. Couldn’t you start with something else?”

Atreyu thought a while. Then he asked:. “That big stone gate with the sphinxes. Is that the entrance?”

“That’s better,” said Engywook. “Now we’ll get somewhere. Yes, that gate is the entrance, but then come two more gates. And Uyulala’s home is behind the third—if one can speak of her having a home.”

“Have you yourself ever been with her?”

“Don’t be absurd!” replied Engywook, again somewhat nettled. “I am a scientist. I have collected and collated the statements of all the individuals who have been there. The ones who have come back, that is. Very important work. I can’t afford to take personal risks. It could interfere with my work.”

“I see,” said Atreyu. “Now what about these three gates?” Engywook stood up, folded his hands behind his back, and paced.

“The first,” he lectured, “is known as the Great Riddle Gate; the second is the Magic Mirror Gate; and the third is the No-Key Gate . . .”

“Strange,” Atreyu broke in. “As far as I could see, there was nothing behind that stone gate but an empty plain. Where are the other gates?”

“Be still!” Engywook scolded. “How can I make myself clear if you keep interrupting? It’s very complicated: The second gate isn’t there until a person has gone through the first. And the third isn’t there until the person has the second behind him. And Uyulala isn’t there until he has passed through the third. Simply not there. Do you understand?”

Atreyu nodded, but preferred to say nothing for fear of irritating the gnome. “Through my telescope you have seen the first, the Great Riddle Gate. And

the two sphinxes. That gate is always open. Obviously. There’s nothing to close. But even so, no one can get through”—here Engywook raised a tiny forefinger

—“unless the sphinxes close their eyes. And do you know why? The gaze of a sphinx is different from the gaze of any other creature. You and I and everyone else—our eyes take something in. We see the world. A sphinx sees nothing. In a sense she is blind. But her eyes send something out. And what do her eyes send out? All the riddles of the universe. That’s why these sphinxes are always looking at each other. Because only another sphinx can stand a sphinx’s gaze. So try to imagine what happens to one who ventures into the area where those two gazes meet. He freezes to the spot, unable to move until he has solved all the riddles of the world. If you go there, you’ll find the remains of those poor devils.”

“But,” said Atreyu, didn’t you say that their eyes sometimes close? Don’t they have to sleep now and then?”

“Sleep?” Engywook was shaken with giggles. “Goodness gracious! A sphinx sleep? I should say not. You really are an innocent. Still, there’s some point to

your question. All my research, in fact, hinges on that particular point. The sphinxes shut their eyes for some travelers and let them through. The question that no one has answered up until now is this: Why one traveler and not another? Because you mustn’t suppose they let wise, brave, or good people through, and keep the stupid, cowardly, and wicked out. Not a bit of it! With my own eyes I’ve seen them admit stupid fools and treacherous knaves, while decent, sensible people have given up after being kept waiting for months. And it seems to make no difference whether a person has some serious reason for consulting the Oracle, or whether he’s just come for the fun of it.”

“Haven’t your investigations suggested some explanation?” Atreyu asked. Angry flashes darted from Engywook’s eyes.

“Have you been listening or haven’t you? Didn’t I just say that so far no one has answered that question? Of course, I’ve worked up a few theories over the years. At first I thought the sphinxes’ judgment might be guided by certain physical characteristics—size, beauty, strength, and so on. But I soon had to drop that idea. Then I toyed with numerical patterns. The idea, for instance, that three out of five were regularly excluded, or that only prime-numbered candidates were admitted. That worked pretty well for the past, but for forecasting it was no use at all. Since then I’ve come to the conclusion that the sphinxes’ decision is based on pure chance and that no principle whatever is involved.

But my wife calls my conclusion scandalous, un-Fantastican, and absolutely unscientific.”

“Are you starting your old nonsense again?” came Urgl’s angry voice from the cave. “Shame on you! Such skepticism only shows that the bit of brain you once had has dried up on you.”

“Hear that?” said Engywook with a sigh. “And the worst of it is that she’s right.”

“What about the Childlike Empress’s amulet?” Atreyu asked. “Do you think they’ll respect it? They too are natives of Fantastica, after all.”

“Yes, I suppose they are,” said Engywook, shaking his apple-sized head. “But to respect it they’d have to see it. And they don’t see anything. But their gaze would strike you. And I’m not so sure the sphinxes would obey the Childlike Empress. Maybe they are greater than she is. I don’t know, I don’t know. Anyway, it’s most worrisome.”

“Then what do you advise?” Atreyu asked.

“You will have to do what all the others have done. Wait and see what the sphinxes decide—without hoping to know why.”

Atreyu nodded thoughtfully.

Urgl came out of the cave. In one hand she held a bucket with some steaming liquid in it, and under her other arm she was carrying a bundle of dried plants. Muttering to herself, she went to the luckdragon, who was still lying motionless, fast asleep. She started climbing around on him and changing the dressings on his wounds. Her enormous patient heaved one contented sigh and stretched; otherwise he seemed unaware of her ministrations.

“Couldn’t you make yourself a little useful?” she said to Engywook as she was hurrying back to the kitchen, “instead of sitting around like this, talking rubbish?”

“I am making myself extremely useful,” her husband called after her. “Possibly more useful than you, but that’s more than a simple-minded woman like you will ever understand!”

Turning to Atreyu, he went on: “She can only think of practical matters. She has no feeling for the great overarching ideas.”

 

The clock in the belfry struck three.

By now Bastian’s father must have noticed—if he was ever going to—that Bastian hadn’t come home. Would he worry? Maybe he’d go looking for him. Maybe he had already notified the police. Maybe calls had gone out over the radio. Bastian felt a sick pain in the pit of his stomach.

But if the police had been notified, where would they look for him? Could they possibly come to this attic?

Had he locked the door when he came back from the toilet? He couldn’t remember. He got up and checked. Yes, the door was locked and bolted.

Outside, the November afternoon was drawing to a close. Ever so slowly the light was failing.

To steady his nerves, Bastian paced the floor for a while. Looking about him, he discovered quite a few things one wouldn’t have expected to find in a school. For instance, a battered old Victrola with a big horn attached—God only knew when and by whom it had been brought here. In one corner there were some paintings in ornate gilt frames. They were so faded that hardly anything could be made out—only here and there a pale, solemn-looking face that shimmered against a dark background. And then there was a rusty, seven-armed candelabrum, still holding the stumps of thick wax candles, bearded with drippings.

Bastian gave a sudden start, for looking into a dark corner he saw someone

moving. But when he looked again, it dawned on him that he had only seen himself, reflected in a large mirror that had lost half its silvering. He went closer and looked at himself for a while. He was really nothing much to look at, with his pudgy build and his bowlegs and pasty face. He shook his head and said aloud: “No!”

Then he went back to his mats. By then it was so dark that he had to hold the book up to his eyes.

 

“Where were we?” Engywook asked.

“At the Great Riddle Gate,” Atreyu reminded him.

“Right. Now suppose you’ve managed to get through. Then—and only then— the second gate will be there for you. The Magic Mirror Gate. As I’ve said, I myself have not been able to observe it, what I tell you has been gleaned from travelers’ accounts. This second gate is both open and closed. Sounds crazy, doesn’t it? It might be better to say: neither closed nor open. Though that doesn’t make it any less crazy. The point is that this gate seems to be a big mirror or something of the kind, though it’s made neither of glass nor of metal. What it is made of, no one has ever been able to tell me. Anyway, when you stand before it, you see yourself. But not as you would in an ordinary mirror. You don’t see your outward appearance; what you see is your real innermost nature. If you want to go through, you have to—in a manner of speaking—go into yourself.”

“Well,” said Atreyu. “It seems to me that this Magic Mirror Gate is easier to get through than the first.”

“Wrong!” cried Engywook. Once again he began to trot back and forth in agitation. “Dead wrong, my friend! I’ve known travelers who considered themselves absolutely blameless to yelp with horror and run away at the sight of the monster grinning out of the mirror at them. We had to care for some of them for weeks before they were even able to start home.”

“We!” growled Urgl, who was passing with another bucket. “I keep hearing ‘we’.

When did you ever take care of anybody?” Engywook waved her away.

“Others,” he went on lecturing, “appear to have seen something even more horrible, but had the courage to go through. What some saw was not so frightening, but it still cost every one of them an inner struggle. Nothing I can say would apply to all. It’s a different experience each time.”

“Good,” said Atreyu. “Then at least it’s possible to go through this Magic

Mirror Gate?”

“Oh yes, of course it’s possible, or it wouldn’t be a gate. Where’s your logic, my boy?”

“But it’s also possible to go around it,” said Atreyu. “Or isn’t it?”

“Yes indeed,” said Engywook. “Of course it is. But if you do that, there’s nothing more behind it. The third gate isn’t there until you’ve gone through the second. How often do I have to tell you that?”

“I understand. But what about this third gate?”

“That’s where things get really difficult! Because, you see, the No-Key Gate is closed. Simply closed. And that’s that! There’s no handle and no doorknob and no keyhole. Nothing. My theory is that this single, hermetically closed door is made of Fantastican selenium. You may know that there’s no way of destroying, bending or dissolving Fantastican selenium. It’s absolutely indestructible.”

“Then there’s no way of getting through?”

“Not so fast. Not so fast, my boy. Certain individuals have got through and spoken with Uyulala. So the door can be opened.”

“But how?”

“Just listen. Fantastican selenium reacts to our will. It’s our will that makes it unyielding. But if someone succeeds in forgetting all purpose, in wanting nothing at all—to him the gate will open of its own accord.”

Atreyu looked down and said in an undertone: “If that’s the case—how can I possibly get through? How can I manage not to want to get through?”

Engywook sighed and nodded, nodded and sighed.

“Just what I’ve been saying. The No-Key Gate is the hardest.”

“But if I succeed after all,” Atreyu asked, “will I then be in the Southern Oracle?”

“Yes,” said the gnome.

“But who or what is Uyulala?”

“No idea,” said the gnome, and his eyes sparkled with fury. “None of those who have reached her has been willing to tell me. How can I be expected to complete my scientific work if everyone cloaks himself in mysterious silence? I could tear my hair out—if I had any left. If you reach her, Atreyu, will you tell me? Will you? One of these days my thirst for knowledge will be the death of me, and no one, no one is willing to help. I beg you, promise you’ll tell me.”

Atreyu stood up and looked at the Great Riddle Gate, which lay bathed in moonlight.

“I can’t promise that, Engywook,” he said softly, “though I’d be glad to show my gratitude. But if no one has told you who or what Uyulala is, there must be a reason. And before I know what that reason is, I can’t decide whether someone who hasn’t seen her with his own eyes has a right to know.”

“In that case, get away from me!” screamed the gnome, his eyes literally spewing sparks. “All I get is ingratitude! All my life I wear myself out trying to reveal a secret of universal interest. And no one helps me. I should never have bothered with you.”

With that he ran into the little cave, and a door could be heard slamming within.

Urgl passed Atreyu and said with a titter: “The old fool means no harm. But he’s always running into such disappointments with this ridiculous investigation of his. He wants to go down in history as the one who has solved the great riddle. The world-famous gnome Engywook. You mustn’t mind him.”

“Of course not,” said Atreyu. “Just tell him I thank him with all my heart for what he has done for me. And I thank you too. If it’s allowed, I will tell him the secret—if I come back.”

“Then you’re leaving us?” Urgl asked.

“I have to,” said Atreyu. “There’s no time to be lost. Now I shall go to the Oracle. Farewell! And in the meantime take good care of Falkor, the luckdragon.”

With that he turned away and strode toward the Great Riddle Gate.

Urgl watched the erect figure with the blowing cloak vanish among the rocks and ran after him, crying: “Lots of luck, Atreyu!”

But she didn’t know whether he had heard or not. As she waddled back to her little cave, she muttered to herself: “He’ll need it all right—he’ll need lots of luck.”

 

Atreyu was now within fifty feet of the great stone gate. It was much larger than he had judged from a distance. Behind it lay a deserted plain. There was nothing to stop the eye, and Atreyu’s gaze seemed to plunge into an abyss of emptiness. In front of the gate and between the two pillars Atreyu saw only innumerable skulls and skeletons—all that was left of the varied species of Fantasticans who had tried to pass through the gate but had been frozen forever by the gaze of the sphinxes.

But it wasn’t these gruesome reminders that stopped Atreyu. What stopped him was the sight of the sphinxes.

He had been through a good deal in the course of the Great Quest—he had seen beautiful things and horrible things—but up until now he had not known that one and the same creature can be both, that beauty can be terrifying.

The two monsters were bathed in moonlight, and as Atreyu approached them, they seemed to grow beyond measure. Their heads seemed to touch the moon, and their expression as they looked at each other seemed to change with every step he took.

Currents of a terrible, unknown force flashed through the upraised bodies and still more through the almost human faces. It was as though these beings did not merely exist, in the way marble for instance exists, but as if they were on the verge of vanishing, but would recreate themselves at the same time. For that very reason they seemed far more real than anything made of stone.

Fear gripped Atreyu.

Fear not so much of the danger that threatened him as of something above and beyond his own self. It hardly grazed his mind that if the sphinxes’ gaze should strike him he would freeze to the spot forever. No, what made his steps heavier and heavier, until he felt as though he were made of cold gray lead, was fear of the unfathomable, of something intolerably vast.

Yet he went on. He stopped looking up. He kept his head bowed and walked very slowly, foot by foot, towards the stone gate. Heavier and heavier grew his burden of fear.

He thought it would crush him, but still he went on. He didn’t know whether the sphinxes had closed their eyes or not. Would he be admitted? Or would this be the end of his Great Quest? He had no time to lose in worrying. He just had to take his chances.

At a certain point he felt sure that he had not enough will power left to carry him a single step forward. And just then he heard the echo of his footfalls within the great vaulted gate. Instantly every last shred of fear fell from him, and he knew that whatever might happen he would never again be afraid.

Looking up, he saw that the Great Riddle Gate lay behind him. The sphinxes had let him through.

Up ahead, no more than twenty paces away, where previously there had been nothing but the great empty plain, he saw the Magic Mirror Gate. This gate was large and round like a second moon (for the real moon was still shining high in the sky) and it glittered like polished silver. It was hard to imagine how anyone could pass through a metal surface, but Atreyu didn’t hesitate for a moment. After what Engywook had said, he expected a terrifying image of himself to

come toward him out of the mirror, but now that he had left all fear behind him, he hardly gave the matter a thought.

What he saw was something quite unexpected, which wasn’t the least bit terrifying, but which baffled him completely. He saw a fat little boy with a pale face—a boy his own age—and this little boy was sitting on a pile of mats, reading a book. The little boy had large, sad-looking eyes, and he was wrapped in frayed gray blankets.

Behind him a few motionless animals could be distinguished in the half-light

—an eagle, an owl, and a fox—and farther off there was something that looked like a white skeleton.

He couldn’t make out exactly what it was.

 

Bastian gave a start when he realized what he had just read. Why, that was him!

The description was right in every detail. The book trembled in his hands. This was going too far. How could there be something in a book that applied only to this particular moment and, only to him? It could only be a crazy accident. But a very remarkable accident.

“Bastian,” he said aloud, “you really are a screwball. Pull your self together.”

He had meant to say this very sternly, but his voice quavered a little, for he was not quite sure that what had happened was an accident.

Just imagine, he thought. What if they’ve really heard of me in Fantastica! Wouldn’t that be wonderful?

But he didn’t dare say it aloud.

 

A faint smile of astonishment played over Atreyu’s lips as he passed into the mirror image—he was rather surprised that he was succeeding so easily in something that others had found insuperably difficult. But on the way through he felt a strange, prickly shudder. He had no suspicion of what had really happened to him.

For when he emerged on the far side of the Magic Mirror Gate, he had lost all memory of himself, of his past life, aims, and purposes. He had forgotten the Great Quest that had brought him there, and he didn’t even know his own name. He was like a newborn child.

Up ahead of him, only a few steps away, he saw the No-Key Gate, but he had forgotten its name and forgotten that his purpose in passing through it was to reach the Southern Oracle. He had no idea why he was there or what he was

supposed to do. He felt light and cheerful and he laughed for no reason, for the sheer pleasure of it.

The gate he saw before him was as small and low as a common door and stood all by itself—with no walls around it—on the empty plain. And this door was closed.

Atreyu looked at it for a while. It seemed to be made of some material with a coppery sheen. It was nice to look at, but Atreyu soon lost interest. He went around the gate and examined it from behind, but the back looked no different than the front. And there was neither handle nor knob nor keyhole. Obviously this door could not be opened, and anyway why would anyone want to open it, since it led nowhere and was just standing there. For behind the gate there was only the wide, flat, empty plain.

Atreyu felt like leaving. He turned back, went around the Magic Mirror Gate, and looked at it for some time without realizing what it was. He decided to go away,

 

“No, no, don’t go away,” said Bastian aloud. “Turn around. You have to go through the No-Key Gate!”

 

but then turned back to the No-Key Gate. He wanted to look at its coppery sheen again.

Once more, he stood in front of the gate, bending his head to the left, bending it to the right, enjoying himself. Tenderly he stroked the strange material. It felt warm and almost alive. And the door opened by a crack.

Atreyu stuck his head through, and then he saw something he hadn’t seen on the other side when he had walked around the gate. He pulled his head back, looked past the gate, and saw only the empty plain. He looked again through the crack in the door and saw a long corridor formed by innumerable huge columns. And farther off there were stairs and more pillars and terraces and more stairs and a whole forest of columns. But none of these columns supported a roof. For above them Atreyu could see the night sky.

He passed through the gate and looked around him with wonderment. The door closed behind him.

 

The clock in the belfry struck four.

Little by little, the murky light was failing. It was getting too dark to read by. Bastian put the book down.

What was he to do now?

There was bound to be electric light in this attic. He groped his way to the door and ran his hand along the wall, but couldn’t find a switch. He looked on the opposite side, and again there was none.

He took a box of matches from his trouser pocket (he always had matches on him, for he had a weakness for making little fires), but they were damp and the first three wouldn’t light. In the faint glow of the fourth he tried to locate a light switch, but there wasn’t any. The thought of having to spend the whole evening and night here in total darkness gave him the cold shivers. He was no baby, and at home or in any other familiar place he had no fear of the dark, but this enormous attic with all these weird things in it was something else again.

The match burned his fingers and he threw it away.

For a while he just stood there and listened. The rain had let up and now he could barely hear the drumming on the big tin roof.

Then he remembered the rusty, seven-armed candelabrum he had seen. He groped his way across the room, found the candelabrum, and dragged it to his pile of mats.

He lit the wicks in the thick stubs—all seven—and a golden light spread. The flames crackled faintly and wavered now and then in the draft.

With a sigh of relief, Bastian picked up the book.





 

































ladness buoyed Atreyu’s heart as he strode into the forest of columns which cast black shadows in the bright moonlight. In the deep silence that surrounded him he barely heard his own footfalls. He no longer knew who he was or what his name was, how he had got there or what he was looking for. He was full of wonder, but quite undismayed.

The floor was made of mosaic tiles, showing strange ornamental designs or mysterious scenes and images. Atreyu passed over it, climbed broad steps, came to a vast terrace, descended another set of steps, and passed down a long avenue of stone columns. He examined them, one after another, and it gave him pleasure to see that each was decorated with different signs and symbols. Farther and farther he went from the No-Key Gate.

At last, when he had gone heaven knows how far, he heard a hovering sound in the distance and stopped to listen. The sound came closer, it was a singing voice, but it seemed very, very sad, almost like a sob at times. This lament passed over the columns like a breeze, then stopped in one place, rose and fell,

came and went, and seemed to move in a wide circle around Atreyu.

He stood still and waited.

Little by little, the circle became smaller, and after a while he was able to understand the words the voice was singing: “Oh, nothing can happen more than once, But all things must happen one day.

Over hill and dale, over wood and stream, My dying voice will blow away . . .”

 

Atreyu turned in the direction of the voice, which darted fitfully among the columns, but he could see no one.

“Who are you?” he cried.

The voice came back to him like an echo: “Who are you?” Atreyu pondered.

“Who am I?” he murmured. “I don’t know. I have a feeling that I once knew.

But does it matter?”

The singing voice answered:

 

“If questions you would ask of me, You must speak in

poetry, hear . . .”

For rhymeless talk that strikes my ear I cannot hear, I cannot

Atreyu hadn’t much practice in rhyming. This would be a difficult

conversation, he thought, if the voice only understood poetry. He racked his brains for a while, then he came out with:

 

“I hope it isn’t going too far,

But could you tell me who you are?” This time the voice answered at once:

“I hear you now, your words are clear, I understand as well as hear.”

 

And then, coming from a different direction, it sang:

 

“I thank you, friend, for your good will. I’m glad that you have come to me.

I am Uyulala, the voice of silence. In the Palace of Deep Mystery.”

 

Atreyu noticed that the voice rose and fell, but was never wholly silent. Even when it sang no words or when he was speaking, a sound hovered in the air.

For a time it seemed to stand still; then it moved slowly away from him. He ran after it and asked:

 

“Oh, Uyulala, tell me where you’re hid. I cannot see you and so wish I did.”

 

Passing him by, the voice breathed into his ear:

 

“Never has anyone seen me, Never do I appear.

You will never see me, And yet I am here.”

 

“Then you’re invisible?” he asked. But when no answer came, he remembered that he had to speak in rhyme, and asked:

 

“Have you no body, is that what you mean?

Or is it only that you can’t be seen?”

 

He heard a soft, bell-like sound, which might have been a laugh or a sob. And the voice sang:

 

“Yes and no and neither one. I do not appear

In the brightness of the sun As you appear,

For my body is but sound

That one can hear but never see, And this voice you’re hearing now Is all there is of me.”

 

In amazement, Atreyu followed the sound this way and that way through the forest of columns. It took him some time to get a new question ready:

 

“Do I understand you right? Your body is this melody?

But what if you should cease to sing? Would you cease to be?”

 

The answer came to him from very near:

 

“Once my song is ended,

What comes to others soon or late, When their bodies pass away,

Will also be my fate.

My life will last the time of my song, But that will not be long.”

 

Now it seemed certain that the voice was sobbing, and Atreyu, who could not understand why, hastened to ask:

 

“Why are you so sad? Why are you crying?

You sound so young. Why speak of dying?”

 

And the voice came back like an echo:

 

“I am only a song of lament, The wind will blow me away.

But tell me now why you were sent. What have you come to say?”

 

The voice died away among the columns, and Atreyu turned in all directions, trying to pick it up again. For a little while he heard nothing, then, starting in the distance, the voice came quickly closer. It sounded almost impatient:

 

“Uyulala is answer. Answers on questions feed.

So ask me what you’ve come to ask, For questions are her need.”

Atreyu cried out:





And the voice sang:











Atreyu pleaded:






The voice replied:

 

“Then help me, Uyulala, tell me why You sing a plaint as if you soon must die.”



“The Childlike Empress is sick, And with her Fantastica will die.

The Nothing will swallow this place, It will perish and so will I.

We shall vanish into the Nowhere and Never,

As though we had never been. The Empress needs a new name To make her well again.”



“Oh, tell me, Uyulala, oh, tell me who can give

The Childlike Empress the name, which alone will let her live.”



“Listen and listen well To the truth I have to tell.

Though your spirit may be blind To the sense of what I say,

Print my words upon your mind Before you go away.

Later you may dredge them up From the depths of memory, Raise them to the light of day Exactly as they flow from me. Everything depends on whether

You remember faithfully.”

 

For a time he heard only a plaintive sound without words. Then suddenly the voice came from right next to him, as though someone were whispering into his ear:

 

“Who can give the Childlike Empress The new name that will make her well? Not you, not I, no elf, no djinn,

Can save us from the evil spell. For we are figures in a book— We do what we were invented for, But we can fashion nothing new

And cannot change from what we are. But there’s a realm outside Fantastica, The Outer World is its name,

The people who live there are rich indeed

And not at all the same.

Born of the Word, the children of man, Or humans, as they’re sometimes called, Have had the gift of giving names

Ever since our worlds began, In every age it’s they who gave The Childlike Empress life,

For wondrous new names have the power to save.

But now for many and many a day, No human has visited Fantastica, For they no longer know the way.

They have forgotten how real we are, They don’t believe in us anymore.

Oh, if only one child of man would come,

Oh, then at last the thing would be done. If only one would hear our plea.

For them it is near, but for us too far,

Never can we go out to them, For theirs is the world of reality.

But tell me, my hero, you so young, Will you remember what I have sung?”

 

“Oh yes!” cried Atreyu in his bewilderment. He was determined to imprint every word on his memory, though he had forgotten what for. He merely had a feeling that it was very, very important. But the singsong voice and the effort of hearing and speaking in rhymes made him sleepy. He murmured:

 

“I will remember. I will remember every word.

But tell me, what shall I do with what I’ve heard?”



And the voice answered:






Almost half asleep, Atreyu asked:

 

“That is for you alone to decide. I’ve told you what was in my heart. So this is when our ways divide, When you and I must part.”



“But if you go away, Where will you stay?”

 

Again he heard the sobbing in the voice, which receded more and more as it sang:

 

“The Nothing has come near, The Oracle is dying.

No one again will hear Uyulala laughing, sighing. You are the last to hear

My voice among the columns, Sounding far and near.

Perhaps you will accomplish

What no one else has done, But to succeed, young hero, Remember what I have sung.”

 

And then, farther and farther in the distance, Atreyu heard the words:

 

“Oh, nothing can happen more than once,

But all things must happen one day. Over hill and dale, over wood and stream,

My dying voice will blow away.”

 

That was the last Atreyu heard.

He sat down, propped his back against a column, looked up at the night sky, and tried to understand what he had heard. Silence settled around him like a soft, warm cloak, and he fell asleep.

When he awoke in the cold dawn, he was lying on his back, looking up at the sky.

The last stars paled. Uyulala’s voice still sounded in his thoughts. And then suddenly he remembered everything that had gone before and the purpose of his Great Quest.

At last he knew what was to be done. Only a human, a child of man, someone from the world beyond the borders of Fantastica, could give the Childlike Empress a new name. He would just have to find a human and bring him to her.

Briskly he sat up.

 

Ah, thought Bastion. How gladly I would help her! Her and Atreyu too. What a beautiful name I would think up! If I only knew how to reach Atreyu. I’d go this minute. Wouldn’t he be amazed if I were suddenly standing before him! But it’s impossible. Or is it?

And then he said under his breath: “If there’s any way of my getting to you in Fantastica, tell me, Atreyu. I’ll come without fail. You’ll see.”

 

When Atreyu looked around, he saw that the forest of columns with its stairways and terraces had vanished. Whichever way he looked there was only the empty plain that he had seen behind each of the three gates before going through. But now the gates were gone, all three of them.

He stood up and again looked in all directions. It was then that he discovered, in the middle of the plain, a patch of Nothing like those he had seen in Howling Forest. But this time it was much nearer. He turned around and ran the other way as fast as he could.

He had been running for some time when he saw, far in the distance, a rise in the ground and thought it might be the stony rust-red mountains where the Great Riddle Gate was.

He started toward it, but he had a long way to go before he was close enough to make out any details. Then he began to have doubts. The landscape looked about right, but there was no gate to be seen. And the stones were not red, but dull gray.

Then, when he had gone much farther, he saw two great stone pillars with a space between them. The lower part of a gate, he thought. But there was no arch above it. What had happened?

Hours later, he reached the spot and discovered the answer. The great stone arch had collapsed and the sphinxes were gone.

Atreyu threaded his way through the ruins, then climbed to the top of a stone pyramid and looked out, trying to locate the place where he had left the Gnomics and the luckdragon. Or had they fled from the Nothing in the meantime?

At last he saw a tiny flag moving this way and that behind the balustrade of Engywook’s observatory. Atreyu waved both arms, cupped his hands around his mouth, and shouted: “Ho! Are you still there?”

The sound of his voice had hardly died away when a pearly-white luckdragon rose from the hollow where the gnomes had their cave and flew through the air with lazy, sinuous movements. He must have been feeling playful, for now and then he turned over on his back and looped-the-loop so fast that he looked like a burst of white flame. And then he landed not far from the pyramid where Atreyu was standing. When he propped himself on his forepaws, he was so high above Atreyu that to bring his head close to him, he had to bend his long, supple neck sharply downward. Rolling his ruby-red eyeballs for joy, stretching his tongue far out of his wide-open gullet, he boomed in his bronze-bell voice: “Atreyu, my friend and master! So you’ve finally come back! I’m so glad! We had almost given up hope—the gnomes, that is, not I.”

“I’m glad too!” said Atreyu. “But what has happened in this one night?”

“One night?” cried Falkor. “Do you think it’s been only one night? You’re in for a surprise. Climb on, I’ll carry you.”

Atreyu swung himself up on the enormous animal’s back. It was his first time

aboard a luckdragon. And though he had ridden wild horses and was anything but timid, this first short ride through the air took his breath away. He clung fast to Falkor’s flowing mane, and Falkor called back with a resounding laugh: “You’ll just have to get used to it.”

“At least,” Atreyu called back, gasping for air, “you seem to be well again.” “Pretty near,” said the dragon. “Not quite.”

Then they landed outside the gnomes’ cave, and there in the entrance were Engywook and Urgl waiting for them.

Engywook’s tongue went right to work: “What have you seen and done? Tell us all about it! Those gates, for instance? Do they bear out my theories? And who or what is Uyulala?”

But Urgl cut him off. “That’ll do! Let the boy eat and drink. What do you think I’ve cooked and baked for? Plenty of time later for your idle curiosity.”

Atreyu climbed down off the dragon’s back and exchanged greetings with the gnomes. Again the little table was set with all sorts of delicacies and a steaming pot of herb tea.

 

The clock in the belfry struck five. Bastian thought sadly of the two chocolate nut bars that he kept in his bedside table at home in case he should be hungry at night. If he had suspected that he would never go back there, he could have brought them along as an iron ration. But it was too late to think of that now.

 

Falkor stretched out in the little gully in such a way that his huge head was near Atreyu and he could hear everything.

“Just imagine,” he said. “My friend and master thinks he was gone for only one night.”

“Was it longer?” Atreyu asked.

“Seven days and seven nights,” said Falkor. “Look, my wounds are almost healed.”

Then for the first time Atreyu noticed that his own wound too was healed. The herb dressing had fallen off. He was amazed. “How can it be? I passed through three magic gates. I talked with Uyulala, then I fell asleep. But I can’t possibly have slept that long.”

“Space and time,” said Engywook, “must be different in there. Anyway, no one had ever stayed in the Oracle as long as you. What happened? Are you finally going to speak?”

“First,” said Atreyu, “I’d like to know what has happened here.”

“You can see for yourself,” said Engywook. “The colors are all fading. Everything is getting more and more unreal. The Great Riddle Gate isn’t there anymore. It looks as if the Nothing were taking over.”

“What about the sphinxes? Where have they gone? Did they fly away? Did you see them go?”

“We saw nothing,” Engywook lamented. “We hoped you could tell us something.

Suddenly the stone gate was in ruins, but none of us saw or heard a thing. I even went over and examined the wreckage. And do you know what I found? The fragments are as old as the hills and overgrown with gray moss, as if they had been lying there for hundreds of years, as if the Great Riddle Gate had never existed.”

“It was there, though,” said Atreyu under his breath, “because I went through it. And then I went through the Magic Mirror Gate and the No-Key Gate.”

And then Atreyu reported everything that had happened to him. Now he remembered every last detail.

As Atreyu told them his story, Engywook, who at first had impatiently demanded further information, became more and more subdued. And when Atreyu repeated almost word for word what Uyulala had told him, the gnome said nothing at all. His shriveled little face had taken on a look of deepest gloom. “Well,” said Atreyu in conclusion. “Now you know the secret. Uyulala is just

a voice. She can only be heard. She is where she sings.”

For a time Engywook was silent. When he spoke, his voice was husky: “You mean she was .”

“Yes,” said Atreyu. “She herself said no one else would ever hear her speak. I was the last.”

Two little tears flowed down Engywook’s wrinkled cheeks.

“All for nothing!” he croaked. “My whole life work, all my research, my year- long observations. At last someone brings me the last stone for my scientific edifice, finally I’m in a position to complete my work, to write the last chapter— and it’s absolutely futile and superfluous. It’s no longer of the slightest interest to anyone, because the object under investigation has ceased to exist. There go my hopes. All shattered.”

He seemed to break into a fit of coughing, but actually he was shaken with sobs.

Moved to sympathy, Urgl stroked his bald little head and mumbled: “Poor old Engywook! Poor old Engywook! Don’t let it get you down. You’ll find

something else to occupy you.”

“Woman!” Engywook fumed at her. “What you see before you is not a poor old Engywook, but a tragic figure.”

Once again he ran into the cave, and again a door was heard slamming within.

Urgl shook her head and sighed. “He means no harm,” she muttered. “He’s a good old sort. If only he weren’t plumb crazy!”

When they had. finished eating, Urgl stood up and said: “I’ve got to pack now.

We can’t take much with us, but we will need a few things. I’d better hurry.” “You’re going away?” Atreyu asked.

Urgl nodded. “We have no choice,” she said sadly. “Where the Nothing takes hold, nothing grows. And now, my poor old man has no reason to stay. We’ll just have to see how we make out. We’ll find a place somewhere. But what about you? What are your plans?”

“I have to do as Uyulala told me,” said Atreyu. “Try and find a human and take him to the Childlike Empress to give her a new name.”

“Where will you look for this human?” Urgl asked.

“I don’t know,” said Atreyu. “Somewhere beyond the borders of Fantastica.” “We’ll get there!” came Falkor’s bell-like voice. I’ll carry you. You’ll see,

we’ll be lucky.”

“In that case,” Urgl grunted, “you’d better get started.”

“Maybe we could give you a lift,” Atreyu suggested. “For part of the way.” “That’s all I need,” said Urgl. “You won’t catch me gallivanting around in the

air. A self-respecting gnome keeps his feet on the ground. Besides, you mustn’t let us delay you. You have more important things to do—for us all.”

“But I want to show my gratitude,” said Atreyu.

“The best way of doing that is to get started and stop frittering the time away with useless jibber-jabber.”

“She’s got something there,” said Falkor. “Let’s go, Atreyu.”

Atreyu swung himself up on the luckdragon’s back. One last time he turned back and shouted: “Goodbye!”

But Urgl was already inside the cave, packing.

When some hours later she and Engywook stepped out into the open, each was carrying an overloaded back-basket, and again they were busily quarreling. Off they waddled on their tiny, crooked legs, and never once looked back.

Later on, Engywook became very famous, in fact, he became the most famous gnome in the world, but not because of his scientific investigations. That, however, is another story and shall be told another time.

At the moment when the two gnomes were starting out, Atreyu was far away, whizzing through the skies of Fantastica on the back of Falkor, the white luckdragon.

 

Involuntarily Bastian looked up at the skylight, trying to imagine how it would be if Falkor came cutting through the darkening sky like a dancing white flame, if he and Atreyu were coming to get him.

 

“Oh my,” he sighed. “Wouldn’t that be something!”

He could help them, and they could help him. He would be saved and so would Fantastica.





 

































igh in the air rode Atreyu, his red cloak flowing behind him. His blue-black hair fluttered in the wind. With steady, wavelike movements, Falkor, the white luckdragon, glided through the mists and tatters of clouds . . .

Up and down and up and down and up and down . . .

How long had they been flying? For days and nights and more days—Atreyu had lost track. The dragon had the gift of flying in his sleep. Farther and farther they flew.

Sometimes Atreyu dozed off, clinging fast to the dragon’s white mane. But it was only a light, restless sleep. And more and more his waking became a dream, all hazy and blurred.

Shadowy mountains  passed  below  him,  lands  and  seas,  islands  and rivers . . . Atreyu had lost interest in them, and gave up trying to hurry Falkor as he had done on first leaving the Southern Oracle. For then he had been impatient, thinking it a simple matter, for one with a dragon to ride, to reach the

border of Fantastica and cross it to the Outer World. He hadn’t known how very large Fantastica was.

Now he had to fight the leaden weariness that was trying to overpower him. His eyes, once as keen as a young eagle’s, had lost their distant vision. From time to time he would pull himself upright and try to look around, but then he would sink back and stare straight ahead at the dragon’s long, supple body with its pearly pink-and-white scales.

Falkor was tired too. His strength, which had seemed inexhaustible, was running out.

More than once in the course of their long flight they had seen below them spots which the Nothing had invaded and which gave them the feeling that they were going blind. Seen from that height, many of these spots seemed relatively small, but others were as big as whole countries. Fear gripped the luckdragon and his rider, and at first they changed direction to avoid looking at the horror. But, strange as it may seem, horror loses it’s power to frighten when repeated too often. And since the patches of Nothing became more and more frequent, the travelers were gradually getting used to them.

They had been flying in silence for quite some time when suddenly Falkor’s bronze-bell tone rang out: “Atreyu, my little master. Are you asleep?”

“No,” said Atreyu, though actually he had been caught up in a terrifying dream.

“What is it, Falkor?”

“I’ve been wondering if it wouldn’t be wiser to turn back.” “Turn back? Where to?”

“To the Ivory Tower. To the Childlike Empress.” “You want us to go to her empty-handed?”

“I wouldn’t call it that, Atreyu. What was your mission?”

“To discover the cause of her illness and find out what would cure it.” “But,” said Falkor, “nothing was said about your bringing her the cure.” “What do you mean?”

“Maybe it’s a mistake, trying to cross the border of Fantastica in search of a human.”

“I don’t see what you’re driving at, Falkor. Explain yourself.”

“The Childlike Empress is deathly sick,” said the dragon, “because she needs a new name. Morla the Aged One told you that. But only a human, only a child of man from the Outer World can give her this name. Uyulala told you that. So you’ve actually completed your mission. It seems to me you should let the

Childlike Empress know it as soon as possible.”

“But it won’t do her a bit of good,” Atreyu protested, “unless I bring her the human who can save her.”

“Don’t be so sure,” said Falkor. “She has much greater power than you or I. Maybe she would have no difficulty in bringing a human to Fantastica. Maybe she has ways that are unknown to you and me and everyone else in Fantastica. But to do so she needs to know what you have found out. If that’s the way it is, there’s no point in our trying to find a human on our own. She might even die while we’re looking. But maybe if we turn back in time, we can save her.”

Atreyu made no answer. The dragon could be right, he reflected. But then he could be wrong. If he went back now with his message, the Childlike Empress might very well say: What good does that do me? And now it’s too late to send you out again.

He didn’t know what to do. And he was tired, much too tired to decide anything.

“You know, Falkor,” he said, hardly above a whisper, “you may be right. Or you may be wrong. Let’s fly on a little further. Then if we haven’t come to a border, we’ll turn back.”

“What do you mean by a little further?” the dragon asked. “A few hours,” Atreyu murmured. “Oh well, just one hour.” “All right,” said Falkor, “just one hour.”

But that one hour was one hour too many.

 

They hadn’t noticed that the sky in the north was black with clouds. In the west the sky was aflame, and ugly-looking clouds hung down over the horizon like seaweed.

In the east a storm was rising like a blanket of gray lead, and all around it there were tatters of cloud that looked like blue ink blots. And from the south came a sulfur-yellow mist, streaked with lightning.

“We seem to be getting into bad weather,” said Falkor. Atreyu looked in all directions.

“Yes,” he said. “It looks bad. But what can we do but fly on?”

“It would be more sensible,” said Falkor, “to look for shelter. If this is what I think, it’s no joke.”

“What do you think?” Atreyu asked.

“I think it’s the four Wind Giants, starting one of their battles. They’re almost always fighting to see which is the strongest and should rule over the others. To

them it’s a sort of game, because they have nothing to fear. But God help anyone who gets caught in their little tiffs.”

“Can’t you fly higher?” Atreyu asked.

“Beyond their reach, you mean? No, I can’t fly that high. And as far as I can see, there’s nothing but water below us. Some enormous ocean. I don’t see any place to hide in.”

“Then,” said Atreyu, “we’ll just have to wait till they get here. Anyway, there’s something I want to ask them.”

“What?!” cried the dragon, so terrified that he jumped, in a manner of speaking, sky-high.

“If they are the four Wind Giants,” Atreyu explained, “they must know all four corners of Fantastica. If anyone can tell us where the borders are, it’s them.” “Good Lord!” cried the dragon. “You think you can just stop and chat with

Wind Giants?”

“What are their names?” Atreyu asked.

“The one from the north,” said Falkor, “is called Lirr, the one from the east is Baureo, the one from the south is Sheerek, and the one from the west is Mayestril. But tell me, Atreyu. What are you? Are you a little boy or a bar of iron? How come you’re not afraid?”

“When I passed through the sphinxes’ gate,” Atreyu replied, “I lost all my fear. And besides, I’m wearing the emblem of the Childlike Empress. Everyone in Fantastica respects it. Why shouldn’t the Wind Giants?”

“Oh, they will,” cried Falkor, “they will. But they’re stupid, and nothing can make them stop fighting one another. You’ll see.”

Meanwhile the storm clouds from all four directions had converged. It seemed to Atreyu that he was at the center of a huge funnel, which was revolving faster and faster, mixing the sulfur-yellow, the leaden gray, the blood-red, and the deep black all together.

He and his white dragon were spun about in a circle like a matchstick in a great whirlpool. And then he saw the Wind Giants.

Actually all he saw was faces, because their limbs kept changing in every possible way—from long to short, from clear-cut to misty—and they were so knotted together in a monstrous free-for-all that it was impossible to make out their real shapes, or even how many of them there were. The faces too were constantly changing; now they were round and puffed, now stretched from top to bottom or from side to side. But at all times they could be told apart. They opened their mouths and bellowed and roared and howled and laughed at one

another. They didn’t even seem to notice the dragon and his rider, who were gnats in comparison to the Wind Giants.

Atreyu raised himself as high as he could. With his right hand he reached for the golden amulet on his chest and shouted at the top of his lungs: “In the name of the Childlike Empress, be still and listen.”

And the unbelievable happened!

As though suddenly stricken dumb, they fell silent. Their mouths closed, and eight gigantic goggle-eyes were directed at AURYN. The tempest stopped and the air was deathly still.

“Answer me!” cried Atreyu. “Where are the borders of Fantastica? Do you know, Lirr?”

“Not in the north,” said the black cloud face. “And you, Baureo?”

“Not in the east,” said the leaden-gray cloud face. “You tell me, Sheerek!”

“There is no border in the south,” said the sulfur-yellow cloud face. “Mayestril, do you know?”

“No border in the west,” said the fiery-red cloud face.

And then they all spoke as with one mouth: “Who are you, who bear the emblem of the Childlike Empress and don’t know that Fantastica has no borders?”

Atreyu made no reply. He was stunned. It had never occurred to him that Fantastica might have no borders whatsoever. Then his whole Quest had been for nothing.

He hardly noticed it when the Wind Giants resumed their war game. He had given up caring what would happen to him. He clung fast to the dragon’s mane when they were hurled upward by a whirlwind. The lightning played around them, they were spun in a circle and almost drowned in a downpour of rain. They were sucked into a fiery wind that nearly burned them up, but a moment later a hailstorm, consisting not of stones but of icicles as long as spears, flung them downward. So it went: up and down, down and up, this way and that. The Wind Giants were fighting for power.

A gust of wind turned Falkor over on his back. “Hold tight!” he shouted.

But it was too late. Atreyu had lost his hold and fell. He fell and fell, and then he lost consciousness.

 

When he came to, Atreyu was lying on white sand. He heard the sound of

waves, and when he looked around he saw that he had been washed up on a beach. It was a gray, foggy day, but there was no wind. The sea was calm and there was no sign that the Wind Giants had been fighting a battle only a short time before. The beach was flat and there were no hills or rocks in sight, only a few gnarled and crooked trees which, seen through the mist, looked like great clawed hands.

Atreyu sat up. Seeing his red buffalo-hair cloak a few steps away he crawled over to it and threw it over his shoulders. To his surprise, it was almost dry. So he must have been lying there for quite a while.

How had he got there? Why hadn’t he drowned?

Dimly he remembered arms that had carried him, and strange singing voices.

Poor child, beautiful child! Hold him! Don’t let him go under!

Perhaps it had only been the sound of the waves.

Or could it have been sea nymphs and water sprites? Probably they had seen the Glory and that was why they had saved him.

Involuntarily, he reached for the amulet—it was gone. There was no chain around his neck. He had lost the Gem.

“Falkor!” he shouted as loud as he could. He jumped up and ran back and forth, shouting in all directions: “Falkor! Falkor! Where are you?”

No answer came—only the slow, steady sound of the waves breaking against the beach.

Heaven only knew where the Wind Giants had driven the white dragon. Maybe Falkor was looking for his little master in an entirely different place, miles and miles away. Maybe he wasn’t even alive.

No longer was Atreyu a dragon rider, and no longer was he the Childlike Empress’s messenger. He was only a little boy. And all alone.

 

The clock in the belfry struck six.

By then it was dark outside. The rain had stopped. Not a sound to be heard.

Bastian stared into the candle flames.

Then he gave a start. The floor had creaked.

He thought he heard someone breathing. He held his breath and listened. Except for the small circle of light shed by the candles, it was dark in the big attic.

Didn’t he hear soft steps on the stairs? Hadn’t the handle of the attic door moved ever so slowly?

Again the floor creaked.

What if there were ghosts in this attic!

“Nonsense!” said Bastian none too loudly. “There’s no such thing! Everyone knows that.”

Then why were there so many stories about them?

Maybe all the people who say ghosts don’t exist are just afraid to admit that they do.

 

Atreyu wrapped himself up tight in his red cloak, for he was cold, and started inland. The country, as far as he could see through the fog, was flat and monotonous. The only change he noticed as he strode along was the appearance among the stunted trees of bushes which looked as if they were made of rusty sheet metal and were almost as hard.

You could easily hurt yourself brushing against them if you weren’t careful.

About an hour later, Atreyu came to a road paved with bumpy, irregularly shaped stones. Thinking it was bound to lead somewhere, he decided to follow it but preferred to walk on the soft ground beside the bumpy paving stones. The road kept twisting and turning, though it was hard to see why, for there was no sign of any hill, pond, or stream.

In that part of the country everything seemed to be crooked.

Atreyu hadn’t been skirting the road for very long when he heard a strange thumping sound. It was far away but coming closer. It sounded like the muffled beat of a big drum. In between beats he heard a tinkling of bells and a shrill piping that could have been made by fifes. He hid behind a bush by the side of the road and waited to see what would happen.

Slowly the strange music came closer, and then the first shapes emerged from the fog. They seemed to be dancing, but it was a dance without charm or gaiety. The dancers jumped grotesquely, rolled on the ground, crawled on all fours, leapt into the air, and carried on like crazy people. But all Atreyu could hear was the slow, muffled drumbeats, the shrill fifes, and a whimpering and panting from many throats.

More and more figures appeared, the procession seemed endless. Atreyu looked at the dancers’ faces; they were ashen gray and bathed in sweat, and the eyes had a wild feverish glow. Some of the dancers lashed themselves with whips.

They’re mad, Atreyu thought, and a cold shiver ran down his spine.

The procession consisted mostly of night-hobs, kobolds, and ghosts. There were vampires as well, and quite a few witches, old ones with great humps and

beards, but also young ones who looked beautiful and wicked. If he had had AURYN, he would have approached them and asked what was going on. As it was, he preferred to stay in his hiding place until the mad procession had passed and the last straggler vanished hopping and limping in the fog.

Only then did he venture out on the road and look after the ghostly procession.

Should he follow them? He couldn’t make up his mind. By that time, to tell the truth, he didn’t know if there was anything that he should or should not do.

For the first time he was fully aware of how much he needed the Childlike Empress’s amulet and how helpless he was without it. And not only or even mainly because of the protection it had given him—it was thanks to his own strength, after all, that he had stood up to all the hardships and terrors and the loneliness of his Quest—but as long as he had carried the emblem, he had never been at a loss for what to do. Like a mysterious compass, it had guided his thoughts in the right direction. And now that was changed, now he had no secret power to lead him.

He had no idea what to do, but he couldn’t bear to stand there as though paralyzed. So he made himself follow the muffled drumming, which could still be heard in the distance.

While making his way through the fog—always careful to keep a suitable distance between himself and the last stragglers—he tried to put his thoughts in order.

Why, oh, why hadn’t he listened when Falkor advised him to fly straight to the Childlike Empress? He would have brought her Uyulala’s message and returned the Gem.

Without AURYN and without Falkor, he would never be able to reach her. She would wait for him till her last moment, hoping he would come, trusting him to save her and Fantastica—but in vain.

That in itself was bad enough, but still worse was what he had learned from the Wind Giants, that Fantastica had no borders. If there was no way of leaving Fantastica, then it would be impossible to call in a human form across the border. Because Fantastica was endless, its end was inevitable.

But while he was stumbling over the bumpy paving stones in the fog, Uyulala’s gentle voice resounded in his memory, and a spark of hope was kindled in his heart.

Lots of humans had come to Fantastica in the past and given the Childlike Empress glorious new names. That’s what she had sung. So there was a way from the one world to the other!

“For them it is near, but for us too far, Never can we go out to them.”

 

Yes, those were Uyulala’s words. Humans, the children of man, had forgotten the way. But mightn’t just one of them, a single one, remember?

His own hopeless situation mattered little to Atreyu. What mattered was that a human should hear Fantastica’s cry of distress and come to the rescue, as had happened many times before. Perhaps, perhaps one had already started out and was on his way.

 

“Yes! Yes!” Bastian shouted. Then, terrified of his own voice, he added more softly: “I’d go and help you if I knew how. I don’t know the way, Atreyu. I honestly don’t.”

 

The muffled drumbeats and the shrill piping had stopped. Without noticing it, Atreyu had come so close to the procession that he almost ran into the last stragglers.

Since he was barefoot, his steps were soundless—but that wasn’t why those creatures took no notice of him. He could have been stomping with hobnailed boots and shouting at the top of his lungs without attracting their attention.

By that time the procession had broken up and the spooks were scattered over a large muddy field interspersed with gray grass. Some swayed from side to side, others stood or sat motionless, but in all their eyes there was a feverish glow, and they were all looking in the same direction.

Then Atreyu saw what they were staring at in fascinated horror. On the far side of the field lay the Nothing.

It was the selfsame Nothing that he had seen from the bark trolls’ treetop, or on the plain where the Magic Gates of the South Oracle had stood, or looking down from Falkor’s back—but until then he had always seen it from a distance. This time it was close by. It cut across the entire landscape and was coming slowly but irresistibly closer.

Atreyu saw that the spooks in the field ahead of him were twitching and quivering. Their limbs were convulsed and their mouths were wide open, as though they had wanted to scream or laugh, though not a sound came out of them. And then all at once—like leaves driven by a gust of wind—they rushed toward the Nothing. They leapt, they rolled, they flung themselves into it.

The last of the ghostly crowd had just vanished when Atreyu felt to his horror that his own body was beginning to take short, convulsive steps in the direction

of the Nothing. He felt drawn to it by an unreasoning desire, and braced his will against it. He commanded himself to stand still. Slowly, very slowly, he managed to turn around and step by step, as though bucking a powerful current, to struggle forward. The force of attraction weakened and he ran, ran with all his might over the bumpy paving stones. He slipped, fell, picked himself up, and ran on. He had no time to wonder where this foggy road would lead him.

He followed the senseless twists and turns of the road until high pitch-black ramparts appeared in the fog ahead of him. Behind them several crooked towers jutted into the gray sky. The heavy wooden wings of the town gate were rotting away and hung loose on rusty hinges.

Atreyu went in.

 

It was growing colder and colder in the attic. Bastion’s teeth were chattering.

What if he should get sick—what would become of him then? He might come down with pneumonia, like Willy, a boy in his class. Then he would die all alone in this attic. There’d be no one to help him.

He’d have been very glad just then to have his father come and save him. But go home? No, he couldn’t. He’d rather die.

He took the rest of the army blankets and wrapped them around him. After a while he felt warmer.





 

































n the endless sky, somewhere above the roaring waves, Falkor’s voice rang out like a great bronze bell:

“Atreyu! Where are you, Atreyu?” The Wind Giants had long finished their war game and had stormed apart. They would meet again in this or some other place, to continue their battle as they had done since time immemorial. They had already forgotten the white dragon and his little rider, for they remembered nothing and knew nothing except their own enormous power.

When Atreyu fell, Falkor tried to reach him and catch him. But a sudden whirlwind had driven the dragon upward and far away. When he returned, the Wind Giants were raging over another part of the sea. Falkor tried desperately to find the place where Atreyu had fallen, but even a white luckdragon can’t possibly find anything as tiny as a little boy in the seething foam of an angry ocean.

But Falkor wouldn’t give up. He flew high into the air to get a better view, then he skimmed the waves or flew in larger and larger circles, all the while

calling Atreyu by name.

Being a luckdragon, he never doubted for a moment that everything would come out all right in the end. And his mighty voice resounded amid the roaring of the waves: “Atreyu! Atreyu, where are you?”

Atreyu wandered through the deathly stillness of a deserted city. The place seemed to be under a curse, a city of haunted castles and houses, inhabited only by ghosts. Like everything else in this country, the streets were crooked. Enormous spider webs were suspended over them, and a foul smell rose from the cellars and well shafts.

At first Atreyu darted from wall to wall for fear that someone would see him, but after a while he didn’t even bother to hide. The streets and squares were deserted, and nothing stirred in the houses. He went into some of them, but found only overturned furniture, tattered curtains, broken china and glassware— signs of devastation but no inhabitants. On one table there was still a half-eaten meal, dishes with black soup in them, and some sticky chunks of something that may have been bread. He ate some of both. The taste was disgusting, but he was very hungry. It struck him as almost fitting that he should end up in this town. Just the place, he thought, for someone who had given up hope.

 

Bastian was weak with hunger.

For some strange reason his thoughts turned to Anna’s apple strudel—the best apple strudel in the whole world.

Anna came three times a week. She would do a bit of typing for Bastian’s father and put the house in order. And usually she would cook or bake something. She was a strapping, bouncy woman with an unrestrained, cheery laugh. Bastian’s father was polite to her but seemed hardly aware of her presence. She was seldom able to bring a smile to his worried face. But when she was there, the place was a little more cheerful.

Though unmarried, Anna had a little daughter. Her name was Christa, she was three years younger than Bastian, and she had beautiful blond hair. At first Anna had brought Christa with her almost every time. Christa was very shy. Bastian spent hours telling her his stories, and she would sit there still as a mouse, watching him wide-eyed. She looked up to Bastian, and he was very fond of her. But a year ago Anna had sent her daughter to a boarding school in the country.

Since then she and Bastian had seldom seen each other.

Bastian had been rather cross with Anna. She had tried to explain why it was better for Christa, but he wasn’t convinced.

Even so, he could never resist her apple strudel.

He wondered in his distress how long a person could go without eating. Three days? Two? Maybe you’d get hallucinations after twenty-four hours. On his fingers Bastian counted the hours he had been there. At least ten. Maybe more. If only he had saved his sandwich, or at least his apple.

In the flickering candlelight the glass eyes of the fox, the owl, and the huge eagle looked almost alive. Their moving shadows loomed large on the attic wall.

 

Atreyu went out into the street again and wandered aimlessly about. He passed through neighborhoods where all the houses were small and so low that he could reach up to the eaves, and others lined with mansions many stories high, the fronts of which were adorned with statues. But all these statues were of skeletons or demons, which grimaced down at the forlorn wanderer.

Then suddenly he stopped stock-still.

From not far away he heard a raucous wailing that sounded so plaintive, so hopeless that it cut him to the heart. All the despair, all the desolation of the creatures of darkness was in that lament, which echoed back from the walls of distant buildings, until in the end it sounded like the howling of a scattered wolf pack.

Atreyu followed the sound, which gradually grew weaker and ended in a hoarse sob. He had to search for some time. He passed a gateway, entered a narrow, lightless court, passed through an arch, and finally came to a damp, grimy backyard. And there, chained, lay a gigantic, half-starved werewolf. Each rib stood out separately under its mangy fur, the vertebrae looked like the teeth of a saw, and its tongue dangled from its half-open mouth.

Slowly Atreyu approached him. When the werewolf noticed him, it raised its great head with a jerk. A greenish light flared up in its eyes.

For a time the two looked at each other without a word, without a sound. Finally the wolf let out a soft, dangerous-sounding growl: “Go away. Let me die in peace.”

Atreyu didn’t stir. Just as softly he answered: “I heard your call. That’s why I came.”

The werewolf’s head sank back. “I didn’t call anyone,” he growled. “I was singing my own dirge.”

“Who are you?” Atreyu asked, taking a step closer. “I am Gmork, the werewolf.”

“Why are you lying here chained?”

“They forgot me when they went away.” “Who are they?”

“The ones who chained me.” “Where did they go?”

Gmork made no answer. He watched Atreyu from under half-closed lids. After a long silence, he said: “You don’t belong here, little stranger. Neither in this city, nor in this country. What have you come here for?”

Atreyu bowed his head.

“I don’t know how I got here. What is the name of this city?”

“It is the capital of the most famous country in all Fantastica,” said Gmork. “More stories are told about this country and this city than about any other. Surely you’ve heard of Spook City and the Land of Ghosts?”

Atreyu noded slowly.

Gmork hadn’t taken his eyes off the boy. He was amazed that this green- skinned boy should look at him so quietly out of his black eyes and show no sign of fear.

“And who are you?” he asked.

Atreyu thought a while before answering. “I’m Nobody.”

“What do you mean by that?”

“I mean that I once had a name. It can’t be named anymore. That makes me Nobody.”

The werewolf bared his hideous fangs for a moment in what was no doubt intended as a smile. He was familiar with mental anguish of every kind and sensed a certain kinship in the boy.

“If that’s the case,” he said, “then Nobody has heard me and Nobody has come to me, and Nobody is speaking to me in my last hour.”

Atreyu nodded again. Then he asked: “Can Nobody free you from your chain?”

The greenish light in the werewolf’s eyes flickered. He began to growl and to lick his chops.

“You’d really do that?” he blurted out. “You’d really set a hungry werewolf free? Do you know what that means? Nobody would be safe from me.”

“I know,” said Atreyu. “But I’m Nobody. Why should I be afraid of you?”

He wanted to approach Gmork. But again the wolf uttered his deep, terrifying growl. The boy shrank back.

“Don’t you want me to set you free?” he asked.

All at once the werewolf seemed very tired.

“You can’t do that. But if you come within my reach, I’ll have to tear you to pieces, my boy. That would delay my end a little, an hour or two. So keep away from me and let me die in peace.”

Atreyu thought it over.

“Maybe,” he said finally. “Maybe I can find you something to eat. I’ll look around.”

Slowly Gmork opened his eyes. The greenish fire had gone out of them.

“Go to hell, you little fool! Do you want to keep me alive until the Nothing gets here?”

“I thought,” Atreyu stammered, “that maybe if I brought you food and you were full, I could get close enough to take off your chain . . .”

Gmork gnashed his teeth.

“Do you think I wouldn’t have bitten through it myself if this were an ordinary chain?”

As though to prove his point, he clamped his jaws on the chain. The chain jangled as he tugged and pulled at it. After a while he let it go.

“It’s a magic chain. Only the person who put it on can take it off. But she will never come back.”

“Who is that?”

Gmork whimpered like a whipped dog. It was some time before he was calm enough to answer.

“It was Gaya, the Dark Princess.” “Where has she gone?”

“She has leapt into the Nothing—like everyone else around here.”

Atreyu remembered the mad dancers he had seen outside the city in the foggy countryside.

“Why didn’t they run away?” he murmured.

“Because they had given up hope. That makes you beings weak. The Nothing pulls at you, and none of you has the strength to resist it for long.”

Gmork gave a deep, malignant laugh.

“What about yourself?” Atreyu asked. “You speak as if you weren’t one of us?”

Gmork watched him out of the corner of his eye. “I am not one of you.”

“Then where are you from?”

“Don’t you know what a werewolf is?

Atreyu shook his head.

“You know only Fantastica,” said Gmork. “There are other worlds. The world of humans, for instance. But there are creatures who have no world of their own, but are able to go in and out of many worlds. I am one of those. In the human world, I appear in human form, but I’m not human. And in Fantastica, I take on a Fantastican form—but I’m not one of you.”

Atreyu sat down on the ground and gazed at the dying werewolf out of great dark eyes.

“You’ve been in the world of humans?”

“I’ve often gone back and forth between their world and yours.”

“Gmork,” Atreyu stammered, and he couldn’t keep his lips from trembling, “can you tell me the way to the world of humans?”

A green spark shone in Gmork’s eyes. He seemed to be laughing deep inside. “For you and your kind it’s easy to get there. There’s only one hitch: You can

never come back. You’ll have to stay forever. Do you want to?” “What must I do?” Atreyu asked. His mind was made up.

“What everyone else around here has done before you. You must leap into the Nothing. But there’s no hurry. Because you’ll do it sooner or later in any case, when the last parts of Fantastica go.”

Atreyu stood up.

Gmork saw that the boy was trembling all over. Not knowing why, he spoke reassuringly: “Don’t be afraid. It doesn’t hurt.”

“I’m not afraid,” said Atreyu. “But I never expected to get my hope back in a place like this. And thanks to you!”

Gmork’s eyes glowed like two thin green moons.

“You have nothing to hope for, sonny—whatever your plans may be. When you turn up in the world of humans, you won’t be what you are here. That’s the secret that no one in Fantastica can know.”

Atreyu stood there with his arms dangling. “What will I be? Tell me the secret.”

For a long time Gmork neither spoke nor moved. Atreyu was beginning to fear that the answer would never come, but at length the werewolf breathed heavily and spoke:

“What do you think I am, sonny? Your friend? Take care. I’m only passing the time with you. At the moment you can’t even leave here. I hold you fast with your hope.

But as I speak, the Nothing is creeping in from all sides and closing around

Spook City.

Soon there will be no way out. Then you will be lost. If you stay and listen, your decision is already made. But you can still escape if you choose.”

The cruel line around Gmork’s mouth deepened. Atreyu hesitated for just a moment. Then he whispered: “Tell me the secret. What will I be in the world of humans?”

Again Gmork sank into a long silence. His breath came in convulsive gasps. Then suddenly he raised himself on his forepaws. Atreyu had to look up at him. And then for the first time he saw how big and terrifying the werewolf was. When Gmork spoke, his voice was like the jangling of chains.

“Have you seen the Nothing, sonny?” “Yes, many times.”

“What does it look like?” “As if one were blind.”

“That’s right—and when you get to the human world, the Nothing will cling to you. You’ll be like a contagious disease that makes humans blind, so they can no longer distinguish between reality and illusion. Do you know what you and your kind are called there?”

“No,” Atreyu whispered. “Lies!” Gmork barked.

Atreyu shook his head. All the blood had gone out of his lips. “How can that be?”

Gmork was enjoying Atreyu’s consternation. This little talk was cheering him up.

After a while, he went on:

“You ask me what you will be there. But what are you here? What are you creatures of Fantastica? Dreams, poetic inventions, characters in a neverending story. Do you think you’re real? Well yes, here in your world you are. But when you’ve been through the Nothing, you won’t be real anymore. You’ll be unrecognizable. And you will be in another world. In that world, you Fantasticans won’t be anything like yourselves.

You will bring delusion and madness into the human world. Tell me, sonny, what do you suppose will become of all the Spook City folk who have jumped into the Nothing?”

“I don’t know,” Atreyu stammered.

“They will become delusions in the minds of human beings, fears where there is nothing to fear, desires for vain, hurtful things, despairing thoughts where

there is no reason to despair.”

“All of us?” asked Atreyu in horror.

“No,” said Gmork, “there are many kinds of delusion. According to what you are here, ugly or beautiful, stupid or clever, you will become ugly or beautiful, stupid or clever lies.”

“What about me?” Atreyu asked. “What will I be?” Gmork grinned.

“I won’t tell you that. You’ll see. Or rather, you won’t see, because you won’t be yourself anymore.”

Atreyu stared at the werewolf with wide-open eyes. Gmork went on:

“That’s why humans hate Fantastica and everything that comes from here. They want to destroy it. And they don’t realize that by trying to destroy it they multiply the lies that keep flooding the human world. For these lies are nothing other than creatures of Fantastica who have ceased to be themselves and survive only as living corpses, poisoning the souls of men with their fetid smell. But humans don’t know it. Isn’t that a good joke?”

“And there’s no one left in the human world,” Atreyu asked in a whisper, “who doesn’t hate and fear us?”

“I know of none,” said Gmork. “And it’s not surprising, because you yourselves, once you’re there, can’t help working to make humans believe that Fantastica doesn’t exist.”

“Doesn’t exist?” the bewildered Atreyu repeated.

“That’s right, sonny,” said Gmork. “In fact, that’s the heart of the matter. Don’t you see? If humans believe Fantastica doesn’t exist, they won’t get the idea of visiting your country. And as long as they don’t know you creatures of Fantastica as you really are, the Manipulators do what they like with them.”

“What can they do?”

“Whatever they please. When it comes to controlling human beings there is no better instrument than lies. Because, you see, humans live by beliefs. And beliefs can be manipulated. The power to manipulate beliefs is the only thing that counts. That’s why I sided with the powerful and served them—because I wanted to share their power.”

“I want no part in it!” Atreyu cried out.

“Take it easy, you little fool,” the werewolf growled. “When your turn comes to jump into the Nothing, you too will be a nameless servant of power, with no will of your own. Who knows what use they will make of you? Maybe you’ll

help them persuade people to buy things they don’t need, or hate things they know nothing about, or hold beliefs that make them easy to handle, or doubt the truths that might save them. Yes, you little Fantastican, big things will be done in the human world with your help, wars started, empires founded . . .”

For a time Gmork peered at the boy out of half-closed eyes. Then he added: “The human world is full of weak-minded people, who think they’re as clever as can be and are convinced that it’s terribly important to persuade even the children that Fantastica doesn’t exist. Maybe they will be able to make good use of you.”

Atreyu stood there with bowed head.

Now he knew why humans had stopped coming to Fantastica and why none would come to give the Childlike Empress new names. The more of Fantastica that was destroyed, the more lies flooded the human world, and the more unlikely it became that a child of man should come to Fantastica. It was a vicious circle from which there was no escape. Now Atreyu knew it.

 

And so did someone else: Bastian Balthazar Bux.

He now realized that not only was Fantastica sick, but the human world as well. The two were connected. He had always felt this, though he could not have explained why it was so. He had never been willing to believe that life had to be as gray and dull as people claimed. He heard them saying: “Life is like that,” but he couldn’t agree. He never stopped believing in mysteries and miracles.

And now he knew that someone would have to go to Fantastica to make both worlds well again.

If no human knew the way, it was precisely because of the lies and delusions that came into the world because Fantastica was being destroyed. It was these lies and delusions that made people blind.

With horror and shame Bastian thought of his own lies. He didn’t count the stories he made up. That was something entirely different. But now and then he had told deliberate lies—sometimes out of fear, sometimes as a way of getting something he wanted, sometimes just to puff himself up. What inhabitants of Fantastica might he have maimed and destroyed with his lies?

One thing was plain: He too had contributed to the sad state of Fantastica. And he was determined to do something to make it well again. He owed it to Atreyu, who was prepared to make any sacrifice to bring Bastian to Fantastica. He had to find the way.

The clock in the belfry struck eight.

The werewolf had been watching Atreyu closely.

“Now you know how you can get to the human world,” he said. “Do you still want to go, sonny?”

Atreyu shook his head.

“I don’t want to turn into a lie,” he said.

“You’ll do that whether you like it or not,” said Gmork almost cheerfully. “But what about you? Why are you here?”

“I had a mission,” Gmork said reluctantly. “You too?”

Atreyu looked at the werewolf with interest, almost with sympathy. “Were you successful?”

“No. If I had been, I wouldn’t be lying here chained. Everything went pretty well until I came to this city. The Dark Princess, who ruled here, received me with every honor. She invited me to her palace, fed me royally, and did everything to make me think she was on my side. And naturally the inhabitants of this Land of Ghosts rather appealed to me, they made me feel at home, so to speak. The Dark Princess was very beautiful in her way—to my taste at least. She stroked me and ran her fingers through my coat. No one had ever caressed me like that. In short, I lost my head and let my tongue get out of hand. She pretended to admire me; I lapped it up, and in the end I told her about my mission. She must have cast a spell on me, because I am ordinarily a light sleeper. When I woke up, I had this chain on me. And the Dark Princess was standing there. ‘Gmork,’ she said. ‘You forgot that I too am one of the creatures of Fantastica. And that to fight against Fantastica is to fight against me. That makes you my enemy, and I’ve outsmarted you. This chain can never be undone by anyone but me. But I am going into the Nothing with all my menservants and maidservants, and I shall never come back.’ Then she turned on her heel and left me. But all the spooks didn’t follow her example. It was only when the Nothing came closer that more and more of them were unable to resist its attraction.

If I’m not mistaken, the last of them have just gone. Yes, sonny, I fell into a trap, I listened too long to that woman. But you have fallen into the same trap, you’ve listened too long to me. For in these moments the Nothing has closed around the city like a ring.

You’re caught and there’s no escape.” “Then we’ll die together,” said Atreyu.

“So we will,” said Gmork, “but in very different ways, you little fool. For I shall die before the Nothing gets here, but you will be swallowed up by it.

There’s a big difference. Because I die first, my story is at an end. But yours will go on forever, in the form of a lie.”

“Why are you so wicked?” Atreyu asked.

“Because you creatures had a world,” Gmork replied darkly, “and I didn’t.” “What was your mission?”

Up until then Gmork had been sitting up. Now he slumped to the ground. He was plainly at the end of his strength, and he spoke in raucous gasps.

“Those whom I serve decided that Fantastica must be destroyed. But then they saw that their plan was endangered. They had learned that the Childlike Empress had sent out a messenger, a great hero—and it looked as if he might succeed in bringing a human to Fantastica. They wanted to have him killed before it was too late. That was why they sent me, because I had been in Fantastica and knew my way around. I picked up his trail right away, I tracked him day and night— gradually coming closer—through the Land of the Sassafranians—the jungle temple of Muwamath—Howling Forest—the Swamps of Sadness—the Dead Mountains—but then in the Deep Chasm by Ygramul’s net, I lost the track, he seemed to have dissolved into thin air. I went on searching, he had to be somewhere. But I never found his trail again, and this is where I ended up. I’ve failed. But so has he, for Fantastica is going under! I forgot to tell you, his name was Atreyu.”

Gmork raised his head. The boy had taken a step back. “I am Atreyu,” he said.

A tremor ran through the werewolf’s shrunken body. It came again and again and grew stronger and stronger. Then from his throat came a panting cough. It grew louder and more rasping; it swelled to a roar that echoed back from the city’s walls. The werewolf was laughing.

It was the most horrible sound Atreyu had ever heard. Never again was he to hear anything like it.

And then suddenly it stopped. Gmork was dead.

For a long time Atreyu stood motionless. At length he approached the dead werewolf—he himself didn’t know why—bent over the head and touched the shaggy black fur. And in that moment, quicker than thought, Gmork’s teeth snapped on Atreyu’s leg. Even in death, the evil in him had lost none of its power.

Desperately Atreyu tried to break open the jaws. In vain. The gigantic teeth, as though held in place by steel clamps, dug into his flesh. Atreyu sank to the grimy

pavement beside the werewolf’s corpse.

And step by step, soundless and irresistible, the Nothing advanced from all sides, through the high black wall surrounding the city.





 

































ust as Atreyu passed through the somber gateway of Spook City and started on the exploration that was to end so dismally in a squalid backyard, Falkor, the luckdragon, was making an astonishing discovery.

While searching tirelessly for his little friend and master, he had flown high into the clouds. On every side lay the sea, which was gradually growing calmer after the great storm that had churned it from top to bottom. Suddenly, far in the distance, Falkor caught sight of something that puzzled and intrigued him. It was as though a beam of golden light were going on and off, on and off, at regular intervals. And that beam of light seemed to point directly at him, Falkor.

He flew toward it as fast as he could, and when he was directly over it he saw that the light signal came from deep down in the water, perhaps from the bottom of the sea.

Luckdragons, as we know, are creatures of air and fire. Not only is the liquid element alien to them; it is also their enemy. Water can extinguish them like a

flame, or it can asphyxiate them, for they never stop breathing in air through their thousands of pearly scales. They feed on air and heat and require no other nourishment, but without air and heat they can only live a short time.

Falkor didn’t know what to do. He didn’t even know what the strange blinking under the sea was, or whether it had anything to do with Atreyu.

But he didn’t hesitate for long. He flew high into the sky, turned around, and head down, pressing his legs close to his body, which he held stiff and straight as a telegraph pole, he plummeted. The water spouted like a fountain as he hit the sea at top speed. The shock was so great that he almost lost consciousness, but he forced himself to open his ruby-red eyes. By then the blinking beam was close, only a few body lengths ahead of him. Air bubbles were forming around his body, as in a saucepan full of water just before it boils. He felt that he was cooling and weakening. With his last strength he dived still deeper—and then the source of light was within reach. It was AURYN, the Gem. Luckily the chain of the amulet had got caught on a coral branch growing out of the wall of an under- sea chasm. Otherwise the Gem would have fallen into the bottomless depths.

Falkor seized it and put the chain around his neck for fear of losing it—for he felt that he was about to faint.

 

When he came to, he didn’t know where he was, for to his amazement he was flying through the air, and when he looked down, there was the sea again. He was flying in a very definite direction and very fast, faster than would have seemed possible in his weakened condition. He tried to slow down, but soon found that his body would not obey him. An outside will far stronger than his own had taken possession of his body and was guiding it. That will came from AURYN, the amulet suspended from a chain around his neck.

The day was drawing to a close when at last Falkor sighted a beach in the distance. He couldn’t see much of the country beyond, it seemed to be hidden by fog. But when he came closer, he saw that most of the land had been swallowed up by the Nothing, which hurt his eyes and gave him the feeling of being blind.

At that point Falkor would probably have turned back if he had been able to do as he wanted. But the mysterious power of the gem forced him to fly straight ahead. And soon he knew why, for in the midst of the endless Nothing he discovered a small island that was still holding out, an island covered with high- gabled houses and crooked towers. Falkor had a strong suspicion whom he would find there, and from then on it was not only the powerful will of the amulet that spurred him on but his own as well. It was almost dark in the somber

backyard where Atreyu lay beside the dead werewolf. The luckdragon was barely able to distinguish the boy’s light-colored body from the monster’s black coat. And the darker it grew, the more they looked like one body.

Atreyu had long given up trying to break loose from the steel vise of the werewolf’s jaws. Dazed with fear and weakness, he was back in the Grass Ocean. Before him stood the purple buffalo he had not killed. He called to the other children, his companions of the hunt, who by then had no doubt become real hunters. But no one answered. Only the giant buffalo stood there motionless, looking at him. Atreyu called Artax, his horse, but he didn’t come, and his cheery neigh was nowhere to be heard. He called the Childlike Empress, but in vain. He wouldn’t be able to tell her anything. He hadn’t become a hunter, and he was no longer a messenger. He was Nobody.

Atreyu had given up.

But then he felt something else: the Nothing. It must be very near, he thought. Again he felt its terrible force of attraction. It made him dizzy. He sat up and, groaning, tugged at his leg. But the fangs held fast.

And in that he was lucky. For if Gmork’s jaws had not held him, Falkor would have come too late.

As it was, Atreyu suddenly heard the luckdragon’s bronze voice in the sky above him: “Atreyu! Are you there, Atreyu?”

“Falkor!” Atreyu shouted. And then he cupped his hands around his mouth and shouted: “Falkor! Falkor! I’m here. Help me! I’m here!”

And then he saw Falkor’s white body darting like a living streak of lightning through the square of darkening sky, far away at first, then closer. Atreyu kept shouting and Falkor answered in his bell-like voice. Then at last the dragon in the sky caught sight of the boy down below, no bigger than a bright speck in a dark hole.

Falkor prepared for a landing, but the backyard was small, there was hardly any light left, and the dragon brushed against one of the high-gabled houses. The roof collapsed with a roar. Falkor felt an agonizing pain; the sharp edge of the roof had cut deep into his body. This wasn’t one of his usual graceful landings. He came tumbling down on the grimy wet pavement next to Atreyu and the dead Gmork.

He shook himself, sneezed like a dog coming out of the water, and said: “At last!

So this is where you are! Oh well, I seem to have got here on time!”

Atreyu said nothing. He threw his arms around Falkor’s neck and buried his

face in the dragon’s silvery-white mane.

“Come!” said Falkor. “Climb on my back. We have no time to lose.”

Atreyu only shook his head. And then Falkor saw that Atreyu’s leg was imprisoned in the werewolf’s jaws.

“Don’t worry,” he said, rolling his ruby-red eyeballs. “We’ll fix that in a jiffy.”

He set to with both paws, trying to pry Gmork’s teeth apart. They didn’t budge by a hairbreadth.

Falkor heaved and panted. It was no use. Most likely he would never have set his young friend free if luck hadn’t come to his help. But luckdragons, as we know, are lucky, and so are those they are fond of.

When Falkor stopped to rest, he bent over Gmork’s head to get a better look at it in the dark, and it so happened that the Childlike Empress’s amulet, which was hanging from the chain on the dragon’s neck, touched the werewolf’s forehead. Instantly the jaws opened, releasing Atreyu’s leg.

“Hey!” cried Falkor. “What do you think of that?” There was no answer from Atreyu.

“What’s wrong?” cried Falkor. “Atreyu, where are you?”

He groped in the darkness for his friend, but Atreyu wasn’t there. And while the dragon was trying to pierce the darkness with his glowing red eyes, he himself felt the pull that had snatched Atreyu away from him. The Nothing was coming too close for comfort. But AURYN protected the luckdragon from the pull.

Atreyu was free from the werewolf’s jaws, but not from the pull of the Nothing. He tried to fight it, to kick, to push, but his limbs no longer obeyed him. A few feet more, and he would have been lost forever.

In that moment, quick as lightning, Falkor grabbed him by his long blue-black hair, and carried him up into the night-black sky.

 

The clock in the belfry struck nine.

 

Neither Atreyu nor Falkor could say later how long they had flown through the impenetrable darkness. Had it been only one night? Perhaps time had stopped for them and they were hovering motionless in the limitless blackness. It was the longest night Atreyu had ever known; and the same was true for Falkor, who was much older.

But even the longest and darkest of nights passes sooner or later. And when the pale dawn came, they glimpsed the Ivory Tower on the horizon.

Here it seems necessary to pause for a moment and explain a special feature of Fantastican geography. Continents and oceans, mountains and watercourses, have no fixed locations as in the real world. Thus it would be quite impossible to draw a map of Fantastica. In Fantastica you can never be sure in advance what will be next to what. Even the directions—north, south, east, and west—change from one part of the country to another. And the same goes for summer and winter, day and night. You can step out of a blazing hot desert straight into snowfields. In Fantastica there are no measurable distances, so that “near” and “far” don’t at all mean what they do in the real world. They vary with the traveler’s wishes and state of mind. Since Fantastica has no boundaries, its center can be anywhere—or to put it another way, it is equally near to, or far from, anywhere. It all depends on who is trying to reach the center. And the innermost center of Fantastica is the Ivory Tower.

To his surprise Atreyu found himself sitting on the luckdragon’s back. He couldn’t remember how he had got there. All he remembered was that Falkor had pulled him up by the hair. Feeling cold, he gathered in his cloak, which was fluttering behind him. And then he saw that it was gray. It had lost its color, and so had his skin and hair. And Falkor, as Atreyu discovered in the rising light, was no better off. The dragon looked unreal, more like a swath of gray mist than anything else. They had both come too close to the Nothing.

“Atreyu, my little master,” the dragon said softly. “Does your wound hurt very badly?” About his own wound he said nothing.

“No,” said Atreyu. “I don’t feel anything anymore.” “Have you a fever?”

“No, Falkor. I don’t think so. Why do you ask?”

“I can feel you trembling,” said the dragon. “What in the world can make Atreyu tremble now?”

After a short silence Atreyu said: “We’ll be there soon! And then I’ll have to tell the Childlike Empress that nothing can save her. That’s harder than anything else I’ve had to do.”

“Yes,” said Falkor even more softly. “That’s true.”

They flew in silence, drawing steadily nearer to the Ivory Tower. After a while the dragon spoke again.

“Have you seen her, Atreyu?” “Who?”

“The Childlike Empress. Or rather, the Golden-eyed Commander of Wishes.

Because that’s how you must address her when you come into her presence.”

“No, I’ve never seen her.”

“I have. That was long ago. Your great-grandfather must have been a little boy at the time. And I was a young cloud-snapper with a head full of foolishness. One night I saw the moon, shining so big and round, and I tried to grab it out of the sky. When I finally gave up, I dropped with exhaustion and landed near the Ivory Tower. That night the Magnolia Pavilion had opened its petals wide, and the Childlike Empress was sitting right in the middle of it. She cast a glance at me, just one short glance, but—I hardly know how to put it—that glance made a new dragon of me.”

“What does she look like?”

“Like a little girl. But she’s much older than the oldest inhabitants of Fantastica. Or rather, she’s ageless.”

“Yes,” said Atreyu. “But now she’s deathly sick. How can I tell her that there’s no hope?”

“Don’t try to mislead her. She can’t be fooled. Tell her the truth.” “But suppose it kills her?”

“I don’t think it will work out that way,” said Falkor.

“You wouldn’t,” said Atreyu, “because you’re a luckdragon.” For a long while nothing was said.

When at last they spoke together for the third time, it was Atreyu who broke the silence.

“Falkor,” he said, “I’d like to ask you one more thing.” “Fire away.”

Who is she?

“What do you mean?”

“AURYN has power over all the inhabitants of Fantastica, the creatures of both light and darkness. It also has power over you and me. And yet the Childlike Empress never exerts power. It’s as if she weren’t there. And yet she is in everything. Is she like us?”

“No,” said Falkor, “she’s not like us. She’s not a creature of Fantastica. We all exist because she exists. But she’s of a different kind.”

“Then is she . . .” Atreyu hesitated. “Is she human?” “No,” said Falkor, “she’s not human.”

“Well then . . .” And Atreyu repeated his question. “Who is she?”

After a long silence Falkor answered: “No one in Fantastica knows, no one can know. That’s the deepest secret of our world. I once heard a wise man say that if anyone were to know the whole answer, he would cease to exist. I don’t

know what he meant. That’s all I can tell you.”

“And now,” said Atreyu, “she’ll die and we’ll die with her, and we’ll never know her secret.”

This time Falkor made no answer, but a smile played around the corners of his leonine mouth, as though to say: Nothing of the kind will happen.

After that they spoke no more.

A little later they flew over the outer edge of the “Labyrinth,” the maze of flower beds, hedges, and winding paths that surrounded the Ivory Tower on all sides. To their horror, they saw that there too the Nothing had been at work. True, it had touched only small spots in the Labyrinth, but those spots were all about. The once bright-colored flower beds and shrubbery in between were now gray and withered. The branches of once graceful little trees were gnarled and bare. The green had gone out of the meadows, and a faint smell of rot and mold rose up to the newcomers. The only colors left were those of swollen giant mushrooms and of garish, poisonous-looking blooms that suggested nothing so much as the figments of a maddened brain. Enfeebled and trembling, the innermost heart of Fantastica was still resisting the inexorable encroachment of the Nothing.

But the Ivory Tower at the center still shimmered pure, immaculately white.

Ordinarily flying messengers landed on one of the lower terraces. But Falkor reasoned that since neither he nor Atreyu had the strength to climb the long spiraling street leading to the top of the Tower, and since time was of the essence, the regulations and rules of etiquette could reasonably be ignored. He therefore decided on an emergency landing. Swooping down over the ivory buttresses, bridges, and balustrades, he located, just in time, the uppermost end of the spiraling High Street, which lay just outside the palace grounds. Plummeting to the roadway, he went into a skid, made several complete turns, and finally came to a stop tail-first.

Atreyu, who had been clinging with both arms to Falkor’s neck, sat up and looked around. He had expected some sort of reception, or at least a detachment of palace guards to challenge them—but far and wide there was no one to be seen. All the life seemed to have gone out of the gleaming white buildings roundabout.

“They’ve all fled!” he thought. “They’ve left the Childlike Empress alone. Or she’s already . . .”

“Atreyu,” Falkor whispered. “You must give the Gem back to her.” Falkor removed the golden chain from his neck. It fell to the ground.

Atreyu jumped down off Falkor’s back—and fell. He had forgotten his wound. He reached for the Glory and put the chain around his neck. Then, leaning on the dragon, he rose painfully to his feet.

“Falkor,” he said. “Where must I go?”

But the luckdragon made no answer. He lay as though dead.

The street ended in front of an enormous, intricately carved gate which led through a high white wall. The gate was open.

Atreyu hobbled through it and came to a broad, gleaming-white stairway that seemed to end in the sky. He began to climb. Now and then he stopped to rest. Drops of his blood left a trail behind him.

At length the stairway ended. Ahead of him lay a long gallery. He staggered ahead, clinging to the balustrade for support. Next he came to a courtyard that seemed to be full of waterfalls and fountains, but by then he couldn’t be sure of what he was seeing. He struggled forward as in a dream. He came to a second, smaller gate; then there was a long, narrow stairway, which took him to a garden where everything—trees, flowers, and animals—was carved from ivory. Crawling on all fours, he crossed several arched bridges without railings which led to a third gate, the smallest of all. He dragged himself through it on his belly and, slowly raising his eyes, saw a dome-shaped hall of gleaming-white ivory, and on top of it the Magnolia Pavilion. There was no path or stairway leading up to it.

Atreyu buried his head in his hands.

No one who reaches or has reached that pavilion can say how he got there.

The last stretch of the way must come to him as a gift.

Suddenly Atreyu was in the doorway. He went in—and found himself face to face with the Golden-eyed Commander of Wishes.

She was sitting, propped on many cushions, on a soft round couch at the center of the great round blossom. She was looking straight at him. She seemed infinitely frail and delicate. Atreyu could see how ill she was by the pallor of her face, which seemed almost transparent. Her almond-shaped eyes, the color of dark gold, were serene and untroubled. She smiled. Her small, slight body was wrapped in an ample silken gown which gleamed so white that the magnolia petals seemed dark beside it. She looked like an indescribably beautiful little girl of no more than ten, but her long, smoothly combed hair, which hung down over her shoulders, was as white as snow.

 

Bastian gave a start.

Something incredible had happened.

Thus far he had been able to visualize every incident of the Neverending Story. Some of them, it couldn’t be denied, were very strange, but they could somehow be explained. He had formed a clear picture of Atreyu riding on the luckdragon, of the Labyrinth and the Ivory Tower.

These pictures, however, existed only in his imagination. But when he came to the

Magnolia Pavilion, he saw the face of the Childlike Empress—if only for a fraction of a second, for the space of a lightning flash. And not only in his thoughts, but with his eyes! It wasn’t his imagination, of that Bastian was sure. He had even seen details that were not mentioned in the description, such as her eyebrows, two fine lines that might have been drawn with India ink, arching over her golden eyes, or her strangely elongated earlobes, or the way her head tilted on her slender neck. Bastion knew that he had never in all his life seen anything so beautiful as this face. And in that same moment he knew her name: Moon Child. Yes, beyond a doubt, that was her name.

And Moon Child had looked at him—at him, Bastian Balthazar Bux.

She had looked at him with an expression that he could not interpret. Had she too been taken by surprise? Had there been a plea in that look? Or longing? Or . . . what could it be?

He tried to remember Moon Child’s eyes, but was no longer able to.

He was sure of only one thing: that her glance had passed through his eyes and down into his heart. He could still feel the burning trail it had left behind. That glance, he felt, was embedded in his heart, and there it glittered like a mysterious jewel. And in a strange and wonderful way it hurt.

Even if Bastian had wanted to, he couldn’t have defended himself against this thing that had happened to him. However, he didn’t want to. Oh no, not for anything in the world would he have parted with that jewel. All he wanted was to go on reading, to see Moon Child again, to be with her.

It never occurred to him that he was getting into the most unusual and perhaps the most dangerous of adventures. But even if he had known this, he wouldn’t have dreamed of shutting the book.

With a trembling forefinger he found his place and went on reading. The clock in the belfry struck ten.





 

































nitting his brow, powerless to utter a single word, Atreyu stood gazing at the Childlike Empress. He had no idea how to begin or what to do. He had often tried to imagine this moment, he had prepared words and phrases, but they had all gone out of his head.

At length she smiled at him. Her voice when she spoke was as soft as the voice of a bird singing in its sleep.

“You have returned from the Great Quest, Atreyu.” Atreyu hung his head.

“Yes,” he managed to say.

After a short silence she went on: “Your lovely cloak has turned gray. Your hair is gray and your skin is like stone. But all that will be as it was, or better. You’ll see.”

Atreyu felt as if a band had tightened around his throat. All he could do was nod his head. Then he heard the sweet soft voice saying: “You have carried out your mission . . .”

Were these words meant as a question? Atreyu didn’t know. He didn’t dare look up to read the answer in her face. Slowly he reached for the golden amulet and removed the chain from his neck. Without raising his eyes, he held it out to the Childlike Empress. He tried to kneel as messengers did in the stories and songs he had heard at home, but his wounded leg refused to do his bidding. He fell at the Childlike Empress’s feet, and there he lay with his face to the floor.

She bent forward, picked up AURYN, and let the chain glide through her fingers.

“You have done well,” she said, “and I am pleased with you.”

“No!” cried Atreyu almost savagely. “It was all in vain. There’s no hope.”

A long silence followed. Atreyu buried his face in the crook of his elbow, and his whole body trembled. How would she react? With a cry of despair, a moan, words of bitter reproach or even anger? Atreyu couldn’t have said what he expected. Certainly not what he heard. Laughter. A soft, contented laugh. Atreyu’s thoughts were in a whirl, for a moment he thought she had gone mad. But that was not the laughter of madness. Then he heard her say: “But you’ve brought him with you.”

Atreyu looked up. “Who?”

“Our savior.”

He looked into her eyes and found only serenity. She smiled again.

“Golden-eyed Commander of Wishes,” he stammered, now for the first time using the official words of address that Falkor had recommended. “I . . . no, really . . . I don’t understand.”

“I can see that by the look on your face,” she said. “But whether you understand or not, you’ve done it. And that’s what counts, isn’t it?”

Atreyu said nothing. He couldn’t even think of a question to ask. He stood there openmouthed, staring at the Childlike Empress. “I saw him,” she went on, “and he saw me.”

“When?” Atreyu asked.

“Just as you came in. You brought him with you.” Involuntarily Atreyu looked around.

“Then where is he? I don’t see anyone but you and me.”

“Oh, the world is full of things you don’t see. You can believe me. He isn’t in our world yet. But our worlds have come close enough together for us to see each other. For a twinkling the thin wall between us became transparent. He will be with us soon and then he will call me by the new name that he alone can give

  1. Then I shall be well, and so will Fantastica.”

As the Childlike Empress was speaking, Atreyu raised himself with difficulty. He looked up to her as she lay on her bed of cushions. His voice was husky when he asked: “Then you’ve known my message all along? What Morla the Aged One told me in the Swamps of Sadness, what the mysterious voice of Uyulala in the Southern Oracle revealed to me—you knew it all?”

“Yes,” she said. “I knew it before I sent you on the Great Quest.” Atreyu gulped.

“Why,” he finally managed to ask, “why did you send me then? What did you expect me to do?”

“Exactly what you did,” she replied.

“What I did . . .” Atreyu repeated slowly. His forehead clouded over. “In that case,” he said angrily, “it was all unnecessary. There was no need of sending me on the Great Quest. I’ve heard that your decisions are often mysterious. That may be. But after all I’ve been through I hate to think that you were just having a joke at my expense.”

The Childlike Empress’s eyes grew grave.

“I was not having a joke at your expense, Atreyu,” she said. “I am well aware of what I owe you. All your sufferings were necessary. I sent you on the Great Quest—not for the sake of the message you would bring me, but because that was the only way of calling our savior. He took part in everything you did, and he has come all that long way with you. You heard his cry of fear when you were talking with Ygramul beside the Deep Chasm, and you saw him when you stood facing the Magic Mirror Gate. You entered into his image and took it with you, and he followed you, because he saw himself through your eyes. And now, too, he can hear every word we are saying. He knows we are talking about him, he knows we have set our hope in him and are expecting him. Perhaps he even understands that all the hardship you, Atreyu, took upon yourself was for his sake and that all Fantastica is calling him.”

Little by little the darkness cleared from Atreyu’s face.

After a while he asked: “How can you know all that? The cry by the Deep Chasm and the image in the magic mirror? Did you arrange it all in advance?”

The Childlike Empress picked up AURYN, and said, while putting the chain around her neck: “Didn’t you wear the Gem the whole time? Didn’t you know that through it I was always with you?”

“Not always,” said Atreyu. “I lost it.”

“Yes. Then you were really alone. Tell me what happened to you then.”

Atreyu told her the story.

“Now I know why you turned gray,” said the Childlike Empress. “You were too close to the Nothing.”

“Gmork, the werewolf, told me,” said Atreyu, “that when a Fantastican is swallowed up by the Nothing, he becomes a lie. Is that true?”

“Yes, it is true,” said the Childlike Empress, and her golden eyes darkened. “All lies were once creatures of Fantastica. They are made of the same stuff— but they have lost their true nature and become unrecognizable. But, as you might expect from a half-and-half creature like Gmork, he told you only half the truth. There are two ways of crossing the dividing line between Fantastica and the human world, a right one and a wrong one. When Fantasticans are cruelly dragged across it, that’s the wrong way. When humans, children of man, come to our world of their own free will, that’s the right way. Every human who has been here has learned something that could be learned only here, and returned to his own world a changed person. Because he had seen you creatures in your true form, he was able to see his own world and his fellow humans with new eyes. Where he had seen only dull, everyday reality, he now discovered wonders and mysteries. That is why humans were glad to come to Fantastica. And the more these visits enriched our world, the fewer lies there were in theirs, the better it became. Just as our two worlds can injure each other, they can also make each other whole again.”

For a time both were silent. Then she went on: “Humans are our hope. One of them must come and give me a new name. And he will come.”

Atreyu made no answer.

“Do you understand now, Atreyu,” she asked, “why I had to ask so much of you? Only a long story full of adventures, marvels, and dangers could bring our savior to me. And that was your story.” Atreyu sat deep in thought. At length he nodded. “Yes, Golden-eyed Commander of Wishes, now I understand. I thank you for choosing me. Forgive my anger.”

“You had no way of knowing these things,” she answered. “And that too was necessary.”

Again Atreyu nodded. After a short silence he said: “But I’m very tired.” “You have done enough, Atreyu. Would you like to rest?”

“Not yet. First I would like to see the happy outcome of my story. If, as you say, I’ve carried out my mission, why isn’t the savior here yet? What’s he waiting for?”

“Yes,” said the Childlike Empress softly. “What is he waiting for?”

Bastian felt his hands growing moist with excitement.

“I can’t do it,” he said. “I don’t even know what I’m supposed to do. Maybe the name I’ve thought of isn’t the right one.”

 

“May I ask you another question?” said Atreyu. “Of course,” she answered with a smile.

“Why do you need a new name to get well?”

“Only the right name gives beings and things their reality,” she said. “A wrong name makes everything unreal. That’s what lies do.”

“Maybe the savior doesn’t yet know the right name to give you.” “Oh yes he does,” she assured him.

Again they sat silent.

 

“I know it all right,” said Bastian. “I knew it the moment I laid eyes on her.

But I don’t know what I have to do.”

 

Atreyu looked up.

“Maybe he wants to come and just doesn’t know how to go about it.”

“All he has to do,” said the Childlike Empress, “is to call me by my new name, which he alone knows. Nothing more.”

 

Bastian’s heart pounded. Should he try? What if he didn’t succeed? What if he was wrong? What if they weren’t talking about him but about some entirely different savior? How could he be sure they really meant him?

 

“Could it be,” said Atreyu after a while, “that he doesn’t know it’s him and not somebody else we’re talking about?”

“No,” said the Childlike Empress. “Not after all the signs he has had. He can’t be that stupid.”

 

“I’ll give it a try,” said Bastian. But he couldn’t get a word out of his mouth. What if it actually worked? Then he would somehow be transported to

Fantastica. But how? Maybe he would have to go through some sort of change. And what would that be like? Would it hurt? Would he lose consciousness? And did he really want to go to Fantastica? He wanted to go to Atreyu and the Childlike Empress, but he wasn’t at all keen on all those monsters the place was swarming with.

“Maybe he hasn’t got the courage,” Atreyu suggested.

“Courage?” said the Childlike Empress. “Does it take courage to say my name?”

“Then,” said Atreyu, “I can think of only one thing that may be holding him back.”

“And what would that be?”

After some hesitation Atreyu blurted out: “He just doesn’t want to come here.

He just doesn’t care about you or Fantastica. We don’t mean a thing to him.” The Childlike Empress stared wide-eyed at Atreyu.

 

“No! No!” Bastion cried out. “You mustn’t think that! It’s not that at all. Oh, please, please, don’t think that! Can you hear me? It’s not like that, Atreyu.”

 

“He promised me he would come,” said the Childlike Empress. “I saw it in his eyes.”

 

“Yes, that’s true. And I will come soon. I just need time to think. It’s not so simple.”

 

Atreyu hung his head and the two of them waited a long while in silence. But the savior did not appear, and there wasn’t the slightest sign to suggest that he was trying to attract their attention.

 

Bastian was thinking of how it would be if he suddenly stood before them in all his fatness, with his bowlegs and his pasty face. He could literally see the disappointment in the Childlike Empress’s face when she said to him: “What brings you here?”

And Atreyu might even laugh.

The thought brought a blush to Bastion’s cheeks.

Obviously they were expecting a prince, or at any rate some sort of hero. He just couldn’t appear before them. It was out of the question. He would do anything for them. Anything but that!

 

When at last the Childlike Empress looked up, the expression of her face had changed. Atreyu was almost frightened at its grandeur and severity. He knew where he had once seen that expression: in the sphinxes.

“There is one more thing I can do,” she said. “But I don’t like it, and I wish he wouldn’t make me.”

“What is that?” Atreyu asked in a whisper.

“Whether he knows it or not, he is already part of the Neverending Story. He can no longer back out of it. He made me a promise and he has to keep it. But by myself I can’t make him.”

“Who in all Fantastica,” Atreyu asked, “can do what you cannot?”

“Only one person,” she replied. “If he wants to. The Old Man of Wandering Mountain.”

Atreyu looked at the Childlike Empress in amazement.

“The Old Man of Wandering Mountain?” he repeated, stressing every word. “You mean he exists?”

“Did you doubt it?”

“The old folk in our tent camps tell the children about him when they’re naughty. They say he writes everything down in a book, whatever you do or fail to do, and there it stays in the form of a beautiful or an ugly story. When I was little, I believed it, but then I decided it was only an old wives’ tale to frighten children.”

“You never can tell about old wives’ tales,” she said with a smile. “Then you know him?” Atreyu asked. “You’ve seen him?”

She shook her head.

“If I find him,” she said, “it will be our first meeting.”

“Our old folk also say,” Atreyu went on, “that you never can know where the Old Man’s mountain will be at any particular time. They say that when he appears it’s always unexpectedly, now here, now there, and that you can only run across him by accident, or because the meeting was fated.”

“That’s true,” said the Childlike Empress. “You can’t look for the Old Man of Wandering Mountain. You can only find him.”

“Does that go for you too?” “Yes,” she said, “for me too.” “But what if you don’t find him?”

“If he exists I’ll find him,” she said with a mysterious smile.

Her answer puzzled Atreyu. Hesitantly he asked: “Is he—is he like you?” “He is like me,” she replied, “because he is my opposite in every way.”

Atreyu saw that with such questions he would get nothing out of her. And another thought weighed on him.

“You are deathly sick, Golden-eyed Commander of Wishes,” he said almost sternly. “You won’t go far by yourself. All your servants and courtiers seem to have abandoned you. Falkor and I would be glad to take you wherever you wish,

but, frankly, I don’t know if Falkor has the strength. And my foot—well, you’ve seen that it won’t carry me.”

“Thank you, Atreyu,” she said. “Thank you for your brave and loyal offer. But I’m not planning to take you with me. To find the Old Man of Wandering Mountain, one must be alone. And even now Falkor is not where you left him. He has been moved to a place where his wounds will be healed and his strength renewed. And you too, Atreyu, will soon be in that same place.”

Her fingers played with AURYN. “What place is that?”

“There’s no need for you to know that now. You will be moved in your sleep.

And one day you will know where you were.”

“But how can I sleep?” cried Atreyu, so shaken that he lost his sense of tact. “How can I sleep when I know you may die any minute?”

The Childlike Empress laughed softly.

“I’m not quite as forsaken as you think. I’ve already told you that there are some things you can’t hope to understand. I have my seven Powers, which belong to me as your memory or courage or thoughts belong to you. They cannot be seen or heard, and yet they are with me at this moment. I shall leave three of them with you and Falkor to look after you, and I shall take the other four with me as my escort. You needn’t worry, Atreyu. You can sleep easy.”

At these words, all the accumulated weariness of the Great Quest descended on Atreyu like a dark veil. Yet it was not the leaden weariness of exhaustion, but a gentle longing for sleep. He still had many questions to ask the Golden-eyed Commander of Wishes, but he felt that her last words had vanquished all his wishes but one, the wish for sleep. His eyes closed and, still in a sitting position, he glided into the darkness.

 

The clock in the steeple struck eleven.

 

As though far in the distance, Atreyu heard the Childlike Empress give an order in a soft voice. Then he felt powerful arms lifting him gently and carrying him away.

For a long time, all was dark and warm around him. Much later he half awoke when a soothing liquid touched his parched lips and ran down his throat. He had a vague impression that he was in a great cave with walls of gold. He saw the white luckdragon lying beside him. And then he saw, or thought he saw, a gushing fountain in the middle of the cave, encircled by two snakes, a light one

and a dark one, which were biting each other’s tail.

But then an invisible hand brushed over his eyes. The feel of it was infinitely soothing, and again he fell into a deep and dreamless sleep.

At that moment, the Childlike Empress left the Ivory Tower. She lay bedded on soft silken cushions in a glass litter, which seemed to be moving under its own power, but was actually being carried by four of the Empress’s invisible servants.

They crossed the Labyrinth garden, or rather, what was left of it, making frequent detours, since many of the paths ended in the Nothing.

When at length they left the Labyrinth, the invisible carriers stopped. They seemed to be waiting for a command.

The Childlike Empress sat up on her cushions and cast a glance back at the Ivory Tower.

Then, sinking back, she said: “Keep going! Just keep going—no matter where.”

Blown by the wind, her snow-white hair trailed behind the glass litter like a flag.





 

































ong-thundering avalanches descended from the heights, snowstorms raged between towering ice-coated summits, dipped into hollows and ravines, and swept howling onward over the great white expanse of the glaciers. Such weather was not at all unusual for this part of the country, for the Mountain of Destiny—that was its name was the highest in all Fantastica, and its peaks literally jutted into the heights of heaven.

Not even the most intrepid mountain climbers ventured into these fields of everlasting ice. It had been so very, very long since anyone had succeeded in climbing this mountain that the feat had been forgotten. For one of Fantastica’s many strange laws decreed that no one could climb the Mountain of Destiny until the last successful climber had been utterly forgotten. Thus anyone who managed to climb it would always be the first.

No living creature could survive in that icy waste—except for a handful of gigantic ice-glumps—who could barely be called living creatures, for they moved so slowly that they needed years for a single step and whole centuries for

a short walk. Which meant, of course, that they could only associate with their own kind and knew nothing at all about the rest of Fantastica. They thought of themselves as the only living creatures in the universe.

Consequently, they were puzzled to the point of consternation when they saw a tiny speck twining its way upward over perilous crags and razor-sharp ridges, then vanishing into deep chasms and crevasses, only to reappear higher up.

That speck was the Childlike Empress’s glass litter, still carried by four of her invisible Powers. It was barely visible, for the glass it was made of looked very much like ice, and the Childlike Empress’s white gown and white hair could hardly be distinguished from the snow roundabout.

She had traveled many days and nights. The four Powers had carried her through blinding rain and scorching sun, through darkness and moonlight, onward and onward, just as she had ordered, “no matter where.” She was prepared for a long journey and all manner of hardship, since she knew that the Old Man of Wandering Mountain could be everywhere or nowhere.

Still, the four invisible Powers were not guided entirely by chance in their choice of an itinerary. As often as not, the Nothing, which had already swallowed up whole regions, left only a single path open. Sometimes the possibilities narrowed down to a bridge, a tunnel, or a gateway, and sometimes they were forced to carry the litter with the deathly ill Empress over the waves of the sea. These carriers saw no difference between liquid and solid.

Tireless and persevering, they had finally reached the frozen heights of the Mountain of Destiny. And they would go on climbing until the Childlike Empress gave them another order. But she lay still on her cushions. Her eyes were closed and she said nothing. The last words she had spoken were the “no matter where” she had said on leaving the Ivory Tower.

The litter was moving through a deep ravine, so narrow that there was barely room for it to pass. The snow was several feet deep, but the invisible carriers did not sink in or even leave footprints. It was very dark at the bottom of this ravine, which admitted only a narrow strip of daylight. The path was on a steady incline and the higher the litter climbed, the nearer the daylight seemed. And then suddenly the walls leveled off, opening up a view of a vast white expanse. This was the summit, for the Mountain of Destiny culminated not, like most other mountains, in a single peak, but in this high plateau, which was as large as a whole country.

But then, surprisingly enough, a smaller, odd-looking mountain arose in the midst of the plateau. It was rather tall and narrow, something like the Ivory

Tower, but glittering blue. It consisted of innumerable strangely shaped stone teeth, which jutted into the sky like great inverted icicles. And about halfway up the mountain three such teeth supported an egg the size of a house.

Behind the egg large blue columns resembling the pipes of an enormous organ rose in a semicircle. The great egg had a circular opening, which might have been a door or a window. And in that opening a face appeared. The face was looking straight at the litter.

The Childlike Empress opened her eyes. “Stop!” she said softly.

The invisible Powers stopped. The Childlike Empress sat up.

“It’s the Old Man of Wandering Mountain,” she said. “I must go the last stretch of the way alone. Whatever may happen, wait here for me.”

The face in the circular opening vanished.

The Childlike Empress stepped out of the litter and started across the great snowfield. It was hard going, for she was bare-footed, and there was an icy crust on the snow. At every step she broke through, and the ice cut her tender feet. The wind tugged at her white hair and her gown.

At last she came to the blue mountain and stood facing the smooth stone teeth. The dark circular opening disgorged a long ladder, much longer than there could possibly have been room for in the egg. It soon extended to the foot of the blue mountain, and when the Childlike Empress took hold of it she saw that it consisted of letters, which were fastened together. Each rung of the ladder was a line. The Childlike Empress started climbing, and as she climbed from rung to

rung, she read the words:

 

TURN BACK! TURN BACK AND GO AWAY!

FOR COME WHAT WILL AND COME WHAT MAY, NEVER IN ANY TIME OR PLACE

MUST YOU AND I MEET FACE TO FACE. TO YOU ALONE, O CHILDLIKE ONE, THE WAY IS BARRED, TO YOU ALONE.

TURN BACK, TURN BACK, FOR NEVER SHALL BEGINNING SEEK THE END OF ALL.

THE CONSEQUENCE OF YOUR INTRUSION CAN ONLY BE EXTREME CONFUSION.

She stopped to rest and looked up. She still had a long way to go. So far she hadn’t even gone halfway.

“Old Man of Wandering Mountain,” she said aloud. “If you don’t want us to meet, you needn’t have written me this ladder. It’s your disinvitation that brings me.”

And she went on climbing.

 

WHAT YOU ACHIEVE AND WHAT YOU ARE IS RECORDED BY ME, THE CHRONICLER. LETTERS UNCHANGEABLE AND DEAD FREEZE WHAT THE LIVING DID AND SAID. THEREFORE BY COMING HERE TO ME YOU INVITE CATASTROPHE.

THUS IS THE END OF WHAT YOU ONCE BEGAN. YOU WILL NEVER BE OLD, AND I, OLD MAN WAS NEVER YOUNG. WHAT YOU AWAKEN

I LAY TO REST. BE NOT MISTAKEN:

IT IS FORBIDDEN THAT LIFE SHOULD SEE ITSELF IN DEAD ETERNITY.

 

Again she had to stop to catch her breath.

By then the Childlike Empress was high up and the ladder was swaying like a branch in the snowstorm. Clinging to the icy letters that formed the rungs of the ladder, she climbed the rest of the way.

 

BUT IF YOU STILL REFUSE TO HEED

THE WARNING OF THE LADDER’S SCREED, IF YOU ARE STILL PREPARED TO DO

WHAT IN TIME AND SPACE IS FORBIDDEN YOU, I WON’T ATTEMPT TO HOLD YOU BACK,

THEN WELCOME TO THE OLD MAN’S SHACK.

 

When the Childlike Empress had those last rungs behind her, she sighed and looked down. Her wide white gown was in tatters, for it had caught on every bend and crossbar of the message-ladder. Oh well, she had known all along that letters were hostile to her. She felt the same way about them.

From the ladder she stepped through the circular opening in the egg. Instantly it closed behind her, and she stood motionless in the darkness, waiting to see

what would happen next.

Nothing at all happened for quite some time.

At length she said softly: “Here I am.” Her voice echoed as in a large empty room—or was it another, much deeper voice that had answered her in the same words?

Little by little, she made out a faint reddish glow in the darkness. It came from an open book, which hovered in midair at the center of the egg-shaped room. It was tilted in such a way that she could see the binding, which was of copper- colored silk, and on the binding, as on the Gem, which the Childlike Empress wore around her neck, she saw an oval formed by two snakes biting each other’s tail. Inside this oval was printed the title:

 

The Neverending Story

 

Bastian’s thoughts were in a whirl. This was the very same book that he was reading! He looked again. Yes, no doubt about it, it was the book he had in his hand. How could this book exist inside itself?

 

The Childlike Empress had come closer. On the other side of the hovering book she now saw a man’s face. It was bathed in a bluish light. The light came from the print of the book, which was bluish green.

The man’s face was as deeply furrowed as if it had been carved in the bark of an ancient tree. His beard was long and white, and his eyes were so deep in their sockets that she could not see them. He was wearing a dark monk’s robe with a hood, and in his hand he was holding a stylus, with which he was writing in the book. He did not look up.

The Childlike Empress stood watching him in silence. He was not really writing. His stylus glided slowly over the empty page and the letters and words appeared as though of their own accord.

The Childlike Empress read what was being written, and it was exactly what was happening at that same moment: “The Childlike Empress read what was being written . . .”

“You write down everything that happens,” she said.

“Everything that I write down happens,” was the answer, spoken in the deep, dark voice that had come to her like an echo of her own voice.

Strange to say, the Old Man of Wandering Mountain had not opened his mouth. He had written her words and his, and she had heard them as though merely remembering that he had just spoken. “Are you and I and all Fantastica,” she asked, “are we all recorded in this book?”

He wrote, and at the same time she heard his answer: “No, you’ve got it wrong. This book is all Fantastica—and you and I.”

“But where is this book?”

And he wrote the answer: “In the book.”

“Then it’s all a reflection of a reflection?” she asked.

He wrote, and she heard him say: “What does one see in a mirror reflected in a mirror? Do you know that, Golden-eyed Commander of Wishes?”

The Childlike Empress said nothing for a while, and the Old Man wrote that she said nothing.

Then she said softly: “I need your help.”

“I knew it,” he said and wrote.

“Yes,” she said. “I supposed you would. You are Fantastica’s memory, you know everything that has happened up to this moment. But couldn’t you leaf ahead in your book and see what’s going to happen?”

“Empty pages,” was the answer. “I can only look back at what has happened. I was able to read it while I was writing it. And I know it because I have read it. And I wrote it because it happened. The Neverending Story writes itself by my hand.”

“Then you don’t know why I’ve come to you?”

“No.” And as he was writing, she heard the dark voice: “And I wish you hadn’t. By my hand everything becomes fixed and final—you too, Golden-eyed Commander of Wishes. This egg is your grave and your coffin. You have entered into the memory of Fantastica. How do you expect to leave here?”

“Every egg,” she said, “is the beginning of new life.”

“True,” the Old Man wrote and said, “but only if its shell bursts open.” “You can open it,” cried the Childlike Empress. “You let me in.”

“Your power let you in. But now that you’re here, your power is gone. We are shut up here for all time. Truly, you shouldn’t have come. This is the end of the Neverending Story.”

The Childlike Empress smiled. She didn’t seem troubled in the least. “You and I,” she said, “can’t prolong it. But there is someone who can.” “Only a human,” wrote the Old Man, “can make a fresh start.”

“Yes,” she replied, “a human.”

Slowly the Old Man of Wandering Mountain raised his eyes and saw the Childlike Empress for the first time. His gaze seemed to come from the darkest distance, from the end of the universe. She stood up to it, answered it with her golden eyes. A silent, immobile battle was fought between them. At length the Old Man bent over his book and wrote: “For you too there is a borderline. Respect it.”

“I will,” she said, “but the one of whom I speak, the one for whom I am waiting, crossed it long ago. He is reading this book while you are writing it. He hears every word we are saying. He is with us.”

“That is true!” she heard the Old Man’s voice as he was writing. “He too is part and parcel of the Neverending Story, for it is his own story.”

“Tell me the story!” the Childlike Empress commanded. “You, who are the memory of Fantastica—tell me the story from the beginning, word for word as you have written it.”

The Old Man’s writing hand began to tremble.

“If I do that, I shall have to write everything all over again. And what I write will happen again.”

“So be it!” said the Childlike Empress.

 

Bastian was beginning to feel uncomfortable.

What was she going to do? It had something to do with him. But if even the Old Man of Wandering Mountain was trembling . . .

 

The Old Man wrote and said: “If the Neverending Story contains itself, then the world will end with this book.”

And the Childlike Empress answered: “But if the hero comes to us, new life can be born. Now the decision is up to him.”

“You are ruthless indeed,” the Old Man said and wrote. “We shall enter the Circle of Eternal Return, from which there is no escape.”

“Not for us,” she replies, and her voice was no longer gentle, but as hard and clear as a diamond. “Nor for him—unless he saves us all.”

“Do you really want to entrust everything to a human?” “I do.”

But then she added more softly: “Or have you a better idea?” After a long silence the Old Man’s dark voice said: “No.”

He bent low over the book in which he was writing. His face was hidden by his hood.

“Then do what I ask.”

Submitting to her will, the Old Man of Wandering Mountain began telling the Neverending Story from the beginning.

At that moment the light cast by the pages of the book changed color. It became reddish like the letters that now formed under the Old Man’s stylus. His monk’s habit and the hood also took on the color of copper. And as he wrote, his deep, dark voice resounded.

 

Bastian too heard it quite clearly.

Yet he did not understand the first words the Old Man said. They sounded like: “Skoob dlo rednaeroc darnoc Irac.”

Strange, Bastian thought. Why is the Old Man suddenly talking a foreign language? Or was it some sort of magic spell?

The Old Man’s voice went on and Bastian couldn’t help listening.

“This inscription could be seen on the glass door of a small shop, but naturally this was only the way it looked if you were inside the dimly lit shop, looking out at the street through the plate-glass door.

“Outside, it was a gray, cold, rainy November morning. The rain ran down the glass and over the ornate letters. Through the glass there was nothing to be seen but the rain-splotched wall across the street.”

 

Bastian was rather disappointed. I don’t know that story, he thought. That’s not in the book I’ve been reading. Oh well, it only goes to show that I’ve been mistaken the whole time. I really thought the Old Man would start telling the Neverending Story from the beginning.

 

“Suddenly the door was opened so violently that a little cluster of brass bells tinkled wildly, taking quite some time to calm down. The cause of this hubbub was a fat little boy of ten or twelve. His wet, dark-brown hair hung down over his face, his coat was soaked and dripping, and he was carrying a school satchel slung over his shoulder. He was rather pale and out of breath, but, despite the hurry he had been in a moment before, he was standing in the open doorway as though rooted to the spot.”

 

As Bastian read this and listened to the deep, dark voice of the Old Man of Wandering Mountain, a roaring started up in his ears and he saw spots before his eyes.

Why, this was all about him! And it was the Neverending Story. He, Bastian, was a character in the book which until now he had thought he was reading. And heaven only knew who else might be reading it at the exact same time, also supposing himself to be just a reader.

And now Bastian was afraid. He felt unable to breathe, as though shut up in an invisible prison. He didn’t want to read anymore, he wanted to stop.

 

But the deep, dark voice of the Old Man of Wandering Mountain went on,

 

and there was nothing Bastian could do about it. He held his hands over his ears, but it was no use, because the voice came from inside him. He tried desperately to tell himself—though he knew it wasn’t true—that the resemblance to his own story was some crazy accident,

 

but the deep, dark voice went on,

and ever so clearly he heard it saying:

 

“ ‘Where are your manners? If you had any, you’d have introduced yourself.’

“ ‘My name is Bastian,’ said the boy. ‘Bastian Balthazar Bux.’ ”

 

In that moment Bastian made a profound discovery. You wish for something,

you’ve wanted it for years, and you’re sure you want it, as long as you know you can’t have it. But if all at once it looks as though your wish might come true, you suddenly find yourself wishing you had never wished for any such thing.

That is exactly how it was with Bastian.

Now that he was in danger of getting his wish, he would have liked best to run away. But since you can’t run “away” unless you have some idea where you’re at, Bastian did something perfectly absurd. He turned over on his back like a beetle and played dead. He made himself as small as possible and pretended he wasn’t there.

 

The Old Man of Wandering Mountain went on telling and writing the story of how Bastian had stolen the book, how he had fled to the schoolhouse attic and begun to read. And then Atreyu’s Quest began all over again, he spoke with Morla the Aged One, and found Falkor in Ygramul’s net beside the Deep Chasm, and heard Bastian’s cry of fear. Once again he was cured by old Urgl and lectured by Engywook. He passed through the three magic gates, entered into Bastian’s image, and spoke with Uyulala. And then came the Wind Giants and Spook City and Gmork, followed by Atreyu’s rescue and the flight to the Ivory Tower. And in between, everything that Bastian had done, how he had lit the candles, how he had seen the Childlike Empress, and how she had waited for him in vain. Once again she started on her way to find the Old Man of Wandering Mountain, once again she climbed the ladder of letters and entered the egg, once again the conversation between her and the Old Man was related word for word, and once again the Old Man of Wandering Mountain began to write and tell the Neverending Story.

At that point the story began all over again—unchanged and unchangeable— and ended once again with the meeting between the Childlike Empress and the Old Man of Wandering Mountain, who began once again to write and tell the Neverending Story . . .

 

. . .and so it would go on for ever and ever, for any change in the sequence of

events was unthinkable. Only he, Bastian, could do anything about it. And he would have to do something, or else he too would be included in the circle. It seemed to him that this story had been repeated a thousand times, as though there were no before and after and everything had happened at once. Now he realized why the Old Man’s hand trembled. The Circle of Eternal Return was an end without an end.

Bastian was unaware of the tears that were running down his cheeks. Close to fainting, he suddenly cried out: “Moon Child, I’m coming!”

In that moment several things happened at once.

 

The shell of the great egg was dashed to pieces by some overwhelming power. A rumbling of thunder was heard. And then the storm wind came roaring from afar.

 

It blew from the pages of the book that Bastian was holding on his knees, and the pages began to flutter wildly. Bastian felt the wind in his hair and face. He could scarcely breathe. The candle flames in the seven-armed candelabrum danced, wavered, and lay flat. Then another, still more violent wind blew into the book, and the candles went out.

The clock in the belfry struck twelve.





 

































oon Child, I’m coming!” Bastian repeated in the darkness. He felt something indescribably sweet and comforting flow into him from the name and fill his whole being. So he said it again and again: “Moon Child! Moon Child! I’m coming! Moon Child, here I am.”

But where was he?

He couldn’t see the slightest ray of light, but this was no longer the freezing darkness of the attic. This was a warm, velvety darkness in which he felt safe and happy.

All fear and dread had left him, ceased to be anything more than a distant memory. He felt so light and gay that he even laughed softly.

“Moon Child, where am I?” he asked.

He no longer felt the weight of his body. He groped about and realized that he was hovering in mid-air. The mats were gone, and there was no ground under his feet.

It was a wonderful feeling, a sense of release and boundless freedom that he

had never known before. He was beyond the reach of all the things that had weighed him down and hemmed him in.

Could he be hovering somewhere in the cosmos? But in the cosmos there were stars and here there was nothing of the kind. There was only this velvety darkness and a wonderful, happy feeling he hadn’t known in all his life. Could it be that he was dead?

“Moon Child, where are you?”

And then he heard a delicate, birdlike voice that answered him and that may have answered him several times without his hearing it. It seemed very near, and yet he could not have said from what direction it came.

“Here I am, my Bastian.” “Is it you, Moon Child?”

She laughed in a strangely lilting way.

“Who else would I be? Why, you’ve just given me my lovely name. Thank you for it. Welcome, my savior and my hero.”

“Where are we, Moon Child?”

“I am with you, and you are with me.”

Dream words. Yet Bastian knew for sure that he was awake and not dreaming. “Moon Child,” he whispered. “Is this the end?”

“No,” she replied, “it’s the beginning.”

“Where is Fantastica, Moon Child? Where are all the others? Where are Atreyu and Falkor? And what about the Old Man of Wandering Mountain and his book? Don’t they exist anymore?”

“Fantastica will be born again from your wishes, my Bastian. Through me they will become reality.”

“From my wishes?” Bastian repeated in amazement.

He heard the sweet voice reply: “You know they call me the Commander of Wishes. What will you wish?”

Bastian thought a moment. Then he inquired cautiously: “How many wishes have

I got?”

“As many as you want—the more, the better, my Bastian. Fantastica will be all the more rich and varied.”

Bastian was overjoyed. But just because so infinitely many possibilities had suddenly been held out to him, he couldn’t think of a single wish.

“I can’t think of anything,” he said finally.

For a time there was silence. And then he heard the birdlike voice: “That’s

bad.”

“Why?”

“Because then there won’t be any more Fantastica.”

Bastian made no answer. He felt confused. His sense of unlimited freedom was somewhat marred by the thought that everything depended on him.

“Why is it so dark, Moon Child?” he asked. “The beginning is always dark, my Bastian.”

“I’d awfully like to see you again, Moon Child. The way you were when you looked at me.”

Again he heard the soft lilting laugh. “Why are you laughing?”

“Because I’m happy.” “Happy? Why?”

“You’ve just made your first wish.” “Will you make it come true?”

He held out his hand and felt she was putting something into it. Something very small but strangely heavy. It was very cold and felt hard and dead.

“What is it, Moon Child?”

“A grain of sand,” she replied. “All that’s left of my boundless realm. I make you a present of it.”

“Thank you,” said Bastian, bewildered. What on earth could he do with such a gift? If at least it had been something living.

As he was mulling it over, he felt something wriggling in his hand. He raised his hand to see what it was.

“Look, Moon Child,” he whispered. “It’s glowing and glittering. And there— look!—a little flame is coming out of it. No, it’s not a grain of sand, it’s a seed. It’s a luminous seed and it’s starting to sprout!”

“Well done, my Bastian!” he heard her say. “You see how easy it is for you.”

Barely perceptible at first, the glow of the speck in Bastian’s palm grew quickly, making the two child faces, so very different from each other, gleam in the velvety darkness.

Slowly Bastian withdrew his hand, and the glittering speck hovered between them like a little star.

The seed sprouted so quickly that one could see it grow. It put forth leaves and a stem and buds that burst into many-colored, phosphorescent flowers. Little fruits formed, ripened, and exploded like miniature rockets, spraying new seeds all around them.

From the new seeds grew other plants, but these had different shapes. Some were like ferns or small palms, others like cacti, bullrushes, or gnarled trees. Each glowed a different color.

Soon the velvety darkness all around Bastian and Moon Child, over and under them and on every side, was filled with rapidly growing luminous plants. A globe of radiant colors, a new, luminous world hovered in the Nowhere, and grew and grew. And in its innermost center Bastian and Moon Child sat hand in hand, looking around them with eyes of wonder.

Unceasingly new shapes and colors appeared. Larger and larger blossoms opened, richer and richer clusters formed. And all this in total silence.

Soon some of the plants were as big as fruit trees. There were fans of long emerald-green leaves, flowers resembling peacock tails with rainbow-colored eyes, pagodas consisting of superimposed umbrellas of violet silk. Thick stems were interwoven like braids. Since they were transparent, they looked like pink glass lit up from within. Some of the blooms looked like clusters of blue and yellow Japanese lanterns. And little by little, as the luminous night growth grew denser, they intertwined to form a tissue of soft light.

“You must give all this a name,” Moon Child whispered. Bastian nodded. “Perilin, the Night Forest,” he said.

He looked into the Childlike Empress’s eyes. And once again, as at their first exchange of glances, he sat spellbound, unable to take his eyes off her. The first time she had been deathly ill. Now she was much, much more beautiful. Her torn gown was whole again, the soft-colored light played over the pure whiteness of the silk and of her long hair. His wish had come true.

Bastian’s eyes swam. “Moon Child,” he stammered. “Are you well again?” She smiled, “Can’t you see that I am?”

“I wish everything would stay like this forever,” he said. “The moment is forever,” she replied.

Bastian was silent. He didn’t understand what she had said, but he was in no mood to puzzle it out. He wanted only to sit there looking at her.

Little by little the thicket of luminous plants had formed a thick hedge around them. As though imprisoned in a tent of magic carpets, Bastian paid no attention to what was happening outside. He didn’t realize that Perilin was growing and growing, that each and every plant was getting big or bigger. Seeds no bigger than sparks kept raining down and sprouted as they hit the ground.

Bastian sat gazing at Moon Child. He had eyes for nothing else.

He could not have said how much time had passed when Moon Child put her

hand over his eyes.

“Why did you keep me waiting so long?” he heard her ask. “Why did you make me go to the Old Man of Wandering Mountain? Why didn’t you come when I called?”

Bastian gulped.

“It was because,” he stammered, “I thought—all sorts of reasons—fear—well, to tell you the truth, I was ashamed to let you see me.”

She withdrew her hand and looked at him in amazement. “Ashamed? Why?”

“B-because,” Bastian stammered, “you—you must have expected somebody who was right for you.”

“What’s wrong with you?” she asked. “Aren’t you right for me?”

Bastian felt that he was blushing. “I mean,” he said, “somebody strong and brave and handsome—maybe a prince—anyway, not someone like me.”

He couldn’t see her, for he had lowered his eyes, but again he heard her soft lilting

laugh.

“You see,” he said. “Now you’re laughing at me.”

There was a long silence, and when Bastian finally brought himself to look up, he saw that she was bending very close to him. Her face was grave.

“Let me show you something, my Bastian,” she said. “Look into my eyes.” Bastian obeyed, though his heart was pounding and he felt dizzy.

In the golden mirror of her eyes, he saw, small at first as though far in the distance, a reflection which little by little grew larger and more distinct. It was a boy of about his own age; but this boy was slender and wonderfully handsome. His bearing was proud and erect, his face was noble, manly—and lean. He looked like a young prince from the Orient. His turban was of blue silk and so was the silver-embroidered tunic which reached down to his knees. His high boots, made of the softest red leather, were turned up at the toes. And he was wearing a silver-glittering mantle which hung down to the ground. But most beautiful of all were the boy’s hands, which, though delicately shaped, gave an impression of unusual strength.

Bastian gazed at the image with wonder and admiration. He couldn’t get enough of it. He was just going to ask who this handsome young prince might be when it came to him in a flash that this was his very own self—his reflection in Moon Child’s golden eyes.

In that moment he was transported, carried out of himself, and when he

returned, he found he had become the handsome boy whose image he had seen.

He looked down, and saw exactly what he had seen in Moon Child’s eyes: the soft, red-leather boots, the blue tunic embroidered with silver, the resplendent long mantle. He touched his turban and felt his face. His face was the same too.

And then he turned toward Moon Child. She was gone!

He was alone in the round room which the glowing thicket had formed. “Moon Child!” he shouted. “Moon Child!” There was no answer.

Feeling utterly lost, he sat down. What was he to do now? Why had she left him alone? Where should he go—that is, if he was free to go anywhere, if he wasn’t caught in a trap?

While he was wondering why Moon Child should have vanished without a word of explanation, without so much as bidding him goodbye, his fingers started playing with a golden medallion that was hanging from his neck.

He looked at it and let out a cry of surprise.

It was AURYN, the Gem, the Childlike Empress’s amulet, which made its bearer her representative. Moon Child had given him power over every creature and thing in Fantastica. And as long as he wore that emblem, it would be as though she were with him.

For a long while Bastian looked at the two snakes, the one light, the other dark, which were biting each other’s tail, and formed an oval. Then he turned the amulet over and to his surprise found an inscription on the reverse side. It consisted of four words in strangely intricate letters:

Do What You

Wish

There had been no mention of such an inscription in the Neverending Story.

Could it be that Atreyu hadn’t noticed it?

But that didn’t matter now. What mattered was that the words gave him permission, ordered him in fact, to do whatever he pleased.

Bastian approached the wall of luminous plants to see if he could slip through somewhere. To his delight he found that the wall could easily be thrust aside like a curtain. Out he stepped.

In the meantime, the night plants had kept on growing, gently but irresistibly, and Perilin had become a forest such as no human eye had ever beheld.

The great trunks were now as high and thick as church towers, and still growing. In places these shimmering, milky-white pillars were so close together that it was impossible to pass between them. And seeds were still falling like a shower of sparks.

On his way through the luminous forest, Bastian tried hard not to step on the glittering seeds that lay on the ground, but this soon proved impossible. There simply wasn’t a foot’s breadth of ground from which nothing was sprouting. So he stopped worrying and went wherever the giant trees left a path open for him.

Bastian was delighted at being handsome. It didn’t bother him that there was no one to admire him. On the contrary, he was glad to have the pleasure all to himself. He didn’t care a fig for being admired by the lugs who had always made fun of him. If he thought of them at all, it was almost with pity.

In this forest, where there were no seasons and no alternation of day and night, the feeling of time was entirely different from anything Bastian had ever known. He had no idea how long he had been on his way. But little by little his pleasure in being handsome underwent a change. He began to take it for granted. Not that he was any less happy about it; but now he had the feeling that he had never been any different.

For this there was a reason which Bastian was not to discover until much later. The beauty that had been bestowed on him made him forget, little by little, that he had ever been fat and bowlegged.

Even if he had known what was happening, he would hardly have regretted the loss of this particular memory. As it happened, he didn’t even realize that he had forgotten anything. And when the memory had vanished completely, it seemed to him that he had always been as handsome as he was now.

At that point a new wish cropped up. Just being handsome wasn’t as wonderful as he had thought. He also wanted to be strong, stronger than anybody! The strongest in the world!

While going deeper and deeper into the Night Forest, he began to feel hungry. He picked off a few of the strangely shaped luminous fruits and nibbled gingerly to see if they were edible. Edible was no word for it; some were tart, some sweet, some slightly bitter, but all were delicious. He ate as he walked, and felt a miraculous strength flowing into his limbs.

In the meantime the glowing underbrush around him had become so dense that it cut off his view on all sides. To make matters worse, lianas and aerial roots were becoming inextricably tangled with the thicket below. Slashing with the side of his hand as if it had been a machete, Bastian opened up a passage.

And the breach closed directly behind him as if it had never been.

On he went, but the wall of giant tree trunks blocked his path. Bastian grabbed hold of two great tree trunks and bent them apart. When he had passed through, the wall closed soundlessly behind him.

Bastian shouted for joy.

He was the Lord of the Jungle!

For a while he amused himself opening paths for himself, like an elephant that has heard the Great Call. His strength did not abate, he had no need to stop for breath. He felt no stitch in his side, and his heart didn’t thump or race.

But after a while he wearied of his new sport. The next thing he wanted was to look down on his domain from above, to see how big it was.

He spat on his hands, took hold of a liana, and pulled himself up hand over hand, without using his legs, as he had seen acrobats do in the circus. For a moment a vision—a pale memory of the past—came to him of himself in gym class, dangling like a sack of flour from the bottommost end of the rope, while the rest of the class cackled with glee. He couldn’t help smiling. How they would gape if they saw him now! They’d be proud to know him. But he wouldn’t even look at them.

Without stopping once he finally reached the branch from which the liana was hanging, climbed up and straddled it. The branch gave off a red glow. He stood up and, balancing himself like a tightrope walker, made his way to the trunk. Here again a dense tangle of creepers barred his way, but he had no difficulty in opening up a passage through it.

At that height the trunk was still so thick that five men clasping hands could not have encircled it. Another, somewhat higher branch, jutting from the trunk in a different direction, was beyond his reach. So he leapt through the air, caught hold of an aerial root, swung himself into place, made another perilous leap, and grabbed the higher branch. From there he was able to pull himself up to a still higher one. By then he was high above the ground, at least three hundred feet, but the glowing branches and foliage still obstructed his view.

Not until he had climbed to twice that height were there occasional spaces through which he could look around. But then the going became difficult, because there were fewer and fewer branches. And at last, when he had almost reached the top, he had to stop, for there was nothing to hold on to but the smooth, bare trunk, which was still as thick as a telegraph pole.

Bastian looked up and saw that the trunk or stalk ended some fifty feet higher up in an enormous, glowing, dark-red blossom. He didn’t see how he could ever

reach it, but he had to keep going, for he couldn’t very well stay where he was. He threw his arms around the trunk and climbed the last fifty feet like an acrobat. The trunk swayed and bent like a blade of grass in the wind.

At length he was directly below the blossom, which was open at the top like a tulip. He managed to slip one hand between two of the petals and take hold. Then, pushing the petals wide apart, he pulled himself up.

For a moment he lay there, for by then he was somewhat out of breath. But then he stood up and looked over the edge of the great, glowing blossom, as from the crow’s nest of a ship.

The tree he had climbed was one of the tallest in the whole jungle and he was able to see far into the distance. Above him he still saw the velvety darkness of a starless night sky, but below him, as far as he could see, the treetops of Perilin presented a play of color that took his breath away.

For a long time Bastian stood there, drinking in the sight. This was his domain! He had created it! He was the lord of Perilin.

And once again he shouted for joy!





 

































ever had Bastian slept so soundly as in that glowing red blossom. When at last he opened his eyes, the sky overhead was still a velvety black. He stretched and was happy to feel miraculous strength in his limbs.

Once again, there had been a change in him. His wish to be strong had come true.

When he stood up and looked out over the edge of the great blossom, Perilin seemed to have stopped growing. The Night Forest looked pretty much the same as when he had last seen it. He didn’t know that this too was connected with the fulfillment of his wish, and that his memory of his weakness and clumsiness had been blotted out at the same time. He was handsome and strong, but somehow that wasn’t enough for him. He also felt the need to be tough and inured to hardship like Atreyu. But how was he to come by that quality in this luminous garden, where all manner of fruit was to be had for the picking?

The first pearly streaks of dawn appeared over the eastern horizon. And with

the rising of the light the phosphorescence of the night plants paled.

“High time!” said Bastian aloud. “I thought the day would never come.”

He sat down on the floor of the blossom and wondered what he should do. Climb down again and keep going? Of course, since he was lord of Perilin, no one could stop him from wandering around in it for days, if not for months or years. This jungle was so enormous he would never find his way out of it. But beautiful as he found the night plants, he didn’t think this prospect would suit him in the long run. Exploring a desert—that would be something else again. The biggest desert in Fantastica. Yes, that would be something to be proud of.

In that same moment, a violent tremor shook the giant tree. The trunk bent, and a crackling, groaning sound could be heard. Bastian had to hold tight to keep from rolling out of his blossom, the stem of which tilted more and more, until at last it lay flat.

The sun, which had risen in the meantime, disclosed a vision of devastation. Hardly anything was left of all the enormous night plants. More quickly than they had sprung up they crumbled under the glaring sunlight into dust and fine, colored sand. Gigantic tree trunks collapsed as sand castles do when they dry out. Bastian’s tree seemed to be the last still standing. But when he tried to steady himself by grasping at the petals of his flower, they crumbled in his hands and blew away like a cloud of dust. Now that there was nothing to obstruct the view, he saw how terrifyingly high up he was. He knew he would have to climb down as fast as possible, for the tree was likely to collapse at any moment.

Cautiously, he climbed out of the blossom and straddled the stem, which was now bent like a fishing pole. No sooner had he left the blossom than it broke off behind him and crumbled into dust in falling.

Ever so gingerly Bastian proceeded downward. Many a man would have panicked on seeing the ground so very far below, but Bastian was free from dizziness and his nerves were steel. Knowing that any abrupt movement might reduce the whole tree to dust, he crept along the bough and finally reached the place where the trunk became vertical. Hugging it, he let himself slide, inch by inch. Several times, great clouds of colored dust fell on him from above. There were no branches left, and what towering stumps remained crumbled when Bastian tried to use them for support. As he continued downward, the trunk became too big for him to hold. And he was still far above the ground. He stopped to think; How was he ever going to get down?

But then another tremor passed through the giant stump and relieved him of the need for further thought. What was left of the tree disintegrated and settled

into a great mound of sand; Bastian rolled down the side of it in a wild whirl, turning a number of somersaults on the way, and finally came to rest at the bottom. He came close to being buried under an avalanche of colored dust, but he fought his way clear, spat the sand out of his mouth, and shook it out of his ears and clothes.

Wherever he looked, the sand was moving in slow streams and eddies. It collected into hills and dunes of every shape and size, each with a color of its own. Light-blue sand gathered to form a light-blue hill, and the same with green and violet and so on. Perilin, the Night Forest, was gone and a desert was taking its place; and what a desert!

Bastian had climbed a dune of purplish-red sand and all around him he saw nothing but hill after hill of every imaginable color. Each hill revealed a shade or tint that recurred in no other. The nearest was cobalt blue, another was saffron yellow, then came crimson red, then indigo, apple green, sky blue, orange, peach, mauve, turquoise blue, lilac, moss green, ruby red, burnt umber, Indian yellow, vermilion, lapis lazuli. And so on from horizon to horizon. And between the hills, separating color from color, flowed streams of gold and silver sand.

“This,” said Bastian aloud, “is Goab, the Desert of Colors.”

The sun rose higher and higher and the heat became murderous. The air over the colored sand dunes shimmered, and Bastian realized that he was in a tight spot. He could not stay in this desert, that was certain. If he didn’t get out of it soon, he would die of hunger and thirst.

He took hold of the Childlike Empress’s emblem in the hope that it would guide him. And then staunchly he started on his way.

He climbed dune after dune; hour after hour he plodded on, never seeing anything but hill after hill. Only the colors kept changing. His fabulous strength was no longer of any use to him, for desert distances cannot be vanquished with strength. The air was a searing blast from hell. His tongue clung to the roof of his mouth and his face streamed with sweat.

The sun was a whorl of fire in the middle of the sky. It had been in the same place for a long time and didn’t seem to move. That day in the desert was as long as the night in Perilin.

Bastian’s eyes burned and his tongue felt like a piece of leather. But he didn’t give up. His body had dried out, and the blood in his veins was so thick it could hardly flow. But on he went, slowly, with even steps, neither hurrying nor stopping to rest, as if he had had years of experience at crossing deserts on foot. He ignored the torments of thirst. His will had become as hard as steel, neither

fatigue nor hardship could bend it.

He recalled how easily he had been discouraged in the past. He had begun all sorts of projects and given up at the first sign of difficulty. He had always been afraid of not getting enough to eat, or of falling ill, or having to endure pain. All that was far behind him.

No one before him had dared to cross Goab, the Desert of Colors, on foot, nor would anyone undertake to do so in the future. And most likely no one would ever hear of his exploit.

This last thought saddened Bastian. Goab seemed to be so inconceivably large he felt sure he would never come to the end of it. Despite his phenomenal endurance he was bound to perish sooner or later. That didn’t frighten him. He would die with calm dignity like the hunters in Atreyu’s country. But since no one ever ventured into this desert, the news of his death would never be divulged. Either in Fantastica or at home. He would simply be reported missing, and no one would ever know he had been in Fantastica or in the desert of Goab. All Fantastica, he said to himself, was contained in the book that the Old Man of Wandering Mountain had written. This book was the Neverending Story, which he himself had read in the attic. Maybe his present adventures and sufferings were in the book even now. And maybe someone else would read the book someday—maybe someone was reading it at that very moment. In that case, it must be possible to give that someone a sign.

The sand hill where Bastian was standing just then was ultramarine blue. And separated from it by a narrow cleft there was a fiery-red dune. Bastian crossed over to it, gathered up sand in both hands and carried it to the blue hill. Then he strewed a long line of red sand on the hillside. He went back, brought more red sand, and repeated the operation. Soon he had fashioned three enormous red letters against the blue ground:

 

B B B

 

He viewed his work with satisfaction. No reader of the Neverending Story could fail to see his message. So whatever happened to him now, someone would know where he had been.

He sat down to rest on the red hilltop. The three letters glittered bright in the desert sun.

Another piece of his memory of the old Bastian had been wiped out. He forgot that he had once been a namby-pamby, something of a crybaby, in fact. And he

was ever so proud of his toughness. But already a new wish was taking form. “It’s true that I fear nothing,” he said aloud, “but what I still lack is true

courage. Being able to endure hardships is a great thing. But courage and daring are something else again. I wish I could run into a real adventure, something calling for great courage. How grand it would be to meet some dangerous creature—maybe not as hideous as Ygramul, but much more dangerous. A beautiful, but very, very dangerous creature. The most dangerous creature in all Fantastica. I’d step right up to it and . . .”

Bastian said no more, for in that same moment he heard a roaring and rumbling so deep that the ground trembled beneath his feet.

Bastian turned around. Far in the distance he saw something that looked like a ball of fire. Moving with incredible speed, it described a wide arc around the spot where Bastian was sitting, then came straight toward him. In the shimmering desert air, which made the outline of things waver like flames, the creature looked like a dancing fire-demon.

Bastian was stricken with terror. Before he knew it, he had run down into the cleft between the red dune and the blue dune. But no sooner had he got there than he felt ashamed and overcame his fear.

He took hold of AURYN and felt all the courage he had wished for streaming into his heart.

Then again he heard the deep roar that made the ground tremble, but this time it was near him. He looked up.

A huge lion was standing on the fiery-red dune. The sun was directly behind him, and made his great mane look like a wreath of fire. This lion was not a tawny color like other lions, but as fiery red as the dune on which he was standing.

The beast did not seem to have noticed the boy, so much smaller than himself, who was standing in the cleft between the two dunes, but seemed to be looking at the red letters on the opposite hill. The great rumbling voice said: “Who did this?”

“I did,” said Bastian. “What is it?”

“It’s my initials,” said Bastian. “My name is Bastian Balthazar Bux.”

Then for the first time the lion turned toward Bastian, who for a moment expected to be burned to a crisp by the flames that seemed to surround the lion. But his fear soon passed and he returned the lion’s gaze.

“I,” said the huge beast, “am Grograman, Lord of the Desert of Colors. I am

also known as the Many-Colored Death.”

Bastian felt the deadly power that flowed from the lion’s eyes. But he did not avert his own.

When they had measured their strength for some time, the lion looked down. With slow, majestic movements he descended from the dune. When he stepped onto the ultramarine sand, he too changed color, his coat and mane became blue. For a moment the huge beast stood facing Bastian, who had to look up at him as a mouse might look up at a cat. Then suddenly Grograman lay down and touched his head to the ground.

“Master,” he said. “I am your servant, I await your commands.”

“I’d like to get out of this desert,” said Bastian. “Can you manage that?” Grograman shook his mane.

“No, master, that I cannot do.” “Why not?”

“Because I carry the desert with me.”

Not knowing what to make of this, Bastian asked: “Isn’t there somebody who can get me out of here?”

“How could that be, master?” said Grograman. “Where I am no other living creature can exist. My presence alone would suffice to reduce everybody—even the most powerful of creatures—into ashes for thousands of miles around. That’s why I’m called the Many-Colored Death and Lord of the Desert of Colors.”

“That’s not so,” said Bastian. “Everybody doesn’t get burned up in your desert. Look at me.”

“Because you are bearing the Gem, master. AURYN protects you—even from me, the deadliest creature in Fantastica.”

“You mean that if I didn’t have the Gem, I’d be reduced to ashes?”

“That’s how it is, master. That’s what would happen, though personally I’d regret it. Because you’re the first and only being who has ever spoken to me.”

Bastian touched the amulet. “Thank you, Moon Child,” he said under his breath.

Grograman stood up to his full height and looked down at Bastian.

“I believe, master, that we have things to discuss. Perhaps I can acquaint you with certain secrets. And perhaps you can clear up the riddle of my existence for me.”

Bastian nodded. “But first,” he said. “Could you possibly get me something to drink? I’m very thirsty.”

“Your servant hears and obeys,” said Grograman. “Will you deign to sit on my

back? I shall carry you to my palace, where you will find everything you need.”

Bastian climbed up on the lion’s back and clutched the flaming mane in both hands. Grograman looked back at his passenger.

“Hold on tight, master, I’m a swift runner. And one more thing: as long as you are in my domain and especially when you are with me—promise me that you will never for any reason lay down the amulet that protects you.”

“I promise,” said Bastian.

The lion started off, at first at a slow, dignified gait, then faster and faster. To Bastian’s amazement, the lion’s coat and mane changed color with every new sand hill. But soon Grograman was making great leaps from hilltop to hilltop, and his coat changed color faster and faster. Bastian’s eyes swam, and he saw all the colors at once as in a rainbow. The hot wind whistled around Bastian’s ears and tugged at his mantle, which fluttered behind him. He felt the movements of the lion’s muscles and breathed the wild, heady smell of the shaggy mane. The triumphant shout that escaped him resembled the cry of a bird of prey, and Grograman answered with a roar that made the desert tremble. For the moment these two different creatures were one. Bastian’s heart and mind were in the clouds. He didn’t come to himself until he heard Grograman saying: “We have arrived, master! Will you deign to alight?”

Bastian jumped down from the lion’s back and landed on the sandy ground. Before him he saw a cleft mountain of black rock. Or was it a ruined building? He didn’t know, for the stones which made up the doorframes, walls, columns, and terraces of the building, as well as those that were lying about half buried in colored sand, were deeply creviced and smooth, as though the sandstorms of time had smoothed away all sharp edges and roughness.

“This, master, is my palace—and my tomb,” Bastian heard the lion’s voice saying. “You are Grograman’s first and only guest. Enter and make yourself at home.”

The sun hung low over the horizon, a great pale-yellow disk, shorn of its searing heat. Apparently the ride had taken much longer than it had seemed to Bastian. The truncated columns or spurs of rock, whichever they might be, cast long shadows. It would soon be night.

As Bastian followed the lion through a dark doorway leading into the palace, he had the impression that Grograman’s steps sounded tired and heavy.

After passing a dark corridor and up and down a number of stairways, they came at last to a large double door which seemed to be made of black rock. As Grograman approached, it opened of its own accord, and when they had both

gone through, it closed behind them.

Now they were in a large hall, or rather a cave, lit by hundreds of lamps whose flames resembled the play of colors on Grograman’s coat. The floor was of colored tiles. At the center was a circular platform surrounded by steps, and on the platform lay an enormous black rock. Grograman seemed spent as he turned to Bastian.

“My time is close at hand, master,” he said, hardly above a whisper. “There won’t be time for our talk. But don’t worry, and wait for the day. What has always happened will happen once again. And perhaps you will be able to tell me why.”

Then he pointed his head in the direction of a little gate at the other end of the cave.

“Go in there, master. You will find everything in readiness. That room has been waiting for you since the beginning of time.”

Bastian went to the gate, but before opening it, he glanced back. Grograman had sat down on the black rock. He was as black as the stone. In a faint, far-off voice, he said: “Quite possibly, master, you will hear sounds that will frighten you. Don’t be afraid. As long as you carry the emblem, nothing can happen to you.”

Bastian nodded and passed through the gate.

The room he entered was magnificent. The floor was laid with soft, richly colored carpets. The graceful columns supporting the vaulted ceiling were covered with gold mosaic, which fragmented the varicolored light of the lamps. In one corner Bastian saw a broad divan covered with soft rugs and cushions of all kinds, surmounted by a canopy of azure-blue silk. In the opposite corner the stone floor had been hollowed to form a pool

filled with golden liquid. On a low table stood bowls and dishes of food, a carafe full of some ruby-red drink, and a golden cup.

Bastian squatted down at the table and fell to. The drink had a tart, wild taste and was wonderfully thirst-quenching. The dishes were unknown to Bastian. Some looked like cakes or nuts, others like squash or melons, but the taste was entirely different. Sharp and spicy. Everything was delicious, and Bastian ate his fill.

Then he took his clothes off—but not the amulet—and stepped into the pool. For a while he splashed about, washed himself, dived under, and came up puffing like a walrus. Then he discovered some strange-looking bottles at the edge of the pool. Thinking they must be bath oils, he poured a little of each into

the water. Green, red, and yellow flames darted hissing over the surface, and a little smoke went up. It smelled of resin and bitter herbs. And then the flames died.

After a while Bastian got out of the water, dried himself with the soft towels that lay ready, and put his clothes on. Suddenly he noticed that the lamps were not burning as brightly as before. And then he heard a sound that sent the cold shivers down his spine: a cracking and grinding, as though a rock were bursting under the pressure of expanding ice.

Bastian’s heart pounded. He remembered that Grograman had told him not to be afraid.

The sound softened to a moan and soon stopped. It was not repeated, but the stillness was almost more terrible.

Determined to find out what had happened, Bastian opened the door of the bedchamber. At first he saw no change in the great hall, except that the lamplight now seemed somber and was pulsating like a faltering heartbeat. The lion was still sitting in the same attitude on the black rock. He seemed to be looking at Bastian.

“Grograman!” Bastian cried. “What’s going on? What was that sound? Was it you?”

The lion made no answer and didn’t move, but when Bastian approached him, the lion followed him with his eyes.

Hesitantly Bastian stretched out his hand to stroke the lion’s mane, but the moment he touched it he recoiled in horror. It was hard and ice-cold like the black rock. And Grograman’s face and paws felt the same way.

Bastian didn’t know what to do. He saw that the black stone doors were slowly opening. He left the hall, but it wasn’t until he had passed through the long dark corridor and was on his way up the stairs that he started wondering what he would do when he was outside. In this desert there couldn’t be anyone capable of saving Grograman.

But it wasn’t a desert anymore!

Whichever way Bastian looked, he saw glittering dots. Millions of tiny plants were sprouting from the grains of sand which had become seeds again. Perilin the Night Forest was growing once more.

Bastian sensed that Grograman’s rigidity was somehow connected with this transformation.

He went back to the cave. The light in the lamps was barely flickering. He went over to the lion, threw his arms around the huge neck, and pressed his face

to the beast’s face.

The lion’s eyes were black and as dead as the rock. Grograman had turned to stone. The lights flared for an instant and went out, leaving the cave in total darkness.

Bastian wept bitterly. The stone lion was wet with his tears. In the end, the boy curled up between the great paws and fell asleep!





 

































master,” said the rumbling lion’s voice. “Have you spent the whole night like this?”

Bastian sat up and rubbed his eyes. He had been lying between the lion’s paws, and Grograman was watching him with a look of amazement. His fur was still as black as the rock he was sitting on, but his eyes sparkled. The lamps in the cave were burning again.

“Oh!” Bastian cried. “I thought you had turned to stone.”

“So I had,” the lion replied. “I die with every nightfall, and every morning I wake up again.”

“I thought it was forever,” said Bastian.

“It always is forever,” said Grograman mysteriously.

He stood up, stretched, and trotted about the cave. His fur shone more and more brightly in the colors of the mosaic floor. Suddenly he stopped still and looked at the boy.

“Did you shed tears over me?” he asked.

Bastian nodded.

“Then,” said the lion, “you are not only the only being who has ever slept between the paws of the Many-Colored Death, but also the only being who has ever mourned his death.”

Bastian looked at the lion, who was trotting about again, and finally asked him in a whisper: “Are you always alone?”

Again the lion stood still, but this time he did not turn toward Bastian. He kept his face averted and repeated in his rumbling voice: “Alone!”

The word echoed through the cave.

“My realm is the desert, and it is also my work. Wherever I go, everything around me turns to desert. I carry it with me. Since I am made of deadly fire, must I not be doomed to everlasting solitude?”

Bastian fell into a dismayed silence.

“Master,” said the lion, looking at the boy with glowing eyes. “You who bear the emblem of the Childlike Empress, can you tell me this: Why must I always die at nightfall?”

“So that Perilin, the Night Forest, can grow in the Desert of Colors,” said Bastian.

“Perilin?” said the lion. “What’s that?”

Then Bastian told him about the miraculous jungle that consisted of living light. While Grograman listened in fascinated amazement, Bastian described the diversity and beauty of the glimmering phosphorescent plants, their silent, irresistible growth, their dreamlike beauty and incredible size. His enthusiasm grew as he spoke and Grograman’s eyes glowed more and more brightly.

“All that,” Bastian concluded, “can happen only when you are turned to stone. But Perilin would swallow up everything else and stifle itself if it didn’t have to die and crumble into dust when you wake up. You and Perilin need each other.”

For a long while Grograman was silent.

“Master,” he said then. “Now I see that my dying gives life and my living death, and both are good. Now I understand the meaning of my existence. I thank you.”

He strode slowly and solemnly into the darkest corner of the cave. Bastian couldn’t see what he did there, but he heard a jangling of metal. When Grograman came back, he was carrying something in his mouth. With a deep bow he laid this something at Bastian’s feet.

It was a sword.

It didn’t look very impressive. The iron sheath was rusty, and the hilt might

have belonged to a child’s wooden sword.

“Can you give it a name?” Grograman asked. Bastian examined it carefully.

“Sikanda,” he said.

In that same moment the sword darted from its sheath and flew into his hand. The blade consisted of pure light and glittered so brightly that he could hardly bear to look at it. It was double-edged and weighed no more than a feather.

“This sword has been destined for you since the beginning of time,” said Grograman. “For only one who has ridden on my back, who has eaten and drunk of my fire and bathed in it like you, can touch it without danger. But only because you have given it its right name does it belong to you.”

“Sikanda!” said Bastian under his breath as, fascinated by the gleaming light, he swung the sword slowly through the air. “It’s a magic sword, isn’t it?”

“Nothing in all Fantastica can resist it,” said Grograman, “neither rock nor steel. But you must not use force. Whatever may threaten you, you may wield it only if it leaps into your hand of its own accord as it did now. It will guide your hand and by its own power will do what needs to be done. But if your will makes you draw it from its sheath, you will bring great misfortune on yourself and on Fantastica. Never forget that.”

“I will never forget it,” Bastian promised.

The sword flew back into its sheath and again it looked old and worthless. Bastian grasped the leather belt on which the sheath hung and slung it around his waist.

“And now, master,” Grograman suggested, “let us, if you wish, go racing through the desert together. Climb on my back, for I must go out now.”

Bastian mounted, and the lion trotted out into the open. The Night Forest had long since crumbled into colored sand, and the morning sun rose above the desert horizon. Together they swept over the dunes—like a dancing flame, like a blazing tempest. Bastian felt as though he were riding a flaming comet through light and colors.

Toward midday Grograman stopped. “This, master, is the place where we met.”

Bastian’s head was still reeling from the wild ride. He looked around but could see neither the ultramarine-blue nor the fiery-red hill. Nor was there any sign of the letters he had made. Now the dunes were olive-green and pink.

“It’s all entirely different,” he said.

“Yes, master,” said the lion. “That’s the way it is—different every day. Up

until now I didn’t know why. But since you told me that Perilin grows out of the sand, I understand.”

“But how do you know it’s the same place as yesterday?” “I feel it as I feel my own body. The desert is a part of me.”

Bastian climbed down from Grograman’s back and seated himself on the olive-green hill. The lion lay beside him and now he too was olive-green. Bastian propped his chin on his hand and looked out toward the horizon.

“Grograman,” he said after a long silence. “May I ask you a question?” “Your servant is listening.”

“Is it true that you’ve always been here?” “Always!”

“And the desert of Goab has always existed?” “Yes, the desert too. Why do you ask?” Bastian pondered.

“I don’t get it,” he finally confessed. “I’d have bet it wasn’t here before yesterday morning.”

“What makes you think that, master?”

Then Bastian told him everything that had happened since he met Moon Child.

“It’s all so strange,” he concluded. “A wish comes into my head, and then something always happens that makes the wish come true. I haven’t made this up, you know. I wouldn’t be able to. I could never have invented all the different night plants in Perilin. Or the colors of Goab—or you! It’s all much more wonderful and real than anything I could have made up. But all the same, nothing is there until I’ve wished it.”

“That,” said the lion, “is because you’re carrying AURYN, the Gem.”

“But does all this exist only after I’ve wished it? Or was it all there before?” “Both,” said Grograman.

“How can that be?” Bastian cried almost impatiently. “You’ve been here in Goab, the Desert of Colors, since heaven knows when. The room in your palace was waiting for me since the beginning of time. So, too, was the sword Sikanda. You told me so yourself.”

“That is true, master.”

“But I—I’ve only been in Fantastica since last night! So it can’t be true that all these things have existed only since I came here.”

“Master,” the lion replied calmly. “Didn’t you know that Fantastica is the land of stories? A story can be new and yet tell about olden times. The past comes

into existence with the story.”

“Then Perilin, too, must always have been there,” said the perplexed Bastian. “Beginning at the moment when you gave it its name,” Grograman replied, “it

has existed forever.”

“You mean that I created it?”

The lion was silent for a while. Then he said: “Only the Childlike Empress can tell you that. It is she who has given you everything.”

He arose.

“Master, it’s time we went back to my palace. The sun is low in the sky and we have a long way to go.”

 

That night Grograman lay down again on the black rock, and this time Bastian stayed with him. Few words passed between them. Bastian brought food and drink from the bedchamber, where once again the little table had been laid by an unseen hand. He seated himself on the steps leading to the lion’s rock, and there he ate his supper.

When the light of the lamps grew dim and began to pulsate like a faltering heartbeat, he stood up and threw his arms around the lion’s neck. The mane was hard and looked like congealed lava. Then the gruesome sound was repeated. Bastian was no longer afraid, but again he wept at the thought of Grograman’s sufferings, for now he knew they would endure for all time.

Later that night Bastian groped his way into the open and stood for a long while watching the soundless growth of the night plants. Then he went back into the cave and again lay down to sleep between the petrified lion’s paws.

He stayed with Grograman for many days and nights, and they became friends. They spent many hours in the desert, playing wild games. Bastian would hide among the sand dunes, but Grograman always found him. They ran races, but the lion was a thousand times swifter than Bastian. They wrestled and there Bastian was the lion’s equal. Though of course it was only in fun, Grograman needed all his strength to hold his own. Neither could defeat the other.

Once, after they had been wrestling and tumbling, Bastian sat down, somewhat out of breath, and said: “Couldn’t I stay with you forever?”

The lion shook his mane. “No, master.” “Why not?”

“Here there is only life and death, only Perilin and Goab, but no story. You must live your story. You cannot remain here.”

“But how can I leave?” Bastian asked. “The desert is much too big, I’d never

get to the end of it. And you can’t carry me out of it, because you take the desert with you.”

“Only your wishes can guide you over the pathways of Fantastica,” said Grograman. “You must go from wish to wish. What you don’t wish for will always be beyond your reach. That is what the words “far” and “near” mean in Fantastica. And wishing to leave a place is not enough. You must wish to go somewhere else and let your wishes guide you.”

“But I can’t wish to leave here,” said Bastian.

“You must find your next wish,” said Grograman almost sternly.

“And when I find it,” Bastian asked, “how will I be able to leave here?”

“I will tell you,” said Grograman gravely. “There is in Fantastica a certain place from which one can go anywhere and which can be reached from anywhere. We call it the Temple of a Thousand Doors. No one has ever seen it from outside. The inside is a maze of doors. Anyone wishing to know it must dare to enter it.”

“But how is that possible if it can’t be approached from outside?”

“Every door in Fantastica,” said the lion, “even the most ordinary stable, kitchen, or cupboard door, can become the entrance to the Temple of a Thousand Doors at the right moment. And none of these thousand doors leads back to where one came from. There is no return.”

“And once someone is inside,” Bastian asked, “can he get out and go somewhere?”

“Yes,” said the lion. “But it’s not as simple as in other buildings. Only a genuine wish can lead you through the maze of the thousand doors. Without a genuine wish, you just have to wander around until you know what you really want. And that can take a long time.”

“How will I find the entrance?” “You’ve got to wish it.”

Bastian pondered a long while. Then he said: “It seems strange that we can’t just wish what we please. Where do our wishes come from? What is a wish anyway?”

Grograman gave the boy a long, earnest look, but made no answer.

 

Some days later they had another serious talk.

Bastian had shown the lion the inscription on the reverse side of the Gem. “What do you suppose it means?” he asked. “ ‘DO WHAT YOU WISH.’ That must mean I can do anything I feel like. Don’t you think so?”

All at once Grograman’s face looked alarmingly grave, and his eyes glowed. “No,” he said in his deep, rumbling voice. “It means that you must do what

you really and truly want. And nothing is more difficult.” “What I really and truly want? What do you mean by that?”

“It’s your own deepest secret and you yourself don’t know it.” “How can I find out?”

“By going the way of your wishes, from one to another, from first to last. It will take you to what you really and truly want.”

“That doesn’t sound so hard,” said Bastian. “It is the most dangerous of all journeys.” “Why?” Bastian asked. “I’m not afraid.”

“That isn’t it,” Grograman rumbled. “It requires the greatest honesty and vigilance, because there’s no other journey on which it’s so easy to lose yourself forever.”

“Do you mean because our wishes aren’t always good?” Bastian asked.

The lion lashed the sand he was lying on with his tail. His ears lay flat, he screwed up his nose, and his eyes flashed fire. Involuntarily Bastian ducked when Grograman’s voice once again made the earth tremble: “What do you know about wishes? How would you know what’s good and what isn’t?”

In the days that followed Bastian thought a good deal about what the Many- Colored Death had said. There are some things, however, that we cannot fathom by thinking about them, but only by experience. So it was not until much later, after all manner of adventures, that he thought back on Grograman’s words and began to understand them.

At this time another change took place in Bastian. Since his meeting with Moon Child he had received many gifts. Now he was favored with a new one: courage. And again something was taken away from him, namely, the memory of his past timidity.

Since he was no longer afraid of anything, a new wish began, imperceptibly at first, then more distinctly, to take shape within him: the wish to be alone no longer. Even in the company of the Many-Colored Death he was alone in a way. He wanted to exhibit his talents to others, to be admired and to become famous.

And one night as he was watching Perilin grow, it suddenly came to him that he was doing so for the last time, that he would have to bid the grandiose Night Forest goodbye. An inner voice was calling him away.

He cast a last glance at the magnificently glowing colors. Then he descended to the darkness of Grograman’s palace and tomb, and sat down on the steps. He

couldn’t have said what he was waiting for, but he knew that he could not sleep that night.

He must have dozed a little, for suddenly he started as if someone had called his name.

The door leading to the bedchamber had opened. Through the cleft a long strip of reddish light shone into the dark cave.

Bastian stood up. Had the door been transformed for this moment into the entrance of the Temple of a Thousand Doors? Hesitantly he approached the cleft and tried to peer through. He couldn’t see a thing. Then slowly the cleft began to close. In a moment his only chance would pass.

He turned back to Grograman, who lay motionless, with eyes of dead stone, on his pedestal. The strip of light from the door fell full on him.

“Goodbye, Grograman, and thanks for everything,” he said softly. “I’ll come again, I promise, I’ll come again.”

Then he slipped through the cleft, and instantly the door closed behind him.

Bastian didn’t know that he would not keep his promise. Much much later someone would come in his name and keep it for him.

But that’s another story and shall be told another time.





 

































urple light passed in slow waves across the floor and the walls of the room. It was a hexagonal room, rather like the enlarged cell of a honeycomb. Every second wall had a door in it, and on the intervening walls were painted strange pictures representing land scapes and creatures who seemed to be half plant and half animal. Bastian had entered through one of the doors; the other two, to the right and left of it, were exactly the same shape, but the left-hand door was black, while the right-hand one was white. Bastian chose the white door.

In the next room the light was yellowish. Here again the walls formed a hexagon. The pictures represented all manner of contrivances that meant nothing to Bastian. Were they tools or weapons? The two doors leading onward to the right and left were the same color, yellow, but the left-hand one was tall and narrow, while the one on the right was low and wide. Bastian chose the left-hand one.

The next room was hexagonal like the others, but the light was bluish. The

pictures on the walls were of intricate ornaments or characters in a strange alphabet. Here the two doors were the same color, but of different material, one of wood, the other of metal. Bastian chose the wooden door.

It is not possible to describe all the doors and rooms through which Bastian passed during his stay in the Temple of a Thousand Doors. There were doors that looked like large keyholes, and others that resembled the entrances to caves, there were golden doors and rusty iron doors, some were padded and some were studded with nails, some were paper-thin and others as thick as the doors of treasure houses; there was one that looked like a giant’s mouth and another that had to be opened like a drawbridge, one that suggested a big ear and one that was made of gingerbread, one that was shaped like an oven door, and one that had to be unbuttoned. The two doors leading out of a room always had something in common—the shape, the material, the size, the color—but there was always some essential difference between them.

Bastian had passed many times from one hexagonal room to another. Every decision he made led to another decision that led to yet another decision. But after all these decisions he was still in the Temple of a Thousand Doors. As he went on and on, he began to wonder why this should be. His wish had sufficed to lead him into the maze, but apparently it was not definite enough to enable him to find the way out. He had wished for company. But now he realized that by company he had meant no one in particular. This vague wish hadn’t helped him at all. Thus far his decisions had been based on mere whim and involved very little thought. In every case he might just as well have taken the other door. At this rate he would never find his way out.

Just then he was in a room with a greenish light. Three of the six walls had variously shaped clouds painted on them. The door to the left was of white mother-of-pearl, the one on the right of ebony. And suddenly he knew whom he wished for: Atreyu!

The mother-of-pearl door reminded Bastian of Falkor the luckdragon, whose scales glistened like mother-of-pearl. So he decided on that one.

In the next room one of the two doors was made of plaited grass, the other was an iron grating. Just then Bastian was thinking of the Grassy Ocean where Atreyu was at home, so he picked the grass door.

In the next room he found two doors which differed only in that one was made of leather and the other of felt. Bastian chose the leather one.

Then he was faced with two more doors, and again he had time to think. One was purple, the other olive green. Atreyu was a Greenskin and his cloak was

made from the hide of a purple buffalo. A symbol such as Atreyu had had on his forehead and cheeks when Cairon came to him was painted in white on the olive-green door. But the purple door had the same symbol on it, and Bastian didn’t know that Atreyu’s cloak had been ornamented with just such symbols. That door, he thought, must lead to someone else, not to Atreyu.

He opened the olive-green door—and then he was outside.

To his surprise he found himself not in the Grassy Ocean but in a bright springtime forest. Sunbeams shone through the young foliage and played their games of light and shade on the mossy ground. The place smelled of earth and mushrooms and the balmy air was filled with the twittering of birds.

Bastian turned around and saw that he had just stepped out of a little forest chapel. For that moment its door had been the way out of the Temple of a Thousand Doors. Bastian opened it again, but all he saw was the inside of a small chapel. The roof consisted only of a few rotten beams, and the walls were covered with moss.

Bastian started walking. He had no idea where he was going, but he felt certain that sooner or later he would find Atreyu. The thought made him so happy that he whistled to the birds, who answered him and sang every merry tune that entered his head.

A while later he caught sight of a group of figures in a clearing. As he came closer, they proved to be four men in magnificent armor and a beautiful lady, who was sitting on the grass, strumming a lute. Five richly caparisoned horses and a pack mule were standing in the background. A white cloth laid with all manner of viands and drink was spread out on the grass before the company.

Before joining the group, Bastian hid the Childlike Empress’s amulet under his shirt. He thought it best to see what these people were up to before allowing himself to be recognized.

The men stood up and bowed low at his approach, evidently taking him for an Oriental prince or something of the kind. The fair lady nodded, smiled at him, and went on strumming her lute. One of the men was taller than the rest and more magnificently clad. He had fair hair that hung down over his shoulders.

“I am Hero Hynreck,” he announced, “and this lady is Princess Oglamar, daughter of the king of Luna. These men are my friends Hykrion, Hysbald, and Hydorn. And what may your name be, young friend?”

“I may not say my name—not yet,” Bastian replied.

“A vow?” Princess Oglamar asked on a note of mockery. “So young, and you’ve already made a vow?”

“Have you come a long way?” Hero Hynreck inquired. “A very long way,” Bastian replied.

“Are you a prince?” asked the princess with a gracious smile. “That I may not reveal,” said Bastian

“Well, welcome in any case to our gathering!” cried Hero Hynreck. “Will you honor us by partaking of our repast?”

Bastian accepted with thanks, sat down, and began to eat.

From the conversation between the lady and the four knights Bastian learned that a tournament was to be held in the large and magnificent Silver City of Amarganth, which was not far distant. From far and near the boldest heroes, the most skillful hunters, the bravest warriors, and all manner of adventurers as well, had come to take part. Only the three bravest and best, who defeated all the others, were to have the honor of joining in a long and perilous expedition, the aim of which was to find a certain person, the so-called Savior, who was known to be somewhere in one of the numerous regions of Fantastica. Thus far no one knew his name. It appeared that at some time in the past Fantastica had been struck by disaster, but that this Savior had appeared on the scene and saved it in the nick of time by giving the Childlike Empress the name of Moon Child, by which she was now known to everyone in Fantastica. Since then he had been wandering about the country unknown, and the purpose of the expedition was to find him and keep him safe by serving him as a kind of bodyguard. Only the bravest and ablest men would be chosen for the mission, since it seemed more than likely that formidable adventures awaited them.

The tournament at which the three were to be chosen had been organized by Querquobad, the Silver Sage—the city of Amarganth was always ruled by its oldest man or woman, and Querquobad was a hundred and seven years old. The winners, however, would not be selected by him, but by one Atreyu, a young Greenskin, who was then visiting Sage Querquobad. This Atreyu was to lead the expedition. For he alone was capable of recognizing the Savior, since he had seen him once in his magic mirror.

Bastian listened in silence. It wasn’t easy for him, for he soon realized that this Savior was his very own self. And when Atreyu’s name came up, his heart laughed within him, and he found it very hard not to give himself away. But he was determined to keep his identity a secret for the present.

Hero Hynreck, as it turned out, was not so much concerned with the expedition as with the heart of Princess Oglamar. Bastian had seen at a glance that he was head over heels in love with the young lady. For no apparent reason

he kept sighing and casting mournful glances at her. And she would pretend not to notice. As Bastian learned later on, she had vowed to marry no one but the greatest of all heroes, who proved himself able to defeat all others. She wouldn’t be satisfied with less. But how could Hero Hynreck prove that he was the greatest? After all, he couldn’t just go out and kill someone who had done him no harm. And as for wars, there hadn’t been any for ages. He would gladly have fought monsters or demons, he would gladly have brought her a fresh dragon’s tail for breakfast every morning, but far and wide there were no monsters, demons, or dragons to be found. So naturally, when the messenger from Querquobad, the Silver Sage, had invited him to the tournament, he had accepted forthwith. But Princess Oglamar had insisted on coming along, for she wanted to see his performance with her own eyes.

“Everybody knows,” she said with a smile, “that heroes are not to be believed.

They all tend to exaggerate their achievements.”

“Exaggeration or not,” said Hero Hynreck, “I can assure you that I’m a better man than this legendary Savior.”

“How can you know that?” Bastian asked.

“Well,” said Hero Hynreck, “if the fellow was half as strong and brave as I am, he wouldn’t need a bodyguard to take care of him. He sounds kind of pathetic to me.”

“How can you say such a thing!” cried Oglamar with indignation. “Didn’t he save Fantastica from destruction?”

“What of it!” said Hero Hynreck with a sneer. “That didn’t take much of a hero.”

Bastian decided to teach him a little lesson at the first opportunity.

The three other knights had merely fallen in with the couple en route. Hykrion, who had a bristling black moustache, claimed to be the most powerful swordsman in all Fantastica. Hysbald, who had red hair and seemed frail in comparison with the others, claimed that no one was quicker and more nimble with a sword than he. And Hydorn was convinced that he had no equal for endurance in combat. His exterior seemed to support his contention, for he was tall and lean, all bone and sinew.

After the meal they prepared to resume their journey. The crockery and provisions were packed into the saddlebags. Princess Oglamar mounted her white palfrey and trotted off without so much as a backward look at the others. Hero Hynreck leapt on his coal-black stallion and galloped after her. The three other knights offered Bastian a ride on their pack mule, which he accepted.

Whereupon they started through the forest on their splendidly caparisoned steeds, while Bastian brought up the rear. Bastian’s mount, an aged she-mule, dropped farther and farther behind. Bastian tried to goad her on, but instead of quickening her pace, the mule stopped still, twisted her neck to look back at him, and said: “Don’t urge me on, sire, I’ve lagged behind on purpose.”

“Why?” Bastian asked. “Because I know who you are.” “How can that be?”

“When a person is only half an ass like me, and not a complete one, she senses certain things. Even the horses had an inkling. You needn’t say anything, sire. I’d have been so glad to tell my children and grandchildren that I carried the Savior on my back and was first to welcome him. Unfortunately mules don’t get children.”

“What’s your name?” Bastian asked. “Yikka, sire.”

“Look here, Yikka. Don’t spoil my fun. Could you keep what you know to yourself for the time being?”

“Gladly, sire.”

And the mule trotted off to catch up with the others.

The group were waiting on a knoll at the edge of the forest, looking down with wonderment at the city of Amarganth, which lay gleaming in the sunlight before them. From the height where they stood, the travelers had a broad view over a large, violet blue lake, surrounded on all sides by similar wooded hills. In the middle of this lake lay the Silver City of Amarganth. The houses were all supported by boats, and the larger palaces by great barges. Every house and every ship was made of finely chiseled, delicately ornamented silver. The windows and doors of the palaces great and small, the towers and balconies, were all of finely wrought silver filigree, unequaled in all Fantastica. The lake was studded with boats of all sizes, carrying visitors to the city from the mainland. Hero Hynreck and his companions hastened down to the shore, where a silver ferry with a magnificently curved prow was waiting. There was room in it for the whole company, horses, pack mule, and all.

On the way over, Bastian learned from the ferryman, whose clothes were of woven silver, that the violet-blue water of the lake was so salty and bitter that only silver, and a special kind of silver at that, could withstand its corrosive action for any length of time. The name of this lake was Moru, or Lake of Tears. In times long past the people of Amarganth had ferried their city to the middle of

the lake to protect it from invasion, since ships of wood or iron were quick to disintegrate in the acrid water. And at present there was yet another reason for leaving Amarganth in the middle of the lake, for the inhabitants had got into the habit of regrouping their houses and moving their streets and squares about when the fancy struck them. Suppose, for instance, that two families, living at opposite ends of town, made friends or intermarried. Why, then they would simply move their silver ships close together and become neighbors.

Bastian would gladly have heard more, but the ferry had reached the city, and he had to get out with his traveling companions.

Their first concern was to find lodgings for themselves and their mounts—no easy matter, since Amarganth was literally overrun by visitors who had come from far and near for the tournament. At length they found lodgings in an inn.

After taking the she-mule to the stable, Bastian whispered in her ear: “Don’t forget your promise, Yikka. I’ll be seeing you soon again.”

Yikka nodded.

Then Bastian told his traveling companions that he didn’t wish to be a burden to them any longer and would look about the town on his own. After thanking them for their kindness, he took his leave. Actually he was intent on finding Atreyu.

The large and small boats were connected by gangplanks, some so narrow that only one person could cross them at a time, others as wide as good-sized streets. There were also arched bridges with roofs over them, and in the canals between the palace-ships hundreds of small boats were moving back and forth. But wherever you went or stood, you felt a gentle rise and fall underfoot, just enough to remind you that the whole city was afloat.

The visitors, who had literally flooded the city, were so varied and colorful that it would take a whole book to describe them. The Amarganthians were easy to recognize, for they all wore clothes of a silver fabric that was almost as fine as Bastian’s mantle. Their hair too was silver; they were tall and well-built, and their eyes were as violet-blue as Moru, the Lake of Tears. Most of the visitors were not quite so attractive. There were muscle-bound giants with heads that seemed no larger than apples between their huge shoulders. There were sinister- looking night-rowdies, bold, solitary individuals whom, as one could see at a glance, it was best not to tangle with. There were flimflams with shifty eyes and nimble fingers, and berserkers with smoke coming out of their mouths and noses. There were topsy-turvies who spun like living tops and wood-goblins who trotted about on gnarled, crooked legs, carrying stout clubs over their shoulders.

Once Bastian even saw a rock chewer, with teeth like steel chisels jutting out of his mouth. The silver gangplank bent under his weight as he came stomping along. But before Bastian could ask him if by any chance he was Pyornkrachzark, he had vanished in the crowd.

At length Bastian reached the center of the city, where the tournament was already in full swing. In a circular open space that looked like a giant arena, hundreds of contestants were measuring their strength, showing their mettle. Around the edges a crowd of onlookers egged the participants on, and the windows and balconies of the surrounding palace-ships were packed with enthusiasts. Some had even managed to climb up on the filigree-ornamented roofs.

At first Bastian paid little attention to the tournament. He was looking for Atreyu, feeling sure that he must be somewhere in the crowd. Then he noticed that the onlookers kept turning expectantly toward one of the palaces— especially when a contestant had performed some particularly impressive feat. But before he could get a good look at the palace, Bastian had to thrust his way across one of the bridges and climb a sort of lamppost.

Two silver chairs had been set up on a wide balcony. In one sat an aged man whose silver beard and hair hung down to his waist. That must be Querquobad, the Silver Sage. Beside him sat a boy of about Bastian’s age. He was wearing long trousers made of soft leather, but he was bare from the waist up, and Bastian saw that his skin was olive green. The expression of his lean face was grave, almost stern. His long, blue-black hair was gathered together and held back by leather thongs. Over his shoulders he wore a purple cloak. He was looking calmly and yet somehow eagerly down at the arena.

Nothing seemed to escape his dark eyes. Who could it be but Atreyu!

At that moment an enormous face appeared in the open balcony door behind Atreyu. It looked rather like a lion’s, except that it had white mother-of-pearl scales instead of fur, and long white fangs jutted out of the mouth. The eyeballs sparkled ruby red, and when the head rose high above Atreyu, Bastian saw that it rested on a long, supple neck, from which hung a mane that looked like white fire. Of course, it was Falkor the luckdragon, and he seemed to be whispering something in Atreyu’s ear, for Atreyu nodded.

Bastian slid down the lamppost. He had seen enough. Now he could watch the tournament.

“Tournament” was hardly the right word. The contests that were in progress added up to something more like a big circus. There was a wrestling match

between two giants, who twined their bodies into one huge knot that kept rolling this way and that; individuals of like or divergent species vied with one another in swordsmanship or in skill at handling the club or the lance, but none had any serious intention of killing his adversary. The rules called for fair fighting and the strictest self-control. Any contestant so misled by anger or ambition as to injure an opponent seriously would have been automatically disqualified.

Many defeated combatants had left the arena when Bastian saw Hykrion the Strong, Hysbald the Swift, and Hydorn the Enduring make their appearance. Hero Hynreck and Princess Oglamar were not with them.

By then there were scarcely more than a hundred contestants left. Since these were a selection from among the best and strongest, Hykrion, Hysbald, and Hydorn had a much harder time of it than they may have expected. It took all afternoon for Hykrion to prove himself the strongest among the strong, Hysbald the swiftest among the swift, and Hydorn the most enduring among the enduring. The onlookers applauded with a will and all three bowed in the direction of the balcony, where Silver Sage Querquobad and Atreyu were sitting. Atreyu was getting up to say something when yet another contestant appeared—Hynreck. An expectant silence fell and Atreyu sat down. Since only three men were to accompany him on his expedition, there was one too many in the field. One would have to withdraw.

“Sires,” said Hynreck in a loud voice, “I would not suggest that your strength can have been impaired by the little display you have just made of your abilities. Under the circumstances, however, it would be unworthy of me to challenge you singly. Since I have thus far seen no adversary up to my standards, I have not participated in the contests. Consequently, I am still fresh. If any of you should feel too exhausted, he is free to stand aside. Otherwise, I am prepared to face all three of you at once. Any objections?”

“No!” replied all three in unison.

A furious battle followed. Hykrion’s blows had lost none of their force, but Hero Hynreck was stronger. Hysbald assailed him from all sides like streaks of lightning, but Hynreck was quicker. Hydorn tried to wear him down, but Hero Hynreck had greater endurance. After barely ten minutes all three were disarmed and all three bent their knees to Hero Hynreck. He looked proudly about him, evidently hoping for an admiring glance from his lady, who must have been somewhere in the crowd. The cheers of the onlookers swept over the arena like a hurricane and could no doubt be heard on the farthermost shore of Lake Moru.

When the applause died down, Querquobad, the Silver Sage, stood up and

asked in a loud voice: “Does anyone wish to oppose Hero Hynreck?” A hush fell on the crowd. Then a boy’s voice was heard: “Yes! I do!”

All eyes turned toward Bastian. The crowd opened a path for him and he strode into the arena. Cries of amazement and pity were heard. “How handsome he is!” “What a shame!” “This must be stopped!”

“Who are you?” asked Silver Sage Querquobad. “I will reveal my name afterward,” said Bastian.

He saw that Atreyu had narrowed his eyes and was studying him closely, but had not yet made up his mind.

“Young friend,” said Hero Hynreck. “We have eaten and drunk together. Why do you want me to put you to shame? I pray you, withdraw your challenge and go away.”

“No,” said Bastian. “I meant what I said.”

Hero Hynreck hesitated a moment. Then he said: “It would be wrong of me to measure myself in combat with you. Let us first see who can shoot an arrow higher.”

“Very well!” said Bastian.

A stout bow and an arrow were brought for each of them. Hynreck drew the bowstring and shot the arrow so high that the eye could not follow. At almost the same moment Bastian pulled his bowstring and shot his arrow after it.

It was some time before the arrows came down and fell to the ground between the two archers. Then it became evident that Bastian’s red-feathered arrow had struck Hero Hynreck’s blue-feathered arrow at its apogee with such force as to split it open and wedge itself into it.

Hero Hynreck stared at the telescoped arrows. He had turned rather pale, but his cheeks had broken out in red spots.

“That can only be an accident,” he muttered. “Let’s see who does better with the foils.”

He asked for two foils and two decks of cards. Both were brought. He shuffled both decks of cards carefully.

Then he threw one deck high into the air, drew his blade with the speed of lightning, and thrust. When all the other cards had fallen to the ground, it could be seen that he had struck the ace of hearts in the center of its one heart. And holding up his foil with the card spitted on it, he again looked about for his lady.

Then Bastian tossed the other deck into the air and his blade flashed. Not a single card fell to the ground. He had pierced all fifty-two cards of the deck exactly in the middle and moreover in the right order—though Hero Hynreck

had shuffled them ever so carefully.

Hero Hynreck looked at the cards. He said nothing, but his lips trembled. “But you won’t outdo me in strength,” he stammered finally.

A number of weights were still lying about from the previous contests. He seized the heaviest and slowly, straining every muscle, lifted it. But before he could set it down, Bastian had grabbed hold of him and lifted him along with the weight. Hero Hynreck’s face took on a look of such misery that some of the onlookers could not repress a smile.

“Thus far,” said Bastian, “you have chosen the nature of our contests. Will you allow me to suggest something?”

Hero Hynreck nodded in silence. “Nothing can daunt my courage.”

“In that case,” said Bastian, “I propose a swimming race. Across the Lake of Tears.”

A breathless silence fell on the assemblage. Hero Hynreck turned red and pale by turns.

“That’s no test of courage,” he expostulated. “It’s madness.” “I’m ready,” said Bastian.

At that Hero Hynreck lost his self-control.

“No!” he shouted, stamping his foot. “You know as well as I do that the water of Moru dissolves everything. It would be certain death.”

“I’m not afraid,” said Bastian calmly. “I’ve crossed the Desert of Colors. I’ve eaten and drunk the fire of the Many-Colored Death and bathed in it. I’m not afraid of any water.”

“You’re lying!” roared Hero Hynreck, purple with rage. “No one in all Fantastica can survive the Many-Colored Death. Any child knows that.”

“Hero Hynreck,” said Bastian slowly. “Instead of calling me a liar, why not admit that you’re just plain scared?”

That was too much for Hero Hynreck. Beside himself with rage, he drew his big sword from its sheath and flung himself on Bastian. Bastian stepped back. He was about to say a word of warning, but Hero Hynreck didn’t leave him time. He struck out in earnest, and in that same moment the sword Sikanda leapt from its rusty sheath into Bastian’s hand, and began to dance.

What happened next was so amazing that not one of the onlookers would forget it as long as he lived. Luckily Bastian couldn’t let go of the hilt and was obliged to follow all Sikanda’s lightning-like movements. First it sliced Hero Hynreck’s lovely armor into little pieces. They flew in all directions, but his skin was not even scratched. Hero Hynreck swung his sword like a madman in a

desperate effort to defend himself, but he was blinded by Sikanda’s whirling light, and none of his blows struck home. At length he was stripped to his underclothes, but still he went on fighting. And then Sikanda cut his weapon into little bits so quickly that what had been a whole sword only a moment before fell tinkling to the ground like a pile of coins. Hero Hynreck stared aghast at the useless hilt, dropped it, and hung his head. Sikanda left Bastian’s hand and flew back into its rusty sheath.

A cry of admiration rose from a thousand throats. The onlookers stormed the arena, seized Bastian, lifted him onto their shoulders, and carried him around in triumph. From his lofty perch Bastian looked for Hero Hynreck. He felt sorry for the poor fellow and wanted to give him a kind word; he hadn’t intended to make such a fool out of him. But Hero Hynreck was nowhere to be seen.

Then silence fell. The crowd moved aside. There stood Atreyu, smiling up at Bastian. Bastian smiled back. His bearers let him down from their shoulders. For a long while the two boys looked at each other in silence. Then Atreyu spoke:

“If I still needed someone to accompany me on the search for the Savior of Fantastica, I would content myself with just this one, for he is worth more than a hundred others. But I need no companion, because there will be no expedition.”

A murmur of surprise and disappointment was heard.

“The Savior of Fantastica has no need of our protection,” Atreyu went on, raising his voice, “for he can defend himself better than all of us together could defend him. And we have no need to look for him, because he has already found us. I didn’t recognize him at first, for when I saw him in the Magic Mirror Gate of the Southern Oracle, he was different from now—entirely different. But I didn’t forget the look in his eyes. It’s the same look that I see now. I couldn’t be mistaken.”

Bastian shook his head and said with a smile: “You’re not mistaken, Atreyu. It was you who brought me to the Childlike Empress to give her a new name. And for that I thank you.”

An awed whisper passed over the crowd like a gust of wind.

“You promised,” Atreyu replied, “to tell me your name, which is known to no one in Fantastica except the Golden-eyed Commander of Wishes. Will you tell us now?”

“My name is Bastian Balthazar Bux.”

At that the onlookers could contain themselves no longer. Their rejoicing exploded in a thousand cheers. Many of them started dancing. Bridges and gangplanks, the whole square for that matter, began to sway.

Laughing, Atreyu held out his hand to Bastian. Bastian took it, and so—hand in hand—they went to the palace. Silver Sage Querquobad and Falkor the luckdragon were waiting on the palace steps.

That night the city of Amarganth staged the finest celebration in all its history. All who had legs, long or short, straight or crooked, danced, and all who had voices, sweet or sour, high or low, sang and laughed.

When night fell, the Amarganthians lit thousands of colored lamps on their silver ships and palaces. And at midnight there were fireworks such as had never been seen in Fantastica. Bastian stood on the balcony with Atreyu. To the left and right of them stood Falkor and Silver Sage Querquobad, watching as sheaves of many-colored light and the Silver City’s thousands of lamps were reflected in the dark waters of Moru, the Lake of Tears.





 

































erquobad, the Silver Sage, had slumped down in his chair asleep, for already the hour was late. Consequently, he missed an experience more beautiful and more extraordinary than any he had known in the hundred and seven years of his life. And so did many others in Amarganth, citizens as well as visitors, who, exhausted by the festivities, had gone to bed. Only a few were still awake, and those few were uniquely privileged:

Falkor, the white luckdragon, was singing.

High in the night sky, he flew in circles over the Lake of Tears, and let his bell-like voice ring out in a song without words, a simple, grandiose song of pure joy. The hearts of all those who heard it opened wide.

And so it was with Bastian and Atreyu, who were sitting side by side on the broad balcony of Querquobad’s palace. Neither had ever heard the song of a luckdragon before. Hand in hand, they listened in silent delight. Each knew that the other shared his feeling, a feeling of joy at having found a friend. And they

took care not to spoil it with idle words.

The great hour passed. Falkor’s song grew faint and gradually died away. When all was still, Querquobad woke up and excused himself: “I’m afraid,”

he said, “that old men like me need their sleep. I’m sure you youngsters will forgive me, I must really be off to bed.”

They wished him a good night and Querquobad left them.

Again the two friends sat for a long while in silence, looking up at the night sky, where the luckdragon was still flying in great slow circles. From time to time he passed across the full moon like a drifting cloud.

“Doesn’t Falkor ever sleep?” Bastian asked finally. “He’s asleep now,” Atreyu replied.

“In the air?”

“Oh yes. He doesn’t like to stay in houses, even when they’re as big as Querquobad’s palace. He feels cramped. He’s just too big and he’s afraid of knocking things over. So he usually sleeps way up in the air.”

“Do you think he’d let me ride him sometime?”

“Of course he would,” said Atreyu. “Though it’s not so easy. You’ve got to get used to it.”

“I’ve already ridden Grograman,” said Bastian. Atreyu nodded and looked at him with admiration.

“So you said during your contest with Hero Hynreck. How did you tame the Many-Colored Death?”

“I have AURYN,” said Bastian.

“Oh!” said Atreyu. He seemed surprised, but he said nothing more.

Bastian took the Childlike Empress’s emblem from under his shirt and showed it to Atreyu. Atreyu looked at it for a while. Then he muttered: “So now you are wearing the Gem.”

Thinking he detected a note of displeasure, Bastian hastened to ask: “Would you like to have it back?”

He started undoing the chain. “No!”

Atreyu’s voice sounded almost harsh, and Bastian wondered what was wrong. Atreyu smiled apologetically and repeated gently: “No, Bastian, I haven’t worn it in a long while.”

“As you like,” said Bastian. Then he turned the amulet over. “Look,” he said. “Have you seen the inscription?”

“Yes,” said Atreyu. “I’ve seen it, but I don’t know what it says.”

“How come?”

“Greenskins can read tracks in the forest, but not letters.” This time it was Bastian who said: “Oh!”

“What does it say?” Atreyu asked.

“ ‘DO WHAT YOU WISH,’ “ Bastian read. Atreyu stared at the amulet.

“So that’s what it says.” His face revealed nothing, and Bastian couldn’t guess what he was thinking.

“If you had known,” he asked, “would it have changed anything for you?” “No,” said Atreyu. “I did what I wanted to do.”

“That’s true,” said Bastian, and nodded. Again they were both silent for a time.

“There’s something I have to ask you,” said Bastian finally. “You said I looked different from when you saw me in the Magic Mirror Gate.”

“Yes, entirely different.” “In what way?”

“You were fat and pale and you were wearing different clothes.”

Bastian smiled. “Fat and pale?” he asked incredulously. “Are you sure it was me?”

“Wasn’t it?”

Bastian thought it over.

“You saw me. I know that. But I’ve always been the way I am now.” “Really and truly?”

“I should know. Shouldn’t I?” Bastian cried.

“Yes,” said Atreyu, looking at him thoughtfully. “YOU should know.” “Maybe it was a deforming mirror.”

Atreyu shook his head. “I don’t think so.”

“Then how do you explain your seeing me that way?”

“I don’t know,” Atreyu admitted. “I only know that I wasn’t mistaken.” After that they were silent for a long while, and at length they went to sleep.

As Bastian lay in his bed, the head and foot of which were made of the finest silver filigree, his conversation with Atreyu ran through his head. Somehow it seemed to him that Atreyu was less impressed by his victory over Hero Hynreck and even by his stay with Grograman since he heard that he, Bastian, was wearing the Gem. And true enough, he thought, maybe his feats didn’t amount to much, considering that he had the amulet to protect him. But he wanted to win

Atreyu’s wholehearted admiration.

He thought and thought. There had to be something that no one in Fantastica could do, even with the amulet. Something of which only he, Bastian, was capable.

At last it came to him: making up stories.

Time and time again he had heard it said that no one in Fantastica could create anything new. Even the voice of Uyulala had said something of the kind. And just that was his special gift. He would show Atreyu that he, Bastian, was a great storyteller.

He resolved to prove himself to his friend at the first opportunity. Maybe the very next day. For instance, there might be a storytelling contest, and he would put all others in the shade with his inventions!

Or better still: suppose all the stories he told should come true! Hadn’t Grograman said that Fantastica was the land of stories and that even something long past could be born again if it occurred in a story.

Atreyu would be amazed!

And while picturing Atreyu’s amazement, Bastian fell asleep.

The next morning, as they were enjoying a copious breakfast in the banquet hall of the palace, Silver Sage Querquobad said: “We have decided to hold a very special sort of festival for the benefit of our guest, the Savior of Fantastica, and his friend, who brought him to us. Perhaps, Bastian Balthazar Bux, it is unknown to you that in keeping with an age-old tradition we Amarganthians have always been the ballad singers and storytellers of Fantastica. From an early age our children are instructed in these skills. When they grow to adulthood they journey from country to country for several years, practicing their art for the benefit of all. Everywhere they are welcomed with joy and respect. But we have one regret: Quite frankly, our stock of stories is small. And many of us must share this little. But word has gone round—whether true or not, I don’t know— that you, in your world, are famous for your stories. Is that the truth?”

“Yes,” said Bastian. “They even made fun of me for it.” Silver Sage Querquobad raised his eyebrows in disbelief.

“Made fun of you for telling stories that no one had ever heard? How is that possible? None of us can make up new stories, and we, my fellow citizens and I, would all be infinitely grateful if you would give us a few. Will you help us with your genius?”

“With pleasure,” said Bastian.

After breakfast Bastian, Atreyu, and the Silver Sage went out to the steps of

Querquobad’s palace, where Falkor was already waiting for them.

A large crowd had gathered, but on this occasion it included few of the outsiders who had come for the tournament and consisted largely of Amarganthians, men, women, and children, all comely and blue-eyed, and all clad in silver. Most were carrying stringed instruments, harps, lyres, guitars, or lutes, all of silver. For almost everyone there hoped to display his art in the presence of Bastian and Atreyu.

Again chairs had been put in place. Bastian sat in the middle between Querquobad and Atreyu, and Falkor stood behind them.

Querquobad clapped his hands. When the crowd fell silent, he announced: “The great storyteller is going to grant our wish and make us a present of some new stories. Therefore, friends, give us your best, to put him in the right mood.”

The Amarganthians all bowed low. Then the first stepped forward and began to recite. After him came another and still others. All had fine, resonant voices and told their stories well.

Some of their tales were exciting, others merry or sad, but it would take us too long to tell them here. In all, there were no more than a hundred different stories. Then they began to repeat themselves. Those who came last could only tell what their predecessors had told before them.

Bastian grew more and more agitated while waiting for his turn. His last night’s wish had been fulfilled to the letter, and he could hardly bear the excitement of waiting to see whether everything else would come true as well. He kept casting glances at Atreyu, but Atreyu’s face was impassive, showing no sign of what he might be thinking.

At length Querquobad bade his compatriots desist and turned to Bastian with a sigh: “I told you, Bastian Balthazar Bux, that our stock of tales was small. It’s not our fault. Won’t you give us a few of yours?”

“I will give you all the stories I’ve ever told,” said Bastian, “For I can always think up new ones. I told many of them to a little girl named Kris Ta, but most I thought up only for myself. No one else has heard them. But it would take weeks and months to tell them all, and we can’t stay with you that long. So I’ve decided to tell you a story that contains all the others in it. It’s called ‘The Story of the Library of Amarganth,’ and it’s very short.” Then after a moment’s thought he plunged in:

“In the gray dawn of time, the city of Amarganth was ruled by a Silver Sagess named Quana. In those long-past days Moru, the Lake of Tears, hadn’t been made yet, nor was Amarganth built of the special silver that withstands the water

of Moru. It was still like other cities with houses of stone and wood. And it lay in a valley among wooded hills.

“Quana had a son named Quin, who was a great hunter. One day in the forest Quin caught sight of a unicorn, which had a glittering stone at the end of its horn. He killed the beast and took the stone home with him. His crime (for it is a crime to kill unicorns) brought misfortune on the city. From then on fewer and fewer children were born to the inhabitants. If no remedy were found, the city would die out. But the unicorn couldn’t be brought back to life, and no one knew what to do.

“Quana, the Silver Sagess, sent a messenger to consult Uyulala in the Southern Oracle. But the Southern Oracle was far away. The messenger was young when he started out, but old by the time he got back. Quana had long been dead and her son Quin had taken her place. He too, of course, was very old, as were all the other inhabitants. There were only two children left, a boy and a girl. His name was Aquil, hers was Muqua.

“The messenger reported what Uyulala’s voice had revealed. The only way of preserving Amarganth was to make it the most beautiful city in all Fantastica. That alone would make amends for Quin’s crime. But to do so the Amarganthians would need the help of the Acharis, who are the ugliest beings in Fantastica. Because they are so ugly they weep uninterruptedly, and for that reason they are also known as the Weepers. Their stream of tears wash the special silver deep down in the earth, and from it they make the most wonderful filigree.

“All the Amarganthians went looking for the Acharis, but were unable to find them, for they live deep down in the earth. At length only Aquil and Muqua were left. They had grown up and all the others had died. Together they managed to find the Acharis and persuade them to make Amarganth the most beautiful city in Fantastica.

“First the Acharis built a small filigree palace, set it on a silver barge, and moved it to the marketplace of the dead city. Then they made their streams of underground tears well up in the valley among the wooded hills. The bitter water filled the valley and became Moru, the Lake of Tears. On it the first silver palace floated, and in the palace dwelt Aquil and Muqua.

“But the Acharis had granted the plea of Aquil and Muqua on one condition, namely, that they and all their descendants should devote their lives to ballad singing and storytelling. As long as they did so, the Acharis would help them, because then their ugliness would help to create beauty.

“So Aquil and Muqua founded a library—the famous library of Amarganth— in which they stored up all my stories. They began with the one you have just heard, but little by little they added all those I have ever told, and in the end there were so many stories that their numerous descendants, who now inhabit the Silver City, will never come to the end of them.

“If Amarganth, the most beautiful city in Fantastica, is still in existence today, it is because the Acharis and the Amarganthians kept their promise to each other

—though today the Amarganthians have quite forgotten the Acharis and the Acharis have quite forgotten the Amarganthians. Only the name of Moru, the Lake of Tears, recalls that episode from the gray dawn of history.”

When Bastian had finished, Silver Sage Querquobad rose slowly from his chair.

“Bastian Balthazar Bux,” he said, smiling blissfully. “You have given us more than a story and more than all the stories in the world. You have given us our own history. Now we know where Moru and the silver ships and palaces on it came from. Now we know why we have always, from the earliest times, been a people of ballad singers and storytellers. And best of all, we know what is in that great round building in the middle of the city, which none of us, since the founding of Amarganth, has ever entered, because it has always been locked. It contains our greatest treasure and we never knew it. It contains the library of Amarganth.”

Bastian himself could hardly believe it. Everything in his story had become reality (or had it always been? Grograman would probably have said: both!). In any event he was eager to see all this with his own eyes.

“Where is this building?” he asked.

“I will show you,” said Querquobad, and turning to the crowd, he cried: “Come along, all of you! Perhaps we shall be favored with more wonders.”

A long procession, headed by the Silver Sage, Bastian, and Atreyu, moved over the gangplanks connecting the silver ships with one another and finally stopped outside a large building which rested on a circular ship and was shaped like a huge silver box. The outside walls were smooth, without ornaments or windows. It had only one large door, and that door was locked.

In the center of the smooth silver door there was a stone set in a kind of ring. It looked like a piece of common glass. Over it the following inscription could be read:

 

Removed from the unicorn’s horn, I lost my light.

I shall keep the door locked until my light is rekindled by him who calls me by name. For him I will shine a hundred years.

I will guide him in the dark depths of Yor’s Minroud.

But if he says my name a second time from the end to the beginning,

I will glow in one moment

with the light of a hundred years.

 

“None of us can interpret this inscription,” said Querquobad. “None of us knows what the words ‘Yor’s Minroud’ mean. None of us to this day has ever discovered the stone’s name, though we have all tried time and again. For we can only use names that already exist in Fantastica. And since these are all names of other things, none of us has made the stone glow or opened the door. Can you find the name, Bastian Balthazar Bux?”

A deep, expectant silence fell on the Amarganthians and non-Amarganthians alike.

“Al Tsahir!” cried Bastian.

In that moment the stone glowed bright and jumped straight from its setting into Bastian’s hand. The door opened.

A gasp of amazement arose from a thousand throats.

Holding the glowing stone in his hand, Bastian entered the building, followed by Querquobad and Atreyu. The crowd surged in behind them.

It was dark in the large circular room and Bastian held the stone high. Though brighter than a candle, it was not enough to light the whole room but showed only that the walls were lined with tier upon tier of books.

Attendants appeared with lamps. In the bright light it could be seen that the walls of books were divided into sections, bearing signs such as “Funny Stories,” “Serious Stories,” “Exciting Stories,” and so on.

In the center of the circular room, the floor was inlaid with an inscription so large that no one could fail to see it:

 

LIBRARY

OF THE COLLECTED WORKS OF BASTIAN BALTHAZAR BUX

 

Atreyu looked around in amazement. Bastian saw to his delight that his friend

was overcome with admiration.

“Is it true,” asked Atreyu, pointing at the silver shelves all around, “that you made up all those stories?”

“Yes,” said Bastian, slipping Al Tsahir into his pocket. Atreyu could only stand and gape.

“I just can’t understand it,” he said.

The Amarganthians had flung themselves on the books and were leafing through them or reading to one another. Some sat down on the floor and began to learn passages by heart.

News of the great event spread through the whole city like wildfire.

As Bastian and Atreyu were leaving the library, they ran into Hykrion, Hysbald, and Hydorn.

“Sir Bastian,” said the red-haired Hysbald, evidently the deftest of the three not only with the sword but with his tongue as well, “we have heard about your incomparable gifts, and humbly pray you: Take us into your service and let us accompany you on your further travels. Each one of us longs to acquire a story of his own. And though you surely have no need of our protection, you may derive some advantage from the service of three such able and willing knights. Will you have us?”

“Gladly,” said Bastian. “Anyone would be proud of such companions.”

The three knights wished to swear fealty by Bastian’s sword, but he held them back.

“Sikanda,” he explained, “is a magic sword. No one can touch it without mortal peril, unless he has eaten, drunk, and bathed in the fire of the Many- Colored Death.”

So they had to content themselves with a friendly handshake. “What has become of Hero Hynreck?” Bastian asked.

“He’s a broken man,” said Hykrion. “Because of his lady,” Hydorn added.

“Perhaps you can do something to help him,” said Hysbald.

All five of them went to the inn where they had stopped on their arrival in Amarganth and where Bastian had brought Yikka to the stable.

When they entered, one man was sitting there, bent over the table, his hands buried in his fair hair. The man was Hynreck.

Evidently he had had a change of armor in his luggage, for the outfit he was now wearing was rather simpler than the one that had been cut to pieces the day before.

In response to Bastian’s greeting, he merely stared. His eyes were rimmed with red.

When Bastian asked leave to sit down with him, he shrugged his shoulders, nodded, and sank back in his chair. Before him on the table was a sheet of paper, which looked as if it had been many times crumpled and smoothed out again.

“Can you forgive me?” said Bastian. Hero Hynreck shook his head.

“It’s all over for me,” he said mournfully. “Here. Read it.” He pushed the note across the table, and Bastian read it. “I want only the best. You have failed me. Farewell.” “From Princess Oglamar?” Bastian asked.

Hero Hynreck nodded.

“Immediately after our contest, she mounted her palfrey and rode off to the ferry. God knows where she is now. I’ll never see her again.”

“Can’t we overtake her?” “What for?”

“Maybe she’ll change her mind.” Hero Hynreck gave a bitter laugh.

“You don’t know Princess Oglamar,” he said. “I trained more than ten years to acquire my different skills. With iron discipline I avoided everything that could have impaired my physique. I fenced with the greatest fencing masters and wrestled with the greatest wrestlers, until I could beat them all. I can run faster than a horse, jump higher than a deer. I am best at everything—or rather, I was until yesterday. At the start she wouldn’t honor me with a glance, but little by little my accomplishments aroused her interest. I had every reason to hope—and now I see it was all in vain. How can I live without hope?”

“Maybe,” Bastian suggested, “you should forget Princess Oglamar. There must be others you could love just as much.”

“No,” said Hero Hynreck. “I love Princess Oglamar just because she won’t be satisfied with any but the greatest.”

“I see,” said Bastian. “That makes it difficult. What could you do? Maybe you could take up a different trade. How about singing? Or poetry?”

Hynreck seemed rather annoyed. “No,” he said flatly. “I’m a hero and that’s that. I can’t change my profession and I don’t want to. I am what I am.”

“I see,” said Bastian.

All were silent for a time. The three knights cast sympathetic glances at Hero Hynreck. They understood his plight. Finally Hysbald cleared his throat and

turned to Bastian.

“Sir Bastian,” he said. “I think you could help him.”

Bastian looked at Atreyu, but Atreyu had put on his impenetrable face.

“A hero like Hynreck,” said Hydorn, “is really to be pitied in a world without monsters. See what I mean?”

No, Bastian didn’t see. Not yet at any rate.

“Monsters,” said Hykrion, winking at Bastian and stroking his huge moustache, “monsters are indispensable if a hero is to be a hero.”

At last Bastian understood.

“Listen to me, Hero Hynreck,” he said. “When I suggested giving your heart to another lady, I was only putting your love to the test. The truth is that Princess Oglamar needs your help right now, and that no one else can save her.”

Hero Hynreck pricked up his ears. “Is that true, Sir Bastian?”

“It’s true, as you will soon see. Only a few minutes ago Princess Oglamar was seized and kidnapped.”

“By whom?”

“By one of the most terrible monsters that have ever existed in Fantastica. The dragon Smerg. She was riding across a clearing in the woods when the monster saw her from the air, swooped down, lifted her off her palfrey’s back, and carried her away.”

Hynreck jumped up. His eyes flashed, his cheeks were aglow. He clapped his hands for joy. But then the light went out of his eyes and he sat down.

“That’s not possible,” he said. “There are no more dragons anywhere.”

“You forget, Hero Hynreck, that I come from far away. From much farther than you have ever been.”

“That’s true,” said Atreyu, joining in for the first time.

“And this monster really carried her away?” Hero Hynreck cried. Then he pressed both hands to his heart and sighed: “Oh, my adored Oglamar! How you must be suffering! But never fear, your knight is coming, he is on his way. Tell me, what must I do? Where must I go?”

“Far, far from here,” Bastian began, “there’s a country called Morgul, or the Land of the Cold Fire, because flames there are colder than ice. How you are to reach that country, I can’t tell you, you must find out for yourself. In the center of Morgul there is a petrified forest called Wodgabay. And in the center of that petrified forest stands the leaden castle of Ragar. It is surrounded by three moats. The first is full of arsenic, the second of steaming nitric acid, and the third is

swarming with scorpions as big as your feet. There are no bridges across them, for the lord of the leaden castle is Smerg, the winged monster. His wings are made of slimy skin and their spread is a hundred feet. When he isn’t flying, he stands on his hind legs like a gigantic kangaroo. He has the body of a mangy rat and the tail of a scorpion, with a sting at the end of it. The merest touch of that sting is fatal. He has the hind legs of a giant grasshopper. His forelegs, however, which look small and shriveled, resemble the hands of a small child. But don’t let them fool you, there’s a deadly power in those hands. He can pull in his long neck as a snail does its feelers. There are three heads on it. One is large and looks like the head of a crocodile. From its mouth he can spit icy fire. But where a crocodile has its eyes, it has two protuberances. These are extra heads. One resembles the head of an old man. With it he can see and hear. But he talks with the second head, which has the wrinkled face of an old woman.”

While listening to this description, Hero Hynreck went pale. “What was this monster’s name?” he asked.

“Smerg,” Bastian repeated. “He has been wreaking his mischief for a thousand years. Because that’s how old he is. It’s always a beautiful maiden that he kidnaps, and she has to keep house for him until the end of her days. When she dies, he kidnaps another.”

“Why haven’t I ever heard of this dragon?”

“Smerg flies incredibly far and fast. Up to now he has always chosen other parts of Fantastica for his raids. Besides, they only happen once in every fifty years or so.”

“Hasn’t any of these maidens ever been rescued?” “No, that would take a very special sort of hero.”

These words brought the color back to Hero Hynreck’s cheeks. And remembering what he had learned about dragons, he asked: “Has this Smerg a vulnerable spot?”

“Oh,” said Bastian, “I almost forgot. In the bottommost cellar of Ragar Castle there’s a lead ax. It’s the only weapon Smerg can be killed with, so naturally he guards it well. You have to cut off the two smaller heads with it.”

“How do you know all this?” asked Hero Hynreck.

Bastian didn’t have to answer, for at that moment cries of terror were heard in the

street.

“A dragon!” — “A monster!” — “Up there in the sky!” — “Horrible!” — “He’s coming this way!” — “Run for your lives!” — “No, he’s already got

somebody!”

Hero Hynreck rushed out into the street, and all the others followed.

Up in the sky something that looked like a giant bat was flapping its enormous wings. For a moment, as it came closer, he looked exactly as Bastian had just made him up. And in his two shriveled, but oh so dangerous little arms, he was clutching a young lady, who was screaming and struggling with all her might.

“Hynreck!” she screamed. “Hynreck! Hynreck, my hero! Help!” And then they were gone.

Hynreck had already brought his black stallion from the stable and boarded one of the silver ferries that crossed to the mainland.

“Faster! Faster!” he could be heard shouting at the ferryman. “I’ll give you anything you ask! But hurry!”

Bastian looked after him and muttered: “I only hope I haven’t made it too hard for him.”

Atreyu cast a sidelong glance at Bastian. Then he said softly: “Maybe we should get going too.”

“Going where?”

“I brought you to Fantastica,” said Atreyu. “I think I ought to help you find the way back to your own world. You mean to go back sooner or later, don’t you?”

“Oh,” said Bastian. “I hadn’t thought about it. But you’re right, Atreyu. Yes, of course you are.”

“You saved Fantastica,” Atreyu went on. “And it seems to me you’ve received quite a lot in return. I have a hunch that you’re aching to go home and make your own world well again. Or is there something that keeps you here?”

Bastian, who had forgotten that he hadn’t always been strong, handsome, and brave, replied: “No, I can’t think of anything.”

Atreyu gave his friend a thoughtful look, and said: “It may be a long, hard journey. Who knows?”

“Yes,” Bastian agreed. “Who knows? We can start right now if you like.”

Then the three knights had a short friendly argument, because each claimed the privilege of giving Bastian his horse. Bastian soon settled the matter by asking them for Yikka, their pack mule. Of course, they thought her unworthy of Bastian, but he insisted, and in the end they gave in.

While the knights were making ready for the journey, Bastian and Atreyu went to Querquobad’s palace to thank the Silver Sage for his hospitality and bid him goodbye. Falkor the luckdragon, who was waiting for Atreyu outside the

palace, was delighted to hear they were leaving. Cities just didn’t appeal to him

—even if they were as beautiful as Amarganth.

Silver Sage Querquobad was deep in a book he had borrowed from the Bastian Balthazar Bux Library.

“I’m sorry you can’t stay longer,” he said rather absently. “It’s not every day that a great author like you comes to see us. But at least we have your works to console us.”

Whereupon they took their leave.

After seating himself on Falkor’s back Atreyu asked Bastian: “Didn’t you want to ride Falkor?”

“Later,” said Bastian. “Now Yikka is waiting for me. And I’ve given her my promise.”

“Then we’ll wait for you on the mainland,” cried Atreyu. The luckdragon rose into the air and was soon out of sight.

When Bastian returned to the inn, the three knights were ready. They had taken the pack saddle off Yikka and replaced it with a richly ornamented riding saddle. Yikka didn’t learn why until Bastian came over and whispered in her ear: “You belong to me now, Yikka.”

As the ferry carried them away from the silver city, the old pack mule’s cries of joy resounded over the bitter waters of Moru, the Lake of Tears.

 

As for Hero Hynreck he actually succeeded in reaching Morgul, the Land of the Cold Fire. He ventured into the petrified forest of Wodgabay, crossed the three moats of Ragar Castle, found the lead ax, and slew the dragon Smerg. Then he brought Oglamar back to her father. At that point she would gladly have married him. But by then he didn’t want her anymore. That, however, is another story and shall be told another time.





 

































ain was coming down in buckets. The black, wet clouds hung so low they seemed almost to graze the heads of the riders. Then big, sticky snowflakes began to fall, and in the end it was snowing and raining in one. The wind was so strong that even the horses had to brace themselves against it. The riders’ cloaks were soaked through and flapped heavily against the backs of the beasts.

For the last three days they had been riding over a desolate high plateau. The weather had been getting steadily worse, and the ground was a mixture of mud and sharp stones that made for hard going. Here and there the monotony of the landscape was broken by clumps of bushes or of stunted wind-bowed trees.

Bastian, who rode in the lead on his mule Yikka, was fairly well off with his glittering silver mantle, which, though light and thin, proved to be remarkably warm and shed water like a duck. The low-slung body of Hykrion the Strong almost vanished in his thick blue woolen coat. The delicately built Hysbald had pulled his great loden hood over his red hair. And Hydorn’s gray canvas cloak

clung to his gaunt frame.

Yet in their rather crude way the three knights were of good cheer. They hadn’t expected their adventure with Sir Bastian to be a Sunday stroll. Now and then, with more spirit than art, they sang into the storm, sometimes singly and sometimes in chorus. Their favorite song seemed to be one that began with the words:

 

“When that I was a little tiny boy,

With hey, ho, the wind and the rain . . .”

 

As they explained, this had been sung by a human who had visited Fantastica long years before, name of Shexper, or something of the sort.

The only one in the group who didn’t seem to mind the cold and the rain was Atreyu. On Falkor’s back he rode high above the clouds, flying far ahead to reconnoiter and rejoining the company from time to time to report on what he had seen.

They all, even the luckdragon, believed they were looking for the road that would take Bastian back to his world. Bastian thought so too. He himself didn’t realize that he had agreed to Atreyu’s suggestion only to oblige his friend and that wasn’t what he really wanted. But the geography of Fantastica is determined by wishes, which may or may not be conscious. And since it was Bastian who led the way, they were actually going deeper and deeper into Fantastica, heading for the Ivory Tower at its very center. What the consequences for him would be, he wouldn’t learn until much later. For the present, neither he nor his companions had any idea where they were going.

Bastian’s thoughts were busy with a different problem.

On the second day of their journey, in the forests surrounding the Lake of Tears, he had seen unmistakable traces of the dragon Smerg. Some of the trees had been turned to stone, no doubt by contact with the monster’s ice-cold fire. And the prints of the giant grasshopper feet were clearly discernible. Atreyu, who was skilled in woodcraft, had seen other tracks as well, those of Hero Hynreck’s horse. Which meant that Hynreck was close on the dragon’s heels.

“That doesn’t really thrill me,” said Falkor, rolling his ruby-red eyes. “Monster or not, this Smerg is a relative of mine—a distant one, to be sure, but a relative all the same.” He was only half in jest.

They had not followed Hero Hynreck’s track but had taken a different direction, since their supposed aim was to find Bastian’s way home.

And now Bastian was asking himself: Had it really been such a good idea to invent a dragon for Hero Hynreck? True, Hynreck had needed a chance to show his mettle. But was it certain that he would win? What if Smerg killed him? And what about Princess Oglamar? Yes, of course, she had been haughty, but was that a reason for getting her into such a fix? And on top of all that, how was he to know what further damage Smerg might do in Fantastica? Without stopping to think, Bastian had created an unpredictable menace. It would be there long after he was gone and quite possibly kill or maim any number of innocents. As he knew, Moon Child drew no distinction between good and evil, beautiful and ugly. To her mind, all the creatures in Fantastica were equally important and worthy of consideration. But had he, Bastian, the right to take the same attitude? And above all, did he wish to?

No, Bastian said to himself, he had ho wish to go down in the history of Fantastica as a creator of monsters and horrors. How much finer it would be to become famous for his unselfish goodness, to be a shining model for all, to be revered as the “good human” or the “great benefactor.” Yes, that was what he wanted.

The country became mountainous, and Atreyu, returning from a reconnaissance flight, reported that a few miles ahead he had sighted a glen which seemed to offer shelter from the wind. In fact, if his eyes had not deceived him, there were several caves round about where they could take refuge from the rain and snow.

It was already late afternoon, high time to find suitable quarters for the night. So all the others were delighted at Atreyu’s news and spurred their mounts on. They were making their way through a valley, possibly a dried-out riverbed, enclosed in mountains which grew higher as the travelers advanced. Some two hours later they reached the glen, and true enough, there were several caves in the surrounding cliffs. They chose the largest and made themselves as comfortable as they could. The three knights gathered brushwood and branches that had been blown down by the storm, and soon they had a splendid fire going in the cave. The wet cloaks were spread out to dry, the beasts were brought in and unsaddled, and even Falkor, who ordinarily preferred to spend the night in the open, curled up at the back of the cave. All in all, it wasn’t such a bad place to be in.

While Hydorn the Enduring tried to roast a big chunk of meat over the fire and the others watched him eagerly, Atreyu turned to Bastian and said: “Tell us some more about Kris Ta.”

“About what?” Bastian asked.

“You friend Kris Ta, the little girl you told your stories to.”

“I don’t know any little girl by that name,” said Bastian. “And what makes you think I told her stories?”

Once again Atreyu had that thoughtful look.

“Back in your world,” he said slowly, “you used to tell lots of stories, some to her and some to yourself.”

“How do you know that, Atreyu?”

“You said so yourself. In Amarganth. And you also said that people made fun of you for it.”

Bastian stared into the fire.

“That’s true,” he muttered. “I did say that. But I don’t know why. I can’t remember.”

It all seemed very strange.

Atreyu exchanged glances with Falkor and nodded gravely as though something one of them had said had now been proved true. But he said nothing more. Evidently he didn’t wish to discuss such matters in front of the three knights.

“The meat’s done,” Hydorn announced.

He cut off a chunk for each one and they all began to eat. “Done” was a gross exaggeration. The meat was charred on the outside and raw on the inside, but under the circumstances there was no point in being picky and choosy.

For a while they were all busy chewing. Then Atreyu said to Bastian: “Tell us how you came to Fantastica.”

“You know all about that,” said Bastian. “It was you who brought me to the Childlike Empress.”

“I mean before that,” said Atreyu. “In your world. Where did you live and how did it all happen?”

Then Bastian told how he had stolen the book from Mr. Coreander, how he had carried it off to the schoolhouse attic and begun to read. When he came to Atreyu’s Great Quest, Atreyu motioned him to stop. He didn’t seem interested in what the book said about him. What interested him in the extreme was the how and why of Bastian’s visit to Mr. Coreander and of his flight to the attic of the schoolhouse.

Bastian racked his brains, but about those things he could remember nothing more. He had forgotten everything connected with the fact that he had once been fat and weak and cowardly. His memory had been broken into bits, and the bits

seemed as vague and far away as if they had concerned an entirely different person.

Atreyu asked for other memories, and Bastian spoke about the days when his mother was still alive, about his father and his home, about school and the town he lived in—as much as he remembered.

The three knights had fallen asleep, and Bastian was still talking. It surprised him that Atreyu should take such an interest in the most everyday happenings. Maybe it was because of the way Atreyu listened that these everyday things took on a new interest for Bastian, as though they contained a secret magic that he had never noticed before.

At last he ran out of memories. It was late in the night, the fire had died down. The three knights were snoring softly. Atreyu sat there with his inscrutable look, as though deep in thought.

Bastian stretched out, wrapped himself in his silver mantle, and had almost fallen asleep when Atreyu said softly: “It’s because of AURYN.”

Bastian propped his head on his hand and looked sleepily at his friend. “What do you mean by that?”

“The Gem,” said Atreyu, as though talking to himself, “doesn’t work the same with humans as with us.”

“What makes you think that?”

“The amulet gives you great power, it makes all your wishes come true, but at the same time it takes something away: your memory of your world.”

Bastian thought it over. He didn’t feel as if anything had been taken away from him.

“Grograman told me to find out what I really wanted. And the inscription on AURYN says the same thing. But for that I have to go from one wish to the next without ever skipping any. That’s why I need the Gem.”

“Yes,” said Atreyu. “It gives you the means, but it takes away your purpose.” “Oh well,” said Bastian, undismayed. “Moon Child must have known what

she was doing when she gave me the amulet. You worry too much, Atreyu. I’m sure AURYN isn’t a trap.”

“No,” said Atreyu. “I don’t think so either.”

And after a while he added: “Anyway, it’s good we’re looking for the way back to your world. We are, aren’t we?”

“Oh yes,” said Bastian, already half asleep.

In the middle of the night he was awakened by a strange sound. He had no idea what it was. The fire had gone out and he was lying in total darkness. Then

he felt Atreyu’s hand on his shoulder and heard him whisper: “What’s that?” “I don’t know,” Bastian whispered back.

They crept to the mouth of the cave and listened.

A great many creatures seemed to be trying to fight back their sobs. There was nothing human about it, and it didn’t sound like animals in pain. Starting as a whisper, it swelled to a sigh, then ebbed and rose, ebbed and rose. Never had Bastian heard anything so mournful.

“If at least we could see something,” Atreyu whispered. “Wait,” said Bastian. “I’ve got Al Tsahir.”

He took the glittering stone from his pocket and held it high. It gave hardly more light than a candle, but in its faint glow, the friends saw enough to make their skin crawl with horror.

The whole glen was alive with hideous, foot-long worms, who looked as if they had been wrapped in soiled rags. Slimy little limbs protruded from the folds in their skin. At one end, two lidless eyes peered out from under the rags, and from every eye flowed tears. Thousands of tears. The whole glen was wet with them.

The moment the light from Al Tsahir hit them, the creatures froze, and the friends were able to see what they had been doing. At the center of the glen stood a tower of the finest silver filigree—more beautiful and more valuable than any building Bastian had seen in Amarganth. Some of the wormlike creatures had evidently been climbing about on the tower, joining its innumerable parts. But at present they all stood motionless, staring at the light of Al Tsahir.

A ghoulish whisper passed over the glen: “Alas! Alas! What light has fallen on our ugliness? Whose eye has seen us? Cruel intruder, whoever you may be, have mercy, take that light away.”

Bastian stood up.

“I am Bastian Balthazar Bux. Who are you?”

“We are the Acharis. We are the unhappiest beings in all Fantastica.” Bastian said nothing and looked in dismay at Atreyu.

“Then,” he said, “it’s you who created Amarganth, the most beautiful city in Fantastica?”

“Yes!” the creatures cried. “But take that light away! And don’t look at us!

Have mercy!”

“And with your weeping you made Moru, the Lake of Tears?”

“Master,” they groaned, “it’s true. But we’ll die of shame and horror if you make us stand in this light. Why must you add to our torment? We’ve never done

anything to you.”

Bastian put Al Tsahir back in his pocket and again the night was as black as pitch.

“Thank you!” cried the mournful voices. “Thank you for your merciful kindness.”

“I want to talk with you,” said Bastian. “I want to help you.”

He was almost sick with disgust, but he felt very sorry for the poor things. It was clear to him that they were the creatures he had mentioned in his story about the origin of Amarganth, but here again he couldn’t be sure whether they had always been there or whether they owed their existence to him. In the latter case, he was responsible for their misery. But either way he was determined to help them.

“Oh, oh!” the plaintive voices whimpered. “No one can help us.” “I can,” said Bastian. “I have AURYN.”

At that, they all seemed to stop weeping at once. “Where have you come from?” Bastian asked.

A chorus of many voices whispered: “We live in the lightless depths of the earth to hide our ugliness from the sun, and there we weep all day and all night. Our tears wash the indestructible silver out of the bedrock, and from it we spin the filigree you have seen. On the darkest nights we mount to the surface, and these caves are our coming-out places. Up here we join together the sections we’ve made down below. We’ve come tonight because it was dark enough for us to work without seeing one another. We work to make amends to the world for our ugliness, and that comforts us a little.”

“But you’re not to blame for your ugliness,” said Bastian.

“Oh, there are different ways of being to blame,” the Acharis replied. “In what you do. In what you think . . . We’re to blame for just living.”

“How can I help you?” Bastian asked. He felt so sorry for them that he could hardly hold back his own tears.

“Ah, great benefactor!” the Acharis cried. “You’ve got AURYN. With AURYN you can save us—we have only one thing to ask of you. Give us different bodies!”

“Don’t worry,” said Bastian. “I will. Here’s my wish: That you shall fall asleep. That when you wake up, you shall crawl out of your skins and turn into bright-colored butterflies. That you shall be lighthearted and happy. And that, beginning tomorrow, you shall no longer be the Acharis, the Everlasting Weepers, but the Shlamoofs, the Everlasting Laughers.”

Bastian awaited their answer, but no sound came from the darkness. “They’ve fallen asleep,” Atreyu whispered.

The two friends went back into their cave. Hysbald, Hydorn, and Hykrion were still snoring gently. They had slept through the whole incident.

Bastian lay down. He was extremely pleased with himself.

Soon all Fantastica would learn of the good deed he had done. It had really been unselfish, since no one could claim that he had wished anything for himself. There would be nothing to mar the glory of his goodness.

“What do you think, Atreyu?” he whispered.

Atreyu was silent for a while. Then he replied: “I only wonder what it may have cost you.”

Not until somewhat later, after Atreyu had fallen asleep, did it dawn on Bastian that his friend had been referring, not to his self-abnegation, but to his loss of memory. But he gave the matter no further thought and fell asleep in joyful anticipation of the morrow.

The next morning the three knights woke him up with their cries of amazement.

“Would you look at that! My word, even my old mare is giggling.”

They were standing in the mouth of the cave, and Atreyu was with them. But Atreyu wasn’t laughing.

Bastian got up and went out.

The whole glen was crawling and flitting and tumbling with the most comical little creatures he had ever seen. They all had bright-colored butterfly wings on their backs and were wearing the weirdest outfits—some checkered, some striped, some ringed, some dotted. All their clothes looked either too loose or too tight, too big or too small, and they were pieced together every which way. Nothing was right and there were patches all over, even on the wings. No two of these creatures were alike. They had faces like clowns, splotched with every imaginable color, little round red noses or absurdly long ones, and enormous rubbery mouths. Some wore top hats, others peaked caps. Some had only three brick-red tufts of hair, and some had shiny bald heads. Most were sitting or hopping about on the delicate filigree tower, or dangling from it, doing gymnastics, and in general doing their best to wreck it.

Bastian ran out to them.

“Hey, you guys!” he shouted. “Cut that out! You can’t do that!” The creatures stopped and looked down at him.

One at the very top of the tower asked: “What did he say?”

And one from further down replied: “The whatchamaycallim says we can’t do this.”

“Why does he say we can’t do it?” asked a third.

“Because you just can’t!” Bastian screamed. “You can’t just smash everything up!”

“The whatchamaycallim says we can’t smash everything up,” the first butterfly-clown informed the others.

“We can too!” said another, tearing a big chunk out of the tower.

Hopping about like a lunatic, the first called down to Bastian: “We can too!” The tower swayed and creaked alarmingly.

“Hey, what are you doing?” Bastian shouted. He was angry and he was frightened, but at the same time he had all he could do to keep from laughing.

The first butterfly-clown turned to his companions. “The whatchamaycallim wants to know what we’re doing.”

“What are we doing?” asked another. “We’re having fun,” said a third.

“But the tower will collapse if you don’t stop!” Bastian screamed.

“The whatchamaycallim,” the first clown informed the others, “says the tower will collapse if we don’t stop.”

“So what?” said another.

And the first called down: “So what?”

Bastian was speechless, and before he could find a suitable answer, all the butterfly-clowns on the tower began to do a sort of aerial round dance. But instead of holding hands they grabbed one another by the legs or collars, while some simply whirled head over heels through the air. And all bellowed and laughed.

The act that the winged creatures were putting on was so lighthearted and comical that Bastian gave up trying to hold back his laughter.

“But you can’t do that,” he called to them. “The Acharis made it and it’s beautiful.”

The first butterfly-clown turned back to the others. “The whatchamaycallim says we can’t do it.”

“We can do anything that’s not forbidden!” cried another, turning somersaults in the air. “And who’s going to forbid us? We’re the Shlamoofs!”

“Who’s going to forbid us anything?” all cried in chorus. “We’re the Shlamoofs!”

“I am!” cried Bastian.

“The whatchamaycallim,” the first clown explained to the others, “says ‘I’.” “You?” said the others. “How can you forbid us anything?”

“No,” said the first. “Not I. The whatchamaycallim says ‘he’.”

“Why does the whatchamaycallim say ‘he’?” the others wanted to know. “And who is he saying ‘he’ to in the first place?”

“Who are you saying ‘he’ to?” the first butterfly-clown called down to Bastian.

“I didn’t say ‘he’,” Bastian screamed, half fuming, half laughing. “I said I forbid you to wreck this tower.”

“He forbids us,” said the first clown to the others, “to wreck this tower.” “Who does?” inquired one who had just turned up from the far end of the

glen.

“The whatchamaycallim,” the others replied.

“I don’t know any whatchamaycallim,” said the newcomer. “Who is he anyway?”

The first sang out: “Hey, whatchamaycallim, who are you anyway?”

“I’m not a whatchamaycallim,” said Bastian, who by then was moderately angry. “I’m Bastian Balthazar Bux, and I turned you into Shlamoofs so you wouldn’t have to cry and moan the whole time. Last night you were still miserable Acharis. It wouldn’t hurt to show your benefactor some respect.”

The Shlamoofs all stopped hopping and dancing at once and stood gaping at Bastian. A breathless silence fell.

“What did the whatchamaycallim say?” whispered a butterfly-clown at the edge of the crowd, but his next-door neighbor cracked him on the head so hard that his hat slid down over his eyes and ears, and all the others went: “Psst!”

“Would you be so kind as to repeat all that very slowly and distinctly,” the first butterfly-clown requested.

“I am your benefactor!” cried Bastian.

This threw the Shlamoofs into an incredible state of agitation. One passed the word on to the next and in the end the innumerable creatures, who up until then had been scattered all over the glen, gathered into a knot around Bastian, shouting in one another’s ears.

“Did you hear that? He’s our bemmafixer! His name is Nastiban Baltebux! No, it’s Buxian Banninector. Rubbish, it’s Saratit Buxibem! No, it’s Baldrian Hix! Shlux! Babeltran Billy-scooter! Nix! Flax! Trix!”

Beside themselves with enthusiasm, they shook hands all around, tipped their hats to one another, and raised great clouds of dust by slapping one another on

the back or belly.

“We’re so lucky!” they cried. “Three cheers for Buxifactor Zanzibar Bastelben!”

Screaming and laughing, the whole great swarm shot upward and whirled away. The hubbub died down in the distance.

Bastian stood there hardly knowing what his right name was. By that time he wasn’t so sure he had really done a good deed.





 

































unbeams were fighting their way through the cloud cover as the travelers started out that morning. At last the rain and wind had let up. In the course of the morning the travelers ran into two or three sudden showers, but then there was a marked improvement in the weather, and it seemed to grow warmer by the minute.

The three knights were in a merry mood; they laughed and joked and played all sorts of tricks on one another. But Bastian seemed quiet and out of sorts as he rode ahead on his mule. And the knights had far too much respect for him to break in on his thoughts.

The rocky high plateau over which they were riding seemed endless. But little by little the trees became larger and more frequent.

Atreyu had noticed Bastian’s bad humor. When he and Falkor started on their usual reconnaissance flight, he asked the luckdragon what he could do to cheer his friend up. Falkor rolled his ruby-red eyeballs and answered: “That’s easy— didn’t he want to ride on me?

When some time later the little band rounded a jutting cliff, they found Atreyu and the luckdragon lying comfortably in the sun.

Bastian looked at them in amazement. “Are you tired?” he asked.

“Not at all,” said Atreyu. “I just wanted to ask if you’d let me ride Yikka for a while. I’ve never ridden a mule. It must be wonderful, because you never seem to get sick of it. I’ll lend you my old Falkor in return.”

Bastian flushed with pleasure.

“Is that true, Falkor?” he asked. “You wouldn’t mind carrying me?”

“Of course not, all-powerful sultan,” said the dragon with a wink. “Hop on and hold tight.”

Without touching the ground, Bastian vaulted directly from mule to dragon back and clutched the silvery-white mane as Falkor took off.

Bastian hadn’t forgotten how Grograman had carried him through the Desert of Colors. But riding a white luckdragon was something else again. If sweeping over the ground on the back of the fiery lion had been like a cry of ecstasy, this gentle rising and falling as the dragon adjusted his movements to the air currents was like a song, now soft and sweet, now triumphant with power. Especially when Falkor was looping the loop, when his mane, his fangs, and the long fringes on his limbs flashed through the air like white flames, it seemed to Bastian that the winds were singing in chorus.

Toward noon they sighted the others and landed. The ground party had pitched camp beside a brook in a sunlit meadow. There was a flatbread to eat and a kettle of soup was cooking over a wood fire. The horses and the mule were grazing nearby.

When the meal was over, the three knights decided to go hunting, for supplies, especially of meat, were running low. They had heard the cry of pheasants in the thicket, and there seemed to be hares as well. Knowing the Greenskins to be great hunters, they asked Atreyu to join them, but he declined. Thereupon the knights took their long bows, buckled on their quivers full of arrows, and went off to the woods.

Atreyu, Falkor, and Bastian stayed behind.

After a short silence, Atreyu suggested: “How about telling us a little more about your world, Bastian?”

“What would interest you?” Bastian asked.

Atreyu turned to the luckdragon: “What do you say, Falkor?”

“I’d like to hear something about the children in your school,” said the

dragon.

Bastian seemed bewildered. “What children?” he asked. “The ones who made fun of you,” said Falkor.

“Children who made fun of me?” Bastian repeated. “I don’t know of any children—and I’m sure no child would have dared to make fun of me.”

Atreyu broke in: “But you must remember that you went to school.” “Yes,” said Bastian thoughtfully. “I remember school. Yes, that’s right.” Atreyu and Falkor exchanged glances.

“I was afraid of that,” Atreyu muttered. “Afraid of what?”

“You’ve lost some more of your memory,” said Atreyu gravely. “This time it came of changing the Acharis into Shlamoofs. You shouldn’t have done that.”

“Bastian Balthazar Bux,” said the luckdragon—and his tone seemed almost stern—“if my advice means anything to you, stop using the power that AURYN gives you. If you don’t, you’re likely to lose your last memories, and without memory how will you ever find your way back to where you came from?”

“To tell the truth,” said Bastian, “I don’t want to go back anymore.”

Atreyu was horrified. “But you have to go back. You have to go back and straighten out your world so humans will start coming to Fantastica again. Otherwise Fantastica will disappear sooner or later, and all our trouble will have been wasted.”

At that point Bastian felt rather offended. “But I’m still here,” he protested. “It’s been only a little while since I gave Moon Child her new name.”

Atreyu could think of nothing to say. But then Falkor spoke up. “Now,” he said, “I see why we haven’t made the slightest progress in finding Bastian’s way back. If he himself doesn’t want to . . .”

“Bastian,” said Atreyu almost pleadingly. “Isn’t there anything that draws you? Something you love? Don’t you ever think of your father, who must be waiting for you and worrying about you?”

Bastian shook his head.

“I don’t think so. Maybe he’s even glad to be rid of me.” Atreyu looked at his friend in horror.

“The way you two carry on!” said Bastian bitterly. “You almost sound as if you wanted to get rid of me too.”

“What do you mean by that?” asked Atreyu with a catch in his voice.

“Well,” said Bastian. “You seem to have only one thing on your minds: getting me out of Fantastica as quickly as possible.”

Atreyu looked at Bastian and slowly shook his head. For a long while none of them said a word. Already Bastian was beginning to regret his angry words. He himself knew they were unjust.

Then Atreyu said softly: “I thought we were friends.”

“You were right!” Bastian cried. “We are and always will be. Forgive me. I’ve been talking nonsense.”

Atreyu smiled. “You’ll have to forgive us, too, for hurting your feelings. We didn’t mean it.”

“Anyway,” said Bastian. “I’m going to take your advice.”

After a while the three knights returned with several partridges, a pheasant, and a hare. When the party started out again, Bastian was riding Yikka.

In the afternoon, they came to a forest consisting entirely of tall, straight evergreens, which formed, high overhead, a green roof so dense that a ray of sunlight seldom reached the ground. That may have been why there was no underbrush.

The soft, smooth forest floor was pleasant to ride on. Falkor had resigned himself to trotting along with the company, because if he had flown above the treetops with Atreyu, he would undoubtedly have lost sight of the others.

All afternoon they rode through the dark-green twilight. Toward nightfall they spied a ruined castle on a hilltop. They climbed up to it and in the midst of all the crumbling walls and turrets, halls and passageways, they found a vaulted chamber that was in fairly good condition. There they settled down for the night. It was redheaded Hysbald’s turn to cook, and he proved to be much better at it than his predecessor. The pheasant he roasted over the fire was as tasty as you please.

The next morning they resumed their journey. All day they rode through the forest, which looked the same on all sides. It was late in the day when they noticed that they must have been riding in a great circle, for ahead of them they saw the ruins of the castle they had left in the morning, but this time they were approaching it from a different direction.

“This has never happened to me before!” said Hykrion, twirling his black moustache.

“I can’t believe my eyes!” grumbled Hysbald, stalking through the ruins on his long, thin legs.

But so it was. The remains of yesterday’s dinner left no room for doubt.

Atreyu and Falkor said nothing, but their thoughts were hard at work. How could they have made such a mistake?

At the evening meal—this time it was roast hare, prepared more or less competently by Hykrion—the three knights asked Bastian if he would care to impart some of his memories of the world he came from. Bastian excused himself by saying he had a sore throat, and since he had been very quiet all that day, the knights believed him. After suggesting a few effective remedies, they lay down to sleep.

Only Atreyu and Falkor suspected what Bastian was thinking.

 

Early in the morning they started off again. All day they rode through the forest, trying their best to keep going in a straight line. But at nightfall they were back at the same ruined castle.

“Well, I’ll be!” Hykrion blustered. “I’m going mad!” groaned Hysbald.

“Friends,” said Hydorn disgustedly, “we might as well throw our licenses in the trash bin. Some knights errant we turned out to be!”

On their first night at the castle, Bastian, knowing that Yikka liked to be alone with her thoughts now and then, had found her a special little niche. The company of the horses, who could think of nothing to talk about but their distinguished ancestry, upset her. That night, after Bastian had taken her back to her place, she said to him: “Master, I know why we’re not getting ahead.”

“How can you know that, Yikka?”

“Because I carry you, master. And because I’m only half an ass, I feel certain things.”

“So, according to you, why is it?”

“You don’t want to get ahead, master. You’ve stopped wishing for anything.” Bastian looked at her in amazement.

“You are really a wise animal, Yikka.”

The mule flapped her long ears in embarrassment. “Do you know which way we’ve been going?” “No,” said Bastian. “Do you?”

Yikka nodded.

“We’ve been heading for the center of Fantastica.” “For the Ivory Tower?”

“Yes, master. And we made good headway as long as we kept going in that direction.”

“That’s not possible,” said Bastian. “Atreyu would have noticed it, and certainly Falkor would have. But they didn’t.”

“We mules,” said Yikka, “are simple creatures, not in a class with luckdragons. But we do have certain gifts. And one of them is a sense of direction. We never go wrong. That’s how I knew for sure that you wanted to visit the Childlike Empress.”

“Moon Child . . .” Bastian murmured. “Yes, I would like to see her again.

She’ll tell me what to do.”

Then he stroked the mule’s white nose and whispered: “Thanks, Yikka.

Thanks.”

 

Next morning Atreyu took Bastian aside.

“Listen, Bastian. Falkor and I want to apologize. The advice we gave you was meant well—but it was stupid. We just haven’t been getting ahead. Falkor and I talked it over last night. You’ll be stuck here and so will we, until you wish for something. It’s bound to make you lose some more of your memory, but that can’t be helped, there’s nothing else you can do. We can only hope that you find the way back before it’s too late. It won’t do you any good to stay here. You’ll just have to think of your next wish and use AURYN’s power.”

“Right,” said Bastian. “Yikka said the same thing. And I already know what my next wish will be. Let’s go, I want you all to hear it.

They rejoined the others.

“Friends,” said Bastian in a loud voice. “So far we have been looking in vain for the way back to my world. Now I’ve decided to go and see the one person who can help me find it. That one person is the Childlike Empress. Our destination is now the Ivory Tower.”

“Hurrah!” cried the three knights in unison.

But then Falkor’s bronze voice rang out: “Don’t do it, Bastian Balthazar Bux. What you wish is impossible. Don’t you know that no one can meet the Golden- eyed Commander of Wishes more than once? You will never see her again.”

Bastian clenched his fists.

“Moon Child owes me a lot,” he said angrily. “I’m sure she won’t keep me away.”

“You’ll see,” Falkor replied, “that her decisions are sometimes hard to understand.”

Bastian felt the color rising to his cheeks. “You and Atreyu,” he said, “are always giving me advice. You can see where your advice has got us. From now on I’ll do the deciding. I’ve made up my mind, and that’s that.”

He took a deep breath and went on a little more calmly: “Besides, you always

speak from your point of view. You two are Fantasticans and I’m a human. How can you be sure that the same rules apply to me as to you? It was different when Atreyu had AURYN. And who else but me is going to give the Gem back to Moon Child? No one can meet her twice, you say. But I’ve already met her twice. The first time we saw each other for only a moment, when Atreyu went into her chamber, and the second time when the big egg exploded. With me everything is different. I will see her a third time.”

All were silent. The knights because they didn’t know what it was all about, Atreyu and Falkor because they were beginning to have doubts.

“Well,” said Atreyu finally, “maybe you’re right. We have no way of knowing how the Childlike Empress will deal with you.”

After that they started out, and before noon they reached the edge of the forest.

Before them lay sloping meadows as far as the eye could see. Soon they came to a winding river and followed its course.

Again Atreyu and Falkor explored the country, describing wide circles around their slow-moving companions. But both were troubled and their flight was not as light and carefree as usual. Looking ahead, they saw that the country changed abruptly at a certain point in the distance. A steep slope led from the plateau to a lowlying, densely wooded plain and the river descended the slope in a mighty waterfall. Knowing that the riders couldn’t hope to get that far before the next day, the two scouts turned back.

“Falkor,” Atreyu asked, “do you suppose the Childlike Empress cares what becomes of Bastian?”

“Maybe not,” said Falkor. “She draws no distinctions.” “Then,” said Atreyu, “she is really a . . .”

“Don’t say it,” Falkor broke in. “I know what you mean, but don’t say it.”

For a while Atreyu was silent. Then he said: “But he’s my friend, Falkor. We’ve got to help him. Even against the Childlike Empress’s will, if we have to. But how?”

“With luck,” the dragon replied, and for the first time the bronze bell of his voice seemed to have sprung a crack.

 

That evening the company chose a deserted log cabin on the riverbank as their night lodging. For Falkor, of course, it was too small, and he preferred to sleep on the air. The horses and Yikka also had to stay outside.

During the evening meal Atreyu told the others about the waterfall and the

abrupt change in the country. Then he added casually: “By the way, we’re being followed.”

The three knights exchanged glances.

“Oho!” cried Hykrion, giving his black moustache a martial twirl. “How many are they?”

“I counted seven behind us,” said Atreyu. “But even if they ride all night they can’t be here before morning.”

“Are they armed?” asked Hysbald.

“I couldn’t tell,” said Atreyu, “but there are more coming from other directions. I saw six in the west, nine in the east, and twelve or thirteen are coming from up ahead.”

“We’ll wait and see what they want,” said Hydorn. “Thirty-five or thirty-six men would hardly frighten the three of us—much less Sir Bastian and Atreyu.”

Ordinarily Bastian ungirt the sword Sikanda before lying down to sleep. But that night he kept it on and slept with his hand on the hilt. In his dreams he saw Moon Child smiling at him and her smile seemed full of promise. If there was any more to the dream, he forgot it by the time he woke up, but his vision encouraged him in his hope of seeing her again.

Glancing out of the door of the cabin, he saw seven blurred shapes through the mist that had risen from the river. Two were on foot, the others mounted on different sorts of steeds. Bastian quietly awakened his companions.

The knights unsheathed their swords, and together they stepped out of the cabin. When the figures waiting outside caught sight of Bastian, the riders dismounted and all seven went down on their left knees, bowed their heads and cried out: “Hail and welcome to Bastian Balthazar Bux, the Savior of Fantastica!”

The newcomers were a weird-looking lot. One of the two who had come on foot had an uncommonly long neck and a head with four faces, one pointed in each of the four directions. The first was merry, the second angry, the third sad, and the fourth sleepy. All were rigid and unchanging, but he was able at any time to face forward with the one expressing his momentary mood. This individual was a four-quarter troll, sometimes known as a moody-woody.

The second pedestrian was what is known in Fantastica as a head-footer. His head was connected directly with his long, thin legs, there being neither neck nor trunk. Headfooters are always on the go and have no fixed residence. As a rule, they roam about in swarms of many hundreds, but from time to time one runs across a loner. They feed on herbs and grasses. The one that was kneeling to

Bastian looked young and red-cheeked.

The three creatures riding on horses no larger than goats were a gnome, a shadowscamp, and a blondycat. The gnome had a golden circlet around his head and was obviously a prince. The shadowscamp was hard to recognize, because to all intents and purposes he consisted only of a shadow cast by no one. The blondycat had a catlike face and long golden-blond curls that clothed her like a coat. Her whole body was covered with equally blond shaggy fur. She was no bigger than a five-year-old child.

Another, who was riding on an ox, came from the land of the Sassafranians, who are born old and die when they have grown (that is, dwindled) to infancy. This one had a long white beard, a bald head, and a heavily wrinkled face. By Sassafranian standards, he was a youngster, about Bastian’s age.

A blue djinn had come on a camel. He was tall and thin and was wearing an enormous turban. His shape was human, but his bare torso with its bulging muscles seemed to be made of some glossy blue metal. Instead of a nose and mouth, he had a huge, hooked eagle’s beak.

“Who are you and what do you want?” Hykrion asked rather brusquely. Despite the ceremonious greeting, he wasn’t quite convinced of the visitors’ friendly intentions. He still had his hand on his sword hilt.

The four-quarter troll, who up until then had been keeping his sleepy face foremost, now switched to the merry one. Ignoring Hykrion, he addressed himself to Bastian:

“Your Lordship,” he declared, “we are princes from many different parts of Fantastica, and we have all come to welcome you and ask for your help. The news of your presence has flown from country to country, the wind and the clouds speak your name, the waves of the sea proclaim your glory, and every last brooklet is celebrating your power.”

Bastian cast a glance at Atreyu, but Atreyu looked at the troll unsmilingly and almost severely.

“We know,” the blue djinn broke in, and his voice sounded like the rasping cry of an eagle, “we know that you created Perilin, the Night Forest, and Goab, the Desert of Colors. We know you have eaten and drunk the fire of the Many- Colored Death and bathed in it, something that no one else in Fantastica could have done and still lived. We know that you passed through the Temple of a Thousand Doors, and we know what happened in the Silver City of Amarganth. We know, my lord, that there is nothing you cannot do. When you make a wish, your wishes come to pass. And so we invite you to come and stay with us and

favor us with a story of our own. For none of our nations has a story.”

Bastian thought it over, then shook his head. “I can’t do what you ask of me just yet. I’ll help you later on. But first I must go to the Childlike Empress. I hope you will join us and help me to find the Ivory Tower.”

The creatures didn’t seem at all disappointed. After brief deliberation they agreed to accompany Bastian on his journey. Whereupon the procession, which by now had the look of a small caravan, started out again.

Throughout the day they were joined by new adherents, not only those Atreyu had sighted the day before, but many more. There were goat-legged fauns and gigantic night-hobs, there were elves and kobolds, beetle riders and three-legses, a man-sized rooster in jackboots, a stag with golden antlers who walked erect and wore a Prince Albert. Many of the new arrivals bore no resemblance whatsoever to human beings. There were helmeted copper ants, strangely shaped wandering rocks, flute birds, who made music with their long beaks, and there were three so-called puddlers, who moved by dissolving into a puddle at every step and resuming their usual form a little farther on. But perhaps the most startling of all was a twee, whose fore-and hindquarters had a way of running about independently of one another. Except for its red and white stripes it looked rather like a hippopotamus.

Soon the procession numbered at least a hundred. And all had come to welcome Bastian, the Savior of Fantastica, and beg him for a story of their own. But the original seven told the others that they would first have to go to the Ivory Tower, and all were agreed.

Hykrion, Hysbald, and Hydorn rode with Bastian in the lead of the now rather impressive procession.

Toward evening they came to a waterfall. Leaving the plateau, they made their way down a winding mountain trail, at the end of which they found themselves in a forest of tree-sized orchids with enormous spotted blossoms. These blossoms looked so frightening that when the travelers stopped for the night, they decided to post sentries.

Bastian and Atreyu gathered some of the deep, soft moss that lay all about and made themselves a comfortable bed. Falkor protected the two friends by lying down in a circle around them. The air was warm and heavy with the strange and none too pleasant scent of the orchids. That scent seemed fraught with evil.





 

































he dewdrops on the orchids glistened in the morning sun as the caravan started out again. The night had been uneventful except that more and more emissaries kept trailing in. The procession now numbered close to three hundred.

The farther they went into the orchid forest, the stranger grew the shapes and colors of the flowers. And soon Hykrion, Hysbald, and Hydorn discovered that the fears which had led them to post sentries had not been entirely groundless. For many of the orchids were carnivorous and big enough to swallow a whole calf. True, they could not move of their own volition—it hadn’t been really necessary to post sentries—but if something or someone touched them, they snapped shut like traps. And several times when a blossom seized the hand, foot, or mount of a fellow traveler the knights were obliged to draw their swords and hack the blossom to pieces.

Throughout the ride Bastian was besieged by all sorts of fantastic creatures who tried to attract his attention or at least get a look at him. But Bastian rode on

in withdrawn silence. A new wish had come to him, and for the first time it was one that made him seem standoffish and almost sullen.

He felt that despite their reconciliation, Atreyu and Falkor were treating him like a child, that they felt responsible for him and thought he had to be led by the nose. But come to think of it, hadn’t they been that way from the start? Oh yes, they were friendly enough, but they seemed to feel superior to him for some reason, to regard him as a harmless innocent who needed protecting. And that didn’t suit him at all. He wasn’t innocent, he wasn’t harmless, and he’d soon show them. He wanted to be dangerous, dangerous and feared. Feared by all— including Atreyu and Falkor.

The blue djinn—his name, incidentally, was Ilwan—elbowed his way through the crush around Bastian, crossed his arms over his chest, and bowed.

Bastian stopped.

“What is it, Ilwan? Speak!”

“My lord,” said the djinn in his eagle’s voice. “I’ve been listening in on the conversations of our new traveling companions. Some of them claim to know this part of the country and their teeth are chattering with fear.”

“What are they afraid of?”

“This forest of carnivorous orchids, my lord, belongs to Xayide, the wickedest and most powerful sorceress in all Fantastica. She lives in Horok Castle, also known as the Seeing Hand.”

“Tell the scaredy-cats not to worry,” said Bastian, “I’m here to protect them.” Ilwan bowed and left him.

A little later Falkor and Atreyu, who had flown far ahead, returned to Bastian.

The procession had stopped for the noon-day meal.

“I don’t know what to make of it,” said Atreyu. “Three or four hours’ journey from here, in the middle of the orchid forest, we saw a building that looks like a big hand jutting out of the ground. There’s something sinister about it, and it’s directly in our line of march.”

Bastian told them what he had heard from Ilwan.

“If that’s the case,” said Atreyu, “wouldn’t it be more sensible to change our direction?”

“No,” said Bastian.

“But there’s no reason why we should tangle with this Xayide. I think we should steer clear of her.”

“There is a reason,” said Bastian. “What reason?”

“Because I feel like it,” said Bastian.

Atreyu looked at him openmouthed. The conversation stopped there because Fantasticans were crowding in from all sides to get a look at Bastian. But when the meal was over, Atreyu rejoined Bastian. Trying to make it sound casual, he suggested: “How about taking a ride with Falkor and me?”

Bastian realized that Atreyu wanted a private talk with him. They hoisted themselves up on Falkor’s back, Atreyu in front, Bastian behind him, and the dragon took off. It was the first time the two friends had flown together.

Once they were airborne, Atreyu said: “It’s been hard seeing you alone these days. But we have to talk things over, Bastian.”

“Just as I thought,” said Bastian with a smile. “What’s on your mind?”

Atreyu began hesitantly. “Have we come to this place and are we heading where we are because of some new wish of yours?”

“I imagine so,” said Bastian rather coldly.

“That’s what Falkor and I have been thinking,” said Atreyu. “What kind of wish is it?”

Bastian made no answer.

“Don’t get me wrong,” said Atreyu. “It’s not that we’re afraid of anything or anyone. But we’re your friends, and we worry about you.”

“No need to,” said Bastian still more coldly. Falkor twisted his neck and looked back at them.

“Atreyu,” he said, “has a sensible suggestion. I advise you to listen to him, Bastian Balthazar Bux.”

“Some more of your good advice?” said Bastian with a sardonic smile.

“No, Bastian,” said Atreyu. “No advice. A suggestion. You may not like it at first. But think it over before you turn it down. We want to help you, and we’ve been wondering how. The whole trouble is the way the Childlike Empress’s amulet affects you. Without AURYN’s power you can’t wish yourself ahead, but with AURYN’s power you’re losing yourself and forgetting where you want to go. Pretty soon, unless we do something about it, you won’t have any idea where you’re going.”

“We’ve already been through that,” said Bastian. “So what?”

“When I was wearing the Gem,” said Atreyu, “it was entirely different. It guided me and it didn’t take anything away from me. Maybe because I’m not a human and I have no memory of the human world to lose. In other words, it helped me and did me no harm. So here’s what I suggest: Let me have AURYN and trust me to guide you. What do you say?”

Bastian replied instantly: “I say no!” Again Falkor looked back.

“Couldn’t you at least think it over for a moment?” “No!” said Bastian.

For the first time Atreyu grew angry.

“Bastian,” he said, “think sensibly! You can’t go on like this! Haven’t you noticed that you’ve changed completely? You’re not yourself anymore.”

“Thanks,” said Bastian. “Thank you very much for minding my business all the time. But frankly, I can get along without your advice. In case you’ve forgotten, I saved Fantastica, and Moon Child entrusted her power to me . She must have had some reason for it, because she could have let you keep AURYN. But she took it away from you and gave it to me. I’ve changed, you say. Yes, my dear Atreyu, you may be right. I’m no longer the harmless innocent you take me for. Shall I tell you the real reason why you want me to give up AURYN? Because you’re just plain jealous. You don’t know me yet, but if you go on like this—you’ll get to know me.”

Atreyu did not reply. Falkor’s flight had suddenly lost all its buoyancy, he seemed to be dragging himself through the air, sinking lower and lower like a wounded bird.

At length Atreyu spoke with difficulty.

“Bastian,” he said. “You can’t seriously believe what you’ve said. Let’s forget about it. As far as I’m concerned, you never said it.”

“All right,” said Bastian, “let’s forget it. Anyway, I didn’t start the argument.” For a time they rode on in silence.

In the distance Horok Castle rose up from the orchid forest. It really did look like a giant hand with five outstretched fingers.

“But there’s something I want to make clear once and for all,” said Bastian suddenly. “I’ve made up my mind. I’m not going back at all. I’m going to stay in Fantastica for good. I like it here. So I can manage without my memories. And if it’s the future of Fantastica you’re worried about, I can give Moon Child thousands of new names. We don’t need the human world anymore.”

Falkor banked for a U-turn.

“Hey!” Bastian shouted. “What are you doing? Fly ahead! I want to see Horok close up!”

“I can’t,” Falkor gasped. “I honestly can’t go on!”

 

On their return to the caravan they found their traveling companions in a

frenzy of agitation. They had been attacked by a band of some fifty giants, covered with black armor that made them look like enormous two-legged beetles. Many of the traveling companions had fled and were just beginning to return singly or in groups; others had done their best to defend themselves, but had been no match for the armored giants. The three knights, Hykrion, Hysbald, and Hydorn, had fought heroically, but without making a dent in any of their assailants. In the end they had been disarmed and dragged away in chains. One of the armored giants had shouted in a strangely metallic voice:

“Xayide, the mistress of Horok Castle, sends greetings to Bastian Balthazar Bux, the Savior of Fantastica, and makes the following demands: “Submit to me unconditionally and swear to serve me with body and soul as my faithful slave. Should you refuse, or should you attempt to circumvent my will by guile or stratagem, your three friends Hykrion, Hysbald, and Hydorn will die a slow, shameful, and cruel death by torture. You have until sunrise tomorrow to make up your mind.” That is the message of Xayide, the mistress of Horok Castle. It has been duly delivered.”

Bastian bit his lips. Atreyu and Falkor had wiped all expression off their faces, but Bastian knew exactly what they were thinking. What he minded most was their mask of secrecy. But this was hardly the time to have it out with them. That could wait. Instead, he addressed the company in a loud voice: “I will never give in to Xayide’s blackmail! We must set the prisoners free, and without delay.”

“It won’t be easy,” said Ilwan, the blue djinn with the eagle beak. “All of us together are no match for those black devils. And even if you, my lord, and Atreyu and his luckdragon were to lead us into battle, it would take us too long to capture Horok Castle. The lives of the three knights are in Xayide’s hands. She will kill them the moment she finds out that we are attacking.”

“Then we mustn’t let her find out,” said Bastian. “We must take her by surprise.”

“How can we do that?” asked the four-quarter troll, putting forward his angry face, which was rather terrifying. “Xayide is crafty. I’m sure she has an answer for anything we can think up.”

“I agree,” said the prince of the gnomes. “There are too many of us. If we move on Horok Castle, she’s sure to know it. Even at night so large a troop movement can’t be kept secret. She has her spies.”

“Good,” said Bastian. “We’ll fool her with the help of her spies.” “How can we do that, my lord?”

“The rest of you will start off in a different direction, to make her think we’ve

given up trying to free the prisoners and we’re running away.” “And what will become of the prisoners?”

“I’ll attend to that with Atreyu and Falkor.” “Just the three of you?”

“Yes,” said Bastian. “That is, if Atreyu and Falkor agree to come with me. If not, I’ll go alone.”

The traveling companions looked at him with admiration. Those closest to him passed his words on to those further back in the crowd.

“My lord,” the blue djinn cried out, “regardless of whether you conquer or die, this will go down in the history of Fantastica.”

Bastian turned to Atreyu and Falkor. “Are you coming, or have you got some more of your suggestions?”

“We’re coming,” said Atreyu.

“In that case,” Bastian decreed, “the caravan must start moving while it’s still light. You must hurry—make it look as if you were in flight. We’ll wait here until dark. We’ll join you tomorrow morning—with the three knights or not at all. Go now.”

After taking a respectful leave of Bastian, the traveling companions started out. Bastian, Atreyu, and Falkor hid in a clump of orchid trees and waited for nightfall.

In the late afternoon a faint jangling was heard and five of the black giants approached the abandoned camp. They seemed to be all of black metal, even their faces were like iron masks, and their movements were strangely mechanical. All stopped at once, all looked in the direction where the caravan had gone. Then without a word, all marched off in step.

“My plan seems to be working,” Bastian whispered.

“There were only five,” said Atreyu. “Where are the others?” “The five are sure to communicate with the rest,” said Bastian.

At length, when it was quite dark, Bastian, Atreyu, and Falkor crept from their hiding place, and Falkor rose soundlessly into the air with his two riders. Flying as low as possible over the orchid forest to avoid being seen, he headed in the direction they had taken that afternoon. The darkness was impenetrable, and they wondered how they would ever find the castle. But a few minutes later Horok appeared before them in a blaze of light. There seemed to be a lamp in every one of its thousand windows. Evidently Xayide wanted her castle to be seen. But that was only reasonable, for she was expecting Bastian’s visit—a different sort of visit, to be sure.

To be on the safe side, Falkor glided to the ground among the orchids, for his pearly-white scales would have reflected the glow of the castle.

Under cover of the trees they approached. Outside the gate, ten of the armored guards were on watch. And at each of the brightly lit windows stood one of them, black, motionless, and menacing.

Horok Castle was situated on a rise from which the orchid trees had been cleared. True enough, it was shaped like an enormous hand. Each finger was a tower, and the thumb was an oriel surmounted by yet another tower. The whole building was many stories high, and the windows were like glittering eyes looking out over the countryside. It was known with good reason as the Seeing Hand.

“The first thing we have to do,” Bastian whispered into Atreyu’s ear, “is locate the prisoners.”

Atreyu nodded and told Bastian to stay there with Falkor. Then he crawled soundlessly away. He was gone a long time.

When he returned, he reported: “I’ve been all around the castle. There’s only this one entrance, and it’s too well guarded. But I’ve discovered a skylight high up at the tip of the middle finger that seems to be unguarded. Falkor could easily take us up there, but we’d be seen. The prisoners are probably in the cellar. At any rate, I heard a long scream of pain that seemed to come from deep down.”

Bastian thought hard. Then he whispered: “I’ll try to reach that skylight. Meanwhile you and Falkor must keep the guards busy. Make them think we’re trying to get in by the gate. But don’t do any more. Don’t get into a fight. Keep them here as long as you can. Give me a few minutes’ time before you do anything.”

Atreyu pressed his friend’s hand in silence. Then Bastian took off his silver mantle and slipped away through the darkness. He had almost circled the castle when he heard Atreyu shouting:

“Attention! Bastian Balthazar Bux, the Savior of Fantastica, is here. He has come not to beg Xayide for mercy, but to give her a last chance to release the prisoners. If she sets them free, her miserable life will be spared!”

Looking around the corner of the castle, Bastian caught a glimpse of Atreyu, who had put on the silver mantle and coiled his blue-black hair into a kind of turban. To anyone who didn’t know the two boys very well there was a certain resemblance between them.

For a moment the armored giants seemed undecided. Then Bastian could hear in the distance the metallic stamping of their feet as they rushed at Atreyu. The

shadows in the windows also began to move as the guards left their posts to see what was going on. And many more of the armored giants poured out through the gate. When the first had almost reached Atreyu, he slipped nimbly away and a moment later appeared over their heads, riding Falkor. The armored giants brandished their swords and leapt high in the air, but they couldn’t reach him.

Bastian started climbing the wall. Here and there he was helped by outcroppings and window ledges, but more often he had to hold fast with his fingertips. Higher and higher he climbed; once the jutting stone he had set his foot on crumbled away and left him hanging by one hand, but he pulled himself up, found a hold for his other hand, and kept climbing. When at last he reached the towers he made better progress, for they were so close together that he could push himself up by bracing himself between them.

At length he reached the skylight and slipped through. True enough, there was no guard in the tower room, heaven knows why. Opening a door, he came to a narrow winding staircase and started down. When he reached the floor below, he saw two black guards standing at a window watching the excitement outside. He managed to pass behind them without attracting their notice.

On he crept, down more stairways, through passages and corridors. One thing was certain. Those armored giants might have been great fighters, but they didn’t amount to much as guards.

At last the cold and the musty smell told him he was in the cellar. Luckily all the guards seemed to have raced upstairs in pursuit of the supposed Bastian Balthazar Bux. Torches along the walls lit the way for him. Lower and lower he went. He had the impression that there were as many floors below the ground as above. Finally he came to the bottommost cellar and soon found the dungeon where Hykrion, Hysbald, and Hydorn were languishing. It was a pitiful sight.

They were hanging by their wrists over what seemed to be a bottomless pit.

The

long iron chains that held them were connected by way of overhead rollers with a winch, but the winch was fastened with a great padlock and couldn’t be budged. Bastian stood perplexed.

The three prisoners’ eyes were closed. They seemed to be asleep or unconscious. Then Hydorn the Enduring opened his left eye and sang out: “Hey, friends. Look who’s here!”

The others managed to open their eyes and a smile crossed their lips. “We knew you wouldn’t leave us in the lurch!” cried Hydorn.

“How can I get you down?” Bastian asked. “The winch is locked.”

“Just take your sword and cut the chains,” said Hysbald.

“And drop us into the pit?” said Hykrion. “That’s not such a good idea.” “Anyway,” said Bastian, “I can’t draw my sword. I can’t use Sikanda unless it

jumps into my hand.”

“That’s the trouble with magic swords,” said Hydorn. “When you need them, they go on strike.”

“Hey!” Hysbald whispered. “The guards had the key to that winch. Where could they have put it?”

“I remember a loose stone,” said Hykrion. “But I couldn’t see very well while they were hoisting me up here.”

Bastian looked and looked. The light was dim and flickering, but after a while he discovered a stone flag that was not quite even with the rest. He lifted it cautiously, and there indeed was the key.

He opened the big padlock and removed it from the winch. Then slowly he began to turn. It creaked and groaned so loud that the armored giants must have heard it by then if they weren’t totally deaf. Even so, there was nothing to be gained by stopping. Bastian went on turning until the three knights were level with the floor, though still over the pit. Then, after swinging them to and fro until their feet touched the ground, he let them down. They stretched out exhausted and showed no inclination to move. Besides, they still had the heavy chains on their wrists.

Bastian had little time to think, for metallic steps came clanking down the stone stairs. The guards! Their armor glittered in the torchlight like the carapaces of giant insects. All with the same movement, they drew their swords and rushed at Bastian.

Then at last Sikanda leapt from the rusty sheath and into his hand. With the speed of lightning the blade attacked the first of the armored giants and hacked him to pieces before Bastian himself knew what was happening. It was then that he saw what the giants were made of. They were hollow shells of armor. There was nothing inside! He had no time to wonder what made them move.

Bastian was in a good position, for only one giant at a time could squeeze through the narrow doorway of the dungeon, and one at a time Sikanda chopped them to bits. Soon their remains lay piled up on the floor like enormous black eggshells. After some twenty of them had been disposed of, the rest withdrew, evidently in the hope of waylaying Bastian in a position more favorable to themselves.

Taking advantage of the breathing spell, Bastian let Sikanda cut the shackles

from the knights’ wrists. Hykrion and Hydorn dragged themselves to their feet and tried to draw their swords, which strangely enough had not been taken away from them, but their hands were numb from the long hanging and refused to obey them. Hysbald, the most delicate of the three, wasn’t even able to stand by himself. His two friends had to hold him up.

“Never mind,” said Bastian. “Sikanda needs no help. Just stay behind me and don’t get in my way.”

They left the dungeon, slowly climbed the stairs, and came to a large hall.

Suddenly all the torches went out. But Sikanda shone bright.

Again they heard the heavy metallic tread of many armored giants.

“Quick!” cried Bastian. “Back to the stairs! This is where I’m going to fight!”

He couldn’t see whether the three knights obeyed his order and there was no time to find out, because Sikanda was already dancing in his hand. The entire hall was ablaze with its sharp white light. The assailants managed to push Bastian back from the top of the stairs and to attack him from all sides, yet not one of their mighty blows touched him. Sikanda whirled around him so fast that it looked like hundreds of swords. And a few moments later he was surrounded by a heap of shattered black armor in which nothing stirred.

“Come on up!” Bastian cried to his companions.

The three knights stood gaping on the stairs. Hykrion’s moustache was trembling. “I’ve never seen anything like it!” he cried.

“Something to tell my grandchildren!” Hysbald stammered.

“The only trouble,” said Hydorn mournfully, “is that they won’t believe you.”

Bastian stood there with sword in hand, wondering what to do next. Suddenly it sprang back into its sheath.

“The danger seems to be over,” he said.

“At least the part that calls for a sword,” said Hydorn. “What do we do now?” “Now,” said Bastian, “I want to make this Xayide’s acquaintance. I’ve got a

bone to pick with her.”

After climbing several more flights of stairs, Bastian and the knights reached the ground floor, where Atreyu and Falkor were waiting for them in a kind of lobby.

“Well done, you two!” cried Bastian, slapping Atreyu on the back. “What’s become of the armored giants?” asked Atreyu.

“Hollow shells!” said Bastian contemptuously. “Where’s Xayide?” “Up in her magic throne room,” answered Atreyu.

“Come along,” said Bastian, taking the silver mantle which Atreyu held out to

him. And all together, including Falkor, they climbed the broad stairway leading to the upper floors.

When Bastian, followed by his companions, entered the magic throne room, Xayide arose from her red-coral throne. She was wearing a long gown of violet silk, and her flaming red hair was coiled and braided into a fantastic edifice. Her face and her long, thin hands were as pale as marble. There was something strangely disturbing about her eyes. It took Bastian a few moments to figure out what it was—they were of different colors, one green, one red. She was trembling, evidently in fear of Bastian. He looked her straight in the face and she lowered her long lashes.

The room was full of weird objects whose purpose it was hard to determine. There were large globes covered with designs, sidereal clocks, and pendulums hanging from the ceiling. There were costly censers from which rose heavy clouds of different-colored smoke, which crept over the floor like fog.

Thus far Bastian hadn’t said a word. That seemed to shatter Xayide’s composure, for suddenly she threw herself on the floor in front of him, took one of his feet and set it on her neck.

“My lord and master!” she said in a deep voice that sounded somehow mysterious. “No one in Fantastica can withstand you. You are mightier than the mighty and more dangerous than all the demons together. If you wish to take revenge on me for being too stupid to recognize your greatness, trample me underfoot. I have earned your anger. But if you wish once again to demonstrate your far-famed magnanimity, suffer me to become your obedient slave, who swears to obey you body and soul. Teach me to do what you deem desirable and I will be your humble pupil, obedient to your every hint. I repent of the harm I tried to do you and beg your mercy!”

“Arise, Xayide!” said Bastian. He had been very angry, but her speech pleased him. If she had really acted out of ignorance and really regretted it so bitterly, then it was beneath his dignity to punish her. And since she even wished to learn what he deemed desirable, he could see no reason to reject her plea.

Xayide arose and stood before him with bowed head. “Will you obey me unconditionally,” he asked, “however hard you may find it to do my bidding? Will you obey me without argument and without grumbling?”

“I will, my lord and master,” said Xayide. “You will see there is nothing we cannot accomplish if we combine my artifices and your power.”

“Very well,” said Bastian. “Then I will take you into my service. You will leave this castle and go with me to the Ivory Tower, where I am expecting to

meet Moon Child.”

For a fraction of a second Xayide’s eyes glowed red and green, but then, veiling them with her long lashes, she said: “I am yours to command, my lord and master.”

Thereupon all descended the stairs. Once outside the castle, Bastian observed: “The first thing to do is find our traveling companions. Goodness knows where they are.”

“Not very far from here,” said Xayide. “I’ve led them slightly astray.” “For the last time,” said Bastian.

“For the last time,” she agreed. “But how will we get there? Do you expect me to walk? Through the woods and at night?”

“Falkor will carry us,” said Bastian. “He’s strong enough to carry us all.” Falkor raised his head and looked at Bastian. His ruby-red eyes glittered.

“I’m strong enough, Bastian Balthazar Bux,” boomed the bronze bell-like voice. “But I will not carry that woman.”

“Oh yes, you will,” said Bastian. “Because I command it.”

The luckdragon looked at Atreyu, who nodded almost imperceptibly. But Bastian had seen that nod.

All took their places on Falkor’s back, and he rose into the air. “Which way?” he asked.

“Straight ahead,” said Xayide.

“Which way?” Falkor asked again, as if he hadn’t heard. “Straight ahead!” Bastian shouted. “You heard her.”

“Do as she says,” said Atreyu under his breath. And Falkor complied.

Half an hour later—already the dawn was graying—they saw innumerable campfires down below and the luckdragon landed. In the meantime many more Fantasticans had turned up and a lot of them had brought tents. The camp, spread out on a wide, flower-strewn meadow at the edge of the orchid forest, looked like a tent city.

“How many are you now?” Bastian asked.

Ilwan, the blue djinn, who had taken charge of the caravan in Bastian’s absence, replied that he had not yet been able to make an exact count, but that he guessed there were close to a thousand. “And there’s something else to report,” he added. “Something rather strange. Soon after we pitched camp, shortly before midnight, five of those armored giants appeared. But they were peaceful and they’ve kept to themselves. Of course, no one dared to go near them. They brought a big litter made of red coral. But it was empty.”

“Those are my carriers,” said Xayide in a pleading tone to Bastian. “I sent them ahead last night. That’s the pleasantest way to travel. If it does not displease you, my lord.”

“I don’t like the look of this,” Atreyu interrupted. “Why not?” said Bastian. “What’s your objection?”

“She can travel any way she likes,” said Atreyu drily. “But she wouldn’t have sent her litter here last night if she hadn’t known in advance that she’d be coming here. She had planned the whole thing. Your victory was really a defeat. She purposely let you win. That was her way of winning you over.”

“Enough of this!” cried Bastian, purple with anger. “I didn’t ask for your opinion. You make me sick with your lecturing. And now you question my victory and ridicule my magnanimity.”

Atreyu was going to say something, but Bastian screamed at him: “Shut up and leave me be! If the two of you aren’t satisfied with what I do and the way I am, go away. I’m not keeping you. Go where you please! I’m sick of you!”

Bastian folded his arms over his chest and turned his back on Atreyu. The Fantasticans who had gathered around were dumbfounded. For a time Atreyu stood silent. Up until then Bastian had never reprimanded him in the presence of others. He was so stunned he could hardly breathe. He waited a while, then, when Bastian did not turn back to him, he slowly walked away. Falkor followed him.

Xayide smiled. It wasn’t a pleasant smile.

In that moment, Bastian’s memory of having been a child in his world was effaced.





 

































ninterruptedly, new emissaries from all parts of Fantastica poured in to swell the army of those accompanying Bastian on his march to the Ivory Tower. It proved impossible to take a count, because new ones kept arriving while the counting was in progress. Each morning an army several thousand strong got under way. And each night it set up the strangest tent city imaginable. Since Bastian’s traveling companions varied enormously in shape and size, some of their night lodgings might have been mistaken for circus tents, while others, at the opposite end of the scale, were no bigger than a thimble. Their vehicles also showed astonishing variety, ranging from common covered wagons and diligences to the most extraordinary rolling barrels, bouncing balls, and crawling containers with automotive legs.

Of all the tents the most magnificent was the one that had been procured for Bastian. The shape and size of a small house, it was made of lustrous, many- colored silk, embroidered with gold and silver. A flag affixed to the roof was decorated with Bastian’s coat of arms, a seven-armed candelabrum. The inside

was furnished with soft blankets and cushions. Bastian’s tent was always set up at the center of the camp. And the blue djinn, who had become his factotum, stood guard at the entrance.

Atreyu and Falkor were still among the host of Bastian’s companions, but since the public reprimand he hadn’t exchanged a word with them. Secretly, he was waiting for Atreyu to give in and apologize. But Atreyu did nothing of the kind. Nor did Falkor show any inclination to humble himself before Bastian. And that, said Bastian to himself, was just what they must learn to do. If they expected him to back down they had another thing coming; his will was of steel. But if they gave in, he’d welcome them with open arms. If Atreyu knelt down to him, he would lift him up and say: Don’t kneel to me, Atreyu, you are and remain my friend . . .

But for the time being Atreyu and Falkor brought up the rear of the procession. Falkor seemed to have forgotten how to fly; he trudged along on foot and Atreyu walked beside him, most of the time with bowed head. A sad comedown for the proud reconnaissance flyers. Bastian wasn’t happy about it, but there was nothing he could do.

He began to be bored riding the mule Yikka in the lead of the caravan, and took to visiting Xayide in her litter instead. She received him with a great show of respect, gave him the most comfortable seat, and squatted down at his feet. She could always think of something interesting to talk about, and when she noticed that he disliked speaking of his past in the human world, she stopped questioning him about it. Most of the time she smoked her Oriental water pipe. The stem looked like an emerald-green viper, and the mouthpiece, which she held between her marble-white fingers, suggested a snake’s head. She seemed to be kissing it as she smoked. The clouds of smoke which poured indolently from her mouth and nose changed color with every puff, from blue to yellow, to pink, to green, and so on.

“Xayide,” said Bastian on one of his visits, looking thoughtfully at the armored giants who were carrying the litter. “There’s something I’ve been wanting to ask you.”

“Your slave is listening,” said Xayide.

“When I fought your guards,” said Bastian, “I discovered that there was nothing inside their shell of armor. So what makes them move?”

“My will,” said Xayide with a smile. “It’s because they’re empty that they do my will. My will can control anything that’s empty.”

She turned her red and green gaze on Bastian. For a moment it gave him a

strangely eerie feeling, but quickly she lowered her lashes. “Could I control them with my will?” he asked.

“Of course you could, my lord and master,” she replied. “You could do it a hundred times better than I. I am as nothing beside you. Would you care to try?”

“Not now,” said Bastian, who was rather frightened at the idea. “Maybe some other time.”

“Tell me,” said Xayide. “Do you really enjoy riding an old mule? Wouldn’t you rather be carried by beings you can move with your will?”

“But Yikka likes to carry me,” said Bastian almost peevishly. “It gives her pleasure.”

“Then you do it to please her?”

“Why not?” said Bastian. “What’s wrong with that?” Xayide let some green smoke rise from her mouth.

“Oh, nothing at all, my lord. How can anything you do be wrong?” “What are you driving at, Xayide?”

She bowed her head of flaming red hair.

“You think of others too much, my lord and master,” she whispered. “No one is worthy to divert your attention from your own all-important development. If you promise not to be angry, I will venture a piece of advice: Think more of your own perfection.”

“What has that got to do with Yikka?”

“Not much, my lord. Hardly anything. Just this: she’s not a worthy mount for someone as important as you. It grieves me to see you riding such an undistinguished animal. All your traveling companions are surprised. You alone, my lord and master, seem unaware of what you owe to yourself.”

Bastian said nothing, but Xayide’s words had made an impression.

Next day, as the procession with Bastian and Yikka in the lead was passing through lush rolling meadows, interspersed here and there by small copses of fragrant lilac, he decided to take Xayide’s advice.

At noon, when the caravan stopped to rest, he patted the old mule on the neck and said: “Yikka, the time has come for us to part.”

Yikka let out a cry of dismay. “Why, master?” she asked. “Have I done my job so badly?” And tears flowed from the corners of her dark eyes.

“Not at all,” Bastian hastened to reassure her. “You’ve been carrying me so gently all this time, you’ve been so patient and willing that I’ve decided to reward you.”

“I don’t want any other reward,” said Yikka. “I just want to go on carrying

you. How could I wish for anything better?”

“Didn’t you once tell me it made you sad that mules can’t have children?” “Yes,” said Yikka, “because when I’m very old I’d like to tell my children

about these happy days.”

“Very well,” said Bastian. “Then I’ll tell you a story that will come true. And I’ll tell it only to you, to you and no one else, because it’s your story.”

Then he took hold of one of Yikka’s long ears and whispered into it: “Not far from here, in a little lilac copse, the father of your son is waiting for you. He’s a white stallion with the white wings of a swan. His mane and his tail are so long they touch the ground. He has been following you secretly for days, because he’s immortally in love with you.”

“With me?” cried Yikka, almost frightened. “But I’m only a mule, and I’m not as young as I used to be.”

“In his eyes,” said Bastian in an undertone, “you’re the most beautiful creature in all Fantastica just as you are. And also perhaps because you’ve carried me. But he’s very bashful, he doesn’t dare approach you with all these creatures about. You must go to him or he’ll die of longing for you.”

“Myohmy!” Yikka sighed. “Is it as bad as all that?”

“Yes,” Bastian whispered in her ear. “And now, goodbye, Yikka. Just run along, you’ll find him.”

Yikka took a few steps, but then she looked back again. “Frankly,” she said. “I’m kind of scared.”

“There’s nothing to worry about,” said Bastian with a smile. “And don’t forget to tell your children and grandchildren about me.”

“Thank you, master,” said Yikka, and off she went.

For a long while Bastian looked after her as she hobbled off. He wasn’t really happy about sending her away. He went to his luxurious tent, lay down on the soft cushions, and gazed at the ceiling. He kept telling himself that he had made Yikka’s dearest wish come true. But that didn’t make him feel any better. A person’s reason for doing someone a good turn matters as much as the good turn itself.

But that made no difference to Yikka, for she really did find the white, winged stallion. They married and she had a son who was a white, winged mule. His name was Pataplan and he made quite a name for himself in Fantastica, but that’s another story and shall be told another time.

From then on Bastian traveled in Xayide’s litter. She even offered to get out and walk alongside so as to give him every possible comfort, but that was more

than Bastian would accept. So they sat together in the comfortable red-coral litter, which from then on led the procession.

Bastian was still rather gloomy and felt a certain resentment toward Xayide for persuading him to part with his mule. He kept answering her in monosyllables, so that no real conversation was possible. Xayide soon realized what the trouble was.

To guide his thoughts into different channels, she said brightly: “I would like to make you a present, my lord and master, if you deign to accept one from me.” She rummaged under her cushions and found a richly ornamented casket. As Bastian tingled with eagerness, she opened it and took out a belt with chain

links. Each link as well as the clasp was made of clear glass. “What is it?” Bastian asked.

“It’s a belt that makes its wearer invisible. But if you want it to belong to you, my lord, you must give it its name.”

Bastian examined it. “The belt Ghemmal,” he said then.

Xayide nodded. “Now it is yours,” she said with a smile. Bastian took the belt and held it irresolutely in his hand.

“Would you like to try it now?” she asked. “Just to see how it works?”

To Bastian’s surprise, the belt was a perfect fit. But it gave him a most unpleasant feeling not to see his own body. He wanted to take the belt off, but that wasn’t so easy since he could see neither the buckle nor his own hands.

“Help!” he cried in a panic, suddenly afraid that he would never find the buckle and would remain invisible forever.

“You have to learn to handle it,” said Xayide. “I had the same trouble at first.

Permit me to help you, my lord and master.”

She reached into the empty air. A moment later she had unfastened the belt and Bastian was relieved to see himself again. He laughed, while Xayide drew smoke from her water pipe and smiled.

If nothing else, she had cheered him up.

“Now you are safe from harm,” she said gently, “and that means more to me than you can imagine.”

“Harm?” asked Bastian, still slightly befuddled. “What sort of harm?”

“Oh, no one can contend with you,” Xayide whispered. “Not if you are wise.

The danger is inside you, and that’s why it’s hard to protect you against it.” “Inside me? What does that mean?”

“A wise person stands above things, he neither loves nor hates. But you, my lord, set store by friendship. Your heart should be as cold and indifferent as a

snow-covered mountain peak, and it isn’t. That’s why someone can harm you.” “Someone? What someone?”

“Someone you still care for in spite of all his insolence.” “Speak more plainly.”

“That rude, arrogant little savage from the Greenskin country, my lord.” “Atreyu?”

“Yes, and that outrageous, impertinent Falkor!”

“You think they’d want to harm me?” Bastian could hardly keep from laughing.

Xayide bowed her head and said nothing.

“I’ll never believe that,” said Bastian. “I won’t listen to another word.” Xayide still said nothing. She bowed her head still lower.

After a long silence Bastian asked: “What do you suppose Atreyu is plotting?” “My lord,” Xayide whispered. “I wish I hadn’t spoken.”

“Well, now that you’ve started,” Bastian cried, “tell me everything. Stop beating about the bush. What do you know?”

“I tremble at your anger, my lord,” Xayide stammered, and true enough, she was all atremble. “But even if it costs me my life, I will tell you. Atreyu is plotting to take the Childlike Empress’s amulet away from you, by stealth or by force.”

For a moment Bastian could hardly breathe. “Can you prove it?” he asked.

Xayide shook her head.

“My knowledge,” she murmured, “is not of the kind that can be proved.” “Then keep it to yourself,” said Bastian, the blood rising to his face. “And

don’t malign the truest, bravest boy in all Fantastica.” With that he jumped out of the litter and left her.

Xayide’s fingers played with the snake’s head and her green-and-red eyes glowed. After a while she smiled again. Violet smoke rose from her mouth and she whispered: “You will see, my lord and master. The belt Ghemmal will show you.”

 

When the camp was set up that night, Bastian went to his tent. He ordered Ilwan, the blue djinn, not to admit anyone, and especially not Xayide. He wanted to be alone and to think.

What the sorceress had told him about Atreyu hardly seemed worth troubling his head about. He had something else on his mind: those few words she

dropped about wisdom.

He had been through so much; he had known joy and fear, discouragement and triumph; he had rushed from wish fulfillment to wish fulfillment, never stopping to rest. And nothing had brought him calm and contentment. To be wise was to be above joy and sorrow, fear and pity, ambition and humiliation. It was to hate nothing and to love nothing, and above all to be utterly indifferent to the love and hate of others. A truly wise man attached no importance to anything. Nothing could upset him and nothing could harm him. Yes, to be like that would be his final wish, the wish that would bring him to what he really wanted. Now he thought he understood what Grograman had meant by those words. And so he wished to become wise, the wisest being in Fantastica.

A little later he stepped out of his tent.

The moon cast its light on a landscape that he had scarcely noticed up until then. The tent city lay in a hollow ringed about by strangely shaped mountains. The silence was complete. The hollow was fairly well wooded, while on the mountain slopes the vegetation became more sparse and farther up there was none at all. The peaks formed all manner of figures, almost as though a giant sculptor had shaped them. No breeze was blowing and there wasn’t a cloud in the sky. The stars glittered and seemed nearer than usual.

At the top of one of the highest peaks Bastian made out a sort of cupola. It seemed to be inhabited, for it gave off a faint light.

“I’ve noticed it too, my lord,” said Ilwan in his rasping voice. He was standing at his post by the entrance to the tent. “What can it be?”

He had no sooner spoken than Bastian heard a strange cry in the distance. It suggested the long-drawn-out hooting of an owl, but it was deeper and louder. It sounded a second and then a third time, but now there were several voices.

Owls they were indeed, six in number, as Bastian was soon to find out. Coming from the direction of the cupola, they glided at an incredible speed on almost motionless wings. Soon they were close enough for Bastian to see how amazingly large they were. Their eyes glittered, and their erect ears were capped with bundles of down. The flight was soundless, but as they landed, a faint whirring of their wings could be heard.

Then they were sitting on the ground in front of Bastian’s tent, swiveling their heads with their great round eyes in all directions. Bastian went up to them.

“Who are you?” he asked, “and who are you looking for?”

“We were sent by Ushtu, the Mother of Intuition,” said one of the six owls. “We are messengers from Ghigam, the Star Cloister.”

“What sort of cloister is that?” Bastian asked.

“It is the home of wisdom,” said another of the owls, “where the Monks of Knowledge live.”

“And who is Ushtu?” Bastian asked.

“One of the Three Deep Thinkers who direct the cloister and instruct the monks,” said a third owl. “We are the night messengers, which puts us in her department.”

“If it were daytime,” said the fourth owl, “Shirkry, the Father of Vision, would have sent his messengers, who are eagles. And in the twilight hours between day and night, Yisipu, the Son of Reason, sends his messengers, who are foxes.”

“Who are Shirkry and Yisipu?”

“They are the other Deep Thinkers, our Superiors.” “And what are you doing here?”

“We are looking for the Great Knower,” said the sixth owl. “The Three Deep Thinkers know he is in this tent city and have sent us to beg him for illumination.”

“The Great Knower?” asked Bastian. “Who’s that?”

“His name,” replied all six owls at once, “is Bastian Balthazar Bux.” “You’ve found him,” said Bastian. “It’s me.”

They bowed low, which because of their jerky movements looked almost comical in spite of their great size.

“The Three Deep Thinkers,” said the first owl, “beg you humbly and respectfully to visit them. They hope you will solve a problem they have been trying in vain to solve all their long lives.”

Bastian stroked his chin thoughtfully.

“Very well,” he answered after a while. “But I must take my two disciples with me.”

“There are six of us,” said the owl. “Two of us will carry each one of you.” Bastian turned to the blue djinn.

“Ilwan,” he said. “Bring me Atreyu and Xayide.” The djinn bowed and went his way.

“What is this problem they want me to solve?” Bastian asked.

“O Great Knower,” said one of the owls, “we are only poor ignorant messengers. We don’t even belong to the lowest rank of the Monks of Knowledge. How could we possibly have cognizance of the problem which the Deep Thinkers in all their long lives have been unable to solve?”

A few minutes later Ilwan came back with Atreyu and Xayide. On the way he

had told them what it was all about.

As he stood before Bastian, Atreyu asked in an undertone: “Why me?” “Indeed,” said Xayide. “Why him?”

“You will find out,” said Bastian.

With admirable foresight, the owls had brought trapezes, one for every two owls. Bastian, Atreyu, and Xayide sat on the bars, and the great night birds, each holding a trapeze rope in its claws, rose into the air.

When the travelers reached the Star Cloister of Ghigam, they round that the great cupola was only the uppermost part of a large building composed of many cubical compartments. It had innumerable little windows and its outer wall might have been taken for the continuation of a sheer cliff. An unbidden visitor could hardly have gained admittance to the place.

The cubical compartments contained the cells of the Monks of Knowledge, the libraries, the refectories, and the lodgings of the messengers. The meeting hall, where the Three Deep Thinkers delivered their lectures, was situated under the cupola.

The Monks of Knowledge were Fantasticans of all kinds, from every part of the realm. But anyone wishing to enter the cloister had to break off all contact with family and country. The lives of these monks were hard and frugal, devoted exclusively to knowledge. The community was far from accepting all applicants. The examinations were difficult and the Three Deep Thinkers set the highest standards. Thus there were seldom more than three hundred monks in the cloister at one time, but these were by far the most intelligent persons in all Fantastica. Occasionally the community dwindled to seven members, but even then there was no thought of relaxing the entrance requirements. At the moment the monks and monkesses numbered roughly two hundred.

When Bastian, followed by Atreyu and Xayide, was led into the large lecture hall, he saw a motley assortment of Fantasticans, who differed from his own retinue only in that they all were dressed in rough dark-brown monk’s robes. A wandering cliff or a tiny must have looked very strange in such an outfit.

The Superiors of the order, the Three Deep Thinkers, were built like humans except for their heads. Ushtu, the Mother of Intuition, had the head of an owl; Shirkry, the Father of Vision, the head of an eagle; and Yisipu, the Son of Reason, the head of a fox. They sat in raised stone chairs and looked enormous. The sight of them seemed to intimidate Atreyu and even Xayide. But Bastian stepped right up to them.

With a motion of his head, Shirkry, who was evidently the oldest of the three

and was sitting in the middle, indicated an empty chair facing the Deep Thinkers. Bastian sat down in it.

After a prolonged silence, Shirkry spoke. He spoke softly, but his voice sounded surprisingly deep and full.

“Since time immemorial we have been pondering the enigma of our world. Yisipu’s reasonings in the matter are different from Ushtu’s intuitions, and Ushtu’s intuitions differ from my vision, which in turn is different from Yisipu’s reasonings. This is intolerable and must not be allowed to go on. That is why we have asked the Great Knower to come here and instruct us. Are you willing?”

“I am,” said Bastian.

“Then, O Great Knower, hear our question: What is Fantastica?”

After a short silence Bastian replied: “Fantastica is the Neverending Story.” “Give us time to understand your answer,” said Shirkry. “Let us meet again

here tomorrow at the same hour.”

Silently the Three Deep Thinkers and the Monks of Knowledge arose, and all left the hall.

Bastian, Atreyu, and Xayide were led to guest cells, where a simple meal awaited them. Their beds were wooden planks covered with rough woolen blankets. Though this didn’t matter to Bastian and Atreyu, Xayide would have liked to conjure up a more comfortable bed. But she soon found to her dismay that her magic powers were without effect in this cloister.

Late the following night the monks and the Three Deep Thinkers met again in the great meeting hall. Once again Bastian occupied the high seat. Xayide and Atreyu sat to the left and right of him.

This time it was Ushtu, the Mother of Intuition, who scrutinized Bastian with her great owl’s eyes and said: “We have meditated on your answer, O Great Knower. But a new question has occurred to us. If, as you say, Fantastica is the Neverending Story, where is the Neverending Story to be found?”

After a short silence Bastian replied: “In a book bound with copper-colored silk.”

“Give us time to understand your words,” said Ushtu. “Let us meet again tomorrow at the same hour.”

When they had gathered in the meeting hall the following night, Yisipu, the Son of Reason, took the floor.

“Again we have meditated on your answer, O Great Knower,” he said. “And again a new question comes to perplex us. If our world, Fantastica, is a Neverending Story and if this Neverending Story is in a book bound in copper-

colored silk—where then is this book?”

After a short silence Bastian replied: “In the attic of a schoolhouse.”

“O Great Knower,” said the fox-headed Yisipu, “we do not doubt the truth of what you say. But now we would like to ask you to let us see this truth. Can you do that?”

Bastian thought it over. Then he said: “I believe I can.”

Atreyu looked at Bastian with surprise. Xayide too had a questioning look in her red-and-green eyes.

“Let us meet again tomorrow night at the same hour,” said Bastian. “But not here. Let us meet on the roof of the Star Cloister. And then you must keep your eyes fixed on the heavens.”

The following night was as clear as the three before it. At the appointed hour the Three Deep Thinkers and all the Monks of Knowledge were gathered on the roof of the Star Cloister. Atreyu and Xayide, who had no idea what Bastian was up to, were there too.

Bastian climbed to the top of the great cupola and looked around. For the first time he saw the Ivory Tower far off on the horizon, shimmering in the moonlight.

He took the stone Al Tsahir from his pocket. It sent out a soft glow. He then called to mind the inscription he had seen on the door of the Amarganth Library:

 

. . . But if he says my name a second time from the end to the beginning,

I will glow in one moment

with the light of a hundred years.

 

He held the stone up high and cried out: “Rihast-la!”

At that moment there came a flash of lightning so bright that the stars paled and the dark cosmic space behind them was illumined. And that space was the schoolhouse attic with its age-blackened beams. In a moment the vision passed and the light of a hundred years was gone. Al Tsahir had vanished without a trace.

It was some time before the eyes of those present, including Bastian’s, became accustomed to the feeble light of the moon and the stars.

Shaken by what they had seen, all gathered in the great lecture hall. Bastian was the last to enter. The Monks of Knowledge and the Three Deep Thinkers arose from their seats and bowed low to him.

“I have no words,” said Shirkry, “with which to thank you for that flash of illumination, O Great Knower. For in that mysterious attic I glimpsed a being of my own kind, an eagle.”

“You are mistaken, Shirkry,” said the owl-faced Ushtu with a gentle smile. “I saw the creature plainly. It was an owl.”

“You are both mistaken,” cried Yisipu, his eyes aflame. “That being is a relative of mine, a fox.”

Shirkry raised his hands in horror.

“Here we are back where we started!” he said. “You alone, O Great Knower, can answer this new question. Which of us is right?”

Smiling serenely, Bastian replied: “All three.”

“Give us time to understand your answer,” said Ushtu.

“All the time you wish,” Bastian replied, “for we shall be leaving you now.”

Bitter disappointment could be read on the faces of the Three Deep Thinkers and of the Monks of Knowledge. They implored Bastian to stay longer, or better still, forever, but with a rather disrespectful shrug he declined.

Whereupon the six messengers carried him and his two disciples back to the tent city.

That night the usual harmony of the Three Deep Thinkers was disturbed by a first radical difference of opinion, which years later led to the breakup of the community. Then Ushtu the Mother of Intuition, Shirkry the Father of Vision, and Yisipu the Son of Reason each founded a cloister of his own. But that is another story and shall be told another time.

That night Bastian lost all memory of having gone to school. The attic and the stolen book bound in copper-colored silk vanished from his mind. And he even stopped asking himself how he had come to Fantastica.





 

































igilant scouts returned to camp, reporting that the Ivory Tower was not far off and could be reached in two or at the most three days’ marches.

But Bastian seemed irresolute. He kept ordering rest stops, but before the troops were half settled he would make them start out again. No one knew why he was behaving so strangely, and no one dared ask him. Since his great feat at the Star Cloister he had been unapproachable, even for Xayide. All sorts of conjectures were rife, but most of the traveling companions were quite willing to obey his contradictory orders. Great wise men, they thought, often strike the common run of people as unpredictable. Atreyu and Falkor were equally at a loss. The incident at the Star Cloister had baffled them completely.

Within Bastian two feelings were at war, and he was unable to silence either one. He longed to meet Moon Child. Now that he was famous and admired throughout Fantastica, he could approach her as an equal. But at the same time he was afraid she would ask him to return AURYN to her. And what then?

Would she try to send him back to the world he had almost forgotten? He didn’t want to go back. And he wanted to keep the Gem. But then he had another idea. Was it so certain that she wanted it back? Maybe she would let him have it as long as he wished. Maybe she had made him a present of it and it was his for good. At such moments he could hardly wait to see her again. He rushed the caravan on. But then, assailed by doubts, he would order a stop and think it all over again.

After alternating forced marches and prolonged delays, the procession finally reached the edge of the famous Labyrinth, the immense flower garden with its winding avenues and pathways. On the horizon the Ivory Tower gleamed white against the gold-shimmering evening sky.

Awed by the splendor and beauty of the sight, the army of Fantasticans stood silent. And so did Bastian. Even Xayide’s face showed a look of wonderment, which had never been seen before and which soon vanished. Atreyu and Falkor, who were in the rear of the procession, remembered how different the Labyrinth had looked the last time they had seen it: wasted with the ravages of the Nothing. Now it was greener and more flourishing than ever before.

Bastian decided to go no farther that day and the tents were pitched for the night. He sent out messengers to bring greetings to Moon Child and let her know that he would be arriving at the Ivory Tower next day. Then he lay down in his tent and tried to sleep. He tossed and turned on his cushions, his worries left him no peace. But he was far from suspecting that this would be his worst night since coming to Fantastica.

Toward midnight, soon after falling into a restless sleep, he was awakened by excited whisperings outside his tent. He got up and went out.

“What’s going on?” he asked sternly.

“This messenger,” replied Ilwan, the blue djinn, “claims he is bringing you news so important that it can’t wait until tomorrow.”

The messenger, whom Ilwan had picked up by the collar, was a nimbly, a creature bearing a certain resemblance to a rabbit, except that its coat was of bright-colored feathers instead of fur. Nimblies are among the swiftest runners in Fantastica, and can cover enormous distances with incredible speed. When running they become almost invisible except for the trail of dust clouds they leave behind them. That is why the nimbly had been chosen as messenger. After running to the Ivory Tower and back in next to no time, he was desperately out of breath when the djinn set him down in front of Bastian.

“Forgive me, sire,” he said, bowing and panting. “Forgive me if I make so

bold as to disturb your rest, but you would have every reason to be displeased with me if I failed to do so. Moon Child is not in the Ivory Tower; she has not been there for a long, long time, and no one knows where she is.”

Suddenly Bastian felt cold and empty inside. “You must be mistaken. That can’t be.”

“The other messengers will tell you the same thing when they get back, sire.” After a long silence Bastian said tonelessly: “Thank you. Dismissed.”

He went back into his tent, sat down on his bed, and buried his head in his hands. This seemed impossible. Moon Child must have known he was on his way to her. Could it be that she didn’t want to see him again? Or had something happened to her? No, how could anything happen to her in her own realm?

But the fact remained: she was gone, which meant that he didn’t have to return AURYN to her. At the same time he felt bitterly disappointed that he wouldn’t be seeing her again. Whatever her reasons may have been, he found her behavior unbelievable, no, insulting.

Then he remembered what Falkor and Atreyu had told him: that no one could meet the Childlike Empress more than once.

The thought made him so unhappy that he suddenly longed for Atreyu and Falkor. He needed someone to talk to, to confide in.

Then he had an idea: If he put on the belt Ghemmal and made himself invisible, he could enjoy their comforting presence without mentioning the humiliation he felt.

He opened the ornate casket, took out the belt, and put it on. Then, after waiting until he had got used to the unpleasant sensation of not seeing himself, he went out and wandered about the tent city in search of Atreyu and Falkor. Wherever he went he heard excited whispers, figures darted from tent to tent, here and there several creatures were huddled together, talking and gesticulating. By then the other messengers had returned, and the news that Moon Child was not in the Ivory Tower had spread like wildfire.

Atreyu and Falkor were under a flowering rosemary tree at the very edge of the camp. Atreyu was sitting with his arms folded, looking fixedly in the direction of the Ivory Tower. The luckdragon lay beside him with his great head on the ground.

“That was my last hope,” said Atreyu. “I thought she might make an exception for him and let him return the amulet. Now all is lost.”

“She must know what she’s doing,” said Falkor. At that moment Bastian located them and sat down invisibly nearby.

“Is it certain?” Atreyu murmured. “He mustn’t be allowed to keep AURYN!” “What will you do?” Falkor asked. “He won’t give it up of his own free will.” “Then I’ll have to take it from him,” said Atreyu.

At those words Bastian felt the ground sinking from under him.

“That won’t be easy,” he heard Falkor saying. “But if you do take it, I trust that he won’t be able to get it back.”

“That’s not so sure,” said Atreyu. “He’ll still have his great strength and his magic sword.”

“But the Gem would protect you,” said Falkor. “Even against him.” “No,” said Atreyu. “I don’t think so. Not against him.”

“And to think,” said Falkor with a grim laugh, “that he himself offered it to you on your first night in Amarganth.”

Atreyu nodded. “I didn’t realize then what would happen.” “How are you going to take it from him?” Falkor asked. “I’ll have to steal it,” said Atreyu.

Falkor’s head shot up. With glowing ruby-red eyes he stared at Atreyu, who hung his head and repeated in an undertone: “I’ll have to. There’s no other way.”

After a long silence Falkor asked: “When?”

“It will have to be tonight. Tomorrow may be too late.”

Bastian had heard enough. Slowly he crept away. His only feeling was one of cold emptiness. Everything was indifferent to him now, just as Xayide had said.

He went back to his tent and took off the belt Ghemmal. Then he bade Ilwan bring him the three knights, Hysbald, Hykrion, and Hydorn. As he paced the ground waiting, it came to him that Xayide had foreseen it all. He hadn’t wanted to believe her, but now he was obliged to. Xayide, he now realized, was sincerely devoted to him. She was his only true friend. But there was still room for doubt. Perhaps Atreyu wouldn’t actually carry out his plan. Maybe he had already repented. In that case Bastian wouldn’t ever mention it—though friendship now meant nothing to him. That was over and done with.

When the three knights appeared, he told them he had reason to believe that a thief would come to his tent that night. When they agreed to keep watch and lay hands on the thief whoever he might be, he went to Xayide’s coral litter. She lay sound asleep, attended by her five giants in their black armor, who stood motionless on guard. In the darkness they looked like five boulders.

“I wish you to obey me,” Bastian said softly.

Instantly, all five turned their black iron faces toward him. “Command us, master of our mistress,” said one in a metallic voice.

“Do you think you can handle Falkor the luckdragon?” Bastian asked. “That depends on the will that guides us,” said the metallic voice.

“It is my will,” said Bastian.

“Then there is no one we cannot handle,” was the answer.

“Good. Then go close to where he is.” He pointed. “That way. As soon as Atreyu leaves him, take him prisoner. But keep him there. I’ll have you called when I want you.”

“Master of our mistress,” the metallic voice replied, “it shall be done.” The five black giants marched off in step. Xayide smiled in her sleep.

Bastian went back to his tent. But once in sight of it, he hesitated. If Atreyu should really attempt to steal the Gem, he didn’t want to be there when they seized him.

He sat down under a tree nearby and waited, wrapped in his silver mantle. Slowly the time passed, the sky paled in the east, it would soon be morning. Bastian was beginning to hope that Atreyu had abandoned his project when suddenly he heard a tumult in his tent. And a moment later Hykrion led Atreyu out with his arms chained behind his back. The two other knights followed. Bastian dragged himself to his feet and stood leaning against the tree.

“So he’s actually done it,” he muttered to himself.

Then he went to his tent. He couldn’t bear to look at Atreyu, and Atreyu too kept his eyes to the ground.

“Ilwan,” said Bastian to the blue djinn. “Wake the whole camp! I want everyone here. And tell the black giants to bring Falkor.”

The djinn hurried off with the rasping cry of an eagle. Wherever he went, the denizens of the tents large and small began to stir.

“He didn’t defend himself at all,” said Hykrion, with a movement of his head toward Atreyu, who was standing there motionless with eyes downcast. Bastian turned away and sat down on a stone.

By the time the five armored giants appeared with Falkor, a large crowd had gathered. At the approach of the stamping metallic steps, the crowd opened up a passage. Falkor was not chained, and the armed guards were not holding him, but merely marching to the left and right of him with drawn swords.

“He offered no resistance, master of our mistress,” said one of the metallic voices.

Falkor lay down on the ground at Atreyu’s feet and closed his eyes.

A long silence followed. Creatures poured in from the camp and craned their necks to see what was going on. Only Xayide was absent. Little by little the

whispering died down. All eyes shuttled back and forth between Bastian and Atreyu, who stood motionless, looking like stone statues in the gray morning light.

At length Bastian spoke.

“Atreyu,” he said. “You tried to steal Moon Child’s amulet and take it for yourself. And you, Falkor, were an accomplice to his plan. Not only have you both been untrue to our old friendship, you have also been guilty of disobedience to Moon Child, who gave me the Gem. Do you confess your wrong?”

Atreyu cast a long glance at Bastian; then he nodded.

Bastian’s voice failed him. It was some time before he could go on.

“I have not forgotten, Atreyu, that it was you who brought me to Moon Child. I have not forgotten Falkor’s singing in Amarganth. So I will spare your lives, the lives of a thief and of a thief’s accomplice. Do what you will. Just so you go away, the farther the better, and never let me lay eyes on you again. I banish you forever. I have never known you.”

He bade Hykrion remove Atreyu’s chains. Then he turned away.

Atreyu stood motionless for a long while. Then he cast another glance at Bastian. It looked as if he wanted to say something, but changed his mind. He bent down to Falkor and whispered something in his ear. The luckdragon opened his eyes and sat up. Atreyu jumped on his back and Falkor rose into the air. He flew straight into the brightening morning sky, and though his movements were heavy and sluggish, he soon vanished in the distance.

Bastian went to his tent and threw himself down on his bed.

“At last you have achieved true greatness,” said a soft voice. “Now you’ve stopped caring for anything; now nothing can move you.”

Bastian sat up. It was Xayide. She was squatting in the darkest corner of the tent.

“You?” said Bastian. “How did you get in?” Xayide smiled.

“O my lord and master, no guards can shut me out. Only your command can do that. Do you wish to send me away?”

Bastian lay back and closed his eyes. After a while he muttered: “It’s all the same to me. Go or stay!”

For a long while she watched him from under her half-lowered lids. Then she asked: “What are you thinking about, my lord and master?”

Bastian turned away and did not reply.

It was plain to Xayide that this was no time to leave him to himself. In such a

mood he was capable of slipping away from her. She must comfort him and cheer him up—in her own way. For she was determined to hold him to the course she had planned for him—and for herself. And she knew that in the present juncture no magical belts or tricks would suffice. It would take stronger medicine, the strongest medicine available to her, namely, Bastian’s secret wishes. She sat down beside him and whispered in his ear: “When, O lord and master, will you go to the Ivory Tower?”

“I don’t know,” said Bastian. “What can I do there if Moon Child is gone?” “You could go and wait for her.”

Bastian turned to face Xayide. “Do you think she’ll be back?”

He had to repeat his question more insistently before Xayide replied: “No, I don’t believe so. I believe she has had to leave Fantastica forever, and that you, my lord and master, are her successor.”

Slowly Bastian sat up and looked into Xayide’s red-and-green eyes. It was some time before he grasped the full meaning of her words.

“I!?” he gasped. And his cheeks broke out in red spots.

“Do you find the idea so frightening?” Xayide whispered. “She gave you the emblem of her power. Now she has left you her empire. Now, my lord and master, you will be the Childlike Emperor. It is only your right. You not only saved Fantastica by your coming, you also created it! All of us—I too!—are your creatures. Why should you, the Great Knower, fear to take the power that is rightfully yours?”

Bastian’s eyes glowed with a cold fever. And then Xayide spoke to him of a new Fantastica, a world molded in every detail to Bastian’s taste, where he could create and destroy just as he pleased, where every creature, good or bad, beautiful or ugly, wise or foolish, would be the product of his will alone, and he would reign supreme and inscrutable, playing an everlasting game with the destinies of his subjects.

“Then alone,” she concluded, “will you be truly free, free from all obstacles, free to do as you please. Weren’t you trying to find out what you really and truly want? Well, now you know.”

That same morning they broke camp, and led by Bastian and Xayide in the coral litter, the great procession set out for the Ivory Tower. A well-nigh endless column moved along the twining paths of the Labyrinth. In the late afternoon, when the head of the column reached the Ivory Tower, the last stragglers had barely entered the great flowering maze.

Bastian could not have wished for a more festive reception. On every roof and battlement stood elves with gleaming trumpets, blaring away at the top of their lungs. The jugglers juggled, the astrologers proclaimed Bastian’s greatness and good fortune, the bakers baked cakes as big as mountains, the ministers and councilors escorted the coral litter through the teeming crowd on the High Street, which wound in an ever-narrowing spiral up the conical tower to the great gate leading into the palace. Followed by Xayide and the dignitaries, Bastian climbed the snow-white steps of the broad stairway, traversed halls and corridors, passed through a second gate, through a garden full of ivory animals, trees, and flowers, mounted higher and higher, crossed a bridge, and passed through the last gate. He was heading for the Magnolia Pavilion at the very top of the tower. But the blossom was closed and the last stretch of the way was so steep and smooth that no one could climb it.

Bastian remembered that the wounded Atreyu had not been able to climb that slope, not by his own strength at least, because no one who has ever reached the Magnolia Pavilion can say how he got there. For this victory must come as a gift.

But Bastian was not Atreyu. If anyone was now entitled to bestow the gift of this victory, it was he. And he had no intention of letting anything stop him.

“Bring workmen,” he commanded. “I want them to cut steps in this smooth surface. I wish to make my residence up there.”

“Sire,” one of the oldest councilors ventured to object, “that is where our Golden-eyed Commander of Wishes lives when she is here.”

“Do as you’re told!” Bastian roared at him.

The dignitaries turned pale and shrank back from him. But they obeyed. Workmen arrived with mallets and chisels. But try as they might, they couldn’t so much as chip the smooth surface of the dome. The chisels leapt from their hands without

leaving the slightest dent.

“Think of something else,” said Bastian angrily. “My patience is wearing thin.”

Then he turned away, and while waiting for the Magnolia Pavilion to be made accessible, he and his retinue, consisting chiefly of Xayide, the three knights, Hysbald, Hykrion, and Hydorn, and Ilwan, the blue djinn, took possession of the remaining rooms of the palace.

That same night he summoned all the ministers and councilors who had served Moon Child to a meeting in the large, circular hall where the congress of

physicians had once met. There he informed them that the Golden-eyed Commander of Wishes had left him, Bastian Balthazar Bux, power over the endless Fantastican Empire, and that he was now taking her place. In conclusion he demanded perfect obedience.

“Even, or I might say especially,” he added, “when my decisions are beyond your understanding. For I am not of your kind.”

He then announced that in exactly seventy-seven days he would crown himself Childlike Emperor of Fantastica and that the event would be celebrated with such splendor that it would outshine anything ever done in Fantastica. And he ordered the councilors to send messengers forthwith to every part of the realm, for he wished every nation of the Fantastican Empire to be represented at his coronation.

Thereupon Bastian withdrew, leaving the councilors and other dignitaries alone with their bewilderment.

They didn’t know what to do. What they had heard sounded so monstrous that for a long while they could only stand there silently, hanging their heads. Then they began to deliberate. And after many hours, they came to the conclusion that they would have to obey Bastian’s commands, for he bore the emblem of the Childlike Empress, and that that entitled him to obedience regardless of whether Moon Child had really abdicated in his favor or whether this was just another of her unfathomable decisions. And so the messengers were sent and all Bastian’s orders were carried out.

He himself took no further interest in the coronation, but left all the details to Xayide, who kept the whole court so busy that hardly anyone had time to think.

During the next days and weeks Bastian spent most of his time in the room he had chosen, staring into space and doing nothing. He would have liked to wish for something or make up a story to amuse himself, but nothing occurred to him. He felt hollow and empty.

At length he hit on the idea of wishing for Moon Child to come to him. If he was really all-powerful, if all his wishes came true, she would have to obey him. For whole nights he sat there whispering: “Moon Child, come! You must come! I command you to come!” He thought of her glance, which had lain in his heart like a glittering treasure. But she did not come. And the more he tried to make her come, the fainter became his memory of that glitter in his heart, until in the end all was darkness within him.

He convinced himself that everything would come right again if only he could be in the Magnolia Pavilion. Time and again, he went up to the workmen and

tried to spur them with promises or threats, but all to no avail. Ladders broke, nails bent, chisels split.

Hykrion, Hysbald, and Hydorn, with whom Bastian would gladly have chatted or played games, were as good as useless. In the deepest cellar of the Ivory Tower they had discovered wine. There they sat day and night, drinking, playing dice, bellowing silly songs, or quarreling, and as often as not attacking one another with their swords.

Sometimes they staggered up and down the High Street, molesting the fairies, elves, and other female denizens of the Tower.

“What do you expect, sire?” they said when Bastian found fault with them. “You must give us something to do.”

But Bastian couldn’t think of anything and bade them wait until his coronation, though he himself couldn’t have said what difference that would make.

Little by little the weather changed for the worse. Sunsets of liquid gold became more infrequent. Almost always the sky was gray and overcast, not a breeze stirred, the air grew sultry and lifeless.

The day appointed for the coronation was near. The messengers returned. Some brought delegates from remote corners of Fantastica. But others arrived empty-handed, for many of the nations refused out of hand to be represented at the ceremony. And in some countries there had been veiled or open rebellion.

Bastian stared into space.

“Once you are emperor,” said Xayide, “you will put the house in order.” “I want them to want what I want,” said Bastian.

But already Xayide had hurried off to make new arrangements.

And then came the day of the coronation that did not take place. It went down in the history of Fantastica as the day of the bloody battle for the Ivory Tower.

There was no dawn that morning; the sky was too covered with thick, leaden- gray clouds. The air was almost too heavy to breathe.

Working hand in hand with the Ivory Tower’s fourteen masters of ceremony, Xayide had drawn up an elaborate program for the celebration.

Beginning early in the morning, bands on all the streets and squares played music such as had never been heard in the Ivory Tower—strident yet monotonous. None who heard it could help jiggling his feet and dancing. The musicians wore black masks. No one knew who they were or where Xayide had found them.

Every roof  and  housefront  was  decorated  with  bright-colored  flags  and

pennants, but they hung sadly limp, for there was no wind. Along the High Street and on the wall around the palace hundreds of pictures had been set up, ranging in size from small to enormous, and all showed the same face— Bastian’s.

Since the Magnolia Pavilion was still inaccessible, Xayide had prepared another site for the coronation. The throne was to be installed at the foot of the ivory steps near the palace gate where the winding High Street ended. Thousands of golden censers were smoldering, and the smoke, with its lulling yet exciting fragrance, drifted slowly up the steps and down the High Street, finding its way into every last nook and cranny. The armored giants were everywhere. Only Xayide knew how she had managed to multiply the five she had left into such an army. And as if that were not enough, fifty of them were mounted on gigantic horses, which were also made of black metal and moved in perfect unison.

The armored horsemen escorted a throne up the High Street in a triumphal procession. It was as big as a church door and consisted entirely of mirrors of every size and shape. Only the cushion on the seat was covered with copper- colored silk. Strangely, this enormous glittering object glided up the spiral street unaided, without being pushed or pulled; it seemed to have a life of its own.

When it stopped at the great ivory gate, Bastian stepped out of the palace and sat

down on it. In the midst of all that glitter and splendor he looked like a tiny doll. The crowd of onlookers, who were held back by a cordon of armored giants, burst into cheers, but for some inexplicable reason their cheers sounded thin and shrill.

Then began the most tedious and wearisome part of the ceremony. The messengers and delegates from all over the Fantastican Empire had to form a line, which extended from the mirror throne down the entire spiraling High Street and deep into the labyrinthine garden. Every single delegate, when his turn came, had to bow down before the throne, touch the ground three times with his forehead, kiss Bastian’s right foot, and say: “In the name of my nation and my species I beseech you, to whom we all owe our existence, to crown yourself Childlike Emperor of Fantastica.”

This had been going on for two or three hours when a sudden tremor passed through the crowd. A young faun came dashing up the High Street, reeled with exhaustion, pulled himself together, ran till he reached Bastian, and threw himself on the ground, gasping for breath. Bastian bent down to him.

“How dare you interrupt this august ceremony!”

“War, sire!” cried the faun. “Atreyu has gathered a host of rebels and is on his way here with three armies. They demand that you give up AURYN. If you will not, they mean to take it by force.”

The rousing music and the shrill cries of jubilation gave way to a deathly silence. Bastian turned pale.

Then the three knights, Hysbald, Hykrion, and Hydorn, appeared on the run.

They seemed to be in a remarkably good humor.

“At last there’s something for us to do, sire,” all three cried at once. “Leave it to us. Just get on with your celebration. We’ll round up a few good men and get after those rebels. We’ll teach them a lesson they won’t forget so soon.”

Among the thousands of creatures present quite a few were utterly useless for military purposes. But most were able to handle some weapon or to fight with their teeth or claws. All these gathered around the three knights, who led their army away. Bastian remained behind with the not-so-martial multitude, to complete the ceremony. But his heart was no longer in it. Time and again his eyes veered toward the horizon, which he could see from his throne. Great clouds of dust showed him that Atreyu’s army was no joke.

“Don’t worry,” said Xayide, who had stepped up to Bastian. “My armored giants haven’t begun to fight yet. They’ll defend your Ivory Tower. No one can stand up to them, except for you and your sword.”

A few hours later the first battle reports came in. Atreyu had enlisted almost all the Greenskins, at least two hundred centaurs, eight hundred and fifty rock chewers, five luckdragons led by Falkor, who kept attacking from the air, a squadron of giant eagles, who had flown from the Mountains of Destiny, and innumerable other creatures, even a sprinkling of unicorns.

Though far inferior in numbers to the troops led by the knights Hykrion, Hysbald, and Hydorn, Atreyu’s army fought so vigorously that they were soon approaching the Ivory Tower.

Bastian wanted to go out and lead his army in person, but Xayide advised against it.

“O lord and master,” she said, “it is unseemly for the Emperor of Fantastica to take up arms. Leave that to your faithful subjects.”

All day the battle raged. The entire Labyrinth became a trampled, blood- soaked battlefield. By late afternoon, despite the stubborn resistance of Bastian’s army, the rebels had reached the foot of the Ivory Tower.

Then Xayide sent in her armored giants, both mounted and on foot, and they

wrought havoc among Atreyu’s followers.

A detailed account of the battle for the Ivory Tower would take us too far. To this day Fantasticans sing countless songs and tell innumerable stories about that day and night, for everyone who took part saw it in his own way. Certain of the stories have it that Atreyu’s army included several white magicians, who had the power to oppose Xayide’s black magic. Of this we have no certain knowledge, but that would explain how, in spite of the armored giants, Atreyu and his followers were able to take the Ivory Tower. But there is another, more likely explanation: Atreyu was fighting not for himself, but for his friend, whom he was trying to save by defeating him.

The night of the battle was starless, full of smoke and flames. Fallen torches, overturned censers, and shattered lamps had set the Tower on fire in many places. The fighters cast eerie shadows. Weapons clashed and battle shouts resounded. Everywhere, through the flames and the darkness, Bastian searched for Atreyu.

“Atreyu!” he shouted. “Atreyu, show yourself! Stand up and fight! Where are you?”

But the sword Sikanda didn’t budge from its sheath.

Bastian ran from room to room of the palace, then out on the great wall, which at that point was as wide as a street. He was heading for the outer gate where the mirror throne stood—now shattered into a thousand pieces—when he saw Atreyu, sword in hand, coming toward him.

They stood face to face, and still Sikanda did not budge. Atreyu put the tip of his sword on Bastian’s chest. “Give me the amulet,” he said. “For your own sake.”

“Traitor!” cried Bastian. “You are my creature! I created the whole lot of you! Including you! So how can you rebel against me? Kneel down and beg forgiveness.”

“You’re mad!” cried Atreyu. “You didn’t create anything! You owe everything to Moon Child! Give me AURYN!”

“Take it if you can.” Atreyu hesitated.

“Bastian,” he said. “Why do you force me to defeat you in order to save you?” Bastian tugged at the hilt of his sword. He tugged with all his might and finally managed to draw Sikanda from its sheath. But it did not leap into his hand of its own accord, and at the same moment a sound was heard, a sound so terrible that even the warriors on the High Street outside the gate stood as though

frozen to the spot, looking up at the two adversaries. Bastian recognized that sound. It was the hideous cracking and grinding he had heard when Grograman turned to stone. Sikanda’s light went out. And then Bastian remembered how the lion had predicted what would happen if someone were to draw the sword of his own will. But by then it was too late to turn back.

Atreyu tried to defend himself with his own sword. But wielded by Bastian, Sikanda cut it in two and struck Atreyu in the chest. Blood spurted from a gaping wound. Atreyu staggered back and toppled from the wall. But at that moment a white flame shot through the swirling smoke, caught Atreyu in his fall, and carried him away. The white flame was Falkor, the luckdragon.

Bastian wiped the sweat from his brow with his mantle and saw that its silver had turned black, as black as the night. Still with the sword Sikanda in hand, he left the wall and went down to the palace courtyard.

With Bastian’s victory over Atreyu, the fortunes of war shifted. The rebel army, which had seemed sure of victory a moment before, took flight. Bastian felt as if he were caught in a terrible dream and could not wake up. His victory left him with a bitter taste in his mouth, but at the same time he felt wildly triumphant.

Wrapped in his black mantle, clutching the bloody sword, he passed slowly down the High Street. The Ivory Tower was blazing like an enormous torch. Hardly aware of the roaring flames, Bastian went on till he reached the foot of the Tower. There he found the remnants of his army waiting for him in the devastated Labyrinth—now a far-flung battlefield strewn with the corpses of Fantasticans. Hykrion, Hysbald, and Hydorn were there too, the last two seriously wounded. Ilwan, the blue djinn, was dead. Xayide, holding the belt Ghemmal, was standing beside his corpse.

“He saved this for you, O lord and master,” she said. Bastian took the belt, folded it up, and put it in his pocket.

Slowly he passed his eyes over his companions. Only a few hundred were left. More dead than alive, they looked like a conclave of ghosts in the flickering light of the fires.

All had their faces turned toward the Ivory Tower, which was collapsing piece by piece. The Magnolia Pavilion at the top flared, its petals opened wide, and one could see that it was empty. Then it too was engulfed by the flames.

Bastian pointed his sword at the heap of flaming ruins and his voice cracked as he declared: “This is Atreyu’s doing! For this I will pursue him to the ends of the world!”

Hoisting himself up on one of the gigantic metal horses, he cried: “Follow me!”

The horse reared, but he bent it to his will and galloped off into the night.





 

































hile Bastian was racing through the pitch-black night miles ahead, his companions were still making preparations for departure. Most were exhausted and none had anything approaching Bastian’s strength and endurance. Even the armored giants on their metallic horses had a hard time getting started, and the foot sloggers couldn’t manage to fall into their mechanical tramp-tramp-tramp. Xayide’s will, which moved them, seemed to have reached the limits of its power. Her coral litter had been devoured by flames. A new conveyance had been built out of shattered weapons and charred planks from the Ivory Tower, but it looked more like a gypsy wagon than a litter. The rest of the army hobbled and shuffled along as best they could. Even Hykrion, Hysbald, and Hydorn, who had lost their horses, had to hold one another up. No one spoke, but they all knew they would never be able to overtake Bastian.

On he galloped through the darkness, his black mantle flapping wildly in the wind, the metallic limbs of his gigantic horse creaking and grinding at every

movement as the great hooves pounded the earth. “Gee up!” cried Bastian. “Gee up! Gee up!”

The horse wasn’t running fast enough for him. He was determined to overtake Atreyu and Falkor at all costs, even if it meant riding this metallic monster to its death.

He wanted vengeance! He would have attained the goal of all his wishes if Atreyu hadn’t interfered. Bastian had not become Emperor of Fantastica. And for that he would make Atreyu repent.

The joints of Bastian’s metallic steed ground and creaked louder and louder, but still it obeyed its rider’s will.

Bastian rode for hours and hours through the endless night. In his mind’s eye he saw the flaming Ivory Tower. Over and over he lived the moment when Atreyu had set the point of his sword to his chest. And then for the first time he asked himself why Atreyu had hesitated. Why, after all that had happened, couldn’t he bring himself to strike Bastian and take AURYN by force? And suddenly Bastian thought of the wound he had inflicted on Atreyu and the look in Atreyu’s eyes as he staggered and fell.

Bastian put Sikanda, which up until then he had been clutching in his fist, back into its rusty sheath.

In the first light of dawn he saw he was on a heath. Dark clumps of juniper suggested motionless groups of gigantic hooded monks or magicians with pointed hats.

And then suddenly, in the midst of a frantic gallop, Bastian’s metal steed burst into pieces.

Bastian lay stunned by the violence of his fall. When he finally picked himself up and rubbed his bruised limbs, he found himself in the middle of a juniper bush. He crawled out into the open. The fragments of the horse lay scattered all about, as though an equestrian monument had exploded.

Bastian stood up, threw his black mantle over his shoulders, and with no idea where he was going, started walking in the direction of the rising sun.

But a glittering object was left behind in the juniper bush: the belt Ghemmal. Bastian was unaware of his loss and never thought of the belt again. Ilwan had saved it from the flames for nothing.

A few days later Ghemmal was found by a blackbird, who had no suspicion of what this glittering object might be. She carried it to her nest, but that’s the beginning of another story that shall be told another time.

At midday Bastian came to a high earthen wall that cut across the heath. He

climbed to the top of it. Behind it, in a craterlike hollow, lay a city. At least the quantity of buildings made Bastian think of a city, but it was certainly the weirdest one he had ever seen.

The buildings seemed to be jumbled every which way without rhyme or reason, as though they had been emptied at random out of a giant sack. There were neither streets nor squares nor was there any recognizable order.

And the buildings themselves were crazy; they had “front doors” in their roofs, stairways which were quite inaccessible and ended in the middle of nowhere; towers slanted, balconies dangled vertically, there were doors where one would have expected windows, and floors in the place of walls. Bridges stopped halfway, as though the builders had suddenly forgotten what they were doing. There were towers bent like bananas and pyramids standing on their tips. In short, the whole city seemed to have gone mad.

Then Bastian saw the inhabitants—men, women, and children. They were built like ordinary human beings, but dressed as if they had lost the power to distinguish between clothing and objects intended for other purposes. On their heads they wore lampshades, sand pails, soup bowls, wastepaper baskets, or shoe boxes. Their bodies were swathed in towels, carpets, big sheets of wrapping paper, or barrels.

Many were pushing or pulling handcarts with all sorts of junk piled up on them, broken lamps, mattresses, dishes, rags, and knick-knacks. Others were carrying enormous bales slung over their shoulders.

The farther Bastian went into the city, the thicker became the crowd. But none of the people seemed to know where they were going. Several times Bastian saw someone dragging a heavily laden cart in one direction, then after a short time doubling back, and a few minutes later changing direction again. Everybody was feverishly Active.

Bastian decided to speak to one of these people. “What’s the name of this place?”

The person let go his cart, straightened up, and scratched his head for a while as though thinking it over. Then he went away, abandoning his cart, which he seemed to have forgotten. But a few minutes later, a woman took hold of the cart and started off with it. Bastian asked her if the junk was hers. The woman stood for a while, deep in thought. Then she too went away.

Bastian tried a few more times but received no answer.

Suddenly he heard someone giggling. “No point in asking them,” said the giggler. “They can’t tell you anything. One might, in a manner of speaking, call

them the Know-Nothings.”

Bastian turned toward the voice and saw a little gray monkey sitting on a window ledge, or rather on what would have been a window ledge if the window hadn’t been upside down. The animal was wearing a mortarboard with a dangling tassel and seemed to be busy counting something on his fingers and toes. When he had finished, he grinned and said: “Sorry to keep you waiting, sir, but there was something I had to figure out.”

“Who are you?” Bastian asked.

“My name is Argax,” said the little monkey, lifting his mortarboard. “Pleased to meet you. And with whom have I the pleasure?”

“My name is Bastian Balthazar Bux.”

“Just as I thought,” said the monkey, visibly pleased. “And what is the name of this city?” Bastian inquired.

“It hasn’t actually got a name,” said Argax. “But one might, in a manner of speaking, call it the City of the Old Emperors.”

“Old Emperors?” Bastian repeated with consternation. “Why, I don’t see anybody who looks like an Old Emperor.”

“You don’t?” said the monkey with a giggle. “Well, believe it or not, all the people you’ve seen were Emperors of Fantastica in their time—or wanted to be.”

Bastian was aghast.

“How do you know that, Argax?”

The monkey lifted his mortarboard and grinned.

“I, in a manner of speaking, am the superintendent here.”

Bastian looked around. Not far away an old man had dug a pit. He put a lighted candle into it, then shoveled earth over the candle.

The monkey giggled. “What would you say to a little tour of the town, sir? To get acquainted, in a manner of speaking, with your future residence.”

“No,” said Bastian. “What are you talking about?”

The monkey jumped up on his shoulder. “Let’s go,” he whispered. “It’s free of charge. You’ve already paid the admission fee.”

Bastian obeyed the monkey’s orders, though he would rather have run away. He grew more miserable with every step. He watched the people and was struck by the fact that they didn’t talk. They were all so busy with their own concerns that they didn’t even seem to see one another.

“What’s wrong with them?” Bastian asked. “Why are they so odd?”

“Nothing odd about them!” said Argax. “They’re just like you, in a manner of speaking, or rather, they were in their time.”

Bastian stopped in his tracks. “What do you mean by that? Do you mean that they’re humans?”

Argax jumped up and down on Bastian’s shoulder. “Exactly!” he said gleefully.

Bastian saw a woman in the middle of the street trying to spear peas with a darning needle.

“How did they get here? What are they doing here?”

“Oh, there have always been humans who couldn’t find their way back to their world,” Argax explained. “First they didn’t want to, and now, in a manner of speaking, they can’t.”

Bastian looked at a little girl who was struggling to push a doll’s carriage with square wheels.

“Why can’t they?” he asked.

“They’d have to wish it. And they’ve stopped wishing. They used up their last wish for something else.”

“Their last wish?” said Bastian, going deathly pale. “Can’t a person go on wishing as long as he pleases?”

Argax giggled again. Then he tried to take off Bastian’s turban and pick lice out of his hair.

“Stop that!” Bastian cried. He tried to shake the little monkey off, but Argax held on tight and squealed with pleasure.

“No! No!” he chattered. “You can only wish as long as you remember your world. These people here used up all their memories. Without a past you can’t have a future. That’s why they don’t get older. Just look at them. Would you believe that some of them have been here a thousand years and more? But they stay just as they are. Nothing can change for them, because they themselves can’t change anymore.”

Bastian watched a man who had lathered a mirror and was starting to shave it. Once that might have struck him as funny; now it made him break out in gooseflesh.

He hurried on and soon realized that he was going deeper into the city. He wanted to turn back, but something drew him onward like a magnet. He began to run and tried to get rid of the bothersome gray monkey, but Argax clung fast and even spurred him on: “Faster! Faster!”

Bastian stopped running. He realized that he couldn’t escape. “You mean,” he asked, gasping for breath, “that all these people here were once Emperors of Fantastica, or wanted to be?”

“That’s it,” said Argax. “All the ones who can’t find their way back try sooner or later to become Emperor. They didn’t all make it, but they all tried. That’s why there are two kinds of fools here. Though the result, in a manner of speaking, is the same.”

“What two kinds? Tell me, Argax! I have to know!”

“Easy does it,” said the monkey, giggling as he tightened his grip on Bastian’s neck. “The one kind gradually used up their memories. And when they had lost the last one, AURYN couldn’t fulfill their wishes anymore. After that, they came here, in a manner of speaking, automatically. The others, the ones who crowned themselves emperor, lost all their memories at one stroke. So the same thing happened: AURYN couldn’t fulfill their wishes anymore, because they had none left. As you see, it comes to the same thing. Here they are, and they can’t get away.”

“Do you mean that they all had AURYN at one time?”

“Naturally!” said Argax. “But they forgot it long ago. And it wouldn’t help them anymore, the poor fools!”

“Was it . . .” Bastian hesitated. “Was it taken away from them?”

“No,” said Argax. “When someone crowns himself emperor, it simply vanishes. Obviously, because how, in a manner of speaking, can you use Moon Child’s power to take her power away from her?”

Bastian felt wretched. He would have liked to sit down somewhere, but the little gray monkey wouldn’t let him.

“No, no, our tour isn’t done yet. The best is yet to come! Keep moving!”

Bastian saw a boy with a heavy hammer trying to drive nails into a pair of socks. A fat man was trying to paste postage stamps on soap bubbles. They kept bursting, but he went on blowing new ones.

“Look!” Bastian heard the giggling voice of Argax and felt his head being twisted by the monkey’s little hands. “Look over there! It’s so amusing!”

Bastian saw a large group of people, men and women, young and old, all in the strangest clothes. They didn’t speak, each one was alone with himself. On the ground lay a large number of cubes, and there were letters on all six sides of the cubes. The people kept jumbling the cubes and then staring at them.

“What are they doing?” Bastian whispered. “What sort of game is that?”

“It’s called the jumble game,” answered Argax. He motioned to the players and cried out: “Good work, children! Keep at it! Don’t give up!”

Then, turning back to Bastian, he whispered in his ear: “They can’t talk anymore. They’ve lost the power of speech. So I thought up this game for them.

As you see, it keeps them busy. It’s very simple. If you stop to think about it, you’ll have to admit that all the stories in the world consist essentially of twenty- six letters. The letters are always the same, only the arrangement varies. From letters words are formed, from words sentences, from sentences chapters, and from chapters stories. Now take a look. What do you see there?”

Bastian read:

 

H G I K L O P F M W E Y V X Q

Y X C V B N M A S D F G H J K L O A Q W E R T Z U I O P U

A S D F G H J K L O A

M N B V C X Y L K J H G F D S A U P O I U Z T R E W Q A S

Q S E R T Z U I O P U A S D A F A S D F G H J K L O A Y X C

U P O I U Z T R E W Q

A O L K J H G F D S A M N B V G K H D S R Z I P

Q E T U O U S F H K O Y C B M W R Z I P

A R C G U N I K Y O

Q W E R T Z I O P L U A S D M N B V C X Y A S D

 

L K J U O N G R E F G H I

“Yes, of course,” said Argax with a giggle, “it usually makes no more sense than that. But if you keep at it for a long time, words turn up now and then. Not very brilliant words, but still words. ‘Spinachcramp,’ for instance, or ‘sugarbrush,’ or ‘nosepolish.’ And if you play for a hundred years, or a thousand or a hundred thousand, the law of chances tells us that a poem will probably come out. And if you play it forever, every possible poem and every possible story will have to come out, in fact every story about a story, and even this story about the two of us chatting here. It’s only logical, don’t you think?”

“It’s horrible,” said Bastian.

“I wouldn’t say that,” said Argax. “It depends on your point of view. It keeps these people, in a manner of speaking, busy. And anyway, what else can we do

with them in Fantastica?”

For a long time Bastian watched the players in silence. Then he asked under his breath: “Argax, you know who I am, don’t you?”

“Of course I do. Is there anyone in Fantastica who doesn’t?”

“Tell me one thing, Argax. If I had become emperor yesterday, would I already be here now?”

“Today or tomorrow,” said the monkey. “Or next week. One way or another, you’d have ended up here.”

“Then Atreyu saved me?”

“You’ve got me there,” the monkey admitted.

“But if he had succeeded in taking the Gem away from me, what would have happened then?”

The monkey giggled again.

“You’d have ended up here, in a manner of speaking, all the same.” “Why?”

“Because you need AURYN to find the way back. But frankly, I don’t believe you’ll make it.”

The monkey clapped his little hands, lifted his mortarboard, and grinned. “Tell me, Argax, what must I do?”

“Find a wish that will take you back to your world.”

After a long silence Bastian asked: “Argax, can you tell me how many wishes I have left?”

“Not very many. In my opinion three or four at the most. And that will hardly be enough. You’re beginning rather late, and the way back isn’t easy. You’ll have to cross the Sea of Mist. That alone will cost you a wish. What comes next I don’t know. No one in Fantastica knows what road you people must take to get back to your world. Maybe you’ll find Yor’s Minroud, that’s the last hope for people like you. But I’m afraid that for you it’s, in a manner of speaking, too far. Be that as it may, you will, just this once, find your way out of the City of the Old Emperors.”

“Thanks, Argax,” said Bastian. The little gray monkey grinned.

“Goodbye, Bastian Balthazar Bux.”

With one leap Argax vanished into one of the crazy houses. He had taken Bastian’s turban with him.

For a while Bastian stood motionless. He was so stunned by what he had just heard that he couldn’t decide what to do. All his plans had collapsed at one

stroke. His thoughts seemed to have been stood on end—like the pyramid he had seen. What he had hoped was his ruin and what he had feared his salvation.

At the moment only one thing was clear to him: he must get out of this insane city. And never come back!

He started through the jumble of crazy buildings. He soon discovered that it was much harder to get out than to get in. Time and time again he lost his way and found himself back in the center of the city. It took him all afternoon to reach the earthworks. Then he ran out into the heath and kept going until black night—as black as the night before—forced him to stop. Exhausted, he collapsed under a juniper tree and fell into a deep sleep. And while he slept, the memory that he could once make up stories left him.

All night he had the same unchanging vision before his eyes: Atreyu, with the gaping wound in his chest, stood there looking at him in silence.

Awakened by a thunderclap, Bastian started up. Deep darkness lay all around him, but the massive clouds that had been gathering for days had been thrown into wild disorder. Lightning flashed, thunder shook the earth, the storm wind howled over the heath and the juniper trees were bowed to the ground. Rain fell in dense sheets.

Bastian arose and stood there wrapped in his black mantle; the water ran down his face.

Lightning struck a tree directly in front of him and split the gnarled trunk. The branches went up in flames, the wind blew a shower of sparks over the heath. In a moment they were doused by the rain.

The crash had thrown Bastian to his knees. He dug into the earth with both hands. When the hole was big enough, he unslung the sword Sikanda and put it in.

“Sikanda,” he said. “I am taking leave of you forever. Never again shall anyone draw you against a friend. No one shall find you here, until what you and I have done is forgotten.”

He filled in the hole and covered it over with moss and branches, lest anyone should discover it.

And there Sikanda lies to this day. For not until far in the future will one come who can wield it without danger—but that is another story and shall be told another time.

Bastian went his way through the darkness.

Toward morning the storm abated, the wind died down, and there was no other sound than the rain dripping from the trees.

That night was the beginning of a long, lonely journey for Bastian. He no longer wished to return to his traveling companions or Xayide. Now he wanted to find the way back to the human world—but he didn’t know how or where to look for it. Was there somewhere a gate, a bridge, a mountain pass that would take him back?

He had to wish for it, that he knew. But he had no power over his wishes. He felt like a diver who is searching the bottom of the sea for a sunken ship, but keeps being driven to the surface before he can find anything.

He also knew that he had few wishes left, so he was careful not to use AURYN. He was determined to sacrifice his last few remaining memories only if he felt sure that this would help him get back to his world.

But wishes cannot be summoned up or kept away at will. They come from deeper within us than good or bad intentions. And they spring up unannounced.

And so, before he knew it, a new wish arose within him and little by little took form.

For days and nights he had been wandering all alone. And because of being alone, he yearned to belong to some sort of community, to be taken into a group, not as a master or victor or as any special sort of person, but merely as one among many, perhaps as the smallest or least important, provided his membership in the community was unquestioned.

And then one day he came to a seacoast. Or so he thought at first. He was standing on the edge of a sheer cliff, and before him lay a sea of congealed white waves. It was some time before he realized that these waves were not really motionless, but were moving very slowly, that there were currents and eddies that moved as imperceptibly as the hands of a clock.

He had come to the Sea of Mist!

Bastian walked along the cliff. The air was warm and slightly damp. There was not the slightest breeze. It was early morning and the sun shone on the snow-white surface of the fog, which extended to the horizon.

He walked for several hours. Toward noon he espied a small town some distance from the shore. Supported by piles, it formed a sort of island in the Sea of Mist. The long, arching bridge connecting the town with the rocky coast swayed gently as Bastian crossed it.

The houses were relatively small. The doors, windows, and stairways all seemed to have been made for children. And indeed, the people moving about the streets were no bigger than children, though they all seemed to be grown men with beards or women with pinned-up hair. As Bastian soon noticed, these

people looked so much alike that he could hardly tell them apart. Their faces were dark brown like moist earth and they looked calm and gentle. When they saw Bastian, they nodded to him, but none spoke. Altogether they seemed a silent lot; the place was humming with activity, yet he seldom heard a cry or a spoken word. And never did he see any of these people alone; they always went about in groups if not in crowds, locking arms or holding one another by the hand.

When Bastian examined the houses more closely, he saw that they were all made of a sort of wicker, some crude and some of a finer weave, and that the streets were paved with the same kind of material. Even the people’s clothing, he noticed, their trousers, skirts, jackets, and hats were of wickerwork, though these were artfully woven. Everything in the town seemed to be made of the same material.

Here and there Bastian was able to cast a glance into the artisans’ workshops. They were all busy weaving, making shoes, pitchers, lamps, cups, and umbrellas of wickerwork. But never did he see anyone working alone, for these things could be made only by several persons working together. It was a pleasure to see how cleverly they coordinated their movements. And as they worked, they usually sang some simple melody without words.

The town was not very large, and Bastian had soon come to the edge of it. There he saw hundreds of ships of every size and shape. The town was a seaport, but of a most unusual kind, for all these ships were hanging from gigantic fishing poles and hovered, swaying gently, over a chasm full of swirling white mist. These ships, made of wickerwork like everything else, had neither sails nor masts nor oars nor rudders.

Bastian leaned over the railing and looked down into the Sea of Mist. He was able to gauge the length of the stakes supporting the town by the shadows they cast on the white surface below.

“At night,” he heard a voice beside him say, “the mists rise to the level of the town. Then we can put out to sea. In the daytime the sun reduces the mist and the level falls. That’s what you wanted to know, isn’t it, stranger?”

Three men were leaning against the railing beside Bastian. They seemed gentle and friendly. They got to talking and in the course of his conversation with them Bastian learned that the town was called Yskal or Basketville. Its inhabitants were known as Yskalnari. The word meant roughly “the partners.” The three were mist sailors. Not wishing to give his name for fear of being recognized, Bastian introduced himself as “Someone.” The three sailors told him

the Yskalnari had no names for individuals and didn’t find it necessary. They were all Yskalnari and that was enough for them.

Since it was lunchtime, they invited Bastian to join them, and he gratefully accepted. They went to a nearby inn, and during the meal Bastian learned all about Basketville and its inhabitants.

The Sea of Mist, which they called the Skaidan, was an enormous ocean of white vapor, which divided the two parts of Fantastica from each other. No one had ever found out how deep the Skaidan was or where all this mist came from. It was quite possible to breathe below the surface of the mist, and to walk some distance on the bottom of the sea near the coast, where the mist was relatively shallow, but only if one was tied to a rope and could be pulled back. For the mist had one strange property: it fuddled one’s sense of direction. Any number of fools and daredevils had died in the attempt to cross the Skaidan alone and on foot. Only a few had been rescued. The only way to reach the other side was in the ships of the Yskalnari.

The wickerwork, from which the houses, implements, clothing, and ships of Yskal were made, was woven from a variety of rushes that grew under the surface of the sea not far from the shore. These rushes—as can easily be gathered from the foregoing—could be cut only at the risk of one’s life. Though unusually pliable and even limp in ordinary air, they stood upright in the sea, because they were lighter than the mist. That was what made the wickerwork ships mistworthy. And if any of the Yskalnari chanced to fall into the mist, his regular clothing served the purpose of a life jacket.

But the strangest thing about the Yskalnari, so it struck Bastian, was that the word “I” seemed unknown to them. In any case, they never used it, but in speaking of what they thought or did always said “we.”

When he gathered from the conversation that the three sailors would be putting out to sea that night, he asked if he could ship with them as a cabin boy. They informed him that a voyage on the Skaidan was very different from any other ocean voyage, because no one knew how long it would take or exactly where it would end up. When Bastian said that didn’t worry him, they agreed to take him on.

At nightfall the mists began to rise and by midnight they had reached the level of Basketville. The ships that had been dangling in midair were now floating on the white surface. The moorings of the one on which Bastian found himself—a flat barge about a hundred feet long—were cast off, and it drifted slowly out into the Sea of Mist.

The moment he laid his eyes on it, Bastian wondered what propelled this sort of ship, since it had neither sails nor oars nor propeller. He soon found out that sails would have been useless, for there was seldom any wind on the Skaidan, and that oars and propellers do not function in mist. These ships were moved by an entirely different sort of power.

In the middle of the deck there was a round, slightly raised platform. Bastian had noticed it from the start and taken it for a sort of captain’s bridge. Indeed, it was occupied throughout the voyage by two or more sailors. (The entire crew numbered fourteen.) The men on the platform held one another clasped by the shoulders and looked fixedly forward. At first sight, they seemed to be standing motionless. Actually they were swaying very slowly, in perfect unison—in a sort of dance, which they accompanied by chanting over and over again a simple and strangely beautiful tune.

At first Bastian regarded this song and dance as some sort of ceremony, the meaning of which escaped him. Then, on the third day of voyage, he asked one of his three friends about it. Evidently surprised at Bastian’s ignorance, the sailor explained that those men were propelling the ship by thought-power.

More puzzled than ever, Bastian asked if some sort of hidden wheels were set in motion.

“No,” one of the sailors replied. “When you want to move your legs, you have only to think about it. You don’t need wheels, do you?”

The only difference between a person’s body and a ship was that to move a ship at least two Yskalnari had to merge their thought-powers into one. It was this fusion of thought-powers that propelled the ship. If greater speed was desired, more men had to join in. Normally, thinkers worked in shifts of three; the others rested, for easy and pleasant as it looked, thought-propulsion was hard work, demanding intense and unbroken concentration. But there was no other way of sailing the Skaidan.

Bastian became the student of the mist navigators and learned the secret of their cooperation: dance and song without words.

Little by little, in the course of the long voyage, he became one of them. During the dance he felt his thought-power merging with those of his companions to form a whole, and this gave him a strange and indescribable sense of harmony and self-forgetfulness. He felt accepted by a community, at one with his companions—and at the same time he totally forgot that the inhabitants of the world from which he came, and to which he was seeking the way back, were human beings, each with his own thoughts and opinions. Dimly

he remembered his home and parents, but nothing more.

His wish to be no longer alone had come true. But now, deep in his heart, a new wish arose and began to make itself felt.

One day it struck him that the Yskalnari lived together so harmoniously, not because they blended different ways of thinking, but because they were so much alike that it cost them no effort to form a community. Indeed, they were incapable of quarreling or even disagreeing, because they did not regard themselves as individuals. Thus there were no conflicts or differences to overcome, and it was just this sameness, this absence of stress that gradually came to pall on Bastian. Their gentleness bored him and the unchanging melody of their songs got on his nerves. He felt that something was lacking, something he hungered for, but he could not yet have said what it was.

This became clear to him sometime later when a giant mist crow was sighted. Stricken with terror, the sailors vanished below deck as fast as they could. But one was not quick enough; the monstrous bird swooped down with a cry, seized the poor fellow, and carried him away in its beak.

When the danger was past, the sailors emerged and resumed their song and dance, as though nothing had happened. Their harmony was undisturbed, and far from grieving, they didn’t waste so much as a word on the incident.

“Why should we grieve?” said one of them when Bastian inquired. “None of us is missing.”

With them the individual counted for nothing. No one was irreplaceable, because they drew no distinction between one man and another.

Bastian, however, wanted to be an individual, a someone, not just one among others. He wanted to be loved for being just what he was. In this community of Yskalnari there was harmony, but no love.

He no longer wanted to be the greatest, strongest, or cleverest. He had left all that far behind. He longed to be loved just as he was, good or bad, handsome or ugly, clever or stupid, with all his faults—or possibly because of them.

But what was he actually like?

He no longer knew. So much had been given to him in Fantastica, and now, among all these gifts and powers, he could no longer find himself.

He stopped dancing with the mist sailors. All day long and sometimes all night as well, he sat in the prow, looking out over the Skaidan.

At last the crossing was completed and the mist ship docked. Bastian thanked the Yskalnari and went ashore.

This was a land full of roses, there were whole forests of roses of every

imaginable color. A winding path led through the endless rose garden, and Bastian followed it.





 

































ayide’s end is soon told, but hard to understand and full of contradictions like many things in Fantastica. To this day many scholars and historians are racking their brains for an explanation of what happened, while some deny the whole incident or try to interpret it out of existence. Here we shall simply state the facts, leaving others to explain them as best they can.

Just as Bastian was arriving at the town of Yskal, Xayide and her black giants reached the spot where his metallic horse had collapsed under him. In that moment she suspected that she would never find him, and her suspicions became a certainty when she came to the earthen wall and saw Bastian’s footprints on it. If he had reached the City of the Old Emperors, he was lost to her plans, regardless of whether he stayed there or whether he managed to escape. In the first case, he would become powerless like everyone there, no longer able to wish for anything—and in the second, all wishes for power and greatness would die within him. For her, Xayide, the game was over in either case.

She commanded her armored giants to halt. Strangely, they did not obey but marched on. She flew into a rage, jumped out of her litter, and ran after them with outstretched arms. The armored giants, foot soldiers and riders alike, ignored her commands, turned about, and trampled her with their feet and hooves. At length, when Xayide had breathed her last, the whole column stopped like rundown clockwork.

When Hysbald, Hydorn, and Hykrion arrived with what was left of the army, they saw what had happened. They were puzzled, because they knew it was Xayide’s will alone that had moved the hollow giants. So, they thought, it must have been her will that they should trample her to death. But knotty problems were not the knights’ forte, so in the end they shrugged their shoulders and let well enough alone. But what were they to do next? They talked it over and, deciding that the campaign was at an end, discharged the army and advised everyone to go home. They themselves, however, felt bound by the oath of fealty they had sworn to Bastian and resolved to search all Fantastica for him. That was all well and good, but which way were they to go? They couldn’t agree, so deciding that each would search separately, they parted and hobbled off each in a different direction. All three had countless adventures, and Fantastica knows numerous accounts of their futile quest. But these are other stories and shall be told another time.

For years the hollow, black-metal giants stood motionless on the heath not far from the City of the Old Emperors. Rain and snow fell on them, they rusted and little by little sank into the ground, some vertically, some at a slant. But to this day a few of them can be seen. The place is thought to be cursed, and travelers make a wide circle around it. But let’s get back to Bastian.

 

While following the winding path through the rose garden, he saw something that amazed him, because in all his wanderings in Fantastica he had never seen anything like it. It was a pointing hand, carved from wood. Beside it was written: “To the House of Change.”

Without haste Bastian took the direction indicated. He breathed the fragrance of the innumerable roses and felt more and more cheerful, as though looking forward to a pleasant surprise.

At length he came to a straight avenue, bordered by round trees laden with red-cheeked apples. At the end of the avenue a house appeared. As he approached it, Bastian decided it was the funniest house he had ever seen. Under a tall, pointed roof that looked rather like a stocking cap, the house itself

suggested a giant pumpkin. The walls were covered with large protuberances, one might almost have said bellies, that gave the house a comfortably inviting look. There were a few windows and a front door, but they seemed crooked, as though a clumsy child had cut them out.

On his way to the house, Bastian saw that it was slowly but steadily changing. A small bump appeared on the right side and gradually took the shape of a dormer window. At the same time a window on the left side closed and little by little disappeared. A chimney grew out of the roof and a small balcony with a balustrade appeared over the front door.

Bastian stopped still and watched the changes with surprise and amusement.

Now he understood why the place was called the House of Change.

As he stood there, he heard a warm, pleasant voice—a woman’s—singing inside.

 

“A hundred summers to a day We have waited here for you.

Seeing that you’ve found the way, It must certainly be you.

Your hunger and your thirst to still, All is here in readiness.

You shall eat and drink your fill, Sheltered in our tenderness.

Regardless whether good or bad, You’ve suffered much and traveled far. Take comfort for the trials you’ve had. We’ll have you just the way you are.”

 

Ah! thought Bastian. What a lovely voice! If only that song were meant for me!

The voice began again to sing:

 

“Great lord, I pray, be small again, Be a child and come right in.

Don’t keep standing at the door, You are welcome here, and more. Everything for many a year

Has been ready for you here.”

Bastian felt irresistibly drawn by that voice. He felt sure the singer must be a very friendly person. He knocked at the door and the voice called out:

“Come in, come in, dear boy!”

He opened the door and saw a small but comfortable room. The sun was streaming in through the windows. In the middle of the room there was a round table covered with bowls and baskets full of all sorts of fruits unknown to Bastian. At the table sat a woman as round and red-cheeked and healthy-looking as an apple.

Bastian was almost overpowered by a desire to run to her with outstretched arms and cry: “Mama, Mama!” But he controlled himself. His mama was dead and was certainly not here in Fantastica. This woman, it was true, had the same sweet smile and the same trustworthy look, but between her and his mother there was little resemblance. His mother had been small and this woman was large and imposing. She was wearing a broad hat covered with fruits and flowers, and her dress was of some sort of bright, flowered material. It was some time before Bastian realized that it consisted of leaves, flowers, and fruits.

As he stood looking at her, he was overcome by a feeling that he had not known for a long time. He could not remember when and where; he knew only that he had sometimes felt that way when he was little.

“Sit down, dear boy,” said the woman, motioning him to a chair. “You must be hungry. Do have a bite to eat.”

“I beg your pardon,” said Bastian. “You’re expecting a guest. I’ve only come here by accident.”

“Really?” said the woman with a smile. “Oh well, it doesn’t matter. You can have a bite to eat all the same. Meanwhile I’ll tell you a little story. Go on, don’t stand on ceremony.”

Bastian took off his black mantle, laid it on a chair, and hesitantly reached for a fruit. Before biting into it, he asked: “What about you? Aren’t you eating? Or don’t you care for fruit?”

The woman laughed heartily, Bastian didn’t know why.

“Very well,” she said after composing herself. “If you insist, I’ll have something to keep you company, but in my own way. Don’t be frightened.”

With that she picked up a watering can that was on the floor beside her, held it over her head, and sprinkled herself.

“Oh!” she said. “That is refreshing!”

Now it was Bastian’s turn to laugh. Then he bit into the fruit and instantly realized that he had never eaten anything so good. He took a second fruit and

that was even better.

“You like it?” asked the woman, watching him closely. Bastian couldn’t answer because his mouth was full. He chewed and nodded.

“I’m glad,” the woman said. “I’ve taken a lot of pains with that fruit. Eat as much as you please.”

Bastian took a third fruit, and that was a sheer delight. He sighed with well- being.

“And now I’ll tell you the story,” said the woman. “But don’t let it stop you from eating.”

Bastian found it hard to listen, for each new fruit gave him a more rapturous sensation than the last.

“A long, long time ago,” the flowery woman began, “our Childlike Empress was deathly ill, for she needed a new name, and only a human could give her one. But humans had stopped coming to Fantastica, no one knew why. And if she had died, that would have been the end of Fantastica. Then one day—or rather one night—a human came after all. It was a little boy, and he gave the Childlike Empress the name of Moon Child. She recovered, and in token of her gratitude she promised the boy that all his wishes in her empire would come true

—until he found out what he really and truly wanted. Then the little boy made a long journey from one wish to the next, and each one came true. And each fulfillment led to a new wish. There were not only good wishes but bad ones as well, but the Childlike Empress drew no distinction; in her eyes all things in her empire are equally good and important. In the end the Ivory Tower was destroyed, and she did nothing to prevent it. But with every wish fulfillment the little boy lost a part of his memory of the world he had come from. He didn’t really mind, for he had given up wanting to go back. So he kept on wishing, but by then he had spent all his memories, and without memories it’s not possible to wish. So he had almost ceased to be a human and had almost become a Fantastican. He still didn’t know what he really and truly wanted. It seemed possible that his very last memories would be used up before he found out. And if that happened, he would never be able to return to his own world. Then at last he came to the House of Change, and there he would stay until he found out what he really and truly wanted. You see, it’s called the House of Change not only because it changes itself but also because it changes anyone who lives in it. And that was very important to the little boy, because up until then he had always wanted to be someone other than he was, but he didn’t want to change.”

At this point she broke off, because her visitor had stopped chewing and was

staring openmouthed.

“If that one doesn’t taste good,” she said with concern, “just put it down and take another.”

“W-what?” Bastian stammered. “Oh no, it’s delicious.”

“Then everything’s fine,” said the woman. “But I forgot to tell you the name of the little boy, who had been expected so long at the House of Change. Many in Fantastica called him simply ‘the Savior,’ others ‘the Knight of the Seven- armed Candelabrum,’ or ‘the Great Knower,’ or ‘Lord and Master.’ But his real name was Bastian Balthazar Bux.”

The woman turned to Bastian with a smile. He swallowed once or twice and said very softly: “That’s my name.”

“Well then!” said the woman, who didn’t seem the least surprised. Suddenly the buds on her hat and dress burst into bloom.

“But,” said Bastian hesitantly. “I haven’t been in Fantastica a hundred years.” “Oh, we’ve been waiting for you much longer than that,” said the woman.

“My grandmother and my grandmother’s grandmother waited for you. You see, now someone is telling you a story that is new, even though it’s about the remotest past.”

Bastian remembered Grograman’s words. That had been at the beginning of his journey. And now suddenly it seemed to him that a hundred years had indeed elapsed since then.

“But by the way, I haven’t introduced myself. I’m Dame Eyola.”

Bastian repeated the name, several times before he was able to pronounce it properly. Then he took another fruit. He bit into it, and as usual thought the one he was eating was the most delicious of all. But then he noticed with some alarm that there was only one left.

“Do you want more?” asked Dame Eyola, who had caught his glance. When Bastian nodded, she plucked fruit from her hat and dress until the bowl was full again.

“Does the fruit grow on your hat?” Bastian asked in amazement.

“Hat? What are you talking about?” cried Dame Eyola. But then she understood and broke into a loud, hearty laugh. “So you think it’s a hat I’ve got on my head? Not at all, dear boy. It all grows out of me. Just as your hair grows out of you. That should show you how glad I am that you’ve finally come. That’s why I’m flowering and bearing fruit. If I were sad, I’d wither. But come now, don’t forget to eat.”

Bastian was embarrassed. “I don’t know,” he said. “Is it all right to eat

something that comes out of somebody?”

“Why not?” asked Dame Eyola. “Babies drink milk that comes out of their mothers. There’s nothing better.”

“That’s true,” said Bastian with a slight blush. “But only when they’re very little.”

“In that case,” said Dame Eyola, beaming, “you’ll just have to get to be very little again, my dear boy.”

Bastian took another fruit and bit into it. Dame Eyola was delighted and bloomed more than ever.

After a short silence she said: “I think it would like us to move into the next room. I believe it may have arranged something for you.”

“Who?” Bastian asked, looking around.

“The House of Change,” said Dame Eyola, as if that were the most natural thing in the world.

And indeed a strange thing had happened. The living room had changed without Bastian noticing that anything was going on. The ceiling had moved upward, while three of the walls had come close to the table. There was still room on the fourth side, where there was a door, which now stood open.

Dame Eyola rose, and then he saw how big she was.

“We’d better go,” she suggested. “It’s very stubborn. Opposition is useless if it has thought up a surprise. We may as well let it have its way. It usually means well.”

Bastian followed her through the door, but took the fruit bowl with him as a precaution.

He found himself in a large dining room that looked somehow familiar. Only the furniture seemed strange—the table and especially the chairs were so large that he couldn’t possibly have sat in them.

“Fancy that!” said Dame Eyola with a chuckle. “The House of Change is always thinking up something new. Now for your benefit it has provided a room as it must look to a small child.”

“You mean,” said Bastian, “that this room wasn’t here before?”

“Of course not. The House of Change is very wide-awake, you see. This is its way of taking part in our conversation. I think it’s trying to tell you something.”

Then she sat down in one of the chairs at the table, while Bastian tried in vain to climb up on the other. Dame Eyola had to pick him up and put him on it, but even then his nose was barely level with the tabletop. He was glad he had taken the bowl of fruit, and kept it on his lap. If it had been on the table, it would have

been beyond his reach.

“Do you often have to change rooms this way?” he asked.

“Not often,” said Dame Eyola. “Never more than three or four times a day. Sometimes the House of Change will have its little jokes, and then the rooms are suddenly reversed, the floor on top and the ceiling at the bottom, that sort of thing. But it’s only being bumptious and it stops when I give it a piece of my mind. All in all, it’s a well-behaved house and I feel very comfortable in it. We have good laughs together.”

“But isn’t it dangerous?” Bastian asked. “For instance, if you’re asleep at night and

the room gets smaller and smaller?”

“What nonsense, dear boy!” cried Dame Eyola, pretending to be angry. “It’s very fond of me, and it’s fond of you too. It’s glad to have you here.”

“What if it takes a dislike to somebody?”

“No idea,” she replied. “What questions you ask! There’s never been anyone here but you and me.”

“Oh!” said Bastion. “Then I’m your first guest?” “Of course!”

Bastian looked around the enormous room.

“This room doesn’t seem to go with the house. It didn’t look so big from outside.”

“The House of Change,” said Dame Eyola, “is bigger inside than out.”

Meanwhile night was falling, and it was growing darker and darker in the room. Bastian leaned back in his big chair and propped his head on his hands. He felt deliriously sleepy.

“Why,” he asked, “did you wait so long for me, Dame Eyola?”

“I always wanted a child,” she said, “a child I could spoil, who needed my tenderness, a child I could care for—someone like you, my darling boy.”

Bastian yawned. He felt irresistibly lulled by her sweet voice.

“But,” he objected, “you said your mother and grandmother waited for me.” Dame Eyola’s face was now in the darkness.

“Yes,” he heard her say. “My mother and my grandmother also wanted a child.

They never had one but I have one now.”

Bastian’s eyes closed. He barely managed to ask: “How can that be? Your mother had you when you were little. And your grandmother had your mother.”

“No, my darling boy,” said the voice hardly above a whisper. “With us it’s different. We don’t die and we’re not born. We’re always the same Dame Eyola,

and then again we’re not. When my mother grew old, she withered. All her leaves fell, as the leaves fall from a tree in the winter. She withdrew into herself. And so she remained for a long time. But then one day she put forth young leaves, buds, blossoms, and finally fruit. And that’s how I came into being, for I was the new Dame Eyola. And it was just the same with my grandmother when she brought my mother into the world. We Dames Eyola can only have a child if we wither first. And then we’re our own child and we can’t be a mother anymore. That’s why I’m so glad you’re here, my darling boy . . .”

Bastian spoke no more. He had slipped into a sweet half-sleep in which he heard her words as a kind of chant. He heard her stand up and cross the room and bend over him. She stroked his hair and kissed him on the forehead. Then he felt her pick him up and carry him out in her arms. He buried his head in her bosom like a baby. Deeper and deeper he sank into the warm sleepy darkness. He felt that he was being undressed and put into a soft, sweet-smelling bed. And then he heard her lovely voice singing far in the distance:

 

“Sleep, my darling, good night. Your sufferings are past.

Great lord, be a little child at last. Sleep, my darling, sleep tight.”

 

When he woke up the next morning, he felt better and happier than ever before.

He looked around and saw that he was in a cozy little room—lying in a crib. Actually, it was a very large crib, or rather it was as large as a crib must look to a baby. For a moment this struck him as ridiculous, because he certainly wasn’t a baby anymore, and he was still in possession of all the powers and gifts that Fantastica had given him. The Childlike Empress’s amulet was still hanging from his neck. But in the very next moment he stopped caring whether it was ridiculous or not. No one but him and Dame Eyola would ever find out, and they both knew that everything was just as it should be.

He got up, washed, dressed, and left the room, A flight of wooden steps took him to the big dining room, which had turned into a kitchen overnight. Dame Eyola had breakfast all ready for him. She too was in high spirits, her flowers were in full bloom. She sang and laughed and even danced around the kitchen table with him. After breakfast she sent him outside to get some fresh air.

In the great rose garden around the House of Change it was summer, a

summer that seemed eternal. Bastian sauntered about, watched the bees feasting on the flowers, listened to the birds that were singing in every rosebush; played with the lizards, which were so tame that they crawled up on his hand, and with the hares, which let him stroke them. From time to time he crept under a bush, smelled the sweet scent of the roses, blinked up at the sun, and thinking of nothing in particular, let the time glide by like a brook.

Days became weeks. He paid no attention. Dame Eyola was merry, and Bastian surrendered himself to her motherly care and tenderness. It seemed to him that without knowing it he had long hungered for something which was now being given him in abundance. And he just couldn’t get enough of it.

He spent whole days rummaging through the House of Change from attic to cellar. He never got bored, because the rooms were always changing and there was always something new to discover. Clearly the house was at pains to entertain its guest. It produced playrooms, railway trains, puppet theaters, jungle gyms. There was even a big merry-go-round.

Or else he would explore the surrounding country. But he never went too far from the House of Change, for suddenly he would be overcome by a craving for Dame Eyola’s fruit, and when that happened, he could hardly wait to get back to her and eat his fill.

In the evening they had long talks. He told her about all his adventures in Fantastica, about Perilin and Grograman, about Xayide and Atreyu, whom he had wounded so cruelly and perhaps even killed.

“I did everything wrong,” he said. “I misunderstood everything. Moon Child gave me so much, and all I did with it was harm, harm to myself and harm to Fantastica.”

Dame Eyola gave him a long look.

“No,” she said. “I don’t believe so. You went the way of wishes, and that is never straight. You went the long way around, but that was your way. And do you know why? Because you are one of those who can’t go back until they have found the fountain from which springs the Water of Life. And that’s the most secret place in Fantastica. There’s no simple way of getting there.”

After a short silence she added: “But every way that leads there is the right one.”

Suddenly Bastian began to cry. He didn’t know why. He felt as if a knot in his heart had come open and dissolved into tears. He sobbed and he sobbed and couldn’t stop. Dame Eyola took him on her lap and stroked him. He buried his face in the flowers on her bosom and wept until he was too tired to weep

anymore.

That evening they talked no more.

But next day Bastian brought up the subject again. “Do you know where I can find the Water of Life?” “On the borders of Fantastica.”

“I thought Fantastica had no borders.”

“It has, though. Only they’re not outside but inside. In the place where the Childlike Empress gets all her power from, but where she herself cannot go.”

“How am I to find the way there?” asked Bastian. “Isn’t it too late?” “There’s only one wish that can take you there: your last.”

Bastian was terrified. “Dame Eyola—all the wishes that have come true thanks to AURYN have made me forget something. Will it be the same with this one?”

She nodded slowly.

“But if I don’t notice it!”

“Did you notice it other times? Once you’ve forgotten something you don’t know you ever had it.”

“What am I forgetting now?”

“I’ll tell you at the proper time. If I told you now, you’d hold on to it.” “Must I lose everything?”

“Nothing is lost,” she said. “Everything is transformed.”

“But then,” said Bastian in alarm, “I ought to hurry. I shouldn’t be staying here.”

She stroked his hair.

“Don’t worry. It will take time, but when your last wish is awakened, you’ll know it—and so will I.”

From that day on something began indeed to change, though Bastian himself noticed nothing at first. The transforming power of the House of Change was taking effect. But like all true transformations, it was as slow and gentle as the growth of a plant.

 

The days in the House of Change passed, and it was still summer. Bastian still enjoyed letting Dame Eyola spoil him like a child. Her fruit still tasted as delicious to him as at the start, but little by little his craving had been stilled. He ate less than before. Dame Eyola noticed, though she never mentioned it. He also felt that he had had his fill of her care and tenderness. And as his need for them dwindled, a longing of a very different kind made itself felt, a desire that he had

never felt before and that was different in every way from all his previous wishes: the longing to be capable of loving. With surprise and dismay he recognized that he could not love. And the wish became stronger and stronger.

One evening as they were sitting together, he spoke of it to Dame Eyola.

After listening to him, she said nothing for a long while. She looked at Bastian with an expression that puzzled him.

“Now you have found your last wish,” she said finally. “What you really and truly want is to love.”

“But why can’t I, Dame Eyola?”

“You won’t be able to until you have drunk of the Water of Life,” she said. “And you can’t go back to your own world unless you take some of it back for others.”

Bastian was bewildered. “But what about you?” he asked. “Haven’t you drunk of it?”

“No,” said Dame Eyola. “It’s different for me. I only needed someone to whom I could give my excess.”

“But isn’t that love?”

Dame Eyola pondered a while, then she said: “It was the effect of your wish.” “Can’t Fantasticans love? Are they like me?” he asked anxiously.

She answered: “There are some few creatures in Fantastica, so I’m told, who get to drink of the Water of Life. But no one knows who they are. And there is a prophecy, which we seldom speak of, that sometime in the distant future humans will bring love to Fantastica. Then the two worlds will be one. But what that means I don’t know.”

“Dame Eyola,” Bastian asked, “you promised that when the right moment came you’d tell me what I had to forget to find my last wish. Has the time come?”

She nodded.

“You had to forget your father and mother. Now you have nothing left but your name.”

Bastian pondered.

“Father and mother?” he said slowly. But the words had lost all meaning for him. He had forgotten.

“What must I do now?” he asked.

“You must leave me. Your time in the House of Change is over.” “Where must I go?”

“Your last wish will guide you. Don’t lose it.”

“Should I go now?”

“No, it’s late. Tomorrow at daybreak. You have one more night in the House of Change. Now we must go to bed.”

Bastian stood up and went over to her. Only then, only when he was close to her, did he notice that all her flowers had faded.

“Don’t let it worry you,” she said. “And don’t worry about tomorrow morning. Go your way. Everything is just as it should be. Good night, my darling boy.”

“Good night, Dame Eyola,” Bastian murmured. Then he went up to his room.

When he came down the next day, he saw that Dame Eyola was still in the same place. All her leaves, flowers, and fruits had fallen from her. Her eyes were closed and she looked like a black, dead tree. For a long time he stood there gazing at her. Then suddenly a door opened.

Before going out, he turned around once again and said, without knowing whether he was speaking to Dame Eyola or to the house or both: “Thank you. Thank you for everything.”

Then he went out through the door. Winter had come overnight. The snow lay knee-deep and nothing remained of the flowering rose garden but bare, black thornbushes. Not a breeze stirred. It was bitter cold and very still.

Bastian wanted to go back into the house for his mantle, but the doors and windows had vanished. It had closed itself up all around. Shivering, he started on his way.





 

































or, the blind miner, was standing beside his hut, listening for sounds on the snow-covered plain around him. The silence was so complete that his sensitive hearing picked up the crunching of footsteps in the snow far in the distance. And he knew that the steps were coming his way.

Yor was an old man, but his face was beardless and without a wrinkle. Everything about him, his dress, his face, his hair, was stone gray. As he stood there motionless, he seemed carved from congealed lava. Only his blind eyes were dark, and deep within them there was a glow, as of a small, bright flame.

The steps were Bastian’s. When he reached the hut, he said: “Good day. I’ve lost my way. I’m looking for the fountain the Water of Life springs from. Can you help me?”

The miner replied in a whisper: “You haven’t lost your way. But speak softly, or my pictures will crumble.”

He motioned to Bastian, who followed him into the hut.

It consisted of a single small, bare room. A wooden table, two chairs, a cot, and two or three wooden shelves piled with food and dishes were the only furnishings. A fire was burning on an open hearth, and over it hung a kettle of soup.

Yor ladled out soup for himself and Bastian, put the bowls on the table, and with a motion of his hand invited his guest to eat. They ate in silence.

Then the miner leaned back. His eyes looked through Bastian and far into the distance as he asked in a whisper: “Who are you?”

“My name is Bastian Balthazar Bux.” “Ah, so you still know your name.” “Yes. And who are you?”

“I am Yor; people call me the blind miner. But I am blind only in the daylight.

In the darkness of my mine, I can see.” “What sort of mine is it?”

“The Minroud Mine, they call it. It’s a picture mine.”

“A picture mine?” said Bastian in amazement. “I never heard of such a thing.” Yor seemed to be listening for something.

“And yet,” he said. “It’s here for just such as you. For humans who can’t find the way to the Water of Life.”

“What kind of pictures are they?” Bastian asked.

Yor shut his eyes and was silent for a while. Bastian didn’t know whether to repeat his question. Then he heard the miner whisper: “Nothing gets lost in the world. Have you ever dreamed something and when you woke up not known what it was?”

“Yes,” said Bastian. “Often.”

Yor nodded. Then he stood up and beckoned Bastian to follow him. Before they left the hut, he dug his fingers into Bastian’s shoulders and whispered: “But not a word, not a sound, understand? What you are going to see is my work of many years. The least sound can destroy it. So tread softly and don’t talk.”

Bastian nodded and they left the hut. Behind it there was a wooden headframe, below which a shaft descended vertically into the earth. Passing these by, the miner led Bastian out into the snow-covered plain. And there in the snow lay the pictures, like jewels bedded in white silk.

They were paper-thin sheets of colored, transparent isinglass, of every size and shape, some round, some square, some damaged, some intact, some as large as church windows, others as small as snuffbox miniatures. They lay, arranged more or less according to size and shape, in rows extending to the snowy

horizon.

What these pictures represented it was hard to say. There were figures in weird disguise that seemed to be flying through the air in an enormous bird’s nest, donkeys in judge’s robes, clocks as limp as soft butter, dressmaker’s dummies standing in deserted, glaringly lighted squares. There were faces and heads pieced together from animals and others that made up a landscape. But there were also perfectly normal pictures, men mowing a wheat field, women sitting on a balcony, mountain villages and seascapes, battle scenes and circus scenes, streets and rooms and many, many faces, old and young, wise and simple, fools and kings, cheerful and gloomy. There were gruesome pictures, executions and death dances, and there were comical ones, such as a group of young ladies riding a walrus or a nose walking about and being greeted by passersby.

The longer Bastian looked at the pictures, the less he could make of them. He and Yor spent the whole day walking past row after row of them, and then dusk descended on the great snowfield. Bastian followed the miner back to the hut. After closing the door behind them Yor asked in a soft voice: “Did you recognize any of them?”

“No,” said Bastian.

The miner shook his head thoughtfully. “Why?” Bastian asked. “What are they?”

“They are forgotten dreams from the human world,” Yor explained. “Once someone dreams a dream, it can’t just drop out of existence. But if the dreamer can’t remember it, what becomes of it? It lives on in Fantastica, deep under our earth. There the forgotten dreams are stored in many layers. The deeper one digs, the closer together they are. All Fantastica rests on a foundation of forgotten dreams.”

Bastian was wide-eyed with wonderment. “Are mine there too?” he asked. Yor nodded.

“And you think I have to find them?”

“At least one,” said Yor. “One will be enough.” “But what for?” Bastian wanted to know.

Now the miner’s face was lit only by the faint glow of the hearth fire. Again his blind eyes looked through Bastian and far into the distance.

“Listen to me, Bastian Balthazar Bux,” he said. “I’m no great talker. I prefer silence. But I will answer this one question. You are looking for the Water of Life. You want to be able to love, that’s your only hope of getting back to your

world. To love—that’s easily said. But the Water of Life will ask you: Love whom? Because you can’t just love in general. You’ve forgotten everything but your name. And if you can’t answer, it won’t let you drink. So you’ll just have to find a forgotten dream, a picture that will guide you to the fountain. And to find that picture you will have to forget the one thing you have left: yourself. And that takes hard, patient work. Remember what I’ve said, for I shall never say it again.”

After that he lay down on his wooden cot and fell asleep. Bastian had to content himself with the hard, cold floor. But he didn’t mind.

When he woke up the next morning feeling stiff in all his joints, Yor was gone

—to the mine, no doubt, Bastian decided. He took a dish of the hot soup, which warmed him but didn’t taste very good. Too salty. It made him think of sweat and tears.

Then he went out into the snow-covered plain and walked past the pictures. He examined one after another attentively, for now he knew how important it was, but he found none that meant anything in particular to him.

Toward evening Yor came up from the mine. Bastian saw him step out of the pit cage. In a frame on his back he was carrying different-sized sheets of paper- thin isinglass. Bastian followed him in silence as he went far out into the plain and carefully bedded his new finds in the soft snow at the end of a row. One of the pictures represented a man whose chest was a birdcage with two pigeons in it, another a woman of stone riding on a large turtle. One very small picture showed a butterfly with letters on its wings. And many more, but none meant anything to Bastian.

Back in the hut with the miner, he asked: “What will become of the pictures when the snow melts?”

“It’s always winter here,” said Yor.

They had no other conversation that evening.

In the following days Bastian kept searching among the pictures for one with some special meaning for him—but in vain. In the evening he sat in the hut with the miner. Since the miner kept silent, Bastian got into the habit of saying nothing, and little by little he adopted Yor’s careful way of moving for fear of making the pictures crumble.

“Now I’ve seen all the pictures,” Bastian said one night. “None of them is for me.”

“That’s bad,” said Yor.

“What should I do?” Bastian asked. “Should I wait for you to bring up new

ones?”

Yor thought it over, then he shook his head.

“If I were you,” he whispered, “I’d go down into the mine and dig for myself.”

“But I haven’t got your eyes,” said Bastian. “I can’t see in the dark.”

“Weren’t you given a light for your long journey?” Yor asked, looking through Bastian. “A sparkling stone or something that might help you now?”

“Yes,” said Bastian sadly. “But I used Al Tsahir for something else.” “That’s bad,” Yor said again.

“Then what do you advise?” Bastian asked.

After a long silence the miner replied: “Then you’ll just have to work in the dark.”

Bastian shuddered. He still had all the strength and fearlessness AURYN had given him, but the thought of crawling on his belly in the black underground darkness sent the shivers down his spine. He said nothing more and they both lay down to sleep.

The next morning the miner shook him by the shoulders. Bastian sat up.

“Eat your soup and come with me,” said Yor. Bastian obeyed.

He followed the miner to the shaft and got into the pit cage with him. Together they rode down into the mine. At first a faint beam of light followed them down the shaft, but it vanished as the cage went deeper. Then a jolt signaled that they had reached the bottom.

Here below it was much warmer than on the wintry plain. The miner walked very fast, and trying to keep up for fear of losing him in the darkness, Bastian was soon covered with sweat. They twined their way over endless passages and galleries, which sometimes opened out into spacious vaults, as Bastian could tell by the echo of their footfalls. Several times Bastian bruised himself against jutting stones or wooden props, but Yor took no notice.

On this first day and for several that followed, the miner, by wordlessly guiding Bastian’s hand, instructed him in the art of separating the paper-thin leaves of isinglass from one another and picking them up. There were tools for the purpose, they felt like wooden or horn spatulas, but Bastian never saw them, for when the day’s work was done they stayed down in the mine.

Little by little he learned to find his way in the darkness. A new sense that he could not have accounted for taught him to distinguish one gallery from another.

One day Yor told him silently, with the mere touch of his hands, to work alone in a low gallery, which he could enter only by crawling. Bastian obeyed. It was very close and cramped, and above him lay a mountain of stone.

Curled up like an unborn child in its mother’s womb, he lay in the dark depths of Fantastica’s foundations, patiently digging for a forgotten dream, a picture that might lead him to the Water of Life.

Since he could see nothing in the eternal night of the mine, he could not choose or come to any decision. He could only hope that chance or a merciful fate would eventually lead him to a lucky find. Evening after evening he brought what he had managed to gather from the Minroud Mine into the failing daylight. And evening after evening his work had been in vain. But Bastian did not complain or rebel. He had lost all self-pity. Though his strength was inexhaustible, he often felt tired.

How long this painful work went on it is hard to say, for such labor cannot be measured in days and months. Be that as it may, one evening he brought to the surface a picture. It moved him so deeply the moment he looked at it that he needed all his self-control to keep from letting out a cry of surprise that would have crumbled the picture to dust.

On the fragile sheet of isinglass—it was not very large, about the size of a usual book page—he saw a man wearing a white smock and holding a plaster cast in one hand. His posture and the troubled look on his face touched Bastian to the heart. But what stirred him the most was that the man was shut up in a transparent but impenetrable block of ice.

While Bastian looked at the picture that lay before him in the snow, a longing grew in him for this man whom he did not know, a surge of feeling that seemed to come from far away. Like a tidal wave, almost imperceptible at first, it gradually built up strength till it submerged everything in its path. Bastian struggled for air. His heart pounded, it was not big enough for so great a longing. That surge of feeling submerged everything that he still remembered of himself. And he forgot the last thing he still possessed: his own name.

Later on, when he joined Yor in the hut, he was silent. The miner was silent too, but for a long while he faced Bastian, his eyes once again seeming to look through him and far into the distance. And for the first time since Bastian had come, a smile passed briefly over the miner’s stone-gray features.

That night, tired as he was, the boy who no longer had a name could not sleep. He kept seeing the picture before his eyes. It was as though this man wanted to say something to him but could not, because of the block of ice he was

imprisoned in. The boy without a name wanted to help him, wanted to make the ice melt. As in a waking dream he saw himself hugging the block of ice, trying in vain to melt it with the heat of his body.

But then all at once he heard what the man was trying to say to him; he heard it not with his ears but deep in his heart.

“Please help me! Don’t leave me! I can’t get out of this ice alone. Help me!

Only you can help me!”

When they awoke next morning at daybreak, the boy without a name said to Yor: “I won’t be going down into the mine with you anymore.”

“Are you going to leave me?”

The boy nodded. “I’m going to look for the Water of Life.” “Have you found the picture that will guide you?”

“Yes.”

“Will you show it to me?”

Again the boy nodded. They went out into the snow where the picture lay. The boy looked at it, but Yor directed his blind eyes at the boy’s face, as though looking through it into the distance. For a long while he seemed to be listening for some sound. At length he nodded.

“Take it with you,” he whispered, “and don’t lose it. If you lose it, or if it is destroyed, you will have nothing left in Fantastica. You know what that means.”

The boy who no longer had a name stood with bowed head and was silent for a while. Then he said just as softly: “Thank you, Yor, for what you have taught me.”

They pressed each other’s hands.

“You’ve been a good miner,” Yor whispered. “You’ve worked well.”

Then he turned away and went to the mine shaft. Without turning around he got into the pit cage and descended into the depths.

The boy without a name picked the picture out of the snow and plodded out into the snow-covered plain.

 

He had been walking for many hours. Yor’s hut had long since disappeared below the horizon. On all sides there was nothing to be seen but the endless snow-covered plain. But he felt that the picture, which he was holding carefully in both hands, was pulling him in a certain direction.

Regardless of how far it might be, he was determined to follow this pull, for he was convinced that it would take him to the right place. Nothing must hold him back. He felt sure of finding the Water of Life.

Suddenly he heard a clamor in the air, as though innumerable creatures were screaming and twittering. Looking up into the sky, he saw a dark cloud like a great flock of birds. But when the flock came closer, he saw what it really was and terror stopped him in his tracks.

It was the butterfly-clowns, the Shlamoofs.

Merciful heavens! thought the boy without a name. If only they haven’t seen me! They’ll shatter the picture with their screams!

But they had seen him.

Laughing and rollicking, they shot down and landed all around him in the snow.

“Hurrah!” they croaked, opening wide their motley-colored mouths. “At last we’ve found him! Our great benefactor!”

They tumbled in the snow, threw snowballs at one another, turned somersaults, and stood on their heads.

“Be still! Please be still!” the boy without a name whispered in desperation.

The whole chorus screamed with enthusiasm: “What did he say?” — “He said we were too still!” — “Nobody ever told us that before!”

“What do you want of me?” asked the boy. “Why won’t you leave me alone?” All whirled around him, cackling: “Great benefactor! Great benefactor! Do you remember how you saved us, when we were the Acharis? Then we were the unhappiest creatures in all Fantastica, but now we’re fed up with ourselves. At first what you did to us was a lot of fun, but now we’re bored to death. We flit and we flutter and we don’t know where we’re at. We can’t even plan any decent games, because we haven’t any rules. You’ve turned us into preposterous

clowns, that’s what you’ve done. You’ve cheated us!” “I meant well,” said the horrified boy.

“Sure, you meant well by yourself,” the Shlamoofs shouted in chorus. “Your kindness made you feel great, didn’t it? But we paid the bill for your kindness, you great benefactor!”

“What should I do?” the boy asked. “What do you want of me?”

“We’ve been looking for you,” screamed the Shlamoofs with grimacing clown faces. “We wanted to catch you before you could make yourself scarce. Now we’ve caught you, and we won’t leave you in peace until you become our chief. We want you to be our Head Shlamoof, our Master Shlamoof, our General Shlamoof! You name it.”

“But why?” the boy asked imploringly.

The chorus of clowns screamed back: “We want you to give us orders. We

want you to order us around, to make us do something, to forbid us to do something. We want you to give us an aim in life!”

“I can’t do that. Why don’t you elect one of your number?” “No, we want you. You made us what we are.”

“No,” the boy panted. “I have to go! I have to go back!”

“Not so fast, great benefactor!” cried the butterfly-clowns. “You can’t get away from us. You think you can sneak away from Fantastica, don’t you? You’d like that, wouldn’t you?”

“But I’m at the end of my rope,” the boy protested. “What about us?” the chorus replied.

“Go away!” cried the boy. “I can’t bother with you anymore.”

“Then you must turn us back!” cried the shrill voices. “Then we’d rather be Acharis. The Lake of Tears has dried up, Amarganth is on dry land now. And no one spins fine silver filigree anymore. We want to be Acharis again.”

“I can’t!” the boy replied. “I no longer have any power in Fantastica.”

“In that case,” the whole swarm bellowed, whirling and swirling about, “we’ll kidnap you!”

Hundreds of little hands seized him and tried to lift him off the ground. The boy struggled with might and main and the butterflies were tossed in all directions. But like angry wasps they kept coming back.

Suddenly in the midst of this hubbub a low yet powerful sound was heard— something like the booming of a bronze bell.

In a twinkling the Shlamoofs took flight and their cloud soon vanished in the sky.

The boy who had no name knelt in the snow. Before him, crumbled into dust, lay the picture. Now all was lost. Now nothing could lead him to the Water of Life.

When he looked up, he saw, blurred by his tears, two forms in the snow. One was large, the other small. He wiped his eyes and took another look.

The two forms were Falkor, the white luckdragon, and Atreyu.





 

































ig-zagging unsteadily, scarcely able to control his feet, the boy who had no name took a few steps toward Atreyu. Then he stopped. Atreyu did nothing, but watched him closely. The wound in his chest was no longer bleeding.

For a long while they faced each other. Neither said a word. It was so still they could hear each other’s breathing.

Slowly the boy without a name reached for the gold chain around his neck and divested himself of AURYN. He bent down and carefully laid the Gem in the snow before Atreyu. As he did so, he took another look at the two snakes, the one light, the other dark, which were biting each other’s tail and formed an oval. Then he let the amulet go.

In that moment AURYN, the golden Gem, became so bright, so radiant that he had to close his eyes as though dazzled by the sun. When he opened them again, he saw that he was in a vaulted building, as large as the vault of the sky. It was built from blocks of golden light. And in the middle of this immeasurable space

lay, as big as the ramparts of a town, the two snakes.

Atreyu, Falkor, and the boy without a name stood side by side, near the head of the black snake, which held the white snake’s tail in its jaws. The rigid eye with its vertical pupil was directed at the three of them. Compared to that eye, they were tiny; even the luckdragon seemed no larger than a white caterpillar.

The motionless bodies of the snakes glistened like some unknown metal, the one black as night, the other silvery white. The havoc they could wreak was checked only because they held each other prisoner. If they let each other go, the world would end. That was certain.

But while holding each other fast, they guarded the Water of Life. For in the center of the edifice they encircled there was a great fountain. Its beam danced up and down and in falling created and dispersed thousands of forms far more quickly than the eye could follow. The foaming water burst into a fine mist, in which the golden light was refracted with all the colors of the rainbow. The fountain roared and laughed and rejoiced with a thousand voices.

As though parched with thirst, the boy without a name looked at the water— but how was he to reach it? The snake’s head did not move.

Then Falkor raised his head. His ruby-red eyeballs glittered. “Do you understand what the Water is saying?” he asked. “No,” said Atreyu. “I don’t.”

“I don’t know why,” said Falkor. “But I understand perfectly. Maybe because I’m a luckdragon. All the languages of joy are related.”

“What does the Water say?” Atreyu asked.

Falkor listened closely, and slowly repeated what he heard:

 

“I am the Water of Life, Out of myself I grow.

The more you drink of me, The fuller I will flow.”

 

Again he listened awhile. Then he said: “It keeps saying: ‘Drink! Drink! Do what you wish!’ “

“How can we get to it?” Atreyu asked.

“It’s asking us our names,” Falkor reported. “I’m Atreyu!” Atreyu cried.

“I’m Falkor!” cried Falkor.

The boy without a name was silent.

Atreyu looked at him, then took him by the hand and cried: “He’s Bastian Balthazar Bux!”

“It asks,” Falkor translated, “why he doesn’t speak for himself.” “He can’t,” said Atreyu. “He has forgotten everything.”

Falkor listened again to the roaring of the fountain.

“Without memory, it says, he cannot come in. The snakes won’t let him through.”

Atreyu replied: “I have stored up everything he told us about himself and his world. I vouch for him.”

Falkor listened.

“It wants to know by what right?” “I am his friend,” said Atreyu.

Again Falkor listened attentively.

“That may not be acceptable,” he whispered to Atreyu. “Now it’s speaking of your wound. It wants to know how that came about.”

“We were both right,” said Atreyu, “and we were both wrong. But now Bastian has given up AURYN of his own free will.”

Falkor listened and nodded.

“Yes,” he said. “It accepts that. This place is AURYN. We are welcome, it says.”

Atreyu looked up at the enormous golden dome. “Each of us,” he whispered, “has worn it around his neck—you too, Falkor, for a while.”

The luckdragon motioned him to be still and listened again to the sound of the Water. Then he translated:

“AURYN is the door that Bastian has been looking for. He carried it with him from the start. But—it says—the snakes won’t let anything belonging to Fantastica cross the threshold. Bastian must therefore give up everything the Childlike Empress gave him. Otherwise he cannot drink of the Water of Life.”

“But we are in her sign!” cried Atreyu. “Isn’t she herself here?”

“It says that Moon Child’s power ends here. She is the only one who can never set foot in this place. She cannot penetrate to the center of AURYN, because she cannot cast off her own self.”

Atreyu was too bewildered to speak.

“Now,” said Falkor, “it’s asking whether Bastian is ready.”

At that moment the enormous black snake’s head began to move very slowly, though without releasing the white snake’s tail. The gigantic bodies arched until they formed a gate, one half of which was black and the other white.

Atreyu took Bastian by the hand and led him through the terrible gate toward the fountain, which now lay before them in all its grandeur. Falkor followed. As they advanced, one after another of Bastian’s Fantastican gifts fell away from him. The strong, handsome, fearless hero became again the small, fat, timid boy. Even his clothing, which had been reduced almost to rags in the Minroud Mine, vanished and dissolved into nothingness. In the end he stood naked before the great golden bowl, at the center of which the Water of Life leapt high into the air like a crystal tree.

In this last moment, when he no longer possessed any of the Fantastican gifts but had not yet recovered his memory of his own world and himself, he was in a state of utter uncertainty, not knowing which world he belonged to or whether he really existed.

But then he jumped into the crystal-clear water. He splashed and spluttered and let the sparkling rain fall into his mouth. He drank till his thirst was quenched. And joy filled him from head to foot, the joy of living and the joy of being himself. He was newborn. And the best part of it was that he was now the very person he wanted to be. If he had been free to choose, he would have chosen to be no one else. Because now he knew that there were thousands and thousands of forms of joy in the world, but that all were essentially one and the same, namely, the joy of being able to love.

And much later, long after Bastian had returned to his world, in his maturity and even in his old age, this joy never left him entirely. Even in the hardest moments of his life he preserved a lightheartedness that made him smile and that comforted others.

“Atreyu!” he cried out to his friend, who was standing with Falkor at the edge of the great golden bowl. “Come on in! Come and drink! It’s wonderful!”

Atreyu laughed and shook his head.

“No,” he called back. “This time we’re only here to keep you company.” “This time?” Bastian asked. “What do you mean by that?”

Atreyu exchanged a glance with Falkor. Then he said: “Falkor and I have already been here. We didn’t recognize the place at first, because we were asleep when we were brought here and when we were taken away. But now we remember.”

Bastian came out of the water.

“Now I know who I am,” he said, beaming.

“Yes,” said Atreyu, and nodded. “And now I recognize you. Now you look the way you did when I saw you in the Magic Mirror Gate.”

Bastian looked up at the foaming, sparkling water.

“I’d like to bring my father some,” he shouted. “But how?”

“I don’t think you can do that,” said Atreyu. “It’s not possible to carry anything from Fantastica across the threshold.”

“For Bastian it is!” said Falkor, whose voice had resumed its full bronze resonance. “He can do it.”

“You really are a luckdragon,” said Bastian.

Falkor motioned him to be still while he listened to the roaring voice of the Water.

Then he said: “The Water says you must be on your way now and so must we.”

“Which is my way?” Bastian asked.

“Out through the other gate,” Falkor answered. “Where the white snake’s head is lying.”

“All right,” said Bastian. “But how will I get out? The white head isn’t moving.”

Indeed, the white snake’s head lay motionless. It held the black snake’s tail in its jaws and stared at Bastian out of its great eyes.

“The Water asks you,” Falkor translated, “whether you completed all the stories you began in Fantastica.”

“No,” said Bastian. “None of them really.”

Falkor listened awhile. His face took on a worried look.

“In that case, it says, the white snake won’t let you through. You must go back to Fantastica and finish them all.”

“All the stories?” Bastian stammered. “Then I’ll never be able to go back.

Then it’s all been for nothing.” Falkor listened eagerly.

“What does it say?” Bastian wanted to know. “Hush!” said Falkor.

After a while he sighed arid said: “It says there’s no help for it unless someone promises to do it in your place. But no one can do that.”

“I can! I will!” said Atreyu.

Bastian looked at him in silence. Then he fell on his neck and stammered: “Atreyu! Atreyu! I’ll never forget this!”

Atreyu smiled.

“That’s good, Bastian. Then you won’t forget Fantastica either.”

He gave him a brotherly pat on the back, then quickly turned around and

headed for the black snake’s gate, which was still upraised and open as when they had entered.

“Falkor,” said Bastian. “How will you and Atreyu finish the stories I have left behind?”

The white dragon winked one of his ruby-red eyes and replied: “With luck, my boy! With luck!”

Then he followed his friend and master.

Bastian watched as they passed through the gate on their way back to Fantastica.

They turned again and waved to him. Then as the black snake’s head sank to the ground, Atreyu and Falkor vanished from Bastian’s sight.

Now he was alone.

He turned towards the white snake’s head. It had risen and the snake’s body now formed a gate just as the black snake’s body had done.

Quickly Bastian cupped his hands, gathered as much of the Water of Life as he could hold, ran to the gate, and flung himself into the empty darkness beyond.

“Father!” he screamed. “Father! I—am—Bastian—Balthazar—Bux!”

 

“Father! Father! I—am—Bastian—Balthazar—Bux!”

Still screaming, he found himself in the schoolhouse attic, which long, long ago he had left for Fantastica. At first he didn’t recognize the place, and because of the strange objects around him, the stuffed animals, the skeleton, and the paintings, he thought for a brief moment that this might be a different part of Fantastica. But then, catching sight of his school satchel and the rusty seven- armed candelabrum with the spent candles, he knew where he was.

How long could it have been since he started on his long journey through the Neverending Story? Weeks? Months? Years? He had once read about a man who had spent just an hour in a magic cave. When he returned home, a hundred years had passed, and of all the people he had known as a child he remembered only one, and he was an old old man.

Bastian was aware of the gray daylight, but he could not make out whether it was morning or afternoon. It was bitter cold in the attic, just as on the night of Bastian’s departure.

He disentangled himself from the dusty army blankets, put on his shoes and coat, and saw to his surprise that they were wet as they had been the day when it had rained so hard.

He looked for the book he had stolen that day, the book that had started him

on his adventure. He was determined to bring it back to that grumpy Mr. Coreander. What did he care if Mr. Coreander punished him for stealing it, or reported him to the police? A person who had ridden on the back of the Many- Colored Death didn’t scare so easily. But the book wasn’t there.

Bastian looked and looked. He rummaged through the blankets and looked in every corner. Without success. The Neverending Story had disappeared.

“Oh well,” Bastian finally said to himself. I’ll have to tell him it’s gone. Of course he won’t believe me. There’s nothing I can do about that. I’ll just have to take the consequences. But maybe he won’t even remember the book after all this time. Maybe the bookshop isn’t even there anymore.”

He would soon find out how much time had elapsed. If when he passed through the schoolhouse the teachers and pupils he ran into were unknown to him, he would know what to expect.

But when he opened the attic door and went down the stairs, there wasn’t a sound to be heard. The building seemed deserted. And then the school clock struck nine. That meant it was morning, so classes must have begun.

Bastian looked into several classrooms. All were empty. When he went to a window and looked down into the street, he saw a few pedestrians and cars. So the world hadn’t come to an end.

He ran down the steps and tried to open the big front door, but it was locked.

He went to the janitor’s office, rang the bell and knocked, but no one stirred.

What was he to do? He couldn’t just wait for someone to turn up. Even if he had spilled the Water of Life, he wanted to go home to his father.

Should he open a window and shout until somebody heard him and had the door opened? No, that would make him feel foolish. It occurred to him that he could climb out of a window, since the windows could be opened from the inside. But the ground-floor windows were all barred. Then he remembered that in looking out of the second-floor window he had seen some scaffolding. Evidently the façade was being refurbished.

Bastian went back up to the second floor and opened the window. The scaffolding consisted only of uprights with boards placed horizontally between them at intervals. He stepped out on the top board, which swayed under his weight. For a moment his head reeled and he felt afraid, but he fought his dizziness and fear. To someone who had been lord of Perilin, this was no problem, even if he had lost his fabulous strength and even though the weight of his little fat body was making things rather hard for him. Calmly and deliberately he found holds for his hands and feet and climbed down. Once he got a splinter

in his hand, but such trifles meant nothing to him now. Though slightly overheated and out of breath, he reached the street in good shape. No one had seen him.

Bastian ran home. He ran so hard that the books and pens in his satchel jiggled and rattled to the rhythm of his steps. He had a stitch in his side, but in his hurry to see his father he kept on running.

When at last he came to the house where he lived, he stopped for a moment and looked up at the window of his father’s laboratory. Then suddenly he was seized with fear. For the fast time it occurred to him that his father might not be there anymore.

But his father was there and must have seen him coming, for when Bastian rushed up the stairs, his father came running to meet him. He spread out his arms and Bastian threw himself into them. His father lifted him up and carried him inside.

“Bastian, my boy!” he said over and over again. “My dear little boy, where have you been? What happened to you?”

A few minutes later they were sitting at the kitchen table and Bastian was drinking hot milk and eating breakfast rolls, which his father had lovingly spread with butter and honey. Then the boy noticed that his father’s face was pale and drawn, his eyes red and his chin unshaven. But otherwise he looked the same as he had long ago, when Bastian went away. And Bastian told him so.

“Long ago?” his father asked in amazement. “What do you mean?” “How long have I been gone?”

“Since yesterday, Bastian. Since you went to school. But when you didn’t come home, I phoned your teachers and they told me you hadn’t been there. I looked for you all day and all night, my boy. I feared the worst, I put the police on your trail. Oh God, Bastian! What happened? I’ve been half crazy with worry. Where have you been?”

Then Bastian began to tell his father about his adventures. He told the whole story in great detail. It took many hours.

His father listened as he had never listened before. He understood Bastian’s story.

At about midday he interrupted Bastian for a little while. First he called the police to tell them his son had come home and that everything was all right. Then he made lunch for both of them, and Bastian went on with his story. Night was falling by the time Bastian came to the Water of Life and told his father how he had wanted to bring him some but had spilled it.

It was almost dark in the kitchen. His father sat motionless. Bastian stood up and switched on the light. And then he saw something he had never seen before.

He saw tears in his father’s eyes.

And he knew that he had brought him the Water of Life after all.

Bastian’s father sat him down on his lap and hugged him. When they had sat like that for a long while, his father heaved a deep sigh, looked into Bastian’s face, and smiled. It was the happiest smile Bastian had ever seen on his face.

“From now on,” said his father, “everything is going to be different between us. Don’t you agree?”

Bastian nodded. He couldn’t speak. His heart was too full.

 

Next morning the winter’s first snow lay soft and clean on Bastian’s windowsill. The street sounds that came to him were muffled.

“Do you know what, Bastian?” said his father at breakfast. “I think we two have every reason to celebrate. A day like this happens only once in a lifetime— and some people never have one. So I suggest that we do something really sensational. I’ll forget about any work and you needn’t go to school. I’ll write an excuse for you. How does that sound?”

“School?” said Bastian. “Is it still operating? When I passed through the building yesterday, there wasn’t a soul. Not even the janitor was there.”

“Yesterday?” said his father. “Yesterday was Sunday.”

Bastian stirred his cocoa thoughtfully. Then he said in an undertone: “I think it’s going to take me a little while to get used to things again.”

“Exactly,” said his father. “And that’s why we’re giving ourselves a little holiday. What would you like to do? We could go for a hike in the country or we could go to the zoo. Either way we’ll treat ourselves to the finest lunch the world has ever seen. This afternoon we could go shopping and buy anything you like. And tonight—how about the theater?”

Bastian’s eyes sparkled. Then he said firmly: “Wonderful! But there’s something I must do first. I have to go and tell Mr. Coreander that I stole his book and lost it.”

Bastian’s father took his hand

“If you like,” he said, “I’ll attend to that for you.”

“No,” said Bastian. “It’s my responsibility. I want to do it myself. And I think I should do it right away.”

He stood up and put on his coat. His father said nothing, but the look on his face was one of surprise and respect. Such behavior in Bastian was something

new.

“I believe,” he said finally, “that I too will need a little time to get used to things.”

Bastian was already in the entrance hall. “I’ll be right back,” he called. “I’m sure it won’t take long. Not this time.”

 

When he came to Mr. Coreander’s bookshop, his courage failed him after all. He looked through the pane with the ornate lettering on it. Mr. Coreander was busy with a customer, and Bastian decided to wait. He walked up and down outside the shop. It was snowing again.

At last the customer left.

“Now!” Bastian commanded himself.

Remembering how he had gone to meet Grograman in Goab, the Desert of Colors, he pressed the door handle resolutely.

Behind the wall of books at the far end of the dimly lit room he heard a cough. He went forward, then, slightly pale but with grave composure, he stepped up to Mr. Coreander, who was sitting in his worn leather armchair as he had been at their last meeting.

For a long time Bastian said nothing. He had expected Mr. Coreander to go red in the face and scream at him: “Thief! Monster!” or something of the kind.

Instead, the old man deliberately lit his curved pipe, screwed up his eyes, and studied the boy through his ridiculous little spectacles. When the pipe was finally burning, he puffed awhile, then grumbled: “What is it this time?”

“I . . .” Bastian began haltingly. “I stole a book from you. I meant to return it, but I can’t, because I lost it, or rather—well, I haven’t got it anymore.”

Mr. Coreander stopped puffing and took his pipe out of his mouth. “What sort of book?” he asked.

“The one you were reading the last time I was here. I walked off with it. You were telephoning in the back room, it was lying on the chair, and I just walked off with it.”

“I see,” said Mr. Coreander, clearing his throat. “But none of my books is missing. What was the title of this book?”

“It’s called the Neverending Story,” said Bastian. “It’s bound in copper- colored silk that shimmers when you move it around. There are two snakes on the cover, a light one and a dark one, and they’re biting each other’s tails. Inside it’s printed in two different colors—and there are big beautiful capitals at the beginning of the chapters.”

“This is extremely odd,” said Mr. Coreander. “I’ve never had such a book.

You can’t have stolen it from me. Maybe you swiped it somewhere else.”

“Oh no!” Bastian assured him. “You must remember. It’s—” He hesitated, but then he blurted it out. “It’s a magic book. While I was reading it, I got into the Neverending Story, and when I came out again, the book was gone.”

Mr. Coreander watched Bastian over his spectacles. “Would you be pulling my leg, by any chance?”

“No,” said Bastian in dismay. “Of course not. I’m telling you the truth. You must know that.”

Mr. Coreander thought for a while, then shook his head.

“Better tell me all about it. Sit down, boy. Make yourself at home.”

He pointed his pipe stem at a second armchair, facing his own, and Bastian sat down.

“And now,” said Mr. Coreander, “tell me the whole story. But slowly, if you please, and one thing at a time.”

And Bastian told his story.

He told it a little more briefly than he had to his father, but since Mr. Coreander listened with keen interest and kept asking for details, it was more than two hours before Bastian had done.

Heaven knows why, but in all that long time they were not disturbed by a single customer.

When Bastian had finished, Mr. Coreander puffed for a long while, as though deep in thought. At length he cleared his throat, straightened his little spectacles, looked Bastian over, and said: “One thing is sure: You didn’t steal this book from me, because it belongs neither to me nor to you nor to anyone else. If I’m not mistaken, the book itself comes from Fantastica. Maybe at this very moment

—who knows?—someone else is reading it.” “Then you believe me?” Bastian asked.

“Of course I believe you,” said Mr. Coreander. “Any sensible person would.” “Frankly,” said Bastian, “I didn’t expect you to.”

“There are people who can never go to Fantastica,” said Mr. Coreander, “and others who can, but who stay there forever. And there are just a few who go to Fantastica and come back. Like you. And they make both worlds well again.”

“Oh,” said Bastian, blushing slightly. “I don’t deserve any credit. I almost didn’t make it back. If it hadn’t been for Atreyu I’d have been stuck in the City of Old Emperors for good.”

Mr. Coreander nodded and puffed at his pipe.

“Hmm,” he grumbled. “You’re lucky having a friend in Fantastica. God knows, it’s not everybody who can say that.”

“Mr. Coreander,” Bastian asked, “how do you know all that? I mean—have you ever been in Fantastica?”

“Of course I have,” said Mr. Coreander.

“But then,” said Bastian, “you must know Moon Child.”

“Yes, I know the Childlike Empress,” said Mr. Coreander, “though not by that name. I called her something different. But that doesn’t matter.”

“Then you must know the book!” Bastian cried. “Then you have read the Neverending Story!”

Mr. Coreander shook his head.

“Every real story is a Neverending Story.” He passed his eye over the many books that covered the walls of his shop from floor to ceiling, pointed the stem of his pipe at them, and went on:

“There are many doors to Fantastica, my boy. There are other such magic books. A lot of people read them without noticing. It all depends on who gets his hands on such books.”

“Then the Neverending Story is different for different people? “

“That’s right,” said Mr. Coreander. “And besides, it’s not just books. There are other ways of getting to Fantastica and back. You’ll find out.”

“Do you think so?” Bastian asked hopefully. “But then I’d have to meet Moon Child again, and no one can meet her more than once.”

Mr. Coreander leaned forward and lowered his voice.

“Let an old Fantastica hand tell you something, my boy. This is a secret that no one in Fantastica can know. When you think it over, you’ll see why. You can’t visit Moon Child a second time, that’s true. But if you can give her a new name, you’ll see her again. And however often you manage to do that, it will be the first and only time.”

For a moment Mr. Coreander’s bulldog-face took on a soft glow, which made it look young and almost handsome.

“Thank you, Mr. Coreander,” said Bastian.

“I have to thank you, my boy,” said Mr. Coreander. “I’d appreciate it if you dropped in to see me now and then. We could exchange experiences. There aren’t many people one can discuss these things with.”

He held out his hand to Bastian. “Will you?”

“Gladly,” said Bastian, taking the proffered hand. “I have to go now. My father’s waiting. But I’ll come and see you soon.”

Mr. Coreander took him to the door. Through the reversed writing on the glass pane, Bastian saw that his father was waiting for him across the street. His face was one great beam.

Bastian opened the door so vigorously that the little glass bells tinkled wildly, and ran across to his father.

Mr. Coreander closed the door gently and looked after father and son. “Bastian Balthazar Bux,” he grumbled. “If I’m not mistaken, you will show

many others the way to Fantastica, and they will bring us the Water of Life.”

 

Mr. Coreander was not mistaken.

But that’s another story and shall be told another time.

 

Michael Ende

worked as an actor, director, playwright, and film critic as well as a children's book author. He published many acclaimed children's books in his native Germany. The Neverending Story topped the best-seller lists there for three years and went on to be translated into more than thirty languages and made into a major

motion picture.

Mr. Ende died in 1995.

 

RALPH MANHEIM

translated many notable works from the German, including The Threepenny Opera , by Bertolt Brecht. His translation of Tales for Young and Old by Jakob and Wilhelm Grimm, is considered by many to be the

premier English edition of the Brothers Grimm.

Mr. Manheim died in 1992.

 

Dutton Children's Books

A DIVISION OF PENGUIN BOOKS USA INC.

375 HUDSON STREET NEW YORK, NEW YORK 10014

Printed in U.S.A.

 

 

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<![CDATA[T.H. White 's the sword in the stone]]>Sat, 10 Dec 2022 13:45:59 GMThttp://daydreaminstudios.org/children-library/th-white-s-the-sword-in-the-stone
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"I pray you all, gentlemen and gentlewomen that readeth this book, from the beginning to the ending, pray for me while I am on live, that God send me good deliverance, and when I am dead, I pray you all pray for my soul." SIR THOMAS MALEORE, KNIGHT

July 31st, 1485

"And now it is all gone — like an insubstantial pageant faded; and between us and the old English there lies a gulf of mystery which the prose of the historian will never adequately bridge. They cannot come to us, and our imaginations can but feebly penetrate to them. Only among the aisles of the cathedral, only as we gaze upon their silent figures sleeping on their tombs, some faint conceptions float before us of what these men were when they were alive."

 

THE SWORD IN THE STONE

by T.H. White (1939)

For Sir Thomas Maleore, Knight

 

 

 

 

THE SWORD IN THE STONE

CHAPTER ONE

ON MONDAYS, Wednesdays and Fridays it was Court Hand and Summulae Logicales, while the rest of the week it was the Organon, Repetition and Astrology. The governess was always getting muddled with her astrolabe, and when she got specially muddled she would take it out of the Wart by rapping his knuckles. She did not rap Kay's knuckles because when Kay grew older he would be Sir Kay, and the master of the estate. The Wart was called the Wart because it rhymed with Art, which was short for his real name. Kay had given him the nickname. Kay was not called anything but Kay, because he was too dignified to have a nickname and would have flown into a passion if anybody had tried to give him one. The governess had red hair and some mysterious wound from which she derived a lot of prestige by showing it to all the women of the castle, behind closed doors. It was believed to be where she sat down, and to have been caused by sitting on a broken bottle at a picnic by mistake. Eventually she offered to show it to Sir Ector, who was Kay's father, had hysterics and was sent away. They found out afterwards that she had been in a lunatic hospital for three years.

In the afternoons the program was: Mondays and Fridays, tilting and horsemanship; Tuesdays, hawking; Wednesdays, fencing; Thursdays, archery; Saturdays, the theory of chivalry, with the proper measures to be blown on all occasions, terminology of the chase and hunting etiquette. If you did the wrong thing at the mort or the undoing, for instance, you were bent over the body of the dead beast and smacked with the flat side of a sword. This was called being bladed. It was horseplay, a sort of joke like being shaved when crossing the line. Kay was not bladed, although he often went wrong.

After they had got rid of the governess, Sir Ector said, "After all, damn it all, we can't have the boys runnin' about all day like hooligans, after all, can we, damn it all? Ought to be havin' a first-rate eddication, at their age. When I was their age I was doin' all this Latin and stuff at five o'clock every mornin'. Happiest time of my life. Pass the port." Sir Grummore Grummursum, who was staying the night because he had been benighted out questin' after a specially long run, said that when he was their age he was swished every mornin' because he would go hawkin' instead of learnin'. He attributed to this weakness the fact that he could never get beyond the Future Simple of Utor. It was a third of the way down the left-hand page, he said. He thought it was page ninety-seven. He passed the port.

Sir Ector said, "Had a good quest today?"

Sir Grummore said, "Oh, not so bad. Rattlin' good day, in fact. Found a chap called Sir Bruce Saunce Pité choppin' off a maiden's head in Weedon Bushes, ran him to Mixbury Plantation in the Bicester, where he doubled back, and lost him in Wicken Wood. Must have been a good twenty-five miles as he ran."

"A straight-necked 'un," said Sir Ector.

"But about these boys and all this Latin and that," added Sir Ector.

"Amo, amas, you know, and runnin' about like hooligans: what would you advise?"

"Ah," said Sir Grummore, laying his finger by his nose and winking at the port, "that takes a deal of thinkin' about, if you don't mind my sayin'

so."

"Don't mind at all," said Sir Ector. "Very kind of you to say anythin'. Much obliged, I'm sure. Help yourself to Port."

"Good port this," said Sir Grummore.

"Get it from a friend of mine," said Sir Ector.

"But about these boys," said Sir Grummore. "How many of them are there, do you know?"

"Two," said Sir Ector, "counting them both, that is."

"Couldn't send them to Eton, I suppose?" inquired Sir Grummore cautiously. "Long way and all that, we know."

"Isn't so much the distance," said Sir Ector, "but that giant What's-'is-name is in the way. Have to pass through his country, you understand."

"What is his name?"

"Can't recollect it at the moment, not for the life of me. Fellow that lives by the Burbly Water."

"Ah, Galapas," said Sir Grummore. "That's the very chap."

"The only other thing," said Sir Grummore, "is to have a tutor." "You mean a fellow who teaches you," said Sir Ector wisely.

"That's it," said Sir Grummore. "A tutor, you know, a fellow who teaches you."

"Have some more port," said Sir Ector. "You need it after all this questin'." "Splendid day," said Sir Grummore. "only they never seem to kill nowadays.

Run twenty-five miles and then mark to ground or lose him altogether. The worst is when you start a fresh quest."

"We kill all our giants cubbin'," said Sir Ector. "After that they give you a fine run, but get away."

"Run out of scent," said Sir Grummore, "I dare say. It's always the same with these big giants in a big country. They run out of scent."

"But even if you were to have a tutor," said Sir Ector, "I don't see how you would get him."

"Advertise," said Sir Grummore.

"I have advertised," said Sir Ector. "I put it in the Humberland News and Cardoile Advertiser."

"The only other way," said Sir Grummore, "is to start a quest." "You mean a quest for a tutor," explained Sir Ector.

"That's it," said Sir Grummore.

"Hic, Haec, Hoc," said Sir Ector. "Have some more port." "Hunc," said Sir Grummore.

So it was decided. When Sir Grummore Grummursum had gone away next day, Sir Ector tied a knot in his handkerchief to remember to start a quest for a tutor as soon as he had time, and, as he was not quite sure how to set about it, he told the boys what Sir Grummore had suggested and warned them not to be hooligans meanwhile. Then they went hay-making.

It was July, and every able-bodied man and woman on the estate worked all that month in the field, under Sir Ector's direction. In any case the boys would have been excused from being eddicated just then. Sir Ector's castle stood in an enormous clearing in a still more enormous forest. It had a big green courtyard and a moat with pike in it. The moat was crossed by a strongly fortified stone bridge which ended half-way across it: the other half was covered by a wooden drawbridge which was wound up every night. As soon as you had crossed the drawbridge you were at the top of the village street — it had only one street — and this extended for about half a mile, with little white thatched houses of mud on either side of it. The street divided the clearing into two huge fields, that on the left being cultivated in hundreds of long narrow strips, while that on the right ran down to a little river and was used as pasture. Half of the right-hand field was fenced off for hay. It was July, and real July weather, such as they only had in old England. Everybody went bright brown like Red Indians, with startling teeth and flashing eyes. The dogs moved about with their tongues hanging out, or lay panting in bits of shade, while the farm horses sweated through their coats and flicked their tails and tried to kick the horseflies off their bellies with their great hind hoofs. In the pasture field the cows were on the gad, and could be seen galloping about with their tails in the air, which made Sir Ector angry.

Sir Ector stood on the top of the rick, whence he could see what everybody was doing,

and shouted commands

all over the

two-hundred-acre field, and grew purple in the face. The best mowers mowed away in a line where the grass was still uncut, their scythes roaring all together in the strong sunlight. The women raked the dry hay together in long lines, with wooden rakes, and two boys with pitchforks followed up on either side of the line, turning the hay inwards so that it lay well for picking up. Then the great carts followed, rumbling with their spiked wooden wheels, and drawn by horses or slow white oxen. One man stood on top of the cart to receive the hay and direct operations, while one man walked on either side picking up what the boys had prepared and throwing it to him with a fork. The cart was led down the lane between two lines of hay, and was loaded in strict rotation from the front poles to the back, the man on top calling out in a stem voice where he wanted each fork to be pitched. The loaders grumbled at the boys for not having laid the hay properly and threatened to tan them when they caught them, if they got left behind.

When the wagon was loaded, it was drawn to Sir Ector's rick and pitched to him. It came up easily because it had been loaded systematically — not like modern hay — and Sir Ector scrambled about on top, getting in the way of his two assistants, who did all the real work, and stamping and perspiring and scratching about with his fork and trying to make the rick grow straight and shouting that it would all fall down as soon as the west winds came.

The Wart loved hay-making, and was good at it. Kay, who was two years older, generally stood on the edge of the bundle of hay which he was trying to pick up, with the result that he worked twice as hard as the Wart for only half the result. But he hated to be beaten by anybody at anything and used to fight away with the wretched hay — which he loathed like poison — until he was quite sick.

The day after Sir Grummore's visit was hot, sweltering for the men who toiled from milking to milking and then again till sunset in their battle with the sultry element. For the hay was an element to them, like sea or air, in which they bathed and plunged themselves and which they even breathed in. The seeds and small scraps stuck in their hair, their mouths, their nostrils, and worked, tickling, inside their clothes. They did not wear many clothes, and the shadows between their sliding muscles were blue on the nut-brown skins. Those who feared thunder had felt ill that morning.

In the afternoon a terrible storm came. Sir Ector kept them at it till the great flashes were right overhead, and then, with the sky as dark as night, the rain

came hurling against them so that they were drenched at once and could not see a hundred yards. The boys lay crouched under the wagons, wrapped in hay to keep their wet bodies warm against the now cold wind, and all joked with one another while heaven fell. Kay was shivering, though not with cold, but he joked like the others because he would not show he was afraid. At the last and greatest thunderbolt every man startled involuntarily, and each saw other startle, until they all laughed away their shame.

But that was the end of the hay-making for them and the beginning of play. The boys were sent home to change their clothes. The old dame who had been their nurse fetched dry jerkins out of a press, and scolded them for catching their deaths, and denounced Sir Ector for keeping on so long. Then they slipped their heads into the laundered shirts, and ran out into the refreshed and sparkling court.

"I vote we take Cully and see if we can get some rabbits in the chase," cried the Wart.

"The rabbits won't be out in this wet," said Kay sarcastically, delighted to have caught him out over natural history.

"Oh, come on," said the Wart. "It'll soon dry." "I must carry Cully, then."

Kay insisted on carrying the goshawk and flying her, when they went out together. This he had a right to do, not only because he was older than the Wart but also because he was Sir Ector's proper son. The Wart was not a proper son. He did not understand about this, but it made him feel unhappy, because Kay seemed to regard it as making him inferior in some way. Also it was different not having a father and mother, and Kay had taught him that being different was necessarily wrong. Nobody talked to him about it, but he thought about it when he was alone, and was distressed. He did not like people to bring it up, and since the other boy always did bring it up when a question of precedence arose, he had got into the habit of giving in at once before it could be mentioned. Besides, he admired Kay and was a born follower. He was a hero-worshipper.

"Come on, then," cried the Wart, and they scampered off towards the Mews, turning a few cartwheels on the way.

The Mews was one of the most important parts of the castle, next to the stables and the kennels. It was opposite to the solar and faced south. The outside windows had to be small, for reasons of fortification, but the windows which looked inwards to the courtyard were big and sunny. All the windows had close vertical slats nailed down them, but no horizontal ones. There was no glass, but to keep the hawks from draughts there was horn in the small windows. At one end of the Mews there was a little fireplace and a kind of snuggery, like the place

in a saddle-room where the grooms sit to clean their tack on wet winter nights after hunting. Here there were a couple of stools, a cauldron, a bench with all sorts of small knives and surgical instruments, and some shelves with pots on them. The pots were labeled Cardamum, Ginger, Barley Sugar, Wrangle, For a Snurt, For the Craye, Vertigo, etc. There were leather skins hanging up, which had been snipped about as pieces were cut out of them for jesses, hoods or leashes. On a neat row of nails there were Indian bells and swivels and silver varvels, each with Ector cut on. A special shelf, and the most beautiful of all, held the hoods: very old cracked rufter hoods which had been made for birds before Kay was born, tiny hoods for the merlins, small hoods for tiercels, splendid new hoods which had been knocked up to pass away the long winter evenings. All the hoods, except the rufters, were made in Sir Ector's colors: white leather with red baize at the sides and a bunch of blue-gray plumes on top, made out of the hackle feathers of herons. On the bench there was a jumble of oddments such as are to be found in every workshop, bits of cord, wire, metal, tools, some bread and cheese which the mice had been at, a leather bottle, some frayed gauntlets for the left hand, nails, bits of sacking, a couple of lures and some rough tallies scratched on the wood. These read: Conays I I I I I I I I, Ham I I I, etc. They were not spelled very well.

Right down the length of the room, with the afternoon sun shining full on them, there ran the screen perches to which the birds were tied. There were two little merlins which had only just been taken up from hacking, an old peregrine who was not much use in this wooded country but who was kept for appearances, a kestrel on which the boys had learned the rudiments of falconry, a spar-hawk which Sir Ector was kind enough to keep for the parson, and, caged off in a special apartment of his own at the far end, there was the tiercel goshawk Cully.

The Mews was neatly kept, with sawdust on the floor to absorb the mutes, and the castings taken up every day. Sir Ector visited the Mews each morning at seven o'clock and the two austringers stood at attention outside the door. If they had forgotten to brush their hair he confined them to barracks. They took no notice.

Kay, put on one of the left-hand gauntlets and called Cully from the perch; but Cully, with all his feathers close-set and malevolent, glared at him with a mad marigold eye and refused to come. So Kay took him up.

"Do you think we ought to fly him?" asked the Wart doubtfully. "Deep in the moult like this?"

"Of course we can fly him, you ninny, said Kay. "He only wants to be carried a bit, that's all."

So they went out across the hay-field, noting how the carefully raked hay was now sodden again and losing its goodness, into the chase where the trees began to grow, far apart as yet and park-like, but gradually crowding into the forest shade. The conies had hundreds of buries under these trees, so close together that the problem was not to find a rabbit, but to find a rabbit far enough away from its hole.

"Hob says that we mustn't fly Cully till he has roused at least twice," said the Wart.

"Hob doesn't know anything about it," said the other boy. "Nobody can tell whether a hawk is fit to fly except the man who is carrying it."

"Hob is only a villein anyway, " added Kay, and began to undo the leash and swivel from the jesses.

When he felt the trappings being taken off him, so that he was in hunting order, Cully did make some movements as if to rouse. He raised his crest, his shoulder coverts and the soft feathers of his thighs, but at the last moment he thought better or worse of it and subsided without the rattle. This movement of the hawk's made the Wart itch to carry him, so that he yearned to take him away from Kay and set him to rights himself. He felt certain that he could get Cully into a good temper by scratching his feet and softly teasing his breast feathers upwards, if only he were allowed to do it himself, instead of having to plod along behind with the stupid lure; but he knew how annoying it must be for Kay to be continually subjected to advice, and so he held his peace. Just as in modern shooting you must never offer criticism to the man in command, so in hawking it was important that no outside advice be allowed to disturb the judgment of the actual austringer.

"So-ho!" cried Kay, throwing his arm upward to give the hawk a better take- off, and a rabbit was scooting across the close-nibbled turf in front of them, and Cully was in the air. The movement had surprised the Wart, the rabbit and the hawk, all three, and all three hung a moment in surprise. Then the great wings of the aerial assassin began to row the air, but reluctantly and undecided, the rabbit vanished in a hidden hole, and up went the hawk, swooping like a child flung high in a swig, until the wings folded and he was sitting in a tree. Cully looked down at his masters, opened his beak in an angry pant of failure, and remained motionless. The two hearts stood still.

CHAPTER TWO

A GOOD while after that, when they had been whistling and luring and following the disturbed and sulky hawk from tree to tree, Kay lost his temper.

"Let him go, then," said Kay. "He's no use anyway."

"Oh, we couldn't leave him," cried the Wart. "What would Hob say?"

"It's my hawk, not Hob's," exclaimed Kay furiously. "What does it matter what Hob says? He is my servant."

"But Hob made Cully. It's all right for us to lose him, for we didn't have to sit up with him three nights and carry him all day and all that. We can't lose Hob's hawk. It would be beastly."

"Serve him right, then. He's a fool and it's a rotten hawk. Who wants a rotten, stupid hawk? You'd better stay yourself, if you're so keen on it. I'm going home."

"I'll stay," said the Wart sadly, "if you'll send Hob when you get back."

Kay began walking off in the wrong direction, raging in his heart because he knew that he had flown the bird when he was not properly in yarak, and the Wart had to shout after him the right way. Then he sat down under the tree and looked up at Cully like a cat watching a sparrow, but with his heart beating fast.

It was all right for or Kay, who was not really keen on hawking except in so far as it was the proper occupation for a boy in his station of life, but the Wart had some of the falconer's feelings and knew that a lost hawk was the greatest possible calamity. He knew that Hob had worked on Cully for fourteen hours a day, over a period of months, in order to teach him his trade, and that his work had been like Jacob's struggle with the angel. When Cully was lost a part of Hob was lost too. The Wart did not dare to face the look of reproach which would be in Hob's eye, after all that he had tried to teach them.

What was he to do? He had better sit still, leaving the lure on the ground, so that Cully could settle down and come in his own time. But Cully had no intention of doing this. He had been given a generous crop the night before, so that he was not hungry: the hot day had put him in a bad temper: the waving and whistling of the boys below him, and their pursuit of him from tree to tree, had disturbed his never very powerful brains. Now he did not quite know what he wanted to do, but it was not what anybody else wanted. He thought perhaps it would be nice to kill something, just from spite.

A long time after that, the Wart was on the verge of the true forest, and Cully inside it. In a series of infuriating removes they had come nearer and nearer, till they were further from the castle than the Wart had ever been, and now they had reached it quite.

Wart would not have been frightened of a forest nowadays, but the great jungle of old England was a different thing. It was not only that there were wild boars in it, whose sounders would at this season be furiously rooting about, nor that one of the surviving wolves might be slinking behind any tree, with pale eyes and slavering chops. The mad and wicked animals were not the only inhabitants of the crowded gloom. When men themselves became mad and wicked they took refuge there, outlaws cunning and bloody as the gore-crow, and as persecuted. The Wart thought particularly of a man named Wat, whose name the cottagers used to frighten their children with. He had once lived in Sir Ector's village and the Wart could remember him. He squinted, had no nose, and was weak in his wits. The children threw stones at him. One day he turned on the children and caught one and made a snarly noise and bit off his nose too. Then he ran away into the forest. They threw stones at the child with no nose, now, but Wat was supposed to be in the forest still, running on all fours and dressed in skins.

There were magicians in the forest also in those days, as well as strange animals not known to modern works of natural history. There were regular bands of outlaws, not like Wat, who lived together and wore green and shot with arrows which never missed. There were even a few dragons, though they were rather small ones, which lived under stones and could hiss like a kettle.

Added to this, there was the fact that it was getting dark. The forest was trackless and nobody in the village knew what was on the other side. The evening hush had fallen, and all the high trees stood looking at the Wart without a sound.

He felt that it would be safer to go home, while he still knew where he was; but he had a stout heart, and did not want to give in. He understood that once Cully had slept in freedom for a whole night he would be wild again and irreclaimable. Cully was a passager. But if the poor Wart could only mark him to roost, and if Bob would only arrive then with a dark lantern, they might still take him that night by climbing the tree, while he was sleepy and muddled with the light. He could see more or less where the hawk had perched, about a hundred yards within the thick trees, because the home-going rooks of evening were mobbing that place.

Wart made a mark on one of the trees outside the forest, hoping that it might help him to find his way back, and then began to fight his way into the undergrowth as best he might. He heard by the rooks that Cully had immediately moved further off.

The night fell still as the small boy struggled with the brambles; but he went on doggedly, listening with all his ears, and Cully's evasions became sleepier and

shorter until at last, before the utter darkness fell, he could see the hunched shoulders in a tree above him against the sky. Wart sat down under the tree, so as not to disturb the bird any further as it went to sleep, and Cully, standing on one leg, ignored his existence.

"Perhaps," said the Wart to himself, "even if Hob doesn't come, and I don't see how he can very well follow me in this trackless forest now, I shall be able to climb up by myself at about midnight, and bring Cully down. He may stay there at about midnight because he ought to be deep in sleep by then. I could speak to him softly by name, so that he thought it was just the usual person coming to take him up while hooded. I shall have to climb very quietly. Then, if I do get him, I shall have to find my way home, and the drawbridge will be up. But perhaps somebody will wait for me, for Kay will have told them I am out. I wonder which way it was? I wish Kay had not gone."

He snuggled down between the roots of the tree, trying to find a comfortable place where the hard wood did not stick into his shoulder blades.

"I think the way was behind that big spruce with the spiky top. I ought to try to remember which side of me the sun is setting, so that when it rises I may keep it on the same side going home. Did something move under that spruce tree, I wonder? Oh, I wish I may not meet that old wild Wat and have my nose bitten off. How aggravating Cully looks, standing there on one leg as if there was nothing the matter." At this there was a quick whirr and a smack and the Wart found an arrow sticking in the tree wood between the fingers of his right hand. He snatched his hand away, thinking he had been stung by something, before he noticed it was an arrow. Then everything went slow. He had time to notice quite carefully what sort of an arrow it was, and how it had driven three inches into the solid wood. It was a black arrow with yellow bands round it, like a horrible wasp, and its cock feather was yellow. The two others were black. They were goose feathers.

The Wart found that, although he was frightened of the danger of the forest before it happened, once he was in it he was not frightened any more. He got up quickly, but it seemed to him slowly, and went behind the other side of the tree. As he did this, another arrow came whirr and tock, but this one buried all except its feathers in the grass, and stayed there still, as if it had never moved.

On the other side of the tree he found a waste of bracken, six foot high. This was splendid cover, but it betrayed his whereabouts by rustling. He heard another arrow hiss through the fronds, and what seemed to be a man's voice cursing, but it was not very near. Then he heard the man, or whatever it was, running about in the bracken. It was reluctant to fire any more arrows because they were valuable things and would certainly get lost in the undergrowth. Wart

went like a snake, like a coney, like a silent owl. He was small and the creature had no chance against him in this game. In five minutes he was safe.

The assassin searched for his arrows and went away grumbling; but the Wart realized that, even if he was safe, he had lost his way and his hawk. He had not the faintest idea where he was. He lay down for half an hour, pressed under the fallen tree where he had hidden, to give time for the thing to go right away and for his own heart to cease its thundering. It had begun beating like this as soon as he knew he had got away from the outlaw.

"Oh," thought the Wart, "now I am truly lost, and now there is almost no alternative except to have my nose bitten off, or to be pierced right through with one of those waspy arrows, or to be eaten by a hissing dragon or a wolf or a wild boar or a magician — if magicians do eat boys, which I expect they do. Now I may well wish that I had been a good boy, and not angered the governess when she got muddled with her astrolabe, and had loved my dear guardian Sir Ector as much as he deserved." At these melancholy thoughts, and especially at the recollection of kind Sir Ector with his pitchfork and his big red nose, the poor Wart's eyes became full of tears and he lay most desolate beneath the tree. The sun finished the last rays of its lingering good-by, and the moon rose in awful majesty over the silver treetops, before he dared to rise. Then he got up, and dusted the twigs out of his jerkin, and wandered off forlornly, taking the easiest way always and trusting himself to God. He had been walking like this for about half an hour, and sometimes sighing to himself and sometimes feeling more cheerful because it really was very cool and lovely in the summer forest by moonlight — when he came upon the most beautiful thing that he had ever seen in his short life. There was a clearing in the forest, a wide sward of moonlit grass, and the white rays shone full upon the tree trunks on the opposite side. These trees were beeches, whose trunks are always most beautiful in a pearly light, and among the beeches there was the smallest movement and a silvery clink. Before the clink there were just the beeches, but immediately afterwards there was a Knight in full armor, standing still, and silent and unearthly, among the majestic trunks. He was mounted on an enormous white horse that stood as rapt as its master, and he carried in his right hand, with its butt resting on the stirrup, a high, smooth jousting lance, which stood up among the tree stumps, higher and higher, till it was outlined against the velvet sky. All was moonlit, all silver, too beautiful to describe.

The Wart did not know what to do. He did not know whether it would be safe to go up to this Knight, for there were so many terrible things in the forest that even the Knight might be a ghost. Most ghostly he looked, too, as he hoved meditating on the confines of the gloom. Eventually the Wart made up his mind

that even if it was a ghost, it would be the ghost of a Knight, and Knights were bound by their vows to help people in distress.

"Excuse me," said the Wart, when he was right under the mysterious figure, "but can you tell me the way back to Sir Ector's castle? " At this the ghost jumped violently, so that it nearly fell off its horse, and gave out a muffled baaaing noise through its visor, like a flock of sheep.

"Excuse me," began the Wart again, and stopped, terrified, in the middle of his speech.

For the ghost lifted up its visor, revealing two enormous eyes frosted like ice; exclaimed in an anxious voice "What, what?"; took off its eyes —

which turned out to be horn-rimmed spectacles, completely fogged by being inside the helmet; tried to wipe them on the horse's mane — which only made them worse; lifted both hands above its head and tried to wipe them on its plume; dropped its lance; dropped the spectacles; got off the horse to search for them — the visor shutting in the process; lifted its visor; bent down for the spectacles; stood up again as the visor shut once more, and exclaimed in a plaintive voice, "Deah, deah!" The Wart found the spectacles, wiped them, and gave them to the ghost, who immediately put them on (the visor shut again at once) and began scrambling back on the horse for dear life. When it was there it held out its hand for the lance, which the Wart handed up, and, feeling all secure, opened its visor with its left hand and held it open. It peered at the Wart with one hand up, like a lost mariner searching for land, and exclaimed, "Ah-hah; whom have we heah, what what?"

"Please," said the Wart, "I am a boy whose guardian is Sir Ector."

"Charming fellah," said the Knight. "Charming fellah. Never met him in me life."

"Can you tell me the way back to his castle?"

"Faintest idea," said the Knight. "Faintest ideah. Stranger in these parts meself."

"I have got lost," said the Wart.

"Funny thing that. Funny thing that, what? Now I have been lost for seventeen years."

"Name of King Pellinore," continued the Knight. "May have heard of me, what?" Here the visor shut with a pop, like an echo to the What, but was opened again immediately. "Seventeen years ago, come Michaelmas, and been after the Questing Beast ever since. Boring, very."

"I should think it would be," said the Wart, who had never heard of King Pellinore, or the Questing Beast, but felt that this was the safest thing to say in the circumstances.

"It is the burden of the Pellinores," said the Knight proudly. "Only a Pellinore can catch it; that is, of course, or his next of kin. Train all the Pellinores with that ideah in mind. Limited eddication, rather. Fewmets, and all that."

"I know what fewmets are," said the Wart with interest. "They are the droppings of the beast pursued. The harborer keeps them in his horn, to show to his master, and can tell by them whether it is a warrantable beast or otherwise, and what state it is in."

"Intelligent child," remarked King Pellinore. "Very. Now I carry fewmets about with me practically all the time.

"Insanitary habit," added the King, beginning to look rather dejected, "and quite pointless. Only one Questing Beast, you know, what, so there can't be any question whether it is warrantable or not." Here his visor began to droop so much that the Wart decided he had better forget his own troubles and try to cheer his companion up, by asking questions on the one subject about which King Pellinore seemed qualified to speak. Even talking to a lost royalty was better than being alone in the wood.

"What does the Questing Beast look like?"

"Ah, we call it the Beast Glatisant, you know," replied the monarch, assuming a learned air and beginning to speak quite volubly. "Now the Beast Glatisant, or, as we say in English, the Questing Beast — you may call it either," he added graciously — "this Beast has the head of a serpent, ah, and the body of a libbard, the haunches of a lion, and he is footed like a hart. Wherever this beast goes he makes a noise in his belly as it had been the noise of thirty couple of hounds questing."

"Except when he is drinking, of course," added the King severely, as if he had rather shocked himself by leaving this out.

"It must be a dreadful kind of monster," said the Wart, looking, about him anxiously.

"A dreadful monster," repeated the other complacently. "It is the Beast Glatisant, you know."

"And how do you follow it?"

This seemed to be the wrong kind of question, for King Pellinore immediately began to look much more depressed than ever, and glanced over his shoulder so hurriedly that his visor shut down altogether.

"I have a brachet," said King Pellinore sadly, as soon as he had restored himself. "There she is, over theah."

The Wart looked in the direction which had been indicated with a despondent thumb, and saw a lot of rope wound round a tree. The other end of the rope was tied to King Pellinore's saddle.

"I don't see her very well."

"Wound herself round the other side of the tree, I dare say," said the King, without looking round. "She always goes the opposite way to me."

The Wart went over to the tree and found a large white dog scratching herself for fleas. As soon as she saw the Wart, she began wagging her whole body, grinning vacuously, and panting in her efforts to lick his face in spite of the cord. She was too tangled up to move.

"It's quite a good brachet," said King Pellinore, "only it pants so, and gets wound round things, and goes the opposite way. What with that and the visor, what, I sometimes don't know which way to turn."

"Why don't you let her loose?" asked the Wart. "She would follow the Beast just as well like that."

"She just goes right away then, you know, and I don't see her sometimes for a week."

"Gets a bit lonely without her," added the King wistfully, "following this Beast about, what, and never knowing where one is. Makes a bit of company, you know."

"She seems to have a friendly nature," said the Wart.

"Too friendly. Sometimes I doubt whether she is really after the Beast at all." "What does she do when she sees it?"

"Nothing," said King Pellinore.

"Oh, well," said the Wart, "I dare say she will get to be interested in it after a time."

"It's eight months anyway since I saw the Beast at all." King Pellinore's voice had got sadder and sadder since the beginning of the conversation, and now he definitely began to snuffle. "It's the curse of the Pellinores," he exclaimed. "Always mollocking about after that beastly Beast. What on earth use is it, anyway? First you have to stop to unwind the brachet, then your visor falls down, then you can't see through your spectacles. Nowhere to sleep, never know where you are. Rheumatism in the winter, sunstroke in the summer. All this beastly armor takes hours to put on. When it is on it's either frying or freezing, and it gets rusty. You have to sit up all night polishing the stuff. Oh, how I do wish I had a nice house of my own to live in, a house with beds in it and real pillows and sheets. If I was rich that's what I would buy. A nice bed with a nice pillow and a nice sheet that you could lie in, and then I would put this beastly horse in a meadow and tell that beastly brachet to run away and play, and throw all this beastly armor out of the window, and let the beastly Beast go and chase itself, that I would."

"If you could only show me the way home," said the Wart craftily, "I am sure

Sir Ector would put you up in a bed for the night."

"Do you really mean it?" cried King Pellinore. "In a bed? " "A feather bed," said the Wart firmly.

King Pellinore's eyes grew as round as saucers. "A feather bed! " he repeated slowly. "Would it have pillows?"

"Down pillows."

"Down pillows!" whispered the King, holding his breath. And then, letting it all out in one rush, "What a lovely house your guardian must have!"

"I don't think it is more than two hours away," said the Wart, following up his advantage.

"And did this gentleman really send you out to invite me in?" inquired the King wonderingly. (He had forgotten all about the Wart being lost.) "How nice of him, how very nice of him, I do think, what?"

"He will be very pleased to see us," said the Wart, quite truthfully.

"Oh, how nice of him," exclaimed the King again, beginning to bustle about with his various trappings. "And what a lovely gentleman he must be, to have a feather bed!"

"I suppose I should have to share it with somebody?" he added doubtfully. "You could have one of your very own."

"A feather bed of one's very own," exclaimed King Pellinore, "with sheets and a pillow — perhaps even two pillows, or a pillow and a bolster

— and no need to get up in time for breakfast!"

"Does your guardian get up in time for breakfast?" inquired the King, a momentary doubt striking him.

"Never," said the Wart.

"Fleas in the bed?" asked the King suspiciously. "Not one."

"Well!" said King Pellinore. "It does sound too nice for words, I must say. A feather bed and none of those beastly fewmets for ever so long. How long did you say it would take us to get there?"

"Two hours," said the Wart; but he had to shout the second of these words, for the sounds were drowned in his mouth by a dreadful noise which had that moment arisen close beside them.

"What was that?" exclaimed the Wart. "Hark!" cried the King.

"Oh, mercy!" wailed the Wart. "It's the Beast!" shouted the King.

And immediately the loving huntsman had forgotten everything else, but was busied about his task. He wiped his spectacles upon the seat of his trousers, the

only accessible piece of cloth about him, while the belling and bloody cry arose all round; balanced them on the end of his long nose, just before the visor automatically clapped to; clutched his jousting lance in his right hand, and galloped off in the direction of the noise. He was brought up short by the rope which was wound round the tree — the vacuous brachet meanwhile giving a melancholy yelp — and fell off his horse with a tremendous clang. In a second he was up again — the Wart was convinced that his spectacles must be broken

— and hopping round the white horse with one foot in the stirrup. The girths stood the test and he was in the saddle somehow, with his jousting lance between his legs, and then he was galloping round and round the tree, in the opposite direction to that in which the brachet had wound herself up. He went round three times too often, the brachet meanwhile running and yelping in the opposite direction, and then, after four or five back casts, they were both free of the obstruction. "Yoicks, what!" cried King Pellinore, waving his lance in the air, and swaying excitedly in the saddle. Then he disappeared completely into the gloom of the forest, with the unfortunate brachet trailing and howling behind him at the other end of the string.

CHAPTER THREE

THE WART slept well in the woodland nest where he had laid himself down, in that kind of thin but refreshing sleep which people have when they first lie out of doors. At first he only dipped below the surface of sleep, and skimmed along like a salmon in shallow water, so close to the surface that he fancied himself in air. He thought himself awake when he was already asleep. He saw the stars above his face, whirling round on their silent and sleepless axis, and the leaves of the trees rustling against them, and heard small changes in the grass. These little noises of footsteps and soft-fringed wing-beats and stealthy bellies drawn over the grass blades or rattling against the bracken at first frightened or interested him, so that he moved to see what they were (but never saw), then soothed him, so that he no longer cared to see what they were but trusted them to be themselves, and finally left him altogether as he swam down deeper and deeper, nuzzling his nose into the scented turf, into the warm ground, into the unending waters under the earth.

It had been difficult to go to sleep in the bright summer moonlight, but once he was there it was not difficult to stay. The sun came early, causing him to turn over in protest, but in going to sleep he had learned to vanquish light, and now the light could not rewake him. It was nine o'clock, five hours after daylight, before he rolled over, opened his eyes, and was awake at once. He was hungry.

The Wart had heard about people who lived on berries, but this did not seem practical at the moment because it was July, and there were none. He found two wild strawberries and ate them greedily. They tasted nicer than anything, so he wished there were more. Then he wished it was April, so that he could find some birds' eggs and eat those, or that he had not lost his goshawk Cully, so that the bird could catch him a rabbit which he would cook by rubbing two sticks together like the base Indian. But he had lost Cully, or he would not have lost himself, and probably the sticks would not have lighted in any case. He decided that he could not have gone more than three or four miles from home, so that the best thing he could do would be to sit still and listen. Then he might hear the noise of the haymakers, if he was lucky with the wind, and could hearken his way home by that.

What he did hear was a faint clanking noise, which made him think that King Pellinore must be after the Questing Beast again, close by. Only the noise was so regular and single in intention that it made him think of King Pellinore doing some special action with great patience and concentration, trying to scratch his back without taking off his armor, for instance. He went towards the noise.

There was a clearing in the forest, and in this clearing there was a snug little cottage built of stone. It was a cottage, although the Wart could not notice this at the time, which was divided into two bits. The main bit was the hall or every- purpose room, which was high because it extended from floor to roof, and this room had a fire on the floor whose smoke issued eventually out of a hole in the thatch of the roof. The other half of the cottage was divided into two rooms by a horizontal floor which made the top half into a bedroom and study, while the bottom half served for a larder, store-room, stable and barn. A white donkey lived in this downstairs room, and a ladder led to the one upstairs.

There was a well in front of the cottage, and the metallic noise which the Wart had heard was caused by a very old gentleman who was drawing water out of it by means of handle and chain.

Clank, clank, clank, said the chain, until the bucket hit the lip of the well, and "Oh, drat the whole thing," said the old gentleman. "You would think that after all these years of study one could do better for oneself than a by-our-lady well with a by-our-lady bucket, whatever the by-our-lady cost."

"I wish to goodness," added the old gentleman, heaving his bucket out of the well with a malevolent glance, "that I was only on the electric light and company's water drat it."

The old gentleman that the Wart saw was a singular spectacle. He was dressed in a flowing gown with fur tippets which had the signs of the zodiac embroidered all over it, together with various cabalistic signs, as of triangles with eyes in them, queer crosses, leaves of trees, bones of bird and animals and a planetarium whose stars shone like bits of looking-glass with the sun on them. He had a pointed hat like a dunce's cap, or like the headgear worn by ladies of that time, except that the ladies were accustomed to have bit of veil floating from the top of it. He also had a wand of lignum vitae, which he had laid down in the grass beside him, and a pair of horn-rimmed spectacles like those of King Pellinore. They were extraordinary spectacles, being without ear pieces, but shaped rather like scissors or the antennae of the tarantula wasp.

"Excuse me, sir," said the Wart, "but can you tell me the way to Sir Ector's castle, if you don't mind?"

The aged gentleman put down his bucket and looked at the Wart. "Your name would be Wart," he said.

"Yes, sir, please, sir," said the Wart.

"My name," said the aged gentleman, "is Merlyn." "How do you do?" said the Wart.

"How do you do?" said Merlyn. "It is clement weather, is it not?"

"It is," said the Wart, "for the time of the year." When these formalities had

been concluded, the Wart had leisure to examine his new acquaintance more closely. The aged gentleman was staring at him with a kind of unwinking and benevolent curiosity which made him feel that it would not be at all rude to stare back, no ruder than it would be to stare at one of his guardian's cows who happened to be ruminating his personality as she leaned her head over a gate. Merlyn had a long white beard and long white mustaches which hung down on either side of it, and close inspection showed that he was far from clean. It was not that he had dirty finger-nails or anything like that, but some large bird seemed to have been nesting in his hair. The Wart was familiar with the nests of spar-hawk and Gos, those crazy conglomerations of sticks and oddments which had been taken over from squirrels or crows, and he knew how the twigs and the tree foot were splashed with white mutes, old bones, muddy feathers and castings. This was the impression which he gathered from Merlyn. The old gentleman was streaked with droppings over his shoulders, among the stars and triangles of his gown, and a large spider was slowly lowering itself from the tip of his hat, as he gazed and slowly blinked at the little boy in front of him. He had a faintly worried expression, as though he were trying to remember some name which began with Chol but which was pronounced in quite a different way, possibly Menzies or was it Dalziel? His mild blue eyes, very big and round under the tarantula spectacles, gradually filmed and clouded over as he gazed at the boy, and then he turned his head away with a resigned expression, as though it was all too much for him after all.

"Do you like peaches?" asked the old gentleman.

"Very much indeed," answered the Wart, and his mouth began to water so that it was full of sweet, soft liquid.

"It is only July, you know," said the old man reprovingly, and walked off in the direction of the cottage without looking round.

The Wart followed after him, since this was the simplest thing to do, and offered to carry the bucket (which seemed to please the old gentleman, who gave it to him) and waited while he counted his keys, and muttered and mislaid them and dropped them in the grass. Finally, when they had got their way into the black and white cottage with as much trouble as if they were burglaring it, he climbed up the ladder after his host and found himself in the upstairs room.

It was the most marvelous room that the Wart had ever been in. There was a real corkindrill hanging from the rafters, very lifelike and horrible with glass eyes and scaly tail stretched out behind it. When its master came into the room it winked one eye in salutation, although it was stuffed. There were hundreds of thousands of brown books in leather bindings, some chained to the book-shelves and others propped up against each other as if they had had too much spirits to

drink and did not really trust themselves. These gave out a smell of must and solid brownness which was most secure. Then there were stuffed birds, popinjays, and maggot-pies and kingfishers, and peacocks with all their feathers but two, and tiny birds like beetles, and a reputed phoenix which smelt of incense and cinnamon. It could not have been a real phoenix, because there is only one of these at a time. Over by the mantelpiece there was a fox's mask, with GRAFTON, BUCKINGHAM TO DAVENTRY, 2

HRS 20 MINS written under it, and also a forty-pound salmon with AWE, 43 MIN., BULLDOG written under it, and a very lifelike basilik with CROWHURST OTTER HOUNDS in Roman print. There were several boar's tusks and the claws of tigers and libbards mounted in symmetrical patterns, and a big head of Ovis Poli, six live grass snakes in a kind of aquarium, some nests of the solitary wasp nicely set up in a glass cylinder, an ordinary beehive whose inhabitants went in and out of the window unmolested, two young hedgehogs in cotton wool, a pair of badgers which immediately began to cry Yik-Yik-Yik-Yik in loud voices as soon as the magician appeared, twenty boxes which contained stick caterpillars and sixths of the puss-moth, and even an oleander that was worth two and six, all feeding on the appropriate leaves, a guncase with all sorts of weapons which would not be invented for half a thousand years, a rodbox ditto, a lovely chest of drawers full of salmon flies which had been tied by Merlyn himself, another chest whose drawers were labeled Mandragora, Mandrake, Old Man's Beard, etc., a bunch of turkey feathers and goose-quills for making pens, an astrolabe, twelve pairs of boots, a dozen purse-nets, three dozen rabbit wires, twelve corkscrews, an ant's nest between two glass plates, ink- bottles of every possible color from red to violet, darning needles, a gold medal for being the best scholar at Eton, four or five recorders, a nest of field mice all alive-o, two skulls, plenty of cut glass, Venetian glass, Bristol glass and a bottle of Mastic varnish, some satsuma china and some cloisonné, the fourteenth edition of the Encyclopedia Britannica (marred as it was by the sensationalism of the popular plates), two paint-boxes (one oil, one water-color), three globes of the known geographical world, a few fossils, the stuffed head of a camelopard, six pismires, some glass retorts with cauldrons, bunsen burners, etc., and a complete set of cigarette cards depicting wild fowl by Peter Scott.

Merlyn took off his pointed hat when he came into this extraordinary chamber, because it was too high for the roof, and immediately there was a little scamper in one of the dark comers and a flap of soft wings, and a young tawny owl was sitting on the black skull-cap which protected the top of his head.

"Oh, what a lovely owl!" cried the Wart.

But when he went up to it and held out his hand, the owl grew half as tall

again, stood up as stiff as a poker, closed its eyes so that there was only the smallest slit to peep through, as one is in the habit of doing when told to shut one's eyes at hide-and-seek, and said in a doubtful voice:

"There is no owl."

Then it shut its eyes entirely and looked the other way. "It's only a boy," said Merlyn.

"There is no boy," said the owl hopefully, without turning round. The Wart was so startled by finding that the owl could talk that he forgot his manners and came closer still. At this the owl became so nervous that it made a mess on Merlyn's head — the whole room was quite white with droppings — and flew off to perch on the farthest tip of the corkindrill's tail, out of reach.

"We see so little company," explained Merlyn, wiping his head with half a worn-out pair of pajama tops which he kept for that purpose, "that Archimedes is a little shy of strangers. Come, Archimedes, I want you to meet a friend of mine called Wart."

Here he held out his hand to the owl, who came waddling like a goose along the corkindrill's back — he waddled with this rolling gait so as to keep his tail from being damaged — and hopped down on to Merlyn's finger with every sign of reluctance.

"Hold out your finger," said Merlyn, "and put it behind his legs. No, lift it up under his train."

When the Wart had done this Merlyn moved the owl gently backwards, so that the Wart's finger pressed against its legs from behind, and it either had to step back on the finger or get pushed off its balance altogether. It stepped back. The Wart stood there delighted, while the furry little feet held tight on to his finger and the sharp claws prickled his skin.

"Say how d'you do properly," said Merlyn.

"I won't," said Archimedes, looking the other way and holding very tight. "Oh, he is lovely," said the Wart again. "Have you had him very long?" "Archimedes has stayed with me since he was quite small, indeed since he had

a tiny head like a chicken's."

"I wish he would talk to me," said the Wart.

"Perhaps if you were to give him this mouse here, politely, he might learn to know you better."

Merlyn took a dead mouse out of his skull-cap — "I always keep them there," he explained, "and worms too, for fishing. I find it most convenient" — and handed it to the Wart, who held it out rather gingerly towards Archimedes. The nutty little curved beak looked as if it were capable of doing damage, but Archimedes looked closely at the mouse, blinked at the Wart, moved nearer on

the finger, closed his eyes and leaned forward. He stood there with closed eyes and an expression of rapture on his face, as if he were saying grace, and then, with the absurdest little sideways nibble, took the morsel so gently that he would not have broken a soap bubble. He remained leaning forward with closed eyes, with the mouse suspended from his beak, as if he were not sure what to do with it. Then he lifted his right foot — he was right-handed —

and took hold of the mouse. He held it up like a boy holding a stick of rock or a constable with his truncheon, looked at it, nibbled its tail. He turned it round so that it was head first, for the Wart had offered it the wrong way round, and gave one gulp. He looked round at the company with the tail hanging out of the comer of his mouth — as much as to say, "I wish you would not all stare at me so" — turned his head away, politely swallowed the tail, scratched his sailor's beard with his left toe, and began to ruffle out his feathers.

"Let him alone," said Merlyn, "now. For perhaps he does not want to be friends with you until he knows what you are like. With owls, it is never easy- come and easy-go."

"Perhaps he will sit on my shoulder," said the Wart, and with that he instinctively lowered his hand, so that the owl, who liked to be as high as possible, ran up the slope and stood shyly beside his ear.

"Now breakfast," said Merlyn.

The Wart saw that the most perfect breakfast was laid out neatly for two, on a table before the window. There were peaches. There were also melons, strawberries and cream, rusks, brown trout piping hot, grilled perch which were much nicer, chicken devilled enough to burn one's mouth out, kidneys and mushrooms on toast, fricassee curry, and a choice of boiling coffee or best chocolate made with cream in large cups.

"Have some mustard," said Merlyn, when they had got to the kidneys.

The mustard-pot got up and walked over to his plate on thin silver legs that waddled like the owl's. Then it uncurled its handles and one handle lifted its lid with exaggerated courtesy while the other helped him to a generous spoonful.

"Oh, I love the mustard-pot!" cried the Wart. "Where ever did you get it?"

At this the pot beamed all over its face and began to strut a bit; but Merlyn rapped it on the head with a teaspoon, so that it sat down and shut up at once.

"It's not a bad pot," he said grudgingly. "Only it is inclined to give itself airs."

The Wart was so much impressed by the kindness of the old magician, and particularly by all the lovely things which he possessed, that he hardly liked to ask him personal questions. It seemed politer to sit still and speak when he was spoken to. But Merlyn did not speak very much, and when he did speak it was never in questions, so that the Wart had little opportunity for conversation. At

last his curiosity got the better of him, and he asked something which had been puzzling him for some time.

"Would you mind if I ask you a question?" "It is what I am for," said Merlyn sadly.

"How did you know to set breakfast for two?"

The old gentleman leaned back in his chair and lighted an enormous meerschaum pipe — Good gracious, he breathes fire, thought the Wart, who had never heard of tobacco — before he was ready to reply. Then he looked puzzled, took off his skull-cap — three mice fell out — and scratched in the middle of his bald head.

"Have you ever tried to draw in a looking-glass?" asked Merlyn. "I don't think I have," said the Wart.

"Looking-glass," said the old gentleman, holding out his hand. Immediately there was a tiny lady's vanity-glass in his hand.

"Not that kind, you fool," said Merlyn angrily. "I want one big enough to shave in."

The vanity-glass vanished, and in its place there was a shaving mirror about a foot square. Merlyn then demanded pencil and paper in quick succession; got an unsharpened pencil and the Morning Post; sent them back; got a fountain pen with no ink in it and six reams of brown paper suitable for parcels; sent them back; flew into a passion in which he said by-our-lady quite often, and ended up with a carbon pencil and some cigarette papers which he said would have to do.

He put one of the papers in front of the glass and made five dots on it like this: "Now, he said, "I want you to join those five dots up to make a W, looking

only in the glass."

The Wart took the pen and tried to do as he was bid, but after a lot of false starts the letter which he produced was this;

"Well, it isn't bad," said Merlyn doubtfully, "and in a way it does look a bit like an M."

Then he fell into a reverie, stroking his beard, breathing fire, and staring at the paper.

"About the breakfast?" asked the Wart timidly, after he had waited five minutes.

"Ah, yes," said Merlyn. "How did I know to set breakfast for two?

That was why I showed you the looking-glass. Now ordinary people are born forwards in Time, if you understand what I mean, and nearly everything in the world goes forward too. This makes it quite easy for the ordinary people to live, just as it would be easy to join those five dots into a W if you were allowed to look at them forwards instead of backwards and inside out. But I unfortunately

was born at the wrong end of time, and I have to live backwards from in front, while surrounded by a lot of people living forwards from behind. Some people call it having second sight."

Merlyn stopped talking and looked at the Wart in an anxious way. "Have I told you this before?" he inquired suspiciously.

"No," said the Wart. "We only met about half an hour ago.”

"So little time to pass as that?" said Merlyn, and a big tear ran down to the end of his nose. He wiped it off with his pajama tops and added anxiously, "Am I going to tell it you again?"

"I don't know," said the Wart, "unless you haven't finished telling me yet." "You see," said Merlyn, "one gets confused with Time, when it is like that. All

one's tenses get muddled up, for one thing. If you know what's going to happen to people, and not what has happened to them, it makes it so difficult to prevent it happening, if you don't want it to have happened, if you see what I mean? Like drawing in a mirror." The Wart did not quite see, but was just going to say that he was sorry for Merlyn if those things made him unhappy, when he felt a curious sensation at his ear. "Don't jump," said Merlyn, just as he was going to do so, and the Wart sat still. Archimedes, who had been standing forgotten on his shoulder all this time, was gently touching, himself against him. His beak was right against the lobe of the ear, which its bristles made to tickle, and suddenly a soft hoarse little voice whispered, "How d'you do," so that it sounded right inside his head.

"Oh, owl!" cried the Wart, forgetting about Merlyn's troubles instantly. "Look, he has decided to talk to me!"

The Wart gently leaned his head against the soft feathers, and the brown owl, taking the rim of his ear in its beak, quickly nibbled right round it with the smallest nibbles.

"I shall call him Archie!" exclaimed the Wart.

"I trust you will do nothing of the sort," cried Merlyn instantly in a stem and angry voice, and the owl withdrew to the farthest corner of his shoulder.

"Is it wrong?"

"You might as well call me Wol, or Olly," said the owl sourly, "and have done with it."

"Or Bubbles," added the owl in a bitter voice.

Merlyn took the Wart's hand and said kindly, "You are only young, and do not understand these things. But you will learn that owls are the politest and most courteous, single-hearted and faithful creatures living. You must never be familiar, rude or vulgar with them, or make them to look ridiculous. Their mother is Athene, the goddess of wisdom, and, though they are often ready to

play the buffoon for your amusement, such conduct is the prerogative of the truly wise. No owl can possibly be called Archie."

"I am sorry, owl," said the Wart.

"And I am sorry, boy," said the owl. "I can see that you spoke in ignorance, and I bitterly regret that I should have been so petty as to take offense where none was intended."

The owl really did regret it, and looked so remorseful and upset that Merlyn had to put on a very cheerful manner and change the conversation.

"Well," said he, "now that we have finished breakfast, I think it is high time that we should all three find our way back to Sir Ector."

"Excuse me a moment," he added as an afterthought, and, turning round to the breakfast things, he pointed a knobbly finger at them and said in a stem voice, "Wash up."

At this all the china and cutlery scrambled down off the table, the cloth emptied the crumbs out of the window, and the napkins folded themselves up. All ran off down the ladder, to where Merlyn had left the bucket, and there was such a noise and yelling as if a lot of children had been let out of school. Merlyn went to the door and shouted, "Mind, nobody is to get broken." But his voice was entirely drowned in shrill squeals, splashes, and cries of "My, it is cold," "I shan't stay in long," "Look out, you´ll break me," or "Come on, let's duck the teapot."

"Are you really coming all the way home with me?" asked the Wart, who could hardly believe the good news.

"Why not?" said Merlyn. "How else can I be your tutor?" At this the Wart's eyes grew rounder and rounder, until they were about as big as the owl's who was sitting on his shoulder, and his face got redder and redder, and a big breath seemed to gather itself beneath his heart.

"My!" exclaimed the Wart, while his eyes sparkled with excitement at the discovery. "I must have been on a Quest."

CHAPTER FOUR

THE WART started talking before he was half-way over the drawbridge. "Look who I've brought," he said. "Look! I've been on a Quest. I was shot at with three arrows. They had black and yellow stripes. The owl is called Archimedes. I saw King Pellinore. This is my tutor, Merlyn. I went on a Quest for him. He was after the Questing Beast. I mean King Pellinore. It was terrible in the forest. Merlyn made the plates wash up. Hallo, Hob. Look, we have got Cully."

Hob just looked at the Wart, but so proudly that the Wart went quite red. It was such a pleasure to be back home again with all his friends, and everything achieved.

Hob said gruffly, "Ah, master, us shall make an austringer of 'ee yet."

He came for Cully, as if he could not keep his hands off him longer, but he patted the Wart too, fondling them both because he was not sure which he was gladder to see back. He took Cully on his own fist, reassuming him like a lame man putting on his accustomed wooden leg, after it had been lost.

"Merlyn caught him," said the Wart. "He sent Archimedes to look for him on the way home. Then Archimedes told us that he had been and killed a pigeon and was eating it. We went and frightened him off. After that, Merlyn stuck six of the tail feathers round the pigeon in a circle, and made a loop in a long piece of string to go round the feathers. He tied one end to a stick in the ground, and we went away behind a bush with the other end. He said he wouldn't use magic. He said you couldn't use magic in Great Arts, just as it would be unfair to make a great statue by magic. You have to cut it out with a chisel, you see. Then Cully came down to finish the pigeon, and we pulled the string, and the loop slipped over the feathers and caught him round the legs. He was angry. But we gave him the pigeon."

Hob made a duty to Merlyn, who returned it courteously. They looked upon one another with grave affection and eagerness, knowing each other to be masters of the same trade. When they could be alone together they could talk and talk, although each was naturally a silent man. Meanwhile they must wait their time.

"Oh, Kay," cried the Wart, as the latter appeared with their nurse and other delighted welcomers. "Look, I have got a magician for our tutor. He has a mustard-pot that walks."

"I am glad you are back," said Kay.

"Alas, where did you sleep, Master Art?" exclaimed the nurse. "Look at your

clean jerkin all muddied and torn. Such a turn as you gave us, I really don't know. But look at your poor hair with all them twigs in it. Oh, my own random, wicked little lamb."

Sir Ector came bustling out with his greaves on back to front, and kissed the Wart on both cheeks. "Well, well, well," he exclaimed moistly.

"Here we are again, hey? What the devil have we been doin', hey? Settin' the whole household upside down."

But inside himself he was proud of the Wart for staying out after a hawk, and prouder still to see that he had got it, for all the while Hob held the bird in the air for everybody to see.

"Oh, sir," said the Wart. "I have been on that Quest you said for a tutor, and I have found him. Please, he is this gentleman here, and he is called Merlyn. He has got some badgers and hedgehogs and mice and things on this white donkey here, because we couldn't leave them behind to starve. He is a great magician, and can make things come out of the air."

"Ah, a magician," said Sir Ector, putting on his glasses and looking closely at Merlyn. "White magic, I hope?"

"Assuredly," said Merlyn, who stood patiently among all this throng with his arms folded in his necromantic gown, and Archimedes sitting very stiff and elongated on the top of his head.

"Ought to have some testimonials, you know," said Sir Ector doubtfully. "It's usual."

"Testimonials," said Merlyn, holding out his hand.

Instantly there were some heavy tablets in it, signed by Aristotle, a parchment signed by Hecate, and some typewritten duplicates signed by the Master of Trinity, who could not remember having met him. All these gave Merlyn an excellent character.

"He had 'em up his sleeve," said Sir Ector wisely. "Can you do anything else?" "Tree," said Merlyn. At once there was an enormous mulberry growing in the

middle of the courtyard, with its luscious blue fruits ready to patter down. "They do it with mirrors," said Sir Ector.

"Snow," said Merlyn. "And an umbrella," he added hastily. Before they could turn round the copper sky of summer had assumed a cold and lowering bronze, while the biggest white flakes that ever were seen were floating about them and settling on the battlements. An inch of snow had fallen before they could speak, and all were trembling with the wintry blast. Sir Ector's nose was blue, and had an icicle hanging from the end of it, while all except Merlyn had a ledge of snow upon their shoulders. Merlyn stood in the middle, holding his umbrella high because of the owl.

"It's done by hypnotism," said Sir Ector, with chattering teeth. "Like those wallahs from the Indies."

"But that'll do, you know," he added hastily, "that'll do very well. I'm sure you'll make an excellent tutor for teachin' these boys." The snow stopped immediately and the sun came out — ”Enough to give a body a pewmonia," said the nurse, "or to frighten the elastic commissioners" — while Merlyn folded up his umbrella and handed it back to the air, which received it.

"Imagine the boy doin' a quest like that all by himself," exclaimed Sir Ector. "Well, well, well. Wonders never cease."

I don't think much of it as a quest," said Kay. "He only went after the hawk, after all."

"And got the hawk, Master Kay," said Hob reprovingly. "Oh, well," said Kay, "I bet the old man caught it for him."

"Kay," said Merlyn, suddenly terrible, "thou wast ever a proud and ill-tongued speaker, and a misfortunate one. Thy sorrow will come from thine own mouth."

At this everybody felt uncomfortable, and Kay, instead of flying into his usual passion, hung his head. He was not at all an unpleasant person really, but clever, quick, proud, passionate and ambitious. He was one of those people who would be neither a follower nor a leader, but only an aspiring heart, impatient in the failing body which imprisoned it. Merlyn repented of his rudeness at once. He made a little silver hunting-knife come out of the air, which he gave him to put things right. The knob of the handle was made of the skull of a stoat, oiled and polished like ivory, and Kay loved it.

CHAPTER FIVE

SIR ECTOR'S home was called The Castle of the Forest Sauvage. It was more like a town or a village than any one man's home, and indeed it was the village during all times of danger. Whenever there was a raid or an invasion, everybody on the estate hurried into the castle, driving all the beasts before them into the courts, and there they remained until the danger was over. The little wattle and daub cottages nearly always got burned, and had to be built again afterwards with much profanity. For this reason it was not worth while troubling to have a village church, as it would constantly be having to be replaced. The villagers went to church in the chapel of the castle. They wore their best clothes and trooped up the street with their most respectable gait on Sundays, looking with vague and dignified looks in all directions, as if reluctant to disclose their destination, and on week-days they came to mass and vespers in their ordinary clothes, walking much more cheerfully. Everybody went to church in those days, and liked it.

The Castle of the Forest Sauvage is still standing, and you can see its lovely ruined walls with ivy on them, standing broached to the sun and wind. Some lizards live there now, and the starving sparrows keep warm on winter nights in the ivy, and a barn owl drives it methodically, hovering outside the little frightened congregations and beating the ivy with it wings, to make them fly out. Most of the curtain wall is down, though you can trace the foundations of the twelve round towers which guarded it. They were round, and stuck out from the wall into the moat, so that the archers could fire in all directions and command every part of the wall. Inside the towers there are circular stairs. These go round and round a central column, and this column is pierced with holes for shooting arrows. Even if the enemy had got inside the curtain wall and fought its way into the bottom of the towers, the defenders could retreat up the bends of the stairs and shoot at those who followed them up, inside, through these slits. The stone part of the drawbridge with its barbican and the bartizans of the gatehouse are in good repair. These have many ingenious arrangements. Even if you got over the wooden bridge, which was pulled up so that you couldn't, there was a portcullis weighed with an enormous log which would squash you flat and pin you down as well. There was a large hidden trap-door in the floor of the barbican, which would let you into the moat after all. At the other end of the barbican there was another portcullis, so that you could be trapped between the two and annihilated from above, while the bartizans, or hanging turrets, had holes in their floors through which the defenders could drop things on your head. Finally, inside the

gatehouse, there was a neat little hole in the middle of the vaulted ceiling, which had painted tracery and bosses. This hole led to the room above, where there was a big cauldron, for boiling lead and oil in.

So much for the outer defenses. Once you were inside the curtain wall, you found yourself in a kind of wide alley-way, probably full of frightened sheep, with another complete castle in front of you. This was the inner shell-keep, with its eight enormous round towers which still stand. It is lovely to climb the highest of them and to lie there looking out towards the Marches, from which all these old dangers came, with nothing but the sun above you and the little tourists trotting about below, quite regardless of arrows and boiling oil. Think for how many centuries that unconquerable tower has withstood. It has changed hands by secession often, by siege once, by treachery twice, but never by assault. On this tower the look-out hoved. From here he kept the guard over the blue Woods towards Wales. His clean old bones lie beneath the floor of the chapel now, so you must keep it for him.

If you look down and are not frightened of heights (the Society for the Preservation of This and That have put up some excellent railings to preserve you from tumbling over), you can see the whole anatomy of the inner court laid out beneath you like a map. You can see the chapel, now quite open to its god, and the windows of the great hall with the solar over it. You can see the shafts of the huge chimneys and how cunningly the side flues were contrived to enter them, and the little private closets now public, and the enormous kitchen. If you are a sensible person, you will spend days there, possibly weeks, working out for yourself by detection which were the stables, which the mews, where were the cow byres, the armory, the lofts, the well, the smithy, the kennel, the soldiers' quarters, the priest's room, and my lord's and lady's chambers. Then it will all grow about you again. The little people — they were much smaller than we are, and it would be a job for most of us to get inside the few bits of their armor and old gloves that remain — will hurry about in the sunshine, the sheep will baa as they always did, and perhaps from Wales there will come the ffff-putt of the triple-feathered arrow which looks as if it had never moved.

This place was, of course, a complete paradise for a boy to be in. The Wart ran about it like a rabbit in its own complicated labyrinth. He knew everything, everywhere, all the special smells, good climbs, soft lairs, secret hiding-places, jumps, slides, nooks, larders and blisses. For every season he had the best place, like a cat, and he yelled and ran and fought and upset people and snoozed and daydreamed and pretended he was a Knight, without ever stopping. Just now he was in the kennel. People in those days had rather different ideas about the training of dogs to what we have today. They did it more by love than strictness.

Imagine a modern M.F.H. going to bed with his hounds, and yet Flavius Arrianus says that it is "Best of all if they can sleep with a person because it makes them more human and because they rejoice in the company of human beings: also if they have had a restless night or been internally upset, you will know of it and will not use them to hunt next day." In Sir Ector's kennel there was a special boy, called the Dog Boy, who lived with the hounds day and night. He was a sort of head hound, and it was his business to take them out every day for walks, to pull thorns out of their feet, keep cankers out of their ears, bind the smaller bones that got dislocated, dose them for worms, isolate and nurse them in distemper, arbitrate in their quarrels and sleep curled up among them at night. If one more learned quotation may be excused, this is how the Duke of York who was killed at Agincourt described such a boy in his Master of Game: "Also I will teach the child to lead out the hounds to scombre twice in the day in the morning and in the evening, so that the sun be up, especially in winter. Then should he let them ran and play long in a meadow in the sun, and then comb every hound after the other, and wipe them with a great wisp of straw, and this he shall do every morning. And then he shall lead them into some fair place where tender grass grows as corn and other things that therewith they may feed themselves as it is medicine for them." Thus, since the boy's "heart and his business be with the hounds," the hounds themselves become "goodly and kindly and clean, glad and joyful and playful, and goodly to all manner of folks save to the wild beasts to whom they should be fierce, eager and spiteful."

Sir Ector's dog boy was none other than the one who had had his nose bitten off by the terrible Wat. Not having a nose like a human, and being, moreover, subjected to stone-throwing by the other village children, he had become more comfortable with animals. He talked to them, not in baby-talk like a maiden lady, but correctly in their own growls and barks. They all loved him very much, and revered him for taking thorns out of their toes, and came to him with their little troubles at once. He always understood immediately what was wrong, and generally he could put it right. It was nice for the dogs to have their god with them, in visible form. The Wart was fond of the Dog Boy, and thought him very clever to be able to do all these things with animals — for he could make them do almost anything just by moving his hands — while the Dog Boy loved the Wart in much the same way as his dogs loved him, and thought the Wart was almost holy because he could read and write. They spent much of their time together, rolling about with the dogs in the kennel. The kennel was on the ground floor, near the mews, with a loft above it, so that it should be cool in summer and warm in winter. The hounds were alaunts, gaze-hounds, lymers and braches. They were called Clumsy, Trowneer, Phoebe, Colle, Gerland, Talbot, Luath,

Luffra, Apollon, Orthros, Bran, Gelert, Bounce, Boy, Lion, Bungey, Toby and Diamond. The Wart's own special one was called Cavall, and he happened to be licking Cavall's nose — not the other way about — when Merlyn came in and found him.

"That will come to be regarded as an insanitary habit," said Merlyn,

"though I can't see it myself. After all, God made the creature's nose just as well as he made your tongue."

"If not better," added the philosopher pensively.

The Wart did not know what Merlyn was talking about, but he liked him to talk. He did not like the grownups who talked down to him like a baby, but the ones who just went on talking in their usual way, leaving him to leap along in their wake, jumping at meanings, guessing, clutching at known words, and chuckling at complicated jokes as they suddenly dawned. He had the glee of the porpoise then, pouring and leaping through strange seas.

"Shall we go out?" asked Merlyn. "I think it is about time we began our lessons."

The Wart's heart sank at this. His tutor had been there a month, and it was now August, but they had done no lessons so far. Now he suddenly remembered that this was what Merlyn was for, and he thought with dread of Summulae Logicales and the filthy astrolabe. He knew that it had to be borne, however, and got up obediently enough, after giving Cavall a last reluctant pat. He thought that it might not be so bad with Merlyn, who might be able to make even the old Organon interesting, particularly if he would do some magic.

They went out into the courtyard, into a sun so burning that the heat of hay- making seemed to have been nothing. it was baking. The thunder-clouds which usually go with hot weather were there, high columns of cumulus with glaring edges, but there was not going to be any thunder. It was too hot even for that. "If only," thought the Wart, "I did not have to go into a stuffy classroom, but could take off my clothes and swim in the moat."

They crossed the courtyard, having almost to take deep breaths before they darted across it, as if they were going quickly through an oven. The shade of the gatehouse was cool, but the barbican, with its close walls, was hottest of all. In one last dash across the desert they had achieved the drawbridge — could Merlyn have guessed what he was thinking about? — and were staring down into the moat.

It was the season of water-lilies. If Sir Ector had not kept one section free of them for the boys bathing, all the water would have been covered. As it was, about twenty yards on each side of the bridge were cut each year, and you could dive in from the bridge itself. The moat was quite deep. It was used as a stew, so

that the inhabitants of the castle could have fish on Fridays, and for this reason the architects had been careful not to let the drains and sewers run into it. It was stocked with fish every year.

"I wish I was a fish," said the Wart. "What sort of fish?"

It was almost too hot to think about this, but the Wart stared down into the cool amber depths where a school of small perch were aimlessly hanging about.

"I think I should like to be a perch," he said. "They are braver than the silly roach, and not quite so slaughterous as the pike." Merlyn took off his hat, raised his staff of lignum vitae politely in the air, and said slowly, "Snylrem. stnemilpmoc ot enutpen dna lliw eh yldnik tpecca siht yob sa a hsif?"

Immediately there was a loud blowing of sea-shells, conches and so forth, and a stout, jolly-looking gentleman appeared seated on a well-blown-up cloud above the battlements. He had an anchor tattooed on his tummy and a handsome mermaid with Mabel written under her on his chest. He ejected a quid of tobacco, nodded affably to Merlyn and pointed his trident at the Wart. The Wart found he had no clothes on. He found that he had tumbled off the drawbridge, landing with a smack on his side in the water. He found that the moat and the bridge had grown hundreds of times bigger. He knew that he was turning into a fish.

"Oh, Merlyn," cried the Wart. "Please come too."

"Just for this once," said a large and solemn tench beside his car, "I will come. But in future you will have to go by yourself. Education is experience, and the essence of experience is self-reliance." The Wart found it difficult to be a fish. It was no good trying to swim like a human being, for it made him go corkscrew and much too slowly. He did not know how to swim like a fish.

"Not like that," said the tench in ponderous tones. "Put your chin on your left shoulder and do jack-knives. Never mind about the fins to begin with."

The Wart's legs had fused together into his backbone and his feet and toes had become a tail fin. His arms had become two more fins — also of a delicate pinkish color — and he had sprouted some more somewhere about his tummy. His head faced over his shoulder, so that when he bent in the middle his toes were moving towards his ear instead of towards his forehead. He was a beautiful olive-green color with rather scratchy plate-armor all over him, and dark bands down his sides. He was not sure which were his sides and which were his back and front, but what now appeared to be his tummy had an attractive whitish color, while his back was armed with a splendid great fin that could be erected for war and had spikes in it. He did jack-knives as the tench directed and found that he was swimming vertically downwards into the mud.

"Use your feet to turn to left or right with," said the tench, "and spread those fins on your tummy to keep level. You are living in two planes now, not one."

The Wart found that he could keep more or less level by altering the inclination of his arm fins and the ones on his stomach. He swam feebly off, enjoying himself very much.

"Come back," said the tench solemnly. "You must learn to swim before you can dart."

The Wart returned to his tutor in a series of zigzags and remarked, "I don't seem to keep quite straight."

"The trouble with you is that you don't swim from the shoulder. You swim as if you were a boy just bending at the hips. Try doing your jack-knives right from the neck downwards, and move your body exactly the same amount to the right as you are going to move it to the left. Put your back into it."

Wart gave two terrific kicks and vanished altogether in a clump of mare's tail several yards away.

"That's better," said the tench, now quite out of sight in the murky olive water, and the Wart backed himself out of his tangle with infinite trouble, by wriggling his arm fins. He undulated back towards the voice in one terrific shove, to show off.

"Good," said the tench, as they collided end to end, "but direction is the better part of valor."

"Try if you can do this one," said the tench.

Without apparent exertion of any kind he swam off backwards under a water- lily. Without apparent exertion; but the Wart, who was an enterprising learner, had been watching the slightest movement of his fins. He moved his own fins anti-clockwise, gave the very tip of his own tail a cunning flick, and was lying alongside the tench.

"Splendid," said Merlyn. "Let's go for a little swim." The Wart was on an even keel now, and reasonably able to move about. He had leisure to observe the extraordinary universe into which the tattooed gentleman's trident had plunged him. It was very different from the universe to which he had hitherto been accustomed. For one thing, the heaven or sky above him was now a perfect circle poised a few inches above his head. The horizon had closed in to this. In order to imagine yourself into the Wart's position, you will have to picture a round horizon, a few inches above your head, instead of the flat horizon which you have usually seen. Under this horizon of air you will have to imagine another horizon of under water, spherical and practically upside down — for the surface of the water acted partly as a mirror to what was below it. It is difficult to imagine. What makes it a great deal more difficult to imagine is that everything

which human beings would consider to be above the water level was fringed with all the colors of the spectrum. For instance, if you had happened to be fishing for the Wart, he would have seen you, at the rim of the tea saucer which was the upper air to him, not as one person waving a fishing-rod, but as seven people, whose outlines were red, orange, yellow, green, blue, indigo and violet, all waving the same rod whose colors were as varied. In fact, you would have been a rainbow man to him, a beacon of flashing and radiating colors, which ran into one another and had rays all about. You would have burned upon the water like Cleopatra in the poem by Herédia. The reference may possibly be to Shakespeare.

The next most lovely thing was that the Wart had no weight. He was not earth- bound any more and did not have to plod along on a flat surface, pressed down by gravity and the weight of the atmosphere. He could do what men have always wanted to do, that is, fly. There is practically no difference between flying in the water and flying in the air. The best of it was that he did not have to fly in a machine, by pulling levers and sitting still, but could do it with his own body. It was like the dreams people have.

Just as they were going to swim off on their tour of inspection, a timid young roach appeared from between two waving bottle brushes of mare's tail and hung about, looking quite pale with agitation. It looked at them with big, apprehensive eyes and evidently wanted something, but could not make up its mind.

"Approach," said Merlyn gravely.

At this the roach rushed up like a hen, burst into tears, and began stammering its message.

"If you p-p-p-please, doctor," stammered the poor creature, gabbling so that they could scarcely understand what it said, "we have such a d-dretful case of s- s-s-something or other in our family, and we w-w-w-wondered if you could s-s- s-spare the time? It's our d-d-d-dear Mamma, who w-w-w-will swim a-a-all the time upside d-d-d-down, and she d-d-d-does; look so horrible and s-s-s-speaks so strange, that we r-r-r-really thought she ought to have a d-d-ddoctor, if it w-w-w- wouldn't be too much? C-C-C-Clara says to say so, Sir, if you s-s-s-see w-w-w- what I m-m-mmean?"

Here the little roach began fizzing so much, what with its stammer and its tearful disposition, that it became perfectly inarticulate and could only stare at Merlyn with big mournful eyes.

"Never mind, my little man," said Merlyn. "There, there, lead me to your poor Mamma, and we shall see what we can do."

They all three swam off into the murk under the drawbridge upon their errand of mercy.

"Very Russian, these roach," whispered Merlyn to the Wart, behind his fin. "It's probably only a case of nervous hysteria, a matter for the psychologist rather than the physician."

The roach's Mamma was lying on her back as he had described. She was squinting horribly, had folded her fins upon her chest, and every now and then she blew a bubble. All her children were gathered round her in a circle, and every time she blew a bubble they all nudged each other and gasped. She had a seraphic smile upon her face.

"Well, well, well," said Merlyn, putting on his best bedside manner, "and how is Mrs. Roach today?"

He patted all the young roaches on the head and advanced with stately motions towards his patient. It should perhaps be mentioned that Merlyn was a ponderous, deep-beamed fish of about five pounds, red-leather colored, with small scales, adipose in his fins, rather slimy, and having a bright marigold eye

— a respectable figure.

Mrs. Roach held out a languid fin, sighed emphatically and said, "Ah, doctor, so you've come at last?"

"Hum," said Merlyn, in his deepest tones.

Then he told everybody to close their eyes — the Wart peeped —

and began to swim round the invalid in a slow and stately dance. As he danced he sang. His song was this:

Therapeutic, Elephantic, Diagnosis, Boom!

Pancreatic, Microstatic, Anti-toxic, Doom!

With a normal catabolism. Gabbleism and babbleism. Snip, Snap, Snorum,

Cut out his abdonorum. Dyspepsia,

Anaemia, Toxaemia,

One, two, three, And out goes He.

With a fol-de-rol-derido for the Five Guinea Fee.

At the end of the song he was swimming round his patient so close that he actually touched her, stroking his brown smooth-scaled flanks against her more rattly pale ones. Perhaps he was healing her with his slime — for all the fishes are said to go to the Tench for medicine — or perhaps it was by touch or massage or hypnotism. In any case, Mrs. Roach suddenly stopped squinting, turned the right way up, and said,

"Oh, doctor, dear doctor, I feel I could eat a little lob-worm now."

"No lob-worm," said Merlyn, "not for two days. I shall give you a prescription for a strong broth of algae every two hours, Mrs. Roach. We must build up your strength, you know. After all, Rome wasn't built in a day."

Then he patted all the little roaches once more, told them to grow up into brave little fish, and swam off with an air of great importance into the gloom. As he swam, he puffed his mouth in and out.

"What did you mean by that about Rome?" asked the Wart, when they were out of earshot.

"Heaven knows," said the tench.

They swam along, Merlyn occasionally advising him to put his back into it when he forgot, and all the strange under-water world began to dawn about them, deliciously cool after the heat of the upper air. The great forests of weed were delicately traced, and in them there hung motionless many schools of sticklebacks learning to do their physical exercises in strict unison. On the word One they all lay still: at Two they faced about: at Three they all shot together into a cone, whose apex was a bit of something to eat. Water snails slowly ambled about on the stems of the lilies or under their leaves, while fresh-water mussels lay on the bottom doing nothing in particular. Their flesh was salmon pink, like a very good strawberry cream ice. The small congregations of perch

— it was a strange thing, but all the bigger fish seemed to have hidden themselves —

had delicate circulations, so that they blushed or grew pale as easily as a lady in a Victorian novel. Only their blush was a deep olive color, and it was the blush of rage. Whenever Merlyn and his companion swam past them, they raised their spiky dorsal fins in menace, and only lowered them when they saw that Merlyn was a tench. The black bars on their sides made them look as if they had been grilled; and these also could become darker or lighter. Once the two travelers passed under a swan. The white creature floated above like a zeppelin, all indistinct except what was under the water. The latter part was quite clear and showed that the swan was floating slightly on one side with one leg cocked up over its back.

"Look," said the Wart, "it's the poor swan with the deformed leg. It can only

paddle with one leg, and the other side of it is all hunched."

"Nonsense," said the swan snappily, putting its head into the water and giving them a frown with its black nares. "Swans like to rest in this position, and you can keep your fishy sympathy to yourself, so there." It continued to glare at them from up above, like a white snake suddenly let down through the ceiling, until they were out of sight.

"You swim along," said the tench in gloomy tones, "as if there was nothing to be afraid of in the world. Don't you see that this place is exactly like the forest you had to come through to find me?"

"It is?"

"Look over there."

The Wart looked, and at first saw nothing. Then he saw a little translucent shape hanging motionless near the surface. It was just outside the shadow of a water-lily and was evidently enjoying the sun. It was a baby pike, absolutely rigid and probably asleep, and it looked like a pipe stem or a sea horse stretched out flat. It would be a brigand when it grew up.

"I am taking you to see one of those," said the tench, "the Emperor of all these purlieus. As a doctor I have immunity, and I daresay he will respect you as my companion as well, but you had better keep your tail bent in case he is feeling tyrannical."

"Is he the King of the Moat?"

"He is the King of the Moat. Old Jack they call him, and some Black Peter, but for the most part they don't mention him by name at all. They just call him Mr. M. You will see what it is to be a king." The Wart began to hang behind his conductor a little, and perhaps it was just as well that he did, for they were almost on top of their destination before he noticed it. When he did see the old despot he started back in horror, for Mr. M. was four feet long, his weight incalculable.

The great body, shadowy and almost invisible among the stems, ended in a face which had been ravaged by all the passions of an absolute monarch, by cruelty, sorrow, age, pride, selfishness, loneliness and thoughts too strong for individual brains. There he hung or hoved, his vast ironic mouth permanently drawn downwards in a kind of melancholy, his lean clean-shaven chops giving him an American expression, like that of Uncle Sam. He was remorseless, disillusioned, logical, predatory, fierce, pitiless; but his great jewel of an eye was that of a stricken deer, large, fearful, sensitive and full of griefs. He made no movement whatever, but looked upon them with this bitter eye.

The Wart thought to himself that he did not care for Mr. M.

"Lord," said Merlyn, not paying any attention to his nervousness, "I have

brought a young professor who would learn to profess."

"To profess what?" inquired the King of the Moat slowly, hardly opening his jaws and speaking through his nose.

"Power," said the tench. "Let him speak for himself."

"Please," said the Wart, "I don't know what I ought to ask."

"There is nothing," said the monarch, "except the power that you profess to seek: power to grind and power to digest, power to seek and power to find, power to await and power to claim, all power and pitilessness springing from the nape of the neck."

"Thank you," said the Wart.

"Love is a trick played on us by the forces of evolution," continued the monster monotonously. "Pleasure is the bait laid down by the same. There is only power. Power is of the individual mind, but the mind's power alone is not enough. The power of strength decides everything in the end, and only Might is right.

"Now I think it is time that you should go away, young master, for I find this conversation excessively exhausting. I think you ought to go away really almost at once, in case my great disillusioned mouth should suddenly determine to introduce you to my great gills, which have teeth in them also. Yes, I really think you ought to go away this moment. Indeed, I think you ought to put your very back into it. And so, a long farewell to all my greatness."

The Wart had found himself quite hypnotized by all these long words, and hardly noticed that the thin-lipped tight mouth was coming closer and closer to him all the time. It came imperceptibly, as the cold suave words distracted his attention, and suddenly it was looming within an inch of his nose. On the last sentence it opened, horrible and vast, the thin skin stretching ravenously from bone to bone and tooth to tooth. Inside there seemed to be nothing but teeth, sharp teeth like thorns in rows and ridges everywhere, like the nails in laborers' boots, and it was only at the very last second that he was able to regain his own will, to pull himself together, recollect his instructions and to escape. All those teeth clashed behind him at the tip of his tail, as he gave the heartiest jack-knife he had ever given.

In a second he was on dry land once more, standing beside Merlyn on the piping drawbridge, panting in all his clothes.

CHAPTER SIX

ONE THURSDAY afternoon the boys were doing their archery as usual. There were two straw targets fifty yards apart, and when they had shot their arrows at the one, they had only to go to it, collect them, and fire back at the other after facing about. It was still the loveliest summer weather, and there had been chickens for dinner, so that Merlyn had gone off to the edge of their shooting-ground and sat down under a tree. What with the warmth and the chickens and the cream he had poured over his pudding and the continual repassing of the boys and the tock of the arrows in the targets — which was as sleepy to listen to as the noise of a lawn-mower — and the dance of the egg- shaped sunspots between the leaves of his tree, the aged magician was soon fast asleep.

Archery was a serious occupation in those days. It had not yet been relegated to Indians and small boys, so that when you were shooting badly you got into a bad temper, just as the wealthy pheasant shooters do today. Kay was shooting badly. He was trying too hard and plucking on his loose, instead of leaving it to the bow.

"Oh, come on," said Kay. "I'm sick of these beastly targets. Let's have a shot at the popinjay."

They left the targets and had several shots at the popinjay — which was a large, bright-colored artificial bird stuck on the top of a stick, like a parrot — and Kay missed these also. First he had the feeling of "Well, I will hit the filthy thing, even if I have to go without my tea until I do it." Then he merely became bored.

The Wart said, "Let's play Rovers then. We can come back in half an hour and wake Merlyn up."

What they called Rovers, consisted in going for a walk with their bows and shooting one arrow each at any agreed mark which they came across. Sometimes it would be a mole hill, sometimes a clump of rushes, sometimes a big thistle almost at their feet. They varied the distance at which they chose these objects, sometimes picking a target as much as 120 yards away — which was about as far as these boys' bows could carry

— and sometimes having to aim actually below a close thistle because the arrow always leaps up a foot or two as it leaves the bow. They counted five for a hit, and one if the arrow was within a bow's length, and added up their scores at the end.

On this Thursday they chose their targets wisely, and, besides, the grass of the

big field had been lately cut. So they never had to search for their arrows for long, which nearly always happens, as in golf, if you shoot ill-advisedly near hedges or in rough places. The result was that they strayed further than usual and found themselves near the edge of the savage forest where Cully had been lost.

"I vote," said Kay, "that we go to those buries in the chase, and see if we can get a rabbit. It would be more fun than shooting at these hummocks."

They did this. They chose two trees about a hundred yards apart, and each boy stood under one of them, waiting for the conies to come out again. They stood very still, with their bows already raised and arrows fitted, so that they would make the least possible movement to disturb the creatures when they did appear. It was not difficult for either of them to stand thus, for the very first test which they had had to pass in archery was standing with the bow at arm's length for half an hour. They had six arrows each and would be able to fire and mark them all before they needed to frighten the rabbits back by walking about to collect. An arrow does not make enough noise to upset more than the particular rabbit that it is shot at.

At the fifth shot Kay was lucky. He allowed just the right amount for wind and distance, and his point took a young coney square in the head. It had been standing up on end to look at him, wondering what he was.

"Oh, well shot!" cried the Wart, as they ran to pick it up. It was the first rabbit they had ever hit, and luckily they had killed it dead. When they had carefully gutted it with the little hunting knife which Merlyn had given — in order to keep it fresh — and passed one of its hind legs through the other at the hock, for convenience in carrying, the two boys prepared to go home with their prize. But before they unstrung their bows they used to observe a ceremony. Every Thursday afternoon, after the last serious arrow had been fired, they were allowed to fit one more nock to their strings and to discharge the arrow straight up into the air. It was partly a gesture of farewell, partly of triumph, and it was beautiful. They did it now as a salute to their first prey.

The Wart watched his arrow go up. The sun was already westing towards evening, and the trees where they were had plunged them into a partial shade. So, as the arrow topped the trees and climbed into sunlight, it began to burn against the evening like the sun itself. Up and up it went, not weaving as it would have done with a snatching loose, but soaring, swimming, aspiring towards heaven, steady, golden and superb. just as it had spent its force, just as its ambition had been dimmed by destiny and it was preparing to faint, to turn over, to pour back into the bosom of its mother earth, a terrible portent happened. A gore-crow came flapping wearily before the approaching night. It came, it did not waver, it took the arrow. It flew away, heavy and hoisting, with

the arrow in its beak. Kay was frightened by this, but the Wart was furious. He had loved his arrow's movement, its burning ambition in the sunlight, and, besides, it was his best arrow. It was the only one which was perfectly balanced, sharp, tight-feathered, clean-nocked, and neither warped nor scraped.

"It was a witch," said Kay.

"I don't care if it was ten witches," said the Wart. "I am going to get it back." "But it went towards the Forest."

"I shall go after it."

"You can go alone, then," said Kay. "I'm not going into the Forest Sauvage, just for a putrid arrow."

"I shall go alone."

"Oh, well," said Kay, "I suppose I shall have to come too, if you're so set on it.

And I bet we shall get nobbled by Wat."

"Let him nobble," said the Wart. "I want my arrow." They went in the Forest at the place where they had last seen the bird of carrion.

In less than five minutes they were in a clearing with a well and a cottage just like Merlyn's.

"Goodness," said Kay, "I never knew there were any cottages so close. I say, let's go back."

"I just want to look at this place," said the Wart. "It's probably a wizard's."

The cottage had a brass plate screwed on the garden gate. It said: Madame Mim, B.A. (Dom-Daniel)

PIANOFORTE

NEEDLEWORK NECROMANCY

No Hawkers, Circulars or Income Tax. Beware of the Dragon.

The cottage had lace curtains. These stirred ever so slightly, for behind them there was a lady peeping. The gore-crow was standing on the chimney.

"Come on," said Kay. "Oh, do come on. I tell you, she'll never give it us back."

At this point the door of the cottage opened suddenly and the witch was revealed standing in the passage. She was a strikingly beautiful woman of about thirty, with coal-black hair so rich that it had the blue-black of the maggot-pies in it, silky bright eyes and a general soft air of butter-wouldn't-melt-in-my-mouth. She was sly.

"How do you do, my dears,"said Madame Mim. "And what can I do for you today?"

The boys took off their leather caps, and Wart said, "Please, there is a crow sitting on your chimney and I think it has stolen one of my arrows."

"Precisely," said Madame Mim. "I have the arrow within." "Could I have it back, please?"

"Inevitably," said Madame Mim. "The young gentleman shall have his arrow on the very instant, in four ticks and ere the bat squeaks thrice."

"Thank you very much," said the Wart.

"Step forward," said Madame Mim. "Honor the threshold. Accept the humble hospitality in the spirit in which it is given."

"I really do not think we can stay," said the Wart politely, "I really think we must go. We shall be expected back at home."

"Sweet expectation," replied Madame Mim in devout tones.

"Yet you would have thought," she added, "that the young gentleman could have found time to honor a poor cottager, out of politeness. Few can believe how we ignoble tenants of the lower classes value a visit from the landlord's sons."

"We would like to come in," said the Wart, "very much. But you see we shall be late already."

The lady now began to give a sort of simpering whine. "The fare is lowly," she said. "No doubt it is not what you would be accustomed to eating, and so naturally such highly born ones would not care to partake." Kay's strongly developed feeling for good form gave way at this. He was an aristocratic boy

always, and condescended to his inferiors so that they could admire him. Even at the risk of visiting a witch, he was not going to have it said that he had refused to eat a tenant's food because it was too humble.

"Come on, Wart," he said. "We needn't be back before vespers." Madame Mim swept them a low curtsey as they crossed the threshold. Then she took them each by the scruff of the neck, lifted them right off the ground with her strong gypsy arms, and shot out of the back door with them almost before they had got in at the front. The Wart caught a hurried glimpse of her parlor and kitchen. The lace curtains, the aspidistra, the lithograph called the Virgin's Choice, the printed text of the Lord's Prayer written backwards and hung upside down, the sea-shell, the needlecase in the shape of a heart with A Present from Camelot written on it, the broom sticks, the cauldrons, and the bottles of dandelion wine. Then they were kicking and struggling in the back yard.

"We thought that the growing sportsmen would care to examine our rabbits," said Madame Mim.

There was, indeed, a row of large rabbit hutches in front of them, but they were empty of rabbits. In one hutch there was a poor ragged old eagle owl, evidently quite miserable and neglected: in another a small boy unknown to them, a wittol who could only roll his eyes and burble when the witch came near. In a third there was a moulting black cock. A fourth had a mangy goat in it, also black, and two more stood empty.

"Grizzle Greediguts," cried the witch. "Here, Mother," answered the carrion crow.

With a flop and a squawk it was sitting beside them, its hairy black beak cocked on one side. It was the witch's familiar.

"Open the doors," commanded Madame Mim, "and Greediguts shall have eyes for supper, round and blue."

The gore-crow hastened to obey, with every sign of satisfaction, and pulled back the heavy doors in its strong beak, with three times three. Then the two boys were thrust inside, one into each hutch, and Madame Mim regarded them with unmixed pleasure. The doors had magic locks on them and the witch had made them to open by whispering in their keyholes.

"As nice a brace of young gentlemen," said the witch, "as ever stewed or roast. Fattened on real butcher's meat,I daresay, with milk and all. Now we'll have the big one jugged for Sunday, if I can get a bit of wine to go in the pot, and the little one we'll have on the moon's morn, by jing and by jee, for how can I keep my sharp fork out of him a minute longer it fair gives me the croup."

"Let me out," said Kay hoarsely, "you old witch, or Sir Ector will come for you."

At this Madame Mim could no longer contain her joy. "Hark to the little varmint," she cried, snapping her fingers and doing a bouncing jig before the cages. "Hark to the sweet, audacious, tender little veal. He answers back and threatens us with Sir Ector, on the very brink of the pot. That's how I faint to tooth them, I do declare, and that's how I will tooth them ere the week be out, by Scarmiglione, Belial, Peor, Ciriato Sannuto and Dr. D."

With this she began bustling about in the back yard, the herb garden and the scullery, cleaning pots, gathering plants for the stuffing, sharpening knives and cleavers, boiling water, skipping for joy, licking her greedy lips, saying spells, braiding her night-black hair, and singing as she worked.

First she sang the old witch's song:

Black spirits and white, red spirits and gray, Mingle, mingle, mingle, you that mingle may. Here's the blood of a bat,

Put in that, oh, put in that. Here's libbard's bane.

Put in again.

Mingle, mingle, mingle, you that mingle may. Then she sang her work song:

Two spoons of sherry Three oz. of yeast,

Half a pound of unicorn, And God bless the feast. Shake them in a collander, Bang them to a chop, Simmer slightly,

snip up nicely, Jump, skip, hop.

Knit one, knot one, purl two together,

Pip one and pop one and pluck the secret feather. Baste in a mod. oven.

God bless our coven.

Tra-la-la! Three toads in a jar. Te-he-he! Put in the frog's knee. Peep out of the lace curtain.

There goes the Toplady girl, she's up to no good that's certain. Oh, what a lovely baby!

How nice it would go with gravy. Pinch the salt.

Here she pinched it very nastily. Turn the malt

Here she began twiddling round widdershins, in a vulgar way. With a hey-nonny-nonny and I don't mean maybe.

At the end of this song, Madame Mim took a sentimental turn and delivered herself of several hymns, of a blasphemous nature, and of a tender love lyric which she sang sotto-voce with trills. It was: My love is like a red, red nose His tail is soft and tawny,

And everywhere my lovely goes I call him Nick or Horny.

She vanished into the parlor, to lay the table. Poor Kay was weeping in a corner of the end hutch, lying on his face and paying no attention to anything. Before Madame Mim had finally thrown him in, she had pinched him all over to see if he was fat. She had also slapped him, to see, as the butchers put it, if he was hollow. On top of this, he did not in the least want to be eaten for Sunday dinner and he was miserably furious with the Wart for leading him into such a terrible doom on account of a mere arrow. He had forgotten that it was he who had insisted on entering the fatal cottage.

The Wart sat on his haunches, because the cage was too small for standing up, and examined his prison. The bars were of iron and the gate was iron too. He shook all the bars, one after the other, but they were as firm as rock. There was an iron bowl for water — with no water in it and some old straw in a corner for lying down. It was verminous.

"Our mistress," said the mangy old goat suddenly from the next pen, "is not very careful of her pets."

He spoke in a low voice, so that nobody could hear, but the carrion crow which had been left on the chimney to spy upon them noticed that they were talking and moved nearer.

"Whisper," said the goat, "if you want to talk."

"Are you one of her familiars?" asked the Wart suspiciously. The poor creature did not take offense at this, and tried not to look hurt.

"No," he said. "I'm not a familiar. I'm only a mangy old black goat, rather tattered as you see, and kept for sacrifice."

"Will she eat you too?" asked the Wart, rather tremblingly.

"Not she. I shall be too rank for her sweet tooth, you may be sure. No, she will use my blood for making patterns with on Walpurgis Night."

"It's quite a long way off, you know," continued the goat without self-pity. "For myself I don't mind very much, for I am old. But look at that poor old owl there, that she keeps merely for a sense of possession and generally forgets to

feed. That makes my blood boil, that does. It wants to fly, to stretch its wings. At night it just runs round and round and round like a big rat, it gets so restless. Look, it has broken all its soft feathers. For me, it doesn't matter, for I am naturally of a sedentary disposition now that youth has flown, but I call that owl a rare shame. Something ought to be done about it."

The Wart knew that he was probably going to be killed that night, the first to be released out of all that band, but yet he could not help feeling touched at the great-heartedness of this goat. Itself under sentence of death, it could afford to feel strongly about the owl. He wished he were as brave as this.

"If only I could get out," said the Wart. "I know a magician who would soon settle her hash, and rescue us all."

The goat thought about this for some time, nodding its gentle old head with the great cairngorm eyes. Then it said, "As a matter of fact I know how to get you out, only I did not like to mention it before. Put your ear nearer the bars. I know how to get you out, but not your poor friend there who is crying. I didn't like to subject you to a temptation like that. You see, when she whispers to the lock I have heard what she says, but only at the locks on either side of mine. When she gets a cage away she is too soft to be heard. I know the words to release both you and me, and the black cock here too, but not your young friend yonder."

"Why ever haven't you let yourself out before?" asked the Wart, his heart beginning to bound.

"I can't speak them in human speech, you see," said the goat sadly, "and this poor mad boy here, the wittol, he can't speak them either."

"Oh, tell them me."

"You will be safe then, and so would I and the cock be too, if you stayed long enough to let us out. But would you be brave enough to stay, or would you run at once? And what about your friend and the wittol and the old owl?"

"I should run for Merlyn at once," said the Wart. "Oh, at once, and he would come back and kill this old witch in two twos, and then we should all be out."

The goat looked at him deeply, his tired old eyes seeming to ask their way kindly into the bottom of his heart.

"I shall tell you only the words for your own lock," said the goat at last. "The cock and I will stay here with your friend, as hostages for your return."

"Oh, goat," whispered the Wart. "You could have made me say the words to get you out first and then gone your way. Or you could have got the three of us out, starting with yourself to make sure, and left Kay to be eaten. But you are staying with Kay. Oh, goat, I will never forget you, and if I do not get back in time I shall not be able to bear my life."

"We shall have to wait till dark. It will only be a few minutes now." As the goat spoke, they could see Madame Mim lighting the oil lamp in the parlor. It had a pink glass shade with patterns on it. The crow, which could not see in the dark, came quietly closer, so that at least he ought to be able to hear.

"Goat," said the Wart, in whose heart something strange and terrible had been going on in the dangerous twilight, "put your head closer still. Please, goat, I am not trying to be better than you are, but I have a plan. I think it is I who had better stay as hostage and you who had better go. You are black and will not be seen in the night. You have four legs and can run much faster than I. Let you go with a message for Merlyn. I will whisper you out, and I will stay."

He was hardly able to say the last sentence, for he knew that Madame Mim might come for him at any moment now, and if she came before Merlyn it would be his death warrant. But he did say it, pushing the words out as if he were breathing against water, for he knew that if he himself were gone when Madame came for him, she would certainly eat Kay at once.

"Master," said the goat without further words, and it put one leg out and laid its double-knobbed forehead on the ground in the salute which is given to royalty. Then it kissed his hand as a friend.

"Quick," said the Wart, "give me one of your hoofs through the bars and I will scratch a message on it with one of my arrows." It was difficult to know what message to write on such a small space with such a clumsy implement. In the end he just wrote KAY. He did not use his own name because he thought Kay more important, and that they would come quicker for him.

"Do you know the way?" he asked. "My grandam used to live at the castle." "What are the words?"

"Mine," said the goat, "are rather upsetting." "What are they?"

"Well," said the goat, "you must say: Let Good Digestion Wait on Appetite." "Oh, goat," said the Wart in a broken voice. "How horrible. But run quickly,

goat, and come back safely, goat, and oh, goat, give me one more kiss for company before you go." The goat refused to kiss him. It gave him the Emperor's salute, of both feet, and bounded away into the darkness as soon as he had said the words.

Unfortunately, although they had whispered too carefully for the crow to hear their speech, the release word had had to be said rather loudly to reach the next- door keyhole, and the door had creaked.

"Mother, mother!" screamed the crow. "The rabbits are escaping." Instantly Madame Mim was framed in the lighted doorway of the kitchen.

"What is it, my Grizzle?" she cried. "What ails us, my halcyon tit? "

"The rabbits are escaping," shrieked the crow again. The witch ran out, but too late to catch the goat or even to see him, and began examining the locks at once by the light of her fingers. She held these up in the air and a blue flame burned at the tip of each.

"One little boy safe," counted Madame Mim, "and sobbing for his dinner. Two little boys safe, and neither getting thinner. One mangy goat gone, and who cares a fiddle? For the owl and the cock are left, and the wittol in the middle."

"Still," added Madame Mim, "it's a caution how he got out, a proper caution, that it is."

"He was whispering to the little boy," sneaked the crow, "whispering for the last half-hour together."

"Indeed?" said the witch. "Whispering to the little dinner, hey? And much good may it do him. What about a sage stuffing, boy, hey? And what were you doing, my Greediguts, to let them carry on like that? No dinner for you, my little painted bird of paradise, so you may just flap off to any old tree and roost."

"Oh, Mother," whined the crow. "I was only adoing of my duty."

"Flap off," cried Madame Mim. "Flap off, and go broody if you like." The poor crow hung its head and crept off to the other end of the roof, sneering to itself.

"Now, my juicy toothful," said the witch, turning to the Wart and opening his door

with the proper whisper of

Enough-Is-As-Good-As-A-Feast, "we think the cauldron simmers and the oven is mod. How will my tender sucking pig enjoy a little popping lard instead of the clandestine whisper?"

The Wart ran about in his cage as much as he could, and gave as much trouble as possible in being caught, in order to save even a little time for the coming of Merlyn.

"Let go of me, you beast," he cried. "Let go of me, you foul hag, or I'll bite your fingers."

"How the creature scratches," said Madame Mim. "Bless us, how he wriggles and kicks, just for being a pagan's dinner."

"Don't you dare kill me," cried the Wart, now hanging by one leg. "Don't you dare to lay a finger on me, or you'll be sorry for it."

"The lamb," said Madame Mim. "The partridge with a plump breast, how he does squeak."

"And then there's the cruel old custom," continued the witch, carrying him into the lamplight of the kitchen where a new sheet was laid on the floor, "of plucking a poor chicken before it is dead. The feathers come out cleaner so. Nobody could be so cruel as to do that nowadays, by Nothing or by Never, but of course a little boy doesn't feel any pain. Their clothes come off nicer if you take them off alive, and who would dream of roasting a little boy in his clothes, to spoil the feast?"

"Murderess," cried the Wart. "You will rue this ere the night is out." "Cubling," said the witch. "It's a shame to kill him, that it is. Look how his

little downy hair stares in the lamplight, and how his poor eyes pop out of his head. Greediguts will be sorry to miss those eyes, so she will. Sometimes one could almost be a vegetarian, when one has to do a deed like this."

The witch laid Wart over her lap, with his head between her knees, and carefully began to take his clothes off with a practiced hand. He kicked and squirmed as much as he could, reckoning that every hindrance would put off the time when he would be actually knocked on the head, and thus increase the time in which the black goat could bring Merlyn to his rescue. During this time the witch sang her plucking song, of: Pull the feather with the skin, Not against the grain-o.

Pluck the soft ones out from in, The great with might and main-o. Even if he wriggles,

Never heed his squiggles,

For mercifully little boys are quite immune to pain-o.

She varied this song with the other kitchen song of the happy cook: Soft skin for crackling, Oh, my lovely duckling,

The skewers go here, And the string goes there

And such is my scrumptious suckling.

"You will be sorry for this," cried the Wart, "even if you live to be a thousand."

"He has spoken enough," said Madame Mim. "It is time that we knocked him on the napper."

Hold him by the legs, and When up goes his head,

Clip him with the palm-edge, and Then he is dead.

The dreadful witch now lifted the Wart into the air and prepared to have her will of him; but at that very moment there was a fizzle of summer lightning without any crash and in the nick of time Merlyn was standing on the threshold.

"Ha!" said Merlyn. "Now we shall see what a double-first at Dom-Daniel avails against the private education of my master Bleise." Madame Mim put the Wart down without looking at him, rose from her chair, and drew herself to her full magnificent height. Her glorious hair began to crackle, and sparks shot out of her flashing eyes. She and Merlyn stood facing each other a full sixty seconds, without a word spoken, and then Madame Mim swept a royal curtsey and Merlyn bowed a frigid bow. He stood aside to let her go first out of the doorway and then followed her into the garden.

It ought perhaps to be explained, before we go any further, that in those far-off days, when there was actually a college for Witches and Warlocks under the sea at Dom-Daniel and when all wizards were either black or white, there was a good deal of ill-feeling between the different creeds. Quarrels between white and black were settled ceremonially, by means of duels. A wizard's duel was run like this. The two principals would stand opposite each other in some large space free from obstructions, and await the signal to begin. When the signal was given they were at liberty to turn themselves into things. It was rather like the game that can be played by two people with their fists. They say One, Two, Three, and at Three they either stick out two fingers for scissors, or the flat palm for paper, or the clenched fist for stone. If your hand becomes paper when your opponent's become scissors, then he cuts you and wins: but if yours has turned into stone, his scissors are blunted, and the win is yours. The object of the wizard in the duel was, to turn himself into some kind of animal, vegetable or mineral which would destroy the particular animal, vegetable or mineral which had been selected by his opponent. Sometimes it went on for hours.

Merlyn had Archimedes for his second, Madame Mim had the gore-crow for hers, while Hecate, who always had to be present at these affairs in order to keep them regular, sat on the top of a step-ladder in the middle, to umpire. She was a cold, shining, muscular lady, the color of moonlight. Merlyn and Madame Mim rolled up their sleeves, gave their surcoats to Hecate to hold, and the latter put on a celluloid eye-shade to watch the battle.

At the first gong Madame Mim immediately turned herself into a dragon. It was the accepted opening move and Merlyn ought to have replied by being a thunderstorm or something like that. Instead, he caused a great deal of preliminary confusion by becoming a field mouse, which was quite invisible in the grass, and nibbled Madame Mim's tail, as she stared about in all directions, for about five minutes before she noticed him. But when she did notice the

nibbling, she was a furious cat in two flicks.

Wart held his breath to see what the mouse would become next — he thought perhaps a tiger which could kill the cat — but Merlyn merely became another cat. He stood opposite her and made faces. This most irregular procedure put Madame Mim quite out of her stride, and it took her more than a minute to regain her bearings and become a dog. Even as she became it, Merlyn was another dog standing opposite her, of the same sort.

"Oh, well played, sir!" cried the Wart, beginning to see the plan. Madame Mim was furious. She felt herself out of her depth against these unusual stone- walling tactics and experienced an internal struggle not to lose her temper. She knew that if she did lose it she would lose her judgment, and the battle as well. She did some quick thinking. If whenever she turned herself into a menacing animal, Merlyn was merely going to turn into the same kind, the thing would become either a mere dog-fight or stalemate. She had better alter her own tactics and give Merlyn a surprise.

At this moment the gong went for the end of the first round. The combatants retired into their respective corners and their seconds cooled them by flapping their wings, while Archimedes gave Merlyn a little massage by nibbling with his beak.

"Second round," commanded Hecate. "Seconds out of the ring    Time!"

Clang went the gong, and the two desperate wizards stood face to face.

Madam Mim had gone on plotting during her rest. She had decided to try a new tack by leaving the offensive to Merlyn, beginning by assuming a defensive shape herself. She turned into a spreading oak. Merlyn stood baffled under the oak for a few seconds. Then he most cheekily — and, as it turned out, rashly — became a powdery little blue-tit, which flew up and sat perkily on Madame Mim's branches. You could see the oak boiling with indignation for a moment; but then its rage became icy cold, and the poor little blue-tit was sitting, not on an oak, but on a snake. The snake's mouth was open, and the bird was actually perching on its jaws. As the jaws clashed together, but only in the nick of time, the bird whizzed off as a gnat into the safe air. Madame Mim had got it on the run, however, and the speed of the contest now became bewildering. The quicker the attacker could assume a form, the less time the fugitive had to think of a form which would elude it, and now the changes were as quick as thought. The gnat was scarcely in the air when the snake had turned into a toad whose curious tongue, rooted at the front instead of the back of the jaw, was already unrolling in the flick which would snap it in. The gnat, flustered by the sore pursuit, was bounced into an offensive role, and the hard-pressed Merlyn now stood before the toad in the shape of a mollern which could attack it. But Madame Mim was

in her element. The game was going according to the normal rules now, and in less than an eye's blink the toad had turned into a peregrine falcon which was diving at two hundred and fifty miles an hour upon the heron's back. Poor Merlyn, beginning to lose his nerve, turned wildly into an elephant — this move usually won a little breathing space — but Madame Mim, relentless, changed from the falcon into an aullay on the instant. An aullay was as much bigger than an elephant as an elephant is larger than a sheep. It was a sort of horse with an elephant's trunk. Madame Mim raised this trunk in the air, gave a shriek like a railway engine, and rushed upon her panting foe. In a flick Merlyn had disappeared.

"One," said Hecate. "Two. Three. Four. Five. Six. Seven. Eight. Nine — "

But before the fatal Ten which would have counted him out, Merlyn reappeared in a bed of nettles, mopping his brow. He had been standing among them as a nettle.

The aullay saw no reason to change its shape. It rushed upon the man before it with another piercing scream. Merlyn vanished again just as the thrashing trunk descended, and all stood still a moment, looking about them, wondering where he would step out next.

"One," began Hecate again, but even as she proceeded with her counting, strange things began to happen. The aullay got hiccoughs, turned red, swelled visibly, began whooping, came out in spots, staggered three times, rolled its eyes, fell rumbling to the ground. It groaned, kicked and said Farewell. The Wart cheered, Archimedes hooted till he cried, the gore-crow fell down dead, and Hecate, on the top of her ladder, clapped so much that she nearly tumbled off. It was a master stroke.

The ingenious magician had turned himself successively into the microbes, not yet discovered, of hiccoughs, scarlet fever, mumps, whooping cough, measles and heat spots, and from a complication of all these complaints the infamous Madame Mim had immediately expired.

CHAPTER SEVEN

TILTING AND horsemanship had two afternoons a week, because they were easily the most important branches of a gentleman's education in those days. Merlyn grumbled a good deal about athletics, saying that nowadays people seemed to think that you were an educated man if you could knock another man off a horse and that the craze for games was the ruination of true scholarship — nobody got scholarships like they used to do when he was a boy, and all the public schools had been forced to lower their standards — but Sir Ector, who was an old tilting blue, said that the battle of Cressy had been won upon the playing fields of Camelot. This made Merlyn so furious that he gave Sir Ector rheumatism two nights running before he relented.

Tilting was a great art and needed an enormous amount of practice. When two knights jousted they held their lances in their right hands, but they directed their horses at one another so that each man had his opponent on his near side. The base of the lance, in fact, was held on the opposite side of the body to the side at which the enemy was charging. This seems rather inside out to anybody who is in the habit, say, of opening gates with a hunting-crop, but it had its reasons. For one thing, it meant that the shield was on the left arm, so that the opponents charged shield to shield, fully covered. It also meant that a man could be unhorsed with the side or edge of the lance, in a kind of horizontal swipe, if you did not feel sure of hitting him with your point. This was the humblest or least skillful blow in jousting.

A good jouster, like Launcelot or Tristram, always used the blow of the point, because, although it was liable to miss in unskillful hands, it made contact sooner. If one knight charged with his lance held rigidly sideways, with a view to sweeping his opponent out of the saddle, the other knight with his lance held directly forward would knock him down a lance length before the sweep came into effect.

Then there was how to hold your lance for the point stroke. It was no good crouching in the saddle and clutching it in a rigid grip preparatory to the great shock, for if you held it inflexibly like this its point bucked up and down to every movement of your thundering mount and you were practically certain to miss your aim. On the contrary, you had to sit quite loosely in the saddle with the lance easy and balanced against the horse's motion. It was not until the actual moment of striking that you clamped your knees into the horse's sides, threw your weight forward in your seat, clutched the lance with the whole hand instead of with your finger and thumb, and hugged your right elbow to your side to

support its butt. There was the size of the spear. Obviously a man with a spear one hundred yards long would strike down an opponent with a normal spear of ten or twelve feet before the latter came anywhere near him. But it would have been impossible to make a spear one hundred yards long and, if made, impossible to carry it. The jouster had to find out the greatest length which he could manage with the greatest speed, and stick to that. Sir Launcelot, who came some time after this story, had several sizes of spear and would call for his Great Spear or his Lesser Spear as occasion demanded.

There were the places on which the enemy should be hit. In the armory of the Castle of the Forest Sauvage there was a big picture of a knight in armor with circles round his vulnerable points. These varied with the style of armor, so that you had to study your opponent before the charge and select a point. The good armorers — the best lived at Warrington, and still live there — were careful to make all the forward or entering sides of their suits convex, so that the spear point glanced off them. Curiously enough, the shields were more inclined to be concave. It was better that a spear point should stay on your shield, rather than glance off upwards or downwards, and perhaps hit a more vulnerable point of your body armor. The best place of all for hitting people was on the very crest of the tilting helm, that is, if the person in question were vain enough to have a large metal crest in whose folds and ornaments the point would find a ready lodging. Many were vain enough to have these armorial crests, with bears and dragons or even ships or castles on them, but Sir Launcelot always contented himself with a bare helmet, or a bunch of feathers which would not hold spears, or, on one occasion, a soft lady's sleeve.

It would take too long to go into all the interesting details of proper tilting which the boys had to learn, for in those days one had to be a master of one's craft from the bottom upwards. You had to know what wood was best for spears, and why, and even how to turn them so that they would not splinter or warp. There were a thousand disputed questions about arms and armor, all of which had to be understood. Just outside Sir Ector's castle there was a jousting field for tournaments, although there had been no tournaments in it since Kay was born. It was a green meadow, kept short, with a broad grassy bank raised round it on which pavilions could be erected. There was an old wooden grandstand at one side, lifted on stilts for the ladies. At present it was only used as a practice- ground for tilting, so a quintain had been erected at one end and a ring at the other. The quintain was a very horrible wooden saracen on a pole.

He was painted with a bright blue face and red beard and glaring eyes. He had a shield in his left hand and a flat wooden sword in his right. If you hit him in the middle of his forehead all was well, but if your lance struck him on the shield or

on any part to left or right of the middle line, then he spun round with great rapidity, and usually caught you a wallop with his sword as you galloped by, ducking. His paint was somewhat scratched and the wood picked up over his right eye. The ring was just an ordinary iron ring tied to a kind of gallows by a thread. If you managed to put your point through the ring, the thread broke, and you could canter off proudly with the ring round your spear.

The day was cooler than it had been for some time, for the autumn was almost within sight, and the two boys were in the tilting yard with the master armorer and Merlyn. The master armorer, or sergeant-at-arms, was a stiff, pale, bouncy gentleman with waxed mustaches. He always marched about with his chest stuck out like a pouter pigeon, and called out "On the word One — " on every possible occasion. He took great pains to keep his tummy in, and often tripped over his feet because he could not see them over his chest. He was always making his muscles ripple, which annoyed Merlyn.

Wart lay beside Merlyn in the shade of the grandstand and scratched himself for harvest bugs. The saw-like sickles had only lately been put away, and the wheat stood in stooks of eight among the tall stubble of those times. The Wart still itched. He was also sore about the shoulders and had a burning red ear, from making bosh shots at the quintain — for, of course, practice tilting was done without armor. Wart was pleased that it was Kay's turn to go through it now and lay drowsily in the shade, snoozing, scratching, twitching like a dog and partly attending to the fun. Merlyn, sitting with his back to all this athleticism, was practicing a spell which he had forgotten. It was a spell to make the sergeant's mustaches uncurl, but at present it only uncurled one of them and the sergeant had not noticed it. He absent-mindedly curled it up again every time that Merlyn did the spell, and Merlyn said, "Drat it!" and began again. Once he made the sergeant's ears flap by mistake, and the latter gave a startled look at the sky.

"How's goat?" asked Merlyn lazily, getting tired of these activities. They had set free all Madame Mim's poor captives on the night of the great duel, but the goat had insisted on coming home with them. They had found him lurking on the edge of the battle ground, having galloped all the way back to see the fun and to help the Wart as best he could if Madame Mim should have proved the victor.

"He has made friends with Cavall," said Wart, "and decided to sleep in the kennels. It was funny at first, because Clumsy and Apollon thought it was cheek and tried to run him out. He just stood in a corner so that they could not nip his hocks, and gave them such a bunt each with his knobbly forehead that now, whenever he gives them one of his looks, they get up from whatever they are doing and go somewhere else. The Dog Boy says that Clumsy believes he is the devil."

From far off at the other side of the tilting ground the sergeant's voice came floating on the still air.

"Nah, Nah, Master Kay, that ain't it at all. Has you were. Has you were. The spear should be 'eld between the thumb and forefinger of the right 'and, with the shield in line with the seam of the trahser leg..." The Wart rubbed his sore ear and sighed.

"What are you grieving about now?" asked Merlyn. "I wasn't grieving, I was just thinking."

"What were you thinking?"

"Oh, it wasn't anything. I was thinking about Kay learning to be a knight." "And well you may grieve," exclaimed Merlyn hotly. "A lot of brainless

unicorns swaggering about and calling themselves educated just because they can push each other off a horse with a bit of stick! It makes me tired. Why, I believe Sir Ector would have been gladder to get a by-our-lady tilting blue for your tutor, that swings himself along on his knuckles like an anthropoid ape, rather than a magician of known probity and international reputation with first- class honors from every European university. The trouble with the English Aristocracy is that they are games-mad, that's what it is, games-mad."

He broke off indignantly and deliberately made the sergeant's ears flap slowly twice, in unison.

"I wasn't thinking quite about that," said the Wart. "As a matter of fact, I was thinking how nice it would be to be a knight, like Kay."

"Well, you'll be one soon enough, won't you?" asked Merlyn impatiently. The Wart did not answer.

"Won't you?"

Merlyn turned round and looked closely at the Wart through his spectacles. "What's the matter now?" said Merlyn in his nastiest voice. His inspection had

showed him that the Wart was trying not to cry, and that if he spoke in a kind voice the Wart would break down and do it.

"I shall not be a knight," replied the Wart coldly. Merlyn's trick had worked and he no longer wanted to weep: he wanted to kick Merlyn. "I shall not be a knight because I am not a proper son of Sir Ector's. They will knight Kay, and I shall be his squire."

Merlyn's back was turned again, but his eyes were twinkling behind his curious spectacles. "That's too bad," said Merlyn, without commiseration.

The Wart burst out with all his thoughts aloud. "Oh," he cried, "but I should have liked to be born with a proper father and mother, so that I could be a knight errant."

"What would you have done?"

"I should have had a splendid suit of armor and dozens of spears and a black horse standing eighteen hands, and I should have called myself The Black Knight. And I should have hoved at a well or a ford or something and made all true knights that came that way to joust with me for the honor of their ladies, and I should have spared them all after I had given them a great fall, and I should live out of doors all the year round in a pavilion and never do anything but joust and go on quests and bear away the prize at tournaments, and I shan't ever tell anybody my name."

"Your wife won't enjoy the life very much," said Me reflectively. "Oh, I'm not going to have a wife. I think they're stupid."

"I shall have to have a lady-love, though," added the Wart uncomfortably, "so that I can wear her favor in my helm, and do deeds in her honor."

A humblebee came zooming between them, under the grandstand and out into the sunlight.

"Would you like to see some real knights errant?" asked Merlyn slowly. "Now, for the sake of your education?"

"Oh, I would," cried the Wart. "We've never even had a tournament since I was here."

"I suppose it could be managed."

"Oh, please do. You could take me to some as you did to the fish." "I suppose it's educational, in a way."

"It's very educational," said the Wart. "I can't think of anything more educational than to see some real knights fighting. Oh, won't you please do it?"

"Do you prefer any particular knights?"

"King Pellinore," said the Wart immediately. He had a weakness for this gentleman since their strange encounter in the Forest Sauvage. Merlyn said, "That will do very well. Put your hands to your sides and relax your muscles. Cabricias arci thuram, catalamus, singulariter, nominativo, haec musa. Shut your eyes and keep them shut. Bonus, Bona, Bonum. Here we go. Deus Sanctus, est- ne oratio Latinas? Etiam, oui, quare? Pourquoi? Quia substantivo et adjectivum concordat in generi, numerum et casus. Here we are."

While this incantation was going on, Wart experienced some queer sensations. First he could hear the sergeant calling out to Kay, "Nah, then, nah then, keep the 'eels dahn and swing the body from the 'ips." Then the words got smaller and smaller, as if he were looking at his feet through the wrong end of a telescope, and began to swirl round into a cone, as if they were at the pointed bottom end of a whirlpool which was sucking him into the air. Then there was nothing but a loud rotating roaring and hissing noise which rose to such a tornado that he felt that he could not stand it any more. Finally there was utter silence and Merlyn

saying, "Here we are." All this happened in about the time that it would take a sixpenny rocket to start off with its fiery swish, bend down from its climax and disperse itself in thunder and colored stars. He opened his eyes just at the moment when you would have heard the invisible stick hitting the ground. They were lying under a beech tree in the Forest Sauvage.

"Here we are," said Merlyn. "Get up and dust your clothes."

"And there, I think," continued the magician, in a tone of great satisfaction because his spells had worked for once without a hitch, "is your friend, King Pellinore, pricking towards us o'er the plain."

"Hallo, hallo," cried King Pellinore, popping his visor up and down. "It's the young boy with the feather bed, isn't it, I say, what?"

"Yes, it is," said the Wart. "And I am very glad to see you. Did you manage to catch the Beast?"

"No," said King Pellinore. "Didn't catch the beast. Oh, do come here, you brachet, and leave that bush alone. Tcha! Tcha! Naughty, naughty!

She runs riot, you know, what. Very keen on rabbits. I tell you there's nothing in it, you beastly dog. Tcha! Tcha! Leave it, leave it! Oh, do come to heel, like I tell you."

"She never does come to heel," added King Pellinore. At this the dog put a cock pheasant out of the bush which rocketed off with a tremendous clutter, and the dog became so excited that it ran round its master three or four times at the end of its rope, panting hoarsely as if it had asthma. King Pellinore's horse stood quite patiently while the rope was being wound round its legs, and Merlyn and the Wart had to catch the brachet and unwind it before the conversation could proceed.

"I say," said King Pellinore. "Thank you very much, I must say. Won't you introduce me to your friend, what?"

"This is my tutor Merlyn, a great magician."

"How de do," said the King. "Always like to meet magicians. In fact, I always like to meet anybody, you know. It sort of passes the time away, what, on a quest."

"Hail," said Merlyn, in his most mysterious manner.

"Hail," replied the King, anxious to make a good impression. They shook hands.

"Did you say Hail?" inquired the King, looking about him nervously. "I thought it was going to be fine, meself."

"He meant How-do-you-do," explained the Wart. "Ah, yes, How-de-do?"

They shook hands again.

"Good afternoon," said King Pellinore. "What do you think the weather looks like now?"

"I think it looks like an anti-cyclone," said Merlyn.

"Ah, yes," said the King. "An anti-cyclone. Well, I suppose I ought to be getting along."

At this the King trembled very much, opened and shut his visor several times, coughed, wove his reins into a knot, exclaimed, "I beg your pardon?" and showed signs of cantering away.

"He is a white magician," said the Wart. "You needn't be afraid of him. He is my best friend, your majesty, and in any case he generally gets his spells muddled up."

"Ah, yes," said King Pellinore. "A white magician, what? How small the world is, is it not? How-de-do?"

"Hail," said Merlyn. "Hail," said King Pellinore.

They shook hands for the third time.

"I shouldn't go away," said Merlyn, "if I were you. Sir Grummore Grummursum is on the way here to challenge you to a joust."

"No, you don't say? Sir What-you-may-call-it coming here to challenge me to a joust?"

"Assuredly."

"Good handicap man?"

"I should think it would be a pretty even match."

"Well, I must say," exclaimed the King, "it never hails but it pours." "Hail," said Merlyn.

"Hail," said King Pellinore. "Hail," said the Wart involuntarily.

"Now I really won't shake hands with anybody else," announced the monarch. "We shall simply assume that we have all met before."

"Is Sir Grummore really coming," inquired the Wart, hastily changing the subject, "to challenge King Pellinore to a battle?"

"Look yonder," said Merlyn, and both of them looked in the direction of his outstretched finger.

Sir Grummore Grummursum was cantering up the clearing in full panoply of war. Instead of his ordinary helmet with a visor he was wearing the proper tilting-helm, which looked like a large coal-scuttle, and as he cantered he clanged.

He was singing his old school song: We'll tilt together

Steady from crupper to poll, And nothin' in life shall sever Our love for the dear old coll.

Follow-up, follow-up, follow-up, follow-up, follow-up,

Till the shield ring again and again With the clanks of the clanky true men.

"Goodness," exclaimed King Pellinore. "It's about two months since I had a proper tilt, and last winter they put me up to eighteen. That was when they had the new handicaps, you know."

Sir Grummore had arrived while he was speaking, and had recognized the Wart.

"Mornin'," said Sir Grummore. "You're Sir Ector's boy, ain't you? And who's that chap in the comic hat?"

"That is my tutor," said the Wart hurriedly, "Merlyn, the magician." Sir Grummore looked at Merlyn — magicians were considered rather middle-class by the true jousting set in those days — and said distantly, "Ah, a magician. How-de-do?"

"And this is King Pellinore," said the Wart. "Sir Grummore Grummursum — King Pellinore."

"How-de-do?" said Sir Grummore.

"Hail," said King Pellinore. "No, I mean it won't hail, will it?" "Nice day," said Sir Grummore.

"Yes, it is nice, what, isn't it?" "Been questin' today?"

"Oh, yes, thank you. Always am questing, you know. After the Questing Beast."

"Interestin' job that, very."

"Yes, it is interesting. Would you like to see some fewmets." "By Jove, yes. Like to see some fewmets."

"I have some better ones at home, but these are quite good, really." "Bless, my soul. So these are her fewmets."

"Yes, these are her fewmets." "Interestin' fewmets."

"Yes, they are interesting, aren't they?"

"Only you get tired of them," added King Pellinore. "Well, well. It's a fine day, isn't it?"

"Yes, it is rather fine."

"Suppose we'd better have a joust, eh, what?"

"Yes, I suppose we had better," said King Pellinore, "really." "What shall we have it for?"

"Oh, the usual thing, I suppose. Would one of you kindly help me on with my helm?"

They all three had to help him on eventually, for, what with the unscrewing of screws and the easing of nuts and bolts which the King had clumsily set on the wrong thread when getting up in a hurry that morning, it was quite a feat of engineering to get him out of his helmet and into his helm. The helm was an enormous thing like an oil drum, padded inside with two thicknesses of leather and three inches of straw.

As soon as they were ready, the two knights stationed themselves at each end of the clearing and then advanced to meet in the middle.

"Fair knight," said King Pellinore, "I pray thee tell me thy name." "That me regards," replied Sir Grummore, using the proper formula.

"That is uncourteously said," said King Pellinore, "what? For no knight ne dreadeth for to speak his name openly, but for some reason of shame."

"Be that as it may, I choose that thou shalt not know my name as at this time, for no askin'."

"Then you must stay and joust with me, false knight."

"Haven't you got that wrong, Pellinore?" inquired Sir Grummore. "I believe it ought to be 'thou shalt.'"

"Oh, I'm sorry, Sir Grummore. Yes, so it should, of course. Then thou shalt stay and joust with me, false knight."

Without further words, the two gentlemen retreated to the opposite ends of the clearing, fewtered their spears, and prepared to hurtle together in the preliminary charge.

"I think we had better climb up this tree," said Merlyn "You never know what will happen in a joust like this."

They climbed up the big beech, which had low easy branches sticking out in all directions, and the Wart stationed himself towards the end of a smooth bough about fifteen feet up, where he could get a good view. Nothing is so comfortable to sit in as a big beech.

In order to be able to picture the terrible battle which now took place, there is one thing which ought to be known: a knight in his full armor of those days was generally carrying as much or more than his own weight in metal. He weighed no less than twenty-two stone, and sometimes as much as twenty-five. This meant that his horse had to be a slow and enormous weight-carrier, like the farm horse of today, and that his own movements were so hampered by his burden of iron and padding that they were toned down into slow motion as in motion

pictures.

"They're off!" cried the Wart, holding his breath with excitement. Slowly and majestically, the ponderous horses lumbered into a walk. The spears, which had been pointing in the air, bowed down to a horizontal line and pointed at each other. King Pellinore and Sir Grummore could be seen to be thumping their horses' sides with their heels for all they were worth, and in a few minutes the splendid animals had shambled into an earth-shaking imitation of a trot. Clank, rumble, thumpity-thump, and now the two knights were flapping their elbows and legs in unison, showing a good deal of daylight at their seats. There was a change in tempo, and Sir Grummore's horse could be definitely seen to be cantering. In another minute King Pellinore's was doing so too. It was a terrible spectacle.

"Oh, dear!" exclaimed the Wart, feeling slightly ashamed that his own blood- thirstiness had been responsible for making these two knights joust before him. "Do you think they will kill each other? "

"Dangerous sport," said Merlyn, shaking his head. "Now!" cried the Wart.

With a blood-curdling thumping of iron hoofs the mighty equestrians came together. Their spears wavered for a moment within a few inches of each other's helms — each had chosen the difficult point-stroke — and then they were galloping off in opposite directions. Sir Grummore drove his spear deep into the beech tree where they were sitting and stopped dead. King Pellinore, who had been ran away with, vanished altogether behind his back.

"Is it safe to look?" inquired the Wart, who had shut his eyes tight at the critical moment.

"Quite safe," said Merlyn, "it will take them some time to get back."

"Whoa, whoa, I say!" cried King Pellinore in muffled and distant tones, far away among some gorse bushes.

"Hi, Pellinore, hi!" shouted Sir Grummore. "Come back, my dear fellah, I'm over here."

There was a long pause, while the complicated stations of the two knights readjusted themselves, and then King Pellinore was at the opposite end from that at which he had started, while Sir Grummore faced him from his original position.

"Traitor knight!" cried Sir Grummore. "Yield, recreant, what?" cried King Pellinore.

They fewtered their spears again, and thundered into the charge.

"Oh," said the Wart, "I hope they don't hurt themselves." But the two mounts were patiently blundering together, and the two knights had simultaneously

decided upon the sweeping stroke. Each held his spear straight out at right angles towards the left, and before the Wart could say anything further there was a terrific yet melodious thump. Clang!

said the armor, like a motor omnibus in collision with a smithy, and the jousters were sitting side by side on the green sward, while their horses cantered off in opposite directions.

"A splendid fall," said Merlyn.

The two horses pulled themselves up, their duty done, and began resignedly to eat the sward. King Pellinore and Sir Grummore sat looking straight before them, each with the other's spear clasped hopefully under his arm.

"Well!" said the Wart. "What a bump! They both seem to be all right, so far." Sir Grummore and King Pellinore laboriously got up.

"Defend thee," cried King Pellinore. "God save thee," cried Sir Grummore.

With this they drew their swords and rushed together with such ferocity that each, after dealing the other a dint on the helm, sat down suddenly backwards.

"Bah!" cried King Pellinore.

"Booh!" cried Sir Grummore, also sitting down.

"Mercy," exclaimed the Wart. "What a combat!" The knights had now lost their tempers and the battle was joined in earnest. It did not matter much, however, for they were so encased in metal that they could do each other little damage. It took them so long to get up, and the dealing of a blow when you weighed the eighth part of a ton was such a cumbrous business, that every stage of the contest could be marked and pondered.

In the first stage King Pellinore and Sir Grummore stood opposite each other for about half an hour, and walloped each other on the helm. There was only opportunity for one blow at a time, and so they more or less took it in turns, King Pellinore striking while Sir Grummore was recovering, and vice versa. At first, if either of them dropped his sword or got it stuck in the ground, the other put in two or three extra blows while he was patiently fumbling for it or trying to tug it out. Later, they fell into the rhythm of the thing more perfectly, like the toy mechanical people who saw wood on Christmas trees. Eventually the exercise and the monotony restored their good humor and they began to get bored.

The second stage was introduced as a change, by common consent. Sir Grummore stumped off to one end of the clearing, while King Pellinore plodded off to the other. Then they turned round and swayed backwards and forwards once or twice, in order to get their weight on their toes. When they leaned forward they had to run forward, in order to keep up with their weight, and if they leaned too far backwards they fell down. So even walking was a bit

complicated. When they had got their weight properly distributed in front of them, so that they were just off their balance, each broke into a trot to keep up with himself. They hurtled together as it had been two boars.

They met in the middle, breast to breast, with a noise of shipwreck and great bells tolling and both, bouncing off, fell breathless on their backs. They lay thus for a few minutes, panting. Then they slowly began to heave themselves to their feet, and it was obvious that they had lost their tempers once again.

King Pellinore had not only lost his temper but seemed to have been a bit astonied by the impact. He got up facing the wrong way, and could not find Sir Grummore. There was some excuse for this, since he had only a tiny slit to peep through, and that was three inches away from his eye owing to the padding of straw, but he looked a bit muddled as well. Perhaps he had broken his spectacles. Sir Grummore was quick to seize his advantage.

"Take that!" cried Sir Grummore, giving the unfortunate monarch a two- handed swipe on the nob as he was slowly turning his head from side to side, peering in the opposite direction.

King Pellinore turned round morosely, but his opponent had been too quick for him. He had ambled round so that he was still behind the King, and now gave him another terrific blow in the same place.

"Where are you?" asked King Pellinore.

"Here," cried Sir Grummore, giving him another.

The poor king turned himself round as nimbly as possible, but Sir Grummore had given him the slip again.

"Tally-ho back!" shouted Sir Grummore, with another wallop. "I think you're a cad," said the King.

"Wallop!" replied Sir Grummore, doing it.

What with the preliminary crash, the repeated blows on the back of his head, and the puzzlingly invisible nature of his opponent, King Pellinore could now be seen to be visibly troubled in his brains. He swayed backwards and forwards under the hail of blows which were administered, and feebly wagged his arms.

"Poor King," said the Wart. "I wish he wouldn't hit him so." As if in answer to his wish, Sir Grummore paused in his labors.

"Do you want Pax?" asked Sir Grummore. King Pellinore made no answer.

Sir Grummore favored him with another whack and said, "If you don't say Pax, I shall cut your head off."

"I won't," said the King.

Whang! went the sword on the top of his head. Whang! it went again.

Whang! for the third time.

"Pax," said King Pellinore, mumbling rather.

Then, just as Sir Grummore was relaxing with the fruits of victory, he swung round upon him, shouted "Non!" at the top of his voice, and gave him a good push in the middle of the chest.

Sir Grummore fell over backwards.

"Well!" exclaimed the Wart. "What a cheat! I wouldn't have thought it of him."

King Pellinore hurriedly sat down on his victim's chest, thus increasing the weight upon him to a quarter of a ton and making it quite impossible for him to move, and began to undo Sir Grummore's helm.

"You said Pax!"

"I said Pax Non under my breath." "It's a swindle."

"It isn't, so nuts to you." "You cad."

"No, I'm not."

"Yes, you are."

"No, I'm not."

"Yes, you are." "I said Pax Non." "You said Pax." "No, I didn't."

"Yes, you did."

"No, I didn't."

"Yes, you did."

By this time Sir Grummore's helm was unlaced and they could see his bare head glaring at King Pellinore, quite purple in the face.

"Yield thee, recreant," said the King. "Shant," said Sir Grummore.

"You've got to yield, or I shall cut off your head." "Cut it off then."

"Oh, come on," said the King. "You know you have to yield when your helm is off."

"Feign I," said Sir Grummore. "Well, I shall just cut your head off." "I don't care."

The King waved his sword menacingly in the air.

"Go on," said Sir Grummore. "I dare you to." The King lowered his sword and

said, "Oh, I say, do yield, please." "You yield," said Sir Grummore.

"But I can't yield, you know. I am on top of you after all, am not I, what?" "Well, I've feigned yieldin'."

"Oh, come on, Grummore. I do think you are a cad not to yield. You know very well I can't cut your head off."

"I wouldn't yield to a cheat who started fightin' after he said Pax." "I'm not a cheat."

"You are a cheat." "No, I'm not."

"Yes, you are."

"No, I'm not."

"Yes, you are."

"Very well," said King Pellinore. "You can bally well get up and put on your helm and we'll have a fight. I won't be called a cheat for anybody."

"Cheat," said Sir Grummore.

They stood up and fumbled together with the helm, hissing, "No, I'm not," "Yes, you are," until it was safely on. Then they retreated to opposite ends of the clearing, got their weight upon their toes, and came rumbling and thundering together like two runaway trams.

Unfortunately they were now so cross that they had both ceased to be vigilant, and in the fury of the moment they missed each other altogether. The momentum of their armor was too great for them to stop till they had passed each other handsomely, and then they maneuvered about in such a manner that neither happened to come within the other's range of vision. It was a bit funny watching them, because King Pellinore, having already been caught from behind once, was continually spinning round to look behind him, and Sir Grummore, having used the stratagem himself, was doing the same thing. Thus they wandered for some five minutes, standing still, listening, clanking, crouching, creeping, peering, walking on tiptoe, and occasionally making a chance swipe behind their backs. Once they were standing within a few feet of each other, back to back, only to stalk off in opposite directions with infinite precaution, and once King Pellinore did hit Sir Grummore with one of his back strokes, but they both immediately spun round so often that they became giddy and mislaid each other afresh.

After five minutes Sir Grummore said, "All right, Pellinore. It's no use hidin'. I can see where you are."

"I'm not hiding," exclaimed King Pellinore indignantly. "Where am I?" They discovered each other and went up close together, face to face.

"Cad," said Sir Grummore. "Yah," said King Pellinore.

They turned round and marched off to their corners, seething with indignation. "Swindler," shouted Sir Grummore.

"Beastly bully," shouted King Pellinore.

With this they summoned all their energies together for one decisive encounter, leaned forward, lowered their heads like two billy-goats, and positively sprinted together for the final blow. Alas, their aim was poor. They missed each other by about five yards, passed at full steam doing at least eight knots, like ships that pass in the night but speak not to each other in passing, and hurtled onwards to their doom. Both knights began waving their arms like windmills, anti-clockwise, in the vain effort to slow up. Both continued with undiminished speed. Then Sir Grummore rammed his head against the beech in which the Wart was sitting, and King Pellinore collided with a chestnut at the other side of the clearing. The trees shook, the forest rang. Blackbirds and squirrels cursed and wood-pigeons flew out of their leafy perches half a mile away. The two knights stood to attention while you could count three. Then, with a last unanimous melodious clang, they both fell prostrate on the fatal sward.

"Stunned," said Merlyn, "I should think."

"Oh, dear," said the Wart. "Oughtn't we to get down and help them?"

"We could pour water on their heads," said Merlyn reflectively,"if there was any water. But I don't suppose they'd thank us for making their armor rusty. They'll be all right. Besides, it's time that we were home."

"But they might be dead!"

"They're not dead, I know. In a minute or two they'll come round and go off home to dinner."

"Poor King Pellinore hasn't got a home."

"Then Sir Grummore will invite him to stay the night. They'll be the best of friends when they come to. They always are."

"Do you think so?"

"My dear boy, I know so. Shut your eyes and we'll be off." The Wart gave in to Merlyn's superior knowledge. "Do you think," he asked with his eyes shut, "that Sir Grummore has a feather bed?"

"Probably."

"Good," said the Wart. "That will be nice for King Pellinore, even if he was stunned."

The Latin words were spoken and the secret passes made. The funnel of whistling noise and space received them. In two twos they were lying under the grandstand, and the sergeant's voice was calling from the opposite side of the

tilting ground, "Nah then, Master Art, nah then. You've been a-snoozing there long enough. Come aht into the sunlight 'ere with Master Kay, one-two, one-two, and see some real tilting."

CHAPTER EIGHT

IT WAS a cold wet evening, such as may happen even towards the end of August, and the Wart did not know how to bear himself indoors. He spent some time in the kennels, talking to Goat and Cavall, then wandered off to help them turn the spit in the kitchen. But there it was too hot. He was not forced to stay indoors because of the rain, by his female supervisors, as happens all too frequently to the decadent children of the present generation, but the mere wetness and dreariness in the open discouraged him from going out. He hated everybody.

"Confound the boy," said Sir Ector. "For goodness sake stop mopin'

by that window there, and go and find your tutor. When I was a boy we always used to study on wet days, yes, and eddicate our minds."

"Wart's stupid," said Kay.

"Ah, run along, my duck," said their old Nurse. "I ha'n't got time to attend to thy mopseys now, what with all this sorbent washing."

"Now then, my young master," said Hob. "Let thee run off to thy quarters, and stop confusing they fowls."

"Nah, nah," said the sergeant. "You 'op orf art of 'ere. I got enough to do a- polishing of this ber-lady harmor."

Even the Dog Boy barked at him when he went back to the kennels. Wart draggled off to the tower room, where Merlyn was busy knitting himself a woolen night-cap for the winter.

"I cast off two together at every other line," said Merlyn? "but for some reason it seems to end too sharply. Like an onion, you know. It's the turning of the heel that does you, every time."

"I think I ought to have some more eddication," said the Wart. "I can't think of anything to do."

"You think that education is something which ought to be done when all else fails?," inquired Merlyn nastily, he was in a bad mood too.

"Well," said the Wart, some sorts of education." "Mine?" asked the magician with flashing eyes

"Oh, Merlyn," exclaimed the Wart without answering, "please give me something to do, because I feel so miserable. Nobody wants me for anything today, and I just don't know how to be sensible. It rains so."

"You should learn to knit."

"Couldn't I go out and be something, a fish or like that?"

"You've been a fish," said Merlyn. "Nobody with any go needs to do their

education twice."

"Well, could I be a bird?"

"If you knew anything at all," said Merlyn, "which you don't, you would know that a bird doesn't like to fly in the rain because it wets its feathers and makes them stick together. They get bedraggled."

"I could be a hawk in Bob's mews," said the Wart stoutly "Then I should be indoors and shouldn't get wet."

"That's pretty ambitious," said Merlyn, "to want to be a hawk."

"You know you will turn me into a hawk when you want to," shouted the Wart, "but you like to plague me because it's wet. I won't have it."

"Hoity-toity," said Merlyn.

"Please," said the Wart, "dear Merlyn, turn me into a hawk. if you don't do that I shall do something. I don't know what."

Merlyn put down his knitting and looked at his pupil over the top of his spectacles. "My boy," he said, "you shall be everything in the world, animal, vegetable or mineral for all I care, before I've done with you, but you really will have to trust to my superior foresight — or is it backsight?

The time is not ripe for you to be a hawk — for one thing Hob is still in the mews feeding them — and you may just as well sit down for the moment and learn to be a human being."

"Very well," said the Wart, "if that's a go." And he sat down. After several minutes he said, "Is one allowed to speak as a human being, or does the thing about being seen and not heard have to apply?"

"Everybody can speak."

"That's good, because I wanted to mention that you have been knitting your beard into that night-cap for three rows now."

"Well, I'll be fiddled."

"I should think the best thing would be to cut off the end of your beard. Shall I fetch some scissors.

"Why didn't you tell me before?"

"I wanted to see what would happen."

"You run a grave risk, my boy," said Merlyn coldly, "of being turned into a piece of bread, and toasted."

With this he slowly began to unpick his beard, muttering to himself meanwhile and taking the greatest precautions not to drop a stitch.

"Will it be as difficult to fly," asked the Wart when he thought his tutor had calmed down, "as it was to swim?"

"You won't need to fly. I don't mean to turn you into a loose hawk, but only to set you in the mews for the night, so that you can talk to the others. That's the

way to learn, by listening to the experts." "Will they talk?"

"They talk every night deep into the darkness. They say about how they were taken, and what they can remember of their homes: about their lineage and the great deeds of their ancestors,about their training and what they have learned and will learn. It is military talk really, like you might have in the mess of a crack cavalry regiment: tactics, small arms, maintenance, betting, famous hunts, wine, women and song."

"Another subject they have," continued Merlyn, "is food."

"It's a depressing thought, but of course they are mainly trained by hunger. They're a hungry lot, poor chaps, thinking of the best restaurants where they used to go, and how they had champagne and caviare and gypsy music. Of course, they all come of noble blood."

"What a shame that they should be kept prisoners and hungry."

"Well, they don't really understand that they are prisoners, any more than the cavalry officers do. They look on themselves as being dedicated to their profession, like an order of knighthood or something like that. You see,the membership of the mews is after all restricted to the raptors, and that does help a lot. They know none of the lower classes can get in. Their screen perches don't carry blackbirds or such trash as that. And then, as to the hungry part, they are far from starving or that kind of hunger. They are in training, you know, and like everybody in strict training, they think about food."

"How soon can I begin?"

"You can begin now, if you want to, for my insight tells me that Hob has this minute finished for the night. But first of all you must choose what kind of hawk you would prefer to be."

"I should like to be a merlin," said the Wart politely. This answer pleased the magician. "A very good choice, he said,

"and if you please we will proceed at once."

The Wart got up from his stool and stood in front of his tutor. Merlyn put down his knitting.

"First you go small," said Merlyn, pressing him on the top of his head until he was a bit smaller than a pigeon.

"Then you stand on the ball of your toes, bend at the knees, hold your elbows to your sides, lift your hands to the level of your shoulders, and press your first and second fingers together, as also your third and fourth. Look, it is like this."

With these words the aged magician stood upon tiptoe and did as he had explained.

The Wart copied him carefully and wondered what would happen next. What

did happen was that Merlyn, who had been saying the final spells under his breath, suddenly turned himself into a condor, leaving the Wart standing on tiptoe unchanged. He stood there as if he were drying himself in the sun, with a wing-spread of about eleven feet, a bright orange head and a magenta carbuncle. He looked very surprised and rather funny.

"Come back," said the Wart. "You've changed the wrong one."

"It's this by-our-lady spring cleaning," exclaimed Merlyn, turning back into himself. "Once you let a woman into your study for half an hour, you don't know where to lay your hands on the right spell, not if it was ever so. Stand up and we'll try again."

This time the now tiny Wart felt his toes shooting out and scratching on the floor. He felt his heels rise and stick out behind, and his knees draw into his stomach. His thighs got quite short. A web of skin grew from his wrists to his shoulders, while his primary feathers burst out in little soft quills from the ends of his fingers and quickly grew. His secondaries sprouted out along his forearms, and a charming little false primary sprang from the end of each thumb.

The dozen feathers of his tail, with the double deck-feathers in the middle, grew out in the twinkling of an eye, and all the covert feathers of his back and breast and shoulders slipped out of the skin to hide the roots of the more important plumes. Wart looked quickly at Merlyn, ducked his head between his legs and had a look through there, rattled his feathers into place, and began to scratch his chin with the sharp talon of one toe.

"Good," said Merlyn. "Now hop up on my hand — ah,be careful and don't gripe — and listen to what I have to tell you. I shall take you into the mews now that Hob has locked up for the night, and I shall put you loose and unhooded beside Balin and Balan. Now pay attention. Don't go close to anybody without speaking first. You must remember that most of them are hooded and might be startled into doing something rash. You can trust Balin and Balan, also the kestrel and the spar-hawk. Don't go within reach of the falcon unless she invites you to. On no account must you stand beside Cully's special enclosure, for he is unhooded and will go for you through the mesh if he gets half a chance. He is not quite right in his brains, poor chap, and if he once grips you, you will never leave that grip again. Remember that you are visiting a kind of Spartan military mess. These fellows are regulars. As the junior subaltern your only business is to keep your mouth shut, speak when you're spoken to and not interrupt."

"I bet I'm more than a subaltern," said the Wart, "if I am a merlin."

"Well, as a matter of fact, you are. You will find that both the kestrel and the spar-hawk are polite to you, but for all sake's sake don't interrupt the senior merlins or the falcon. She's the honorary colonel of the regiment, you know. And

as for Cully, well, he's a colonel too, even if he is infantry, so you must mind your p's and q's."

"I will be careful," said the Wart, who was beginning to feel rather scared. "Good. I shall come for you in the morning before Hob is up." All the hawks

were silent as Merlyn carried their new companion into the mews, and silent for some time afterwards when they had been left in the dark. The rain had given place to a full August moonlight, so clear that you could see a woolly bear caterpillar fifteen yards away out of doors, as it climbed up and up the knobbly sandstone of the great keep, and it took the Wart only a few moments for his eyes to become accustomed to the diffused brightness inside the mews. The darkness became watered with light, with silver radiance, and then it was an eerie sight which dawned upon his vision. Each hawk or falcon stood in the silver upon one leg, the other tucked up inside the apron of its panel, and each was a motionless statue of a knight in armor. They stood gravely in their plumed helmets, spurred and armed. The canvas or sacking screens of their perches moved heavily in a breath of wind, like banners in a chapel, and the rapt nobility of the air kept their knight's vigil in knightly patience. In those days they used to hood everything they could, even the goshawk and the merlin, which are no longer hooded according to modem practice.

Wart drew his breath at the sight of all these stately figures, standing so still that they might have been cut of stone. He was overwhelmed by their magnificence, and felt no need of Merlyn's warning that he was to be humble and behave himself.

Presently there was a gentle ringing of a bell. The great peregrine falcon had bestirred herself and now said, in a high nasal voice which came from her aristocratic nose, "Gentlemen, you may converse." There was dead silence.

Only, in the far corner of the room, which had been netted off for Cully — loose there, unhooded and deep in moult — they could hear a faint muttering from the choleric infantry colonel. "Damned niggers," he was mumbling. "Damned administration. Damned politicians. Is this a damned dagger that I see before me, the handle towards my hand?

Damned spot. Now, Cully, hast thou but one brief hour to live, and then thou must be damned perpetually."

"Colonel," said the peregrine coldly, "not before the younger officers."

"I beg your pardon, Main," said the poor colonel at once. "It's something that gets into my head, you know. Some deep damnation." There was, silence again, formal, terrible and calm.

"Who is the new officer?" inquired the first fierce and beautiful voice. Nobody answered.

"Speak for yourself, sir," commanded the peregrine, looking straight before her as if she were talking in her sleep.

They could not see him through their hoods.

"Please," began the Wart, "I am a merlin. . . ." And he stopped, scared in the stillness.

Balan, who was one of the real merlins standing beside him, leaned over and whispered quite kindly in his ear, "Don't be afraid. Call her Madam."

"I am a merlin, Madam, an it please you."

"A Merlin. That is good. And what branch of the Merlins do you stoop from?"

The Wart did not know in the least what branch he stooped from, but he dared not be found out now in his lie.

"Madam," said the Wart, "I am one of the Merlins of the Forest Sauvage." There was silence at this again, the silver silence which he had begun to dread. "There are the Yorkshire Merlins," said the honorary colonel in her slow voice

at last, "and the Welsh Merlins, and the McMerlins of the North. Then there are the Salisbury ones and several from the neighborhood of Exmoor. I don't think I have ever heard of any family in the Forest Sauvage."

"It would be a cadet branch, Madam," said Balan, "I dare say."

"Bless him," thought the Wart. "I shall catch him a special sparrow tomorrow and give it to him behind Hob's back."

"That will be the solution, Captain Balan, no doubt." The silence fell again.

At last the peregrine rang her bell. She said, "We will proceed with the catechism, prior to swearing him in."

The Wart heard the spar-hawk on his left giving several nervous coughs at this, but the peregrine paid no attention.

"Merlin of the Forest Sauvage, said the peregrine, "What is a Beast of the Foot?"

"A Beast of the Foot," replied the Wart, blessing his stars that Sir Ector had chosen to give him a First Rate Eddication, "is a horse, or a hound, or a hawk."

"Why are these called beasts of the foot?"

"Because these beasts depend upon the powers of their feet, so that, by law, any damage to the feet of hawk, hound or horse, is reckoned as damage to its life. A lamed horse is a murdered horse."

"Good," said the peregrine. "What are your most important members?"

"My wings," said the Wart after a moment, guessing because he did not know.

At this there was a simultaneous tintinnabulation of all the bells, as each graven image lowered its raised foot in distress. They stood up on both feet now, disturbed.

"Your what?" called the peregrine sharply.

"He said his damned wings," said Colonel Cully from his private enclosure. "And damned be he who first cries Hold, enough!"

"But even a thrush has wings!" cried the humble kestrel, speaking for the first time in his sharp-beaked alarm.

"Think!" whispered Balan, under his breath. The Wart thought feverishly.

A thrush had wings, tail, eyes, legs — apparently everything. "My talons"

"It will do," said the peregrine kindly, after one of her dreadful pauses. "The answer ought to be Feet just as it is to all the other questions, but Talons will do."

All the hawks, and of course we are using the term loosely, for some were hawks and some were falcons, raised their belled feet again and sat at ease.

"What is the first law of the foot?"

("Think," said friendly little Balan, behind his false primary.) The Wart thought, and thought right.

"Never to let go," he said.

"Last question," said the peregrine. "How would you, as a Merlin, kill a pigeon bigger than yourself?"

Wart was lucky in this one, for he had heard Hob giving description of how Balan did it one afternoon, and he answered warily, "I should strangle her with my foot."

"Good!" said the peregrine.

"Bravo!" cried all the others, raising their feathers.

"Ninety per cent," said the spar-hawk after a quick sum. That is, if you give him a half for the talons."

"This devil damn me black!" "Colonel, please!"

Little Balan whispered to the Wart, "Colonel Cully is not quite right in his wits. It is his liver, we believe, but the kestrel says it is the constant strain of living up to her ladyship's standard. He says that her ladyship spoke to him from full rank once, cavalry to infantry, you know, and that he just closed his eyes and got the vertigo. He has never been the same since."

"Captain Balan," said the peregrine, "it is rude to whisper. We will proceed to swear the new officer in. Now, padre, if you please." The poor spar-hawk, who had been getting more and more nervous for some time, blushed deeply and began faltering out a complicated oath about varvels, jesses and hoods. "With this varvel," the Wart heard, "I thee endow. . . love, honor and obey . . . till jess us do part." But before the padre had got to the end of it, he broke down

altogether and sobbed out, "Oh, please your ladyship. beg your pardon, but I've forgotten to keep any tirings."

("Tirings are bones and things," explained Balan, "and of course you have to swear on bones.")

"Forgotten to keep any tirings? But it is your duty to keep tirings." "I-I know."

"What have you done with them?"

The spar-hawk's voice broke at the enormity of his confession. "I-I ate 'em," wept the unfortunate priest.

Nobody said anything. The dereliction of duty was too terrible for mere words. All stood on two feet and turned their blind heads towards the culprit. Not a word of reproach was spoken. Only, during an utter silence of five minutes, they could hear the incontinent priest sniveling and hiccoughing to himself.

"Well," said the peregrine at last, "the initiation will be put off till tomorrow." "If you'll excuse me, Madam," said Balin, "perhaps we could manage the

ordeal part of it tonight? I believe the candidate is loose, for I did not hear him being tied up."

At the mention of an ordeal the Wart trembled within himself and privately determined that Balin should have not one feather of Balan's sparrow next day.

"Thank you, Captain Balin. I was reflecting upon that subject myself." Balin shut up.

"Are you loose, candidate?"

"Oh, Madam, yes, I am, if you please: but I don't think I want an ordeal." "The ordeal is customary."

"Let me see," continued the honorary colonel reflectively. "What was the last ordeal we had? Can you remember, Captain Balan?"

"My ordeal, Mam," said the friendly merlin, "was to hang by my jesses during the third watch."

"If he's loose he can't do that."

"You could strike him yourself, Mam," said the kestrel. "Judiciously, you know."

"Send him over to stand by Colonel Cully while we ring thrice," said the other merlin.

"Oh, no!" cried the crazy colonel in an agony out of his remoter darkness. "Oh, no, your ladyship. I beg of you not to do that. I am such a damned villain, your ladyship, that I don't answer for the consequences. Spare the poor boy, your ladyship, and lead us not into temptation."

"Colonel, control yourself. That ordeal will do very well."

"Oh, Madam, I was warned not to stand by Colonel Cully." "Warned? And by whom?"

The poor Wart realized that now he must choose between confessing himself a human, and learning no more of their secrets, or going through with his ordeal in order to earn his education. He did not want to be a coward.

"I will stand by the Colonel, Madam," he said, immediately noticing that his voice sounded insulting.

The peregrine falcon paid no attention to the tone.

"It is well," she said. "But first we must have the hymn. Now, padre, if you haven't eaten your hymns as well as your tirings, will you be so kind as to lead us in Ancient but not Modern No. 23? The Ordeal Hymn."

"And you, Mr. Kee," she added to the kestrel, "you had better keep quiet, for you are always too high."

The hawks stood still in the moonlight, while the spar-hawk counted

"One, Two, Three." Then all those curved or toothed beaks opened in their hoods to a brazen unison, and this is what they fiercely chanted: Life is blood, shed and offered.

The eagle's eye can face this dree. To beasts of chase the lie is proffered Timor Mortis Conturbat me.

The beast of foot sings Holdfast only, For flesh is bruckle and foot is slee.

Strength to the strong and the lordly and lonely. Timor Mortis Exultat me.

Shame to the slothful and woe to the weak one, Death to the dreadful who turn to flee.

Blood to the tearing, the talon'd, the beaked one. Timor Mortis is me.

"Very nice," said the peregrine. "Captain Balan, I think you were a little off on the top C. And now, candidate, you will go over and stand next to Colonel Cully's enclosure, while we ring our bells thrice. On the third ring you may move as quickly as you like."

"Very good, Madam," said the Wart, quite fearless with resentment. He flipped his wings and was sitting on the extreme end of the screen perch, next to Cully's enclosure of string netting.

"Boy, boy!" cried the Colonel in an unearthly voice, "don't come near me, don't come near. Ah, tempt not the foul fiend to his damnation."

"I don't fear you, sir," said the Wart. "Don't vex yourself, for no harm will come to either of us."

"No harm, quotha! Ah, go, before it is too late. I feel eternal longings in me." "Never fear, sir. They have only got to ring three times." At this all the knights

lowered their raised legs and gave them a solemn shake. The first sweet persuasive tinkling filled the room.

"Madam, Madam!" cried the Colonel in torture. "Have pity, have pity on a damned man of blood. Ring out the old, ring in the new. I can't hold off much longer."

"Be brave, sir," said the Wart softly.

"Be brave, sir! Why, but two nights since, one met the duke 'bout midnight in a lane behind Saint Mark's Church with the leg of a man upon his shoulder: and he howled fearfully."

"It's nothing," said the Wart.

"Nothing! Said he was a wolf, only the difference was a wolf's skin was hairy on the outside, his on the inside. Rip up my flesh and try. Ah, for quietus, with a bare bodkin!"

The bells rang for the second time.

The Wart's heart was thumping heavily and pleading for the third release, but now the Colonel was sidling towards him along the perch. Stamp, stamp, he went, striking the wood he trod on with a convulsive grip at every pace. His poor, mad, brooding eyes glared in the moonlight, shone against the persecuted darkness of his scowling brow. There was nothing cruel about him, no ignoble passion. He was terrified of the Wart, not triumphing, and he must slay.

"If it were done when 'tis done," whispered the Colonel, "then 'twere well it were done quickly. Who would have thought the young man had so much blood in him?"

"Colonel!" said the Wart, but held himself there. "Boy!" cried the Colonel. "Speak, stop me, mercy!"

"There is a cat behind you," said the Wart calmly, "or a pine-marten. Look." The Colonel turned, swift as a wasp's sting, and menaced into the gloom.

There was nothing. He swung his wild eyes again upon the Wart, guessing at the trick. Then, in the cold voice of an adder, "The bell invites me," he hissed for the last time. "Hear it not, Merlin, for it is a knell that summons thee to heaven or to hell."

The third bells were indeed ringing as he spoke, and honor was allowed to move. The ordeal was over and the Wart might fly. But as he moved, but as he flew, quicker than any movement or flight in the world, the terrible sickles had shot out from the Colonel's plated legs — not flashed out, for they moved too quick for sight — and with a thump, with a clutch, with an apprehension, like being arrested by a big policeman, the great scimitars had fixed themselves in his

retreating thumb. They fixed themselves, and fixed irrevocably. Gripe, gripe, the enormous thigh muscles tautened in two convulsions. Then the Wart was four yards further down the screen, and Colonel Cully was standing on one foot with a few meshes of string netting and the Wart's false primary, with its covert- feathers, vice-fisted in the other. Two or three minor feathers drifted softly in a moonbeam towards the floor.

"Well stood!" cried Balan, delighted.

"A very gentlemanly exhibition," said the peregrine, not minding that Captain Balan had spoken before her.

"Amen, Amen!" said the spar-hawk. "Brave heart!" cried the kestrel.

"Might we give him the Triumph Song?" asked Balin, now relenting. "Certainly," said the peregrine.

And they all sang together, led by Colonel Cully at the top of his voice, all belling triumphantly in the terrible moonlight.

The mountain birds are sweeter But the valley birds are fatter, And so we deemed it meeter To carry off the latter.

We met a cowering coney

And struck him through the vitals. The coney was like honey

And squealed our requitals. Some struck the lark in feathers

Whose puffing clouds were shed off. Some plucked the partridge's nethers, While others pulled his head off.

But Wart the King of Merlins Struck foot most far before us. His birds and beasts

Supply our feasts.

And his feats our roarious chorus.

"Mark my words," cried the beautiful Balan, forgetful of all etiquette.

"We shall have a regular king in that young candidate. Now then, boys, chorus altogether for the last time:

But Wart the King of Merlins Struck foot most far before us. His birds and beasts

Supply our feasts

And his — " ("Damn fine show," cried Colonel Cully, with most lamentable infantry manners, at the top of his crazy voice, quite out of tune) "our Roarious Chorus!"

CHAPTER NINE

"WELL!" said the Wart, as he woke up in his own bed next morning. "What a horrible, grand crew!"

Kay sat up in bed and began scolding like a squirrel. "Where were you all last night?" he cried. "I believe you climbed out. I shall tell my father and get you tanned. You know we aren't allowed out after curfew. What have you been doing? I looked for you everywhere. I know you climbed out."

The boys had a way of sliding down a rain-water pipe into the moat, which they could swim on secret occasions when it was necessary to be out at night — to wait for a badger, for instance, or to catch tench, which can only be taken just before dawn.

"Oh, shut up," said the Wart. "I'm sleepy." Kay said, "Wake up, wake up, you beast. Where have you been?"

"I shan't tell you."

He was sure that Kay would not believe the story, but only call him a liar and get angrier than ever.

"If you don't tell me I shall kill you." "You won't, then."

"I will."

The Wart turned over on his other side.

"Beast," said Kay. He took a fold of the Wart's arm between the nails of first finger and thumb, and pinched for all he was worth. Wart kicked like a salmon which has been suddenly hooked, and hit Kay wildly in the eye. In a trice they were out of bed, pale and indignant, and looking rather like skinned rabbits — for in those days nobody wore clothes in bed

— and whirling their arms like windmills in the effort to do each other a mischief.

Kay was older and bigger than the Wart, so that he was bound to win in the end, but he was more nervous and imaginative. He could imagine the effect of each blow that was aimed at him, and this weakened his defense. Wart was only an infuriated hurricane.

"Leave me alone," shouted the Wart again and again. "Leave me alone, can't you?" And all the while he did not leave Kay alone, but with head down and swinging arms made it impossible for Kay to do as he was bid. They punched entirely at each other's faces, as boys will. Kay had a longer reach and a heavier fist. He straightened his arm out, more in self-defense than in anything else, and the Wart smacked his own eye upon the end of it. The sky became a noisy and

shocking black, streaked outwards with a blaze of meteors. The Wart began to sob and pant. He managed to get in a blow upon his opponent's nose, and this began to bleed. Kay lowered his defense, turned his back upon the Wart, and said in a cold, snuffling, reproachful voice, "Now it's bleeding." The battle was over.

Kay lay upon his back on the stone floor, bubbling blood out of his nose, and the Wart, with a black eye, fetched the enormous key out of the door to put down Kay's back. Neither of them spoke.

Presently Kay turned over on his face and began to sob. He said,

"Merlyn does everything for you, but he never does anything for me." At this the Wart felt he had been a beast. He dressed himself in silence and hurried off to find Merlyn.

On the way he was caught by his nurse.

"Ah, you little helot," exclaimed she, shaking him by the arm, "you've been a- battling again with that there Master Kay. Look at your poor eye, I do declare. It's enough to baffle the college of sturgeons."

"It's all right," said the Wart.

"No, that it isn't, my poppet," cried his nurse, getting crosser and showing signs of slapping him. "Come now, how did you do it, before I have you whipped?"

"I knocked it on the bedpost," said the Wart sullenly. The old nurse immediately folded him to her broad bosom, patted him on the back, and said, "There, there, my dowsabel. It's the same story Sir Ector told me when I caught him with a blue eye, gone forty year. Nothing like a good family for sticking to a good lie. There, my innocent, you come along of me to the kitchen and we'll slap a nice bit of steak across him in no time. But you hadn't ought to fight with people bigger than yourself."

"It's all right," said the Wart again, disgusted by this fuss, but fate was bent on punishing him and the old lady was inexorable. It took him half an hour to escape, and then only at the price of carrying with him a juicy piece of raw beef which he was supposed to hold over his eye.

"Nothing like a mealy rump for drawing out the humors," his nurse had said, and the cook had answered:

"Us han't seen a sweeter bit of raw since Easter, no, nor a bloodier."

"I will keep the foul thing for Balan," thought the Wart, resuming his search for his tutor.

He found him without trouble in the tower room which he had chosen when he arrived. All philosophers prefer to live in towers, as may be seen by visiting the room which Erasmus chose in his college at Cambridge, but Merlyn's tower was even more beautiful than his. It was the highest room in the castle, directly

below the lookout of the great tower, and from its window you could gaze across the open field — with its rights of warren — across the park, and the chase, until your eye finally wandered out over the distant blue tree-tops of the Forest Sauvage. This sea of leafy timber rolled away and away in knobs like the surface of porridge, until it was finally lost in remote mountains which nobody had ever visited, and the cloud-capped towers and gorgeous palaces of heaven.

Merlyn's comments upon the black eye were of a philosophic nature.

"The discoloration," he said, "is caused by hemorrhage into the tissues (ecchymosis) and passes from dark purple through green to yellow before it disappears."

There seemed to be no sensible reply to this.

"I suppose you had it," continued Merlyn, "fighting with Kay?" "Yes. How did you know?"

"Ah, well, there it is."

"I came to ask you about Kay." "Speak. Demand, I'll answer."

"Well, Kay thinks it's unfair that you are always turning me into things and not him. I haven't told him about it but I think he guesses. I think it's unfair too."

"It is unfair."

"So will you turn us both next time that we are turned?" Merlyn had finished his breakfast, and was puffing at the meerschaum pipe which made his pupil believe that he

breathed fire. Now he took a very deep puff, looked at the Wart, opened his mouth to speak, changed his mind, blew out the smoke and drew in another lungful.

"Sometimes," he said, "life does seem to be unfair. Do you chance to know the story of Elijah and the Rabbi Jachanan?"

"No," said the Wart.

He sat down resignedly upon the most comfortable part of the floor, perceiving that he was in for something like the parable of the looking-glass.

"This Rabbi," said Merlyn, "went on a journey with the prophet Elijah. They walked all day, and at nightfall they came to the humble cottage of a poor man, whose only treasure was a cow. The poor man ran out of his cottage, and his wife ran too, to welcome the strangers for the night and to offer them all the simple hospitality which they were able to give in straitened circumstances. Elijah and the Rabbi were entertained with plenty of the cow's milk, sustained by home-made bread and butter, and they were put to sleep in the best bed while their kindly hosts lay down before the kitchen fire. But in the morning the poor man's cow was dead."

"Go on."

"They walked all the next day, and came that evening to the house of a very wealthy merchant, whose hospitality they craved. The merchant was cold and proud and rich, and all that he would do for the prophet and his companion was to lodge them in a cowshed and feed them on bread and water. In the morning, however, Elijah thanked him very much, and sent for a mason to repair one of his walls, which happened to be falling down, as a return for his kindness.

"The Rabbi Jachanan, unable to keep silence any longer, begged the holy man to explain the meaning of his dealings with human beings.

"'In regard to the poor man who received us so hospitably,' replied the prophet, 'it was decreed that his wife was to die that night, but in reward for his kindness God took the cow instead of the wife. I repaired the wall of the rich miser because a chest of gold was concealed near the place, and if the miser had repaired the wall himself he would have discovered the treasure. Say not therefore to the Lord: What doest thou?

but say in thy heart: Must not the Lord of all the earth do right?'" "It's a nice sort of story," said the Wart, because it seemed to be over.

"I am sorry," said Merlyn, "that you should be the only one to get my extra tuition, but then, you see, I was only sent for that."

"I don't see that it would do any harm for Kay to come too."

"Nor do I. But the Rabbi Jachanan didn't see why the miser should have had his wall repaired."

"I understand that," said the Wart doubtfully, "but I still think it's a shame that the cow died. Couldn't I have Kay with me just once?" Merlyn said gently, "Perhaps what is good for you might be bad for him. Besides, remember he has never asked to be turned into anything."

"He wants to be turned, for all that. I like Kay, you know, and I think people don't understand him. He has to be proud because he is frightened."

"You still don't follow what I mean. Suppose he had gone as a merlin last night, and failed in the ordeal, and lost his nerve?"

"How do you know about that ordeal?" "Ah, well, there it is again."

"Very well," said the Wart obstinately. "But suppose he hadn't failed in the ordeal, and hadn't lost his nerve. I don't see why you should have to suppose that he would have."

"Oh, flout the boy!" cried Merlyn passionately. "You don't seem to see anything this morning. What is it that you want me to do?"

"Turn me and Kay into snakes or something."

Merlyn took off his spectacles, dashed them on the floor and jumped upon

them with both feet.

"Castor and Pollux blow me to Bermuda!" he exclaimed, and immediately vanished with a frightful roar.

The Wart was still staring at his tutor's chair in some perplexity, a few moments later, when Merlyn reappeared. He had lost his hat and his hair and beard were all tangled up, as if by a hurricane. He sat down again, straightening his gown with trembling fingers.

"Why did you do that?" asked the Wart. "I didn't do it on purpose."

"Do you mean to say that Castor and Pollux did blow you to Bermuda?"

"Let this be a lesson to you," replied Merlyn, "not to swear. I think we had better change the subject."

"We were talking about Kay."

"Yes, and what I was going to say before my — ahem! — visit to the still vexed Bermoothes, was this. I can't change Kay into things. The power was not deputed to me when I was sent. Why this was so, neither you nor I am able to say, but such remains the fact. I have tried to hint at some of the reasons for the fact, but you won't take them, so you must just accept the fact in its naked reality. Now please stop talking until I have got my breath back, and my hat."

The Wart sat quiet while Merlyn closed his eyes and began to mutter to himself. Presently a curious black cylindrical hat appeared on his head. Merlyn examined it with a look of disgust, said bitterly, "And they call this service!" and handed it back to the air. He closed his eyes and produced with growing indignation, in rapid succession, this: and this:

and this.

Finally he stood up in a passion and exclaimed, "Come here!" The Wart and Archimedes looked at each other, wondering which was meant — Archimedes had been sitting all the while on the window-sill and looking at the view, for, of course, he never left his master — but Merlyn did not pay them any attention.

"Now," said Merlyn furiously, apparently to nobody, "do you think you are being funny?"

"Very well then, why do you do it?"

"That's no excuse. Naturally I meant the one I was wearing."

"But wearing now, of course, you fool. I don't want a hat I was wearing in 1890. Have you no sense of time at all?"

Merlyn took off his sailor hat and held it out to the air for inspection.

"This is an anachronism," he said severely. "That's what it is, a beastly anachronism."

Archimedes seemed to be accustomed to these scenes, for he now said in a

reasonable voice: "Why don't you ask for the hat by name, master? Say, 'I want my magician's hat.' not, 'I want the hat I was wearing.' Perhaps the poor chap finds it as difficult to live backwards in time as you do."

"I want my magician's hat," said Merlyn sulkily. Instantly the long pointed cap was standing on his head.

The tension in the air relaxed; Wart sat down again on the floor, and Archimedes resumed his toilet, pulling his pinions and tail feathers through his beak to smooth the barbs together. Each barb had hundreds of little hooks or barbules on it, by means of which the barbs of the feather were held together. He was stroking them into place.

Merlyn said, "I beg your pardon. I am not having a very good day today, and there it is."

"About Kay," said the Wart. "Even if you can't change him into things, couldn't you give us both an adventure without changing?" Merlyn made a visible effort to control his temper again, and to consider this question dispassionately. He was sick of the subject altogether.

"I can't do any magic for Kay," he said slowly, "except my own magic that I have anyway. Backsight and insight and that. Do you mean anything I could do with that?"

"What does your backsight do?"

"It tells me what you would say is going to happen, and the insight sometimes says what is or was happening in other places."

"Is there anything happening just now, anything that Kay and I could go to see?"

Merlyn immediately struck himself on the brow and exclaimed excitedly, "Now I see it all. Yes, of course there is, and you are going to see it. Yes, you must take Kay and hurry up about it. You must go immediately after mass. Have breakfast first and go immediately after mass. Yes, that's it. Go straight to Hob's strip of barley in the open field and follow that line until you come to something.

That will be splendid, yes, and I shall have a nap this afternoon instead of that filthy Summulae Logicales. Or have I had the nap?"

"You haven't had it," said Archimedes. "That's still in the future yet, Master." "Splendid, splendid. And mind, Wart, don't forget to take Kay with you so that

I can have my nap."

"What shall we see?" asked the Wart.

"Ah, don't plague me about a little thing like that. You run along now, there's a good boy, and mind you don't forget to take Kay with you. Why ever didn't you mention it before? Don't forget to follow beyond the strip of barley. Well, well, well. This is the first half-holiday I've had since I started this confounded

tutorship. First I think I shall have a little nap before luncheon, and then I think I shall have a little nap before tea. Then I shall have to think of something I can do before dinner. What shall I do before dinner, Archimedes?"

"Have a little nap, I expect," said the owl coldly, turning his back upon his master, because he, as well as the Wart, enjoyed to see life.

CHAPTER TEN

WART KNEW that if he told the elder boy about his conversation with Merlyn, Kay would very property refuse to be condescended to, and not come. So he said nothing. It was strange, but their battle had made them friends again, and each could look the other in the eye, with a kind of confused affection. They went together unanimously though shyly, without any need for explanations, and found themselves standing at the end of Hob's barley strip after mass, without the Wart having to use any ingenuity. When they were there it was easy.

"Come on," said the Wart. "Merlyn told me to tell you that there was something along here that was specially for you."

"What sort of thing?'' asked Kay. "An adventure."

"How do we get to it?"

"We ought to follow along the line which this strip makes, and I suppose that would take us into the forest. We should have to keep the sun just there on our left, but allow for its moving."

"All right," said Kay. "What is the adventure?" "I don't know."

They went along the strip, and followed its imaginary line over the park and over the chase, keeping their eyes skinned all the time for some miraculous happening. They wondered whether half a dozen young pheasants they started had anything curious about them, and Kay was ready to swear that one of them was white. If it had been white, and if a black eagle had suddenly swooped down upon it from the sky, they would have known quite well that wonders were afoot, and that all they had to do was to follow the pheasant — or the eagle — until they reached the maiden in the enchanted castle. However, the pheasant was not white and no eagle appeared.

At the edge of the forest Kay said, "I suppose we shall have to go into this?" "Merlyn said to follow the line."

"Well," said Kay, "I'm not afraid. If the adventure was specially for me, it's bound to be a jolly good one."

They went in, and were surprised to find that the going was not bad at all. It was about the same as a big wood might be nowadays, whereas the common forest of those tunes was much more like a jungle on the Amazon. There were no pheasant-shooting proprietors then, to see that the undergrowth was thinned, and not one thousandth part of the number of the present-day timber merchants who prune away judiciously at the few remaining woods. The most of the Forest

Sauvage was almost impenetrable, an enormous barrier of eternal trees, the dead ones fallen against the live and held to them by ivy, the living struggling up in competition with each other towards the sun which gave them life, the floor boggy through lack of drainage, or tindery from old wood so that you might suddenly tumble through a decayed tree trunk into an ant's nest, or laced with brambles and bindweed and honeysuckle and convolvulus and teazles and the stuff which country people call sweethearts, until you would be torn to pieces in three yards.

This part was good. Hob's line pointed down what seemed to be a succession of glades, shady and murmuring places in which the wild thyme was droning with bees. The insect season was past its peak, for it was really the time for wasps on fruit, but there were many fritillaries still, with tortoise-shells and red admirals on the flowering mint. Wart pulled a leaf of this, and munched it like chewing-gum as they walked.

"It's queer," he said, "but there have been people here. Look, there is a hoof- mark, and it was shod."

"You don't see much," said Kay, "for there is a man." Sure enough, there was a man at the end of the next glade, sitting with a wood-ax by the side of a tree which he had felled. He was a queer-looking, tiny man, with a hunchback and a face like mahogany, and he was dressed in numerous pieces of old leather which he had secured about his brawny legs and arms with pieces of cord. He was eating a hunch of bread and cheese with a knife which years of sharpening had worn into a mere streak, leaning his back against one of the highest trees that they had ever seen. The white flakes of wood lay all about him. The dressed stump of the felled tree looked very new. His eyes were bright like a fox's.

"I expect he will be the adventure," whispered Wart.

"Pooh," said Kay, "you have knights-in-armor, or dragons or things like that in an adventure, not dirty old men cutting wood."

"Well, I'm going to ask him what happens along here, anyway." They went up to the small munching woodman, who did not seem to have seen them, and asked him where the glades were leading to. They asked two or three times before they discovered that the poor fellow was either deaf or mad, or both. He neither answered nor moved.

"Oh, come on," said Kay. "He's probably loopy like Wat, and doesn't know what he is at. Let's go on and leave the old fool." They went on for nearly a mile, and still the going was good. There were no paths exactly, and the glades were not continuous. Anybody who came there by chance would have thought that there was just the one glade which he was in, a couple of hundred yards long, unless he went to the end of it and discovered another one, screened by a few

trees. Now and then they found a cut stump with the marks of the ax on it, but mostly these had been carefully covered over with brambles or altogether grubbed up. The Wart considered that the glades must have been made. Kay caught the Wart by the arm, at the edge of a clearing, and pointed silently towards its further end. There was a grassy bank there, swelling up gently towards a gigantic sycamore, upwards of ninety feet high, which stood upon its top. On the bank there was an equally gigantic man lying at his ease, with a dog beside him. This man was as notable as the sycamore, for he stood or lay seven feet without his shoes, and he was dressed in nothing but a kind of kilt made of Lincoln green worsted. He had a leather bracer on his left forearm. His enormous brown chest supported the dog's head — it had pricked its ears and was watching the boys, but made no other movement — which the muscles gently lifted as they rose and fell. The man appeared to be fast asleep. There was a seven-foot bow beside him, with some arrows more than a clothyard long. He, like the woodman, was the color of mahogany, and the curled hairs on his chest made a golden haze where the sun caught them.

"He's it," whispered Kay excitedly.

They went up to the man cautiously, for fear of the dog; but the dog only followed them with its eyes, keeping its chin pressed firmly to the chest of its beloved master, and giving them the least suspicion of a wag from its tail. It moved its tail without lifting it, two inches in the grass. The man opened his eyes

— obviously he had not been asleep at all — smiled at the boys, and jerked his thumb in a direction which pointed further up the glade. Then he stopped smiling and shut his eyes.

"Excuse me," said Kay, "what happens up there?" The man made no answer and kept his eyes closed, but he lifted his hand again and pointed onwards with his thumb.

"He means us to go on," said Kay.

"It certainly is an adventure," said the Wart. "I wonder if that dumb woodman could have climbed up the big tree he was leaning against and sent a message to this tree that we were coming? He certainly seems to have been expecting us."

At this the naked giant opened one eye and looked at Wart in some surprise. Then he opened both eyes, laughed all over his big twinkling face, sat up, patted the dog, picked up his bow, and rose to his feet.

"Very well, then, young measters," he said, still laughing. "Us will come along with 'ee arter all. Young heads still meake the sharpest, they do say."

Kay looked at him in blank surprise. "Who are you?" he asked.

"Naylor," said the giant, "John Naylor in the wide world it were, till us come to be a man of the 'ood, Then 'twere John Little for some time, in the 'ood like,

but mostly folk puts it backward now, and calls us Little John."

"Oh!" cried the Wart in delight. "I've heard of you, often, when they tell stories in the evening, of you and Robin Hood."

"Not Hood," said Little John reprovingly. "That bain't the way to name 'un, measter, not in the 'ood."

"But it's Robin Hood in the stories," said Kay.

"Ah, them book-learning chaps. They don't know all. How'm ever, 'tis time us be stepping along."

They fell in on either side of the enormous happy man, and had to run one step in three to keep up with him, for, although he talked very slowly, he walked on his bare feet very fast. The dog trotted at heel.

"Please," asked the Wart, "where are you taking us?"

"Why, to Robin 'ood, seemingly. Ant you sharp enough to guess that also, Measter Art?"

The giant gave him a sly peep out of the corner of his eye at this, for he knew quite well that he had set the boys two problems at once — first, what was Robin's real name, and second, how did he come to know the Wart's?

The Wart fixed on the second question first. "How did you know my name?"

"Ah," said Little John. "Us knowed." "Does Robin 'ood know we are coming?"

"Nay, my duck, a young scholard like thee should speak his name scholarly." "Well, what is his name?" cried the Wart, between exasperation and being out

of breath from running to keep up. "You said 'ood."

"So it is 'ood, my duck. Robin 'ood, like the 'oods you'm running through. And a grand fine name it is."

"Robin Wood!"

"Aye, Robin 'ood. What else should un be, seeing as he loves 'em. They'm free pleaces, the 'oods, and fine pleaces. Let thee sleep in 'em, come summer, come winter, withouten brick nor thatch; and hunt in 'em for thy commons lest thee starve; and smell to 'em with the good earth in the springtime; and number of 'em as they brings forward their comely bright leaves, according to order, or loses of 'em by the same order backwards: let thee stand in 'em that thou be'st not seen, and move in

'em that thou be'st not heard, and warm thee with 'em in the golden light of their timbers as thou fall'st on sleep — ah, they'm proper fine pleaces, the 'oods, for a free man of hands and heart."

Kay said, "But I thought all Robin Wood's men wore hose and jerkins of Lincoln green?"

"That us do," replied Little John. "In the winter like, when us needs

'em, or with leather leggings at 'ood 'ork: but here by summer 'tis more seasonable thus for the pickets, who have nought to do save watch."

"Were you a sentry then?"

"Aye, and so were wold Much, as you spoke to by the felled tree."

"And I think," exclaimed Kay triumphantly, "that this next big tree which we are coming to will be the stronghold of Robin Wood!" They were indeed approaching the monarch of the forest. It was a lime tree as great as that which used to grow at Moor Park in Herefordshire, no less than one hundred feet in height and seventeen feet in girth, a yard above the ground. Its smooth beech- like trunk was embellished with a sort of beard of little twigs at the bottom, and, where each of the great branches had sprung from the trunk, the bark had split and was now discolored with rain water or sap. The bees zoomed among its bright and sticky leaves, higher and higher towards heaven, and a rope ladder disappeared among the foliage. Nobody could have climbed that tree without a ladder, even with irons.

"You think well, Measter Kay," said Little John. "And there be Measter Robin, a-dallying atween her roots."

The boys, who had been more interested in the look-out man perched in a crow's nest at the very top of that swaying and whispering glory of the earth, lowered their eyes at once and clapped them upon Robin Wood.

He was not, as they had expected, a romantic man — or not at first. Nearly as tall as Little John — these two, of course, were the only people in the world who have ever shot an arrow the distance of a mile, with the English longbow — or at any rate more than six feet high, he was a sinewy fellow whose body did not carry an ounce of fat. He was not half-naked, like John, but clad discreetly in faded green with a silvery bugle at his side. He was clean-shaven, sunburned, nervous, gnarled like the roots of the trees which he loved; but gnarled and mature with weather and with poetry rather than with age, for he was about thirty years old. (Eventually he lived to be eighty-seven, and attributed his Iong life to smelling the turpentine in the pines.) At the moment he was lying flat on his back and looking upwards, but not into the sky.

It had been beautiful to see little leather-clad Much sitting complacently at his dinner, more beautiful to see the great limbs of Little John sprawling in company with his dog. But now there was something which was most beautiful of all, for Robin Wood lay happily with his head in Marian's lap. She sat between the roots of the lime tree, clad in a one-piece smock of green girded in with a quiver of arrows, and her feet and arms were bare. She had let down the brown shining waterfall of her hair, which was usually kept braided in pig-tails for convenience

in hunting and cookery, and with the falling waves of this she framed his up- looking head. She was singing a duet with him softly, and tickling the end of his nose with the finest hairs. Nobody nowadays could write the song which they were singing:

"Under the greenwood tree," sang Maid Marian, "Who loves to lie with me,

And tune his merry note Unto the sweet bird's throat,"

"Come hither, come hither, come hither," sang Robin. "Here shall he see

No enemy

But winter and rough weather."

They laughed happily and began again, singing lines alternately: "Who doth ambition shun

And loves to lie i' the sun, Seeking the food he eats

And pleased with what he gets," Then, both together:

"Come hither, come hither, come hither:

Here shall he see No enemy

But winter and rough weather."

The song ended in laughter, and Robin, who had been twisting his brown fingers in and out of the silk-fine threads which fell about his face, gave them a shrewd tug and scrambled to his feet.

"Now, John," he said, seeing them at once. "Now, Measter," said Little John.

"So you've brought the young squires?" "They brought me," said Little John.

"Welcome whichever way," said Robin. "I never heard ill spoken of Sir Ector, nor reason why his sounders should be pursued. How are you, Kay and Wart, and who set you so luckily into the forest at my glades on this day of all days?"

"Robin," interrupted Maid Marian at this point reproachfully. "You can't mean to take them with you on a venture like this!"

"Why not, my sweet?" "Well, they are children."

"But that is exactly what we want."

"I think it's inhuman," said Maid Marian, and began to do up her hair.

The chief outlaw evidently thought it would be safer to change the subject for

the moment, because he turned to the two boys and asked them a question. "Can you shoot?" asked Robin.

"Trust me," said the Wart.

"I can try," said Kay, more reserved, as they laughed at the Wart's comical assurance.

"Come, Marian," said Robin, "let them have one of thy bows." Maid Marian handed him a bow and half a dozen arrows twenty-eight inches long.

"Shoot the popinjay," said Robin, handing them to the Wart. Wart now looked and saw a popinjay set up full five-score paces away. He guessed that he had been a fool and said cheerfully, "I'm sorry, Robin Wood, but I'm afraid it is much too far away for me."

"Never mind," said the outlaw. "Have a shot at it anyway. I can tell all I want to know by the way you shoot."

The Wart fitted his arrow as quickly and neatly as he was able, set his feet wide in the same line that he wished his arrow to go, squared his shoulders, drew the bow to his chin, sighted on the mark, raised his point through an angle of about twenty degrees, aimed two yards to the right because he always pulled to the left in his loose, and sped his arrow. It missed, but not so badly.

"Now, Kay," said Robin.

Kay went through the same motions and also made a pretty good shot. Each of them had held the bow the right way up, had quickly found the cock feather and set it outwards, each had taken hold of the string to draw the bow — most boys who have not been taught are inclined to catch hold of the nock of the arrow when they draw, between their finger and thumb, but, of course, a proper archer pulls back the string with his first two or three fingers and lets the arrow follow it — neither of them had allowed the point to fall away towards the left as they drew, nor struck their left forearms with the bow-string, two common faults with people who don't know, and each had loosed evenly without a pluck.

"Good," said Robin. "No lute-players here."

"Ah," said Little John, "it warn't bad for boys, but suppose you show 'em, Measter 'ood."

"Is it a match?" asked Robin, smiling grimly. These two men were the oldest of rivals with the bow in England, and could never forbear to take one another on in competition.

"Go on," said Marian. "You two are like kids."

"Us ha'nt never fled afore a challenge, Measter 'ood," said Little John slowly, his eyes twinkling, "as thee knows to thy cost."

"Get on, man," said Robin. "You know I could beat you with one hand tied behind my back."

Little John deliberately put the toe of his great bow against the inside of his instep, pulled the grip outward with his mighty right fist, and slipped the string into place with his left hand. It was a movement like an absent-minded caress, but probably nobody else except Robin could have strung his bow.

"'Tis for a buffet, Measter?" he inquired, grinning at Robin with sly challenge. "A buffet," said the captain of the outlaws. "Go on and I'll let you off with a

light one."

Little John lumbered himself into position and remarked

philosophically, "Folk say the last laugh rings merriest." With this, in a limber flash which had nothing to do with his bear-like movements and slow speech, the fugitive who had once been called Naylor had raised, drawn, loosed and lowered his bow, apparently without aiming it, and the arrow was saying Phutt! in the heart of the popinjay, before cleaving straight through it and burying its point in the ground.

"A shaky loose," said Robin, from two yards behind him, and, as Little John turned round to smile at his captain, but before he could turn back again towards the popinjay, the captain's arrow also was cutting through the bird of straw.

Wart noticed that where he and Kay had been compelled to aim their woman's bow twenty degrees above the mark, Robin and Little John were still loosing well below it, although it was a hundred yards away. The boys had been given Maid Marian's bow to shoot with because they could not have drawn any other. Its draw was a horizontal pull of only twenty-five or thirty pounds, while Robin and his lieutenant were opening arcs with a force of anything up to or above a hundred. If you have ever attempted to lift a hundredweight upwards from the ground, with all your stature to help you, you will be able to appreciate the steady force which the two greatest English archers were able to exert, not upwards but horizontally.

"Robin, said Maid Marian sharply, "you are being a baby. You will just go on and on until each of you has had a dozen shots, and then one or the other of you will miss and the conqueror will claim the right to give him a smack. How can you be so childish?"

"I want to beat John here," said Robin Wood, plausibly, "because otherwise he will become insubordinate."

"Insubordinate fiddlesticks. Leave your silly competition and send these boys back to their father."

"That I won't do," said Robin, "unless they wish to go. It is their quarrel as much as it is mine."

"What is the quarrel?" asked Kay.

Robin threw down his bow and sat cross-legged on the ground, drawing Maid Marian to sit beside him. His face had suddenly gone puzzled.

"It is this woman Morgan the Fay," he said. "I hardly know how to explain about her."

"I shouldn't try," said Marian.

Robin now turned on her quite angrily. "Look here, Marian," he said.

"You may as well face it. Either we must have a boy to help us, or else we have got to leave those three to their fate. I don't want to ask the boys to go in there, but it's either that or leaving poor old Tuck to be turned into a pig or something."

"He's just like a pig, anyway," said Marian. "Bah!" exclaimed Robin.

The Wart thought it was time to ask a tactful question, so he made a polite cough and said: "Please, who is Morgan the Fay?" Robin, Maid Marian and Little John all answered at once.

"She'm a bad 'un," said Little John. "She's a fairy," said Robin.

"No, she isn't," said Marian. "She's an enchantress."

"The fact of the matter is," said Robin, "that nobody knows exactly what she is. It's only my personal opinion she's a fairy."

"And to that opinion," added the chief of the outlaws, staring at his wife, "I adhere."

Kay asked: "Do you mean she's one of those people with bluebells for hats, who spend most of the time sitting on toadstools?"

"Certainly not. There aren't any such creatures. Queen Morgan is a real fairy, and one of the worst of them at that."

"If the boys have got to be in it," said Marian, "you had better explain the affair from the beginning."

Robin Wood took a deep breath, uncrossed his legs, and the puzzled look came back into his face.

"Well then, Kay and Wart," he said, "suppose that Morgan the Fay is queen of the fairies, and that fairies are not the kind of creatures which your old nurse has told you about. Some people say that they are the old folk who lived in England before the Romans came here, and that they have been driven underground. Some say that they look like small humans, dwarfs, you know, and others that they look quite ordinary, and others still that they don't look like anything at all, but put on various shapes as the fancy takes them. Whatever they look like, they have the old knowledge. They know things down there in their burrows which the human race has forgotten, and quite a lot of these things are not good for us

to know."

"Don't talk so loudly," said Marian, with a strange look, and the boys noticed that their little circle had drawn close together.

"Well now," said Robin, lowering his voice, "the queer thing about these creatures that I am speaking of, and if you'll excuse me I won't name them by name any more, is that they are without hearts. It is not so much that they wantonly wish to do evil, like that Madame Mim of yours, that all the forest was talking about, but that if you were to catch one and cut it open, you would not find a heart inside. They are cold-blooded, you know, like fish."

"They are everywhere, even while you are talking," said Marian. The boys looked about them, feeling queer.

"Be quiet," Robin said. "But I need not tell you about them now. It is unlucky to talk about them at all, and I don't know much more to tell. The point is that I believe Morgan is the queen of the — well — of the Good Folk, and I know she lives in a castle to the north of the forest called the Siege of Air and Darkness. And this very morning, by means of enchantments, the Old People have taken prisoner one of my best servants and one of yours."

"Not Tuck, Measter?" cried Little John, who, of course, knew nothing of recent developments because he had been out on sentry duty. Robin nodded solemnly. "Friar Tuck," he said. "The news came from our northern tree-tops just before your message arrived about the boys."

"Alas, poor Tuck!"

"It happened like this," said Marian. "But perhaps you had better explain first about the names."

"One of the few things we know," explained Robin, "about the — the Blessed Ones, is that they go by the names of common animals. For instance, one of them may be called Cow, one Goat, one Pig, and so forth. So,if you happen to be calling one of your own cows, you must always point to it when you call. Otherwise you may summon a fairy — a Little Person — who goes by the same name, and, once you have summoned it, it can take you away."

"What seems to have happened this morning, continued Marian, taking up the story, "is that your Dog Boy from the castle took the hounds right up to the verge of the forest when they were going to scombre, and he happened to catch sight of Friar Tuck, who was chatting with an old wild man called Wat that lives hereabouts — "

"Excuse us," cried both the boys together, "is that the old man who lived in our village before he lost his wits? He bit off the Dog Boy's nose, as a matter of fact, and now he lives terribly in the forest, a sort of ogre."

"It is the same man," replied Robin, "but, poor thing, he's not much of an ogre.

He just lives on grass and roots and acorns, and wouldn't hurt a fly. I'm afraid you have got your story muddled up."

"Fancy old Wat living on acorns!"

"What happened," went on Marian patiently, "was this. The three of them came together to exchange the time of day, and one of the hounds (I think it was the one called Cavall) began jumping up at poor old Wat, to lick his face. This frightened the old man, and your Dog Boy called out,

'Come here, Dog!' to make him stop. He did not point with his finger, and that is all there is to tell. You see, he ought to have pointed."

"What happened?"

"Well, my man Scathelocke happened to be woodcutting a little way off, and he says that they all three vanished, just vanished, including the dog."

"Oh, poor Cavall!"

"So the fairies have got the Dog Boy, Wat and Friar Tuck!" "You mean the People of Peace."

"I'm sorry. I wasn't thinking."

But the point is that, if Queen Morgan is really the Queen of these creatures, and if we want to rescue them before they are enchanted, we shall have to look for them in her castle."

It seemed obvious.

"Then we must go there," said Kay.

CHAPTER ELEVEN

ROBIN WOOD smiled at Kay and patted him on the back, while the Wart thought despairingly about his poor dog. Then the outlaw cleared his throat and began to speak again, this time in a serious voice.

"You are quite right about going there," he said, "but I must tell you the unpleasant part. Nobody can get into the Siege of Air and Darkness except a boy."

"Do you mean we can't get it?" "You could get in," said Robin.

"I suppose," explained the Wart, when he had thought this over, "it is like the thing about unicorns."

"You are right. A unicorn is a magic animal, and only a maiden can catch that; fairies are magic too, and only a boy can enter their enchanted towers. That's why they always take changelings out of cradles." Kay and Wart sat in silence for a moment. Then Kay said: "Well, I'm game. It is my adventure after all."

The Wart said: "I want to go too. You see, I am fond of Cavall." Robin looked at Marian triumphantly. "There!" he said. Marian kissed them both, and they blushed.

"Very well," said Robin. "We won't make a fuss about it, but we will talk about plans. I think it is pretty good of you two to go in for it, without really knowing what you are in for, but it won't be so bad as you think."

"We shall come with you," said Marian. "The whole band of us will come with you to the castle. You will only have to do the going-in part at the end."

"Yes, and the whole band of us will account for those stinking griffins of hers afterwards. That at least we can do."

"Are there griffins?"

"Indeed there are. The Siege of Air and Darkness is guarded by a circle of fifty griffins and fifty wyverns, day and night. We'll have a pitched battle with those on the way back, and slay them all."

"But we shall have to creep past them on the way there, or they will give the alarm and the boys won't be able to get in. It will be a terrific stalk."

"Hurrah!"

"We shall have to wait till night."

"Please, Robin Wood, we only consent to enter this enchantress'

palace and to rescue Friar Tuck for you, if you promise that we may help in fighting the griffins afterwards."

"Well, Marian?"

"Drat them," said Marian. "It's blackmail. But still, they are lambs." The boys passed the morning pleasantly, getting accustomed to two of Maid Marian's bows. Robin had insisted on this, saying that no man could shoot with another's bow any more than he could cut with another's scythe. For their midday meal they had cold venison pattie, with mead, as also did everybody else. The outlaws drifted in for the meal like a conjuring trick. At one moment there would be nobody at the edge of the clearing, at the next half a dozen right inside it: green or sun-burned men who had silently in materialized out of the bracken or the trees. In the end there were about a hundred of them, eating merrily and laughing. The food was dished out from a leafy bower, where Marian and her attendants cooked. The outlaws usually posted a sentry to take the tree messages, and slept during the afternoon, partly because so much of their hunting had to be done in the times when most workmen sleep, and partly because generally the wild beasts take a nap in the afternoon and so should their hunters. This afternoon, however, Robin called the boys to council.

"Look here, Kay and Wart," he said, "you had better know exactly what we are going to do. My whole band of a hundred will march with you towards Queen Morgan's castle, in four parties. You two will be in Marian's party. When we get to a certain oak tree which was struck by lightning in the year of the great storm, we shall be within a mile of the griffin guard. There we shall meet together as a rendezvous, and afterwards we shall have to move like shadows. We must get through those griffins without an alarm. If we do get through them and if all goes well, we others shall surround the castle at a distance of about four hundred yards. We dare not come nearer, you see, on account of the iron in our arrow-heads, and from that moment you will have to go alone.

"Now, Kay and Wart, I must explain about iron. If our poor friends have really been captured by fairies (I mean by Good People) and if Queen Morgan the Fay is really the queen of them, we have one advantage on our side. None of the Good People can bear the touch or the sight or even the closeness of iron. The reason is that the Good People spring from the days of flint, before ever iron was invented, and all their troubles have come from the new metal. The Roman cohorts had steel swords (which is even better than iron) and that is how they succeeded in driving the old folk under ground.

"This is the reason why we, with our steel arrow-heads, tonight must keep well away for fear of giving them the uncomfortable feeling. But you two, with an iron knife-blade held close in your hands, will be safe from the Queen of Air and Darkness so long as you don't let go of the blades. All you will have to do is to walk the last distance, keeping a good grip on your iron: to enter the castle in safety: and to make your way to the cell in which our prisoners are confined. I

shall give you extra knives to carry to Friar Tuck, to Wat and to the Dog Boy, and an iron collar for Cavall. As soon as the prisoners are in possession of this iron, they will be able to walk out with you.

"When you have walked out again and joined our band we can make our way home happily in triumph, and slay those griffins on the road.

"Do you understand this, Kay and Wart?"

"Yes, please," said the boys. "We understand this perfectly."

"There is one more thing. The most important of all is to hold on to your iron, but the next most important is not to eat. Anybody who eats in a you-know-what stronghold is compelled to stay there forever, so, for all sake's sake, don't eat anything whatever inside the castle, however tempting it may look. Will you remember this?"

"We will remember," said the boys.

After the staff lecture, Robin went away to give his orders to the mere men. He made them a long speech, explaining all about the griffins and the wyverns and the stalk and what the boys were going to do. As soon as he had finished his speech, which was listened to in perfect silence, an odd thing happened. He began it again at the beginning and spoke it from start to finish in the same words. On finishing it for the second time, he said, "Now, captains," and all those hundred men split into groups of twenty which went to different parts of the clearing and stood round Marian, Little John, Much, Scarlett and Robin. From each of these groups a humming noise rose to the sky.

"What on earth are they doing?" asked Kay. "Listen," said the Wart.

They were repeating the speech, word for word. Probably none of them could read or write, but they had learned to listen and to remember. This was the way in which Robin kept touch with his raiders by night, by knowing that each man knew by heart all that the leader himself knew, and why he was able to trust them, when necessary, to move each man by himself.

When all the men had repeated their instructions, and everyone was word perfect in the long speech, there was an issue of war arrows, a dozen to each man. These arrows had bigger heads, ground to razor sharpness, and they were heavily feathered in a square cut. There was a bow inspection, and two or three men were issued new strings. Then all fell silent.

"Now then," cried Robin cheerfully.

He waved his arm in a generous gesture, and the men, smiling, raised their bows in salute. Then there was a sigh, a rustle, a snap of one incautious twig, and the clearing of the giant lime tree was as empty as it had been before the days of man.

"Come with me," said Marian, touching the boys on the shoulder. Behind them the bees hummed in the leaves.

It was a long march and a tedious one. The artificial glades which converged upon the lime tree in the form of a cross were no longer of use after the first half- hour. After that they had to make their way through the virgin forest as best they might. It would not have been so bad if they had been able to kick and slash their way through it, but they were supposed to move in silence. Maid Marian showed them how to go sideways, one side after the other; how to stop at once when a bramble caught them, and take it patiently out; how to put their feet down sensitively and then roll their weight to that leg as soon as they were certain that no twig was under the foot; how to distinguish at a glance the places which gave most hope of an easy passage; and how a kind of rhythm in their movements would help them in spite of all these obstacles. Although there were a hundred invisible men on every side of them, moving towards the same goal, they heard no sounds but their own.

The boys had felt a little disgruntled at first, at being put into Marian's band. They would have preferred to have gone with Robin, and thought that being put under Marian was like being entrusted to a governess. They soon found out their mistake. She had objected to their coming, but, now that their coming was ordered, she accepted them as companions in war. Nor was it easy to be a companion of hers. In the first place, it was impossible to keep up with her unless she waited for them —

for she could move on all fours or even wriggle like a snake almost as quickly as they could walk — and in the second place she was an accomplished soldier which they were not. One of the bits of advice which she gave them before talking had to be stopped was this: Aim high when you shoot in war, rather than low. A low arrow strikes only the ground, a high one may kill in the second rank. "If I am ever made to get married," thought the Wart, who had doubts on this subject, "I will marry a girl like this: a kind of golden vixen." As a matter of fact, though the boys did not know it, Marian could hoot like an owl by blowing into her fists, or whistle that shrill blast between tongue and teeth with the fingers in the comer of the mouth; could bring all the birds to her by imitating their calls, and understand much of their small language — such as when the tits exclaim that a hawk is coming; could hit the popinjay twice for three times of Robin's; and could turn cartwheels. But none of these accomplishments was necessary at

the moment.

The twilight fell mistily — it was the very first of the autumn mists —

and in the dimity the undispersed families of the tawny owl called to each other, the young with 'keewick' and the old with the proper 'hooroo',

'hooroo'. Proportionally as the brambles and obstacles became harder to see, so did they become easier to feel. It was odd, but in the deepening silence the Wart found himself able to move more silently, instead of the reverse. Being reduced to touch and sound, he found himself in better accord with these, and could go quietly and quick.

It was about compline, or, as we should call it, at nine o'clock at night — and they had covered at least seven miles of that toilsome forest

— when Marian touched Kay on the shoulder and pointed into the blue darkness. They could see in the dark now, as well as human beings can see in it and much better than townspeople will ever manage to, and there in front of them, struck through seven miles of trackless forest by Marian's woodcraft, was the smitten oak. They decided with one accord, without even a whisper, to creep up to it so silently that even the members of their own army, who might already be waiting there, would not know of their arrival. They crept.

But a motionless man has always the advantage of a man in motion, and they had hardly reached the outskirts of the roots when friendly hands took hold of them, patted their backs with pats as light as thistledown, and guided them to seats. The roots were crowded. It was like being a member of a band of starlings, or of roosting rooks. In the night mystery a hundred men breathed on every side of Wart, like the surge of our own blood which we can hear when we are writing or reading in the late and lonely hours. They were in the dark and stilly womb of night. Presently the Wart noticed that the grasshoppers were creaking their shrill note, so tiny as to be almost extra-audible, like the creak of the bat. They creaked one after another. They creaked, when Marian had creaked thrice in order to account for Kay and Wart as well as for herself, one hundred times. All the outlaws were present, and it was time to go. There was a rustle, as if the wind had moved in the last few leaves of that nine-hundred-year-old oak: then an owl hooted soft, a field mouse screamed, a rabbit thumped, a dog-fox barked his deep, single lion's cough, and an aery-mouse twittered above their heads. The leaves rustled again more lengthily while you could count a hundred, and then Maid Marian, who had done the rabbit's thump, was surrounded by her band of twenty plus two. The Wart felt a man on either side of him take his hand, as they stood in a circle, and then he noticed that the stridulation of the grasshoppers had begun again. It was going round in a circle, towards him, and as the last grasshopper rubbed its legs together, the man on his right squeezed his hand. Wart stridulated. Instantly the man on his left did the same, and pressed his hand also. There were twenty-two grasshoppers before Maid Marian's band was ready for its last stalk through the silent forest.

The last stalk might have been a nightmare, but to the Wart it was heavenly.

Suddenly he found himself filled with an exaltation of night, and felt that he was bodiless, silent, or transported. He felt that he could have walked upon a feeding rabbit and caught her up by the ears, furry and kicking, before she knew of his presence. He felt that he could have run between the legs of the men on either side of him, or taken their bright daggers from their sheaths, while they still moved on undreaming. The passion of nocturnal secrecy was a wine that triumphed in his blood. He really was small and young enough to move as secretly as the warriors. Their age and weight made them lumber, in spite of all their woodcraft, and his youth and lightness made him mobile, in spite of his lack of it. It was an easy stalk, except for its added danger. The bushes thinned out and the sounding bracken grew rarely in the swampy earth, so that they could move three times as fast. They went in a dream, unguided by owl's hoot or bat's twitter, but only kept together by the necessary pace which the sleeping forest imposed upon them. Some of them were fearful, some revengeful for their lost comrade, some, as it were, disbodied in the horrible sleep-walk of their stealth.

They had hardly crept for twenty minutes when Maid Marian paused in her tracks, her finger to her lips. She pointed silently towards the left. Neither of the boys had read the book of Sir John de Mandeville, and so they did not know that a griffin was eight times larger than a lion. Now, looking to the left in the silent gloom of night, they saw cut out against the sky and against the stars something which they never would have believed to be possible. It was a young male griffin in its first plumage. I suppose nobody who reads my book will have seen a griffin. The front end, and right down to the forelegs and shoulders, is like a stupendous falcon. The Persian beak, the long wings in which the first primary is the longest, and the mighty talons: all are the same, but, as Mandeville observes, the whole eight times bigger than a lion. Behind the shoulders, moreover, a terrible change begins to take place. Where an ordinary falcon or eagle would content itself with the twelve feathers of its tail, Falco Leonis Serpentis (the Latin name used by ornithologists for the griffin) begins to grow the leonine body and the hind legs of the ravening beast of Africa, and after that a snake's tail. The boys now saw, twenty-four feet high in the mysterious night-light of the moon, and with its sleeping head bowed upon its breast so that the brutal beak lay on the breast feathers, an authentic Falco Leonis Serpentis that was better worth seeing than a thousand condors. They drew their breath through their teeth and for the moment hurried secretly on, storing that majestic vision of terror in the chambers of remembrance.

The next part was exciting, for the castle of Queen Morgan began to dawn against the rising moon. This castle was not like Sir Ector's rambling old fort. It

was a single pele tower of about five stories, made out of shiny white marble. It soared straight into the air, gleaming like mother-of-pearl in the moonlight, and the window on the top of its conical roof was contrived out of ivory pipes, so that when the wind blew it played unearthly music. It had neon-lights around the front door, which said in large letters: THE QUEEN OF AIR AND DARKNESS, NOW SHOWING.

The boys said good-by to Marian, made sure of the iron in their pockets, and walked bravely up to the bright entrance.

Inside there was a red plush carpet and a large man with epaulettes and gold buttons all over his stomach.

He said: "Walk up," so they did.

On the first floor there was a maroon-colored carpet and the walls were ornamented with brown pillars in sumptuous taste. Twenty Moorish maidens wearing caps and aprons were dancing round a coffee urn with trays of chocolates hung round their necks. There were ginger chocolates, marron glacé chocolates, liqueur chocolates, and chocolates which stuck your teeth together. All these were free, and the twenty maidens offered them in a winning way, singing meanwhile. They sang, in rather cockney voices, this song:

Chocolates, prince, oh chocolates!

You can eat them and fill up your pockets. They squish in the mouth, oh chockets!

They also squish in the pocolates.

On the next floor there was an orange carpet. The windows were made out of imitation lattice-work and some rafters had been nailed across the roof. In this room there were a great many brass warming-pans, copper toasting-forks, cow- bells, china dogs, cloth rabbits, parchment lampshades, old prints framed in passe-partout, and so forth. There were also twenty old maids wearing wooden beads in it, with trays of muffins slung round their necks, and, as they offered the trays to the boys, they sang through their noses in educated accents and danced a morris dance to their own time. This is what they sang:

Savory toast and a green iced cone, Sham oak beams and a dainty scone, Devonshire tea and Ginger Pop,

All together in Ye Olde Tea Shoppe.

On the third floor there was a hush. The carpet, which was six inches thick, was of Imperial Purple, and all the pillars and chairs were gilt. Twenty solemn men in livery stood in a row in front of a buffet, which was loaded down with buckets of iced champagne, thin sandwiches of brown bread and butter, oysters, truffles, olives, croûtes, slices of lemon, soufflés, and so on. The solemn men

advanced in perfect rank towards the boys, halted, bowed to the ground, and burst into song.

Duchess, after you With the premier crû. Duke, have a cigar.

Pass one to the Czar.

Paté de foie, caviar, caviar!

"No, thank you," said Kay, and they went on to the fourth floor, while the solemn men were still singing Caviar, Caviar! behind them, like soldiers in Faust.

The fourth floor was the last from the top, and in it were the worst temptations. It was all shining with white and silver, and the floor was of ivory. At the other end of the room was a huge chromium bar, covered with twinkling crystal taps, out of which there poured incessant streams of whipped cream, fruit juice, boiling chocolate, and ice. Every possible kind of ice-cream sundae was conveyed along the top of this bar, together with plates of cream buns, éclairs, and pâtisseries belges. Behind the bar, twenty charming negro minstrels were singing most soulfully:

Way down inside the large intestine, Far, far away.

That's where the ice cream cones are resting, That's where the éclairs stay.

The twenty sundae men went on mixing their sundaes as they sang, and such a delicious aroma of fresh strawberries and cream filled the room that the Wart nearly swooned away. However, he pulled himself together, held his nose, shut his eyes, and, holding tight to his steel blade, dragged Kay out of the chamber. All the negro minstrels rolled their eyes at them as they went.

In the top room of the enchanted castle, they found Queen Morgan the Fay. Since more than half of the things which they had already come across had not yet been invented, they were not particularly surprised at her appearance. She was a very beautiful lady, wearing beach pajamas and smoked glasses. One side of her yellow hair fell over the right optic of her glasses, and she was smoking a cigarette in a long green jade holder as she lay full length on a white leather sofa. All round the walls and on the grand piano there were photographs, signed "Darling Morgy from Oberon," "Best Wishes, Pendragon R.I.," "From Charlie to his own Queenie," "Yours sincerely Bath and Wells," or "Love from all at Windsor Castle."

"Excuse us," said Kay. "We have come to take away Friar Tuck." Queen Morgan took off her dark spectacles, and they were horrified to see that she kept her eyes closed. She looked at them from between the lids.

"We are sorry," said the Wart, "if the iron is hurting you. We will go away as soon as you set the others free."

But the Queen only put her cigarette back in her mouth, and blew a slow puff.

Her blind face looked terrible. "She won't answer," said Kay. "We must do something."

"Do you think we ought to go up to her and kiss her, or something frightful like that?"

"We could try touching her with the iron." "You do it."

"No, you."

"Well then, both together."

The boys held hands and advanced upon the enchantress, holding the daggers in clammy palms. But just as they reached the sofa a spasm of agony passed over the Queen's face. She opened her eyes. She vanished from under their very noses, leaving nothing but a whiff of smoke.

"Well," said the Wart, "now what shall we do?" "We must search the castle."

Not only had the Queen of Air and Darkness vanished, but everybody else in the castle had vanished also. In the sundae room the cream and the chocolate still gushed from the taps, but there were no minstrels: in the room below, the buffet still groaned under iced champagne, but the bowing waiters were gone. No wooden beads clashed in the Olde Tea Shoppe, and the twenty trays of the chocolate maidens stood abandoned on the maroon carpet. Even the man with buttons had disappeared from the bright hall. The loneliness made things more fearful than before, and the sight of Queen Morgan's cigarette burning itself out in an ash tray beside the sofa was too horrible for words.

"Let's go," said Kay. "I can't stand this." "They must be somewhere," said the Wart.

They were standing in the empty room with its imitation oak beams, and they had been searching for half an hour.

"Do you suppose they could have been turned into something? "Perhaps they are walled up in the walls, or locked in he cellars." "I don't think there are any cellars."

"If I had to hide people in this castle," said the Wart, and if I had the power of turning people into things, I should turn them into stones and hide them in the walls."

"But you couldn't do that, because the walls have got their stones already. If you put extra ones in, the whole place would fall over."

"Well, anyway, I should hide them among what there were a lot of."

"Would you?" said Kay. "Then what do you think of this?" He walked up to the imitation mantelpiece, which was right in front of them, and pointed with his finger.

There, among innumerable brass moons off the harness of horses, fancy flower pots containing anemones, sheep bells, menus, Indian gods made in Birmingham, lucky elephants, dogs made out of pipe cleaners, and sets of wooden monkeys called "I-see-no-evil," "I-hear-no-evil," and

"I-speak-no-evil" (they held their wooden hands respectively over their eyes, ears and mouths, and very ridiculous they looked), among all these rarities, the Wart saw what they were searching for. It was a pathetic sight.

Four pairs of eyes were staring mournfully at the boys, four beseeching faces were turned in their direction. Poor Cavall, done up as a china dog with spots on it and a bow, was looking imploringly at his master. The Dog Boy in terra cotta, under the guise of a Neapolitan lad, was holding out a fishing rod with obvious distaste. Old Wat, carved out of wood, was disguised as a Swiss wood-cutter, and had a clock in his stomach which told the wrong time. And the miserable Friar Tuck, as a pink satin Cupid which could be used as a pin cushion, was nervously holding a piece of blue ribbon round his tummy.

"Touch them with the iron," cried the Wart, laughing more than was quite respectful.

"Gor-blimey," said Friar Tuck, stepping off the mantelpiece, mopping his brow, and making quite sure that he was in his monkish habit over again. "Gor- blimey and Coo! Dash my wig if I didn't think you were going to miss us."

"Well, master," said the Dog Boy. "That was a dretful moment." Cavall contented himself with barking wildly, biting their toes, lying on his back, trying to wag his tail in that position, and generally behaving like an idiot. Poor old Wat touched his fore-lock.

"Now then, all," said Kay, "this is, my adventure and we must go home quick."

The waiting bands were expecting them with baited breath, and the castle of the Queen of the Good People grew dim behind them. The neon lights faded away.

"Well done, you two," said Marian.

"And now," said Robin, "for a bit of fun with those griffins."

CHAPTER TWELVE

THE ORDERS were that everybody was to spread out into a circle, and then march outwards from the castle with all possible stealth. The circle would have to get wider, like the rings made when you throw a pebble into water, until it was as wide as the griffin circle which surrounded them. As soon as Robin thought that everybody was in his place, with a griffin or wyvern before him, he would blow his horn, and then, but not till then, they were allowed to begin the battle. Wart was between Kay and Marian, and it seemed a long time before they reached their quarry. When they did reach it, and could once more see the gigantic wings in silhouette against the now bright moon, they lay and waited in the grass for a time which seemed eternity. They fitted their arrows to their bows, so that they would be ready to loose off at the very first note of Robin's horn, but no sound came.

The wyverns and griffins were posted alternately. The former, which were much smaller than the griffins, were the type of dragon which the Wart had been frightened of on his previous visit to the forest: the type which lived under stones and hissed like kettles. They had spiky wings, two legs, and tails like fire-drakes. Marian and Wart had wyverns opposite them, but Kay was opposite a griffin. They could see the circle of sleeping monsters stretching away to left and right.

The Wart was glaring upon his wyvern with every nerve at full stretch, when he suddenly saw it prick its ears. The scaly head, which had been bowed in sleep, sprang upright, and the ears, which were like the wings in being spiked like umbrellas, stabbed the moon. At the same instant the nearest griffin woke up and gave a loud, harsh scream. It was a noise like a railway train letting off its whistle. There was immediately a terrible din of brassy cries, answering or warning, and, on top of the uproar, riding on it proudly like the voice of the Arabian Bird, Robin Wood's fierce horn of silver began to blow.

"Tone, ton, tavon, tontavon, tantontavon, tontantontavon," went the horn, and again, "Moot, trout, trourourout, trourourourout. Troot, troot. Tran, tran, tran, tran."

Robin was blowing his hunting music and now all the ambushed archers leaped up. They set forward their left feet in the same movement and let fly such a shower of arrows as it had been snow.

The Wart saw the nearest griffin stagger in his tracks, a clothyard shaft suddenly sprouting from between the shoulder blades. He saw his own arrow fly wide of the wyvern, and eagerly bent forward to snatch another from the ground. Each man of the waiting troops had stuck his twelve arrows point downwards in

the ground before him, for convenience in loading. He saw the rank of his companion archers sway forward as if by a preconcerted signal, when each man stooped for a second shaft. He heard the bow-strings twang again, the purr of the feathers in the air. He saw the phalanx of arrows gleam like an eye-flick in the firelight. All his life up to then he had been shooting into straw targets which made a noise like Phutt! He had often longed to hear the noise that these gay, true, clean and deadly missiles of the air would make in solid flesh. He heard it. The rank of monsters was yelling, falling and running about. Some had erected their poisonous stings and were glaring wildly into the dark. Others, strangely transfixed, were tumbling with their wings pined to their bodies or their beaks to their chests. Some scuttled for safety. Others made their trumpeting noise and charged the dark. They ran madly upon their hind legs, but stumbled, coughed or barked, and fell on their faces or sat down backwards in a few yards. As they leaped out the arrows leaped to meet them. The wyverns, more swift in flight, bounded towards the sheltering darkness in skips of twenty or thirty feet. One of them was coming straight at the Wart. He could see the pointed ears, the wild eyes slit like a cat's, and the flying wings by whose action it skimmed. It squealed as it came, and let fly one of its poisoned stings at random. It saw the Wart and leaped into the air like a kangaroo.

The Wart was fitting an arrow to his bow. The cock feather would not go right.

Everything was in slow motion once again.

He saw the huge body flying blackly through the glare, felt the feet take him in the chest. He felt himself turning somersaults slowly, and the cruel weight of the body turning somersaults on top of him. He saw Kay's face somewhere in the cartwheel of the universe, flushed with starlit excitement, and Maid Marian's on the other side with its mouth open, shouting something. He thought, before he slid into blackness, that it was shouting something nice.

They picked him out from under his wyvern, and found his arrow sticking through its chest. It had died in its leap. Wart was unconscious, and the battle was over.

Then there was a time which made him feel sick, while Robin set his broken collar bone and made him a sling out of the green cloth of his hood, and after that all lay down indiscriminately to sleep, dog-tired, among the slain. The Wart lay propped against a tree. It was too late to get back to Sir Ector's castle that night, or even to get back to the outlaw's camp by the lime tree. All that could be done was to make up the fires, post sentries, and sleep where they were.

Wart did not sleep much. He leaned against his tree, watching the red sentries pass to and fro in the firelight, hearing their quiet passwords and thinking about the excitements of the day. These went round and round in his head, sometimes

losing their proper order and happening backwards or by bits. He saw the leaping wyvern, heard Marian shouting

"Good shot," listened to the humming of the bees muddled up with the stridulation of the grasshoppers, and shot and shot, hundreds and thousands of times, at popinjays which turned into griffins. Kay and the liberated Dog Boy slept twitching beside him, looking alien and incomprehensible as people do when they are asleep, and Cavall, lying at his good shoulder, occasionally licked his hot checks. The dawn came slowly, so slowly and pausingly that it was quite impossible to determine when it really had dawned, as is its habit during the summer months.

"Well," said Robin, when they had all wakened and eaten the breakfast of bread and cold venison which they had brought with them,

"you will have to love us and leave us, Kay. Otherwise I shall have Sir Ector fitting out an expedition against me, to fetch you back. Thank you both for your help. Can I give you any little present as a reward for it?"

"It has been lovely," said Kay. "Absolutely lovely. Can I have the griffin I shot?"

"He will be a bit heavy to carry. Why not just take his head? "

"That would do," said Kay, "if somebody wouldn't mind cutting it off. It was that griffin there."

"What are you going to do about old Wat?" asked the Wart.

"It depends on his preferences. Perhaps he will like to run off by himself and eat acorns, as he used to do, or if he likes to join our band we shall be glad of him. He ran away from your village in the first place, so I don't suppose he will care to go back there. What do you think?"

"If you are going to give me a present," said the Wart slowly, "I should like to have him. Do you think that would be all right?"

"As a matter of fact," said Robin, "I don't. I don't think you can very well give people as presents: they might not like it. What did you intend to do with him?"

"Oh, I don't want to keep him or anything like that. You see, we have a tutor who is a pretty good magician and I thought he might be able to restore Wat to his wits."

"Good boy," said Robin. "Have him by all means. I'm sorry I made a mistake. At least, we'll ask him if he would like to go." When somebody had gone off to fetch Wat, Robin said, "You had better talk to him, yourself."

They brought the poor old man, smiling, confused, hideous and very dirty, and stood him up before Robin.

"Go on," said Robin.

The Wart did not know quite how to put it, but he said,"I say, Wat, would you

like to come home with me, please, just for a little?"

"AhnaNanaWarraBaaBaa," said Wat, pulling his forelock, smiling, bowing and gently waving his arms in various directions.

"Come with me?" "WanaNanaWanawana."

"Dinner?" asked the Wart in desperation. "Yum, yum?"

"Yum, yum!" cried the poor creature affirmatively, and his eyes glowed with pleasure at the prospect of being given something to eat.

"That way," said the Wart, pointing in the direction which he knew by the sun to be that of his guardian's castle. "Dinner. Come with. I take."

"Measter," said Wat, suddenly remembering just one word, the word which he had always been accustomed to offer to the great people who made him a present of food, his only livelihood. It was concluded.

"Well," said Robin, "it has been a good adventure and I'm sorry you're going. I hope I shall see you again one day."

"Come any time," said Marian, "if you are feeling bored. You have only to follow those glades. And you, Wart, be careful of that collar bone for a few days."

"I will send some men with you to the edge of the chase," said Robin. "After that you must go by yourselves. I expect the Dog Boy can carry the griffin's head."

"Good-by," said Kay. "Good-by," said Robin. "Good-by," said the Wart.

"Good-by," said Marian, smiling, "and always shoot as you did last night." "Good-by," cried all the outlaws, waving their bows. And Kay and the Wart

and the Dog Boy and Wat and Cavall and their escort set off on the long track home.

They had an immense reception. The return on the previous day of all the hounds, except Cavall and the Dog Boy, and in the evening the failure to return of Kay and Wart, had set the household in an uproar. Their nurse had gone into hysterics, Hob had stayed out till midnight scouring the purlieus of the forest, the cooks had burnt the joint for dinner, and the sergeant-at-arms had polished all the armor twice and sharpened all the swords and axes to a razor blade in expectation of an immediate invasion. At last somebody had thought of consulting Merlyn, whom they had found in the middle of his third nap. The magician, for the sake of peace and quietness to go on with his nap in, had used his insight to tell Sir Ector exactly what the boys were doing, where they were, and when they might be expected to come back. He had prophesied their return

to a minute.

So, when the small procession of returning warriors came within sight of the drawbridge, they were greeted by the entire household. Sir Ector was standing in the middle with a thick walking-stick with which he proposed to whack them for going out of bounds and causing so much trouble; the nurse had insisted on bringing out a banner which used to be put up when Sir Ector came home from the holidays, as a small boy, and this said WELCOME HOME; Hob had forgotten all about his beloved hawks and was standing on one side, shading his eagle eyes to get the first view; the cooks and all the kitchen staff were banging pots and pans and singing "Will Ye No Come Back Again?" out of tune; the kitchen cat was yowling; the hounds had escaped from the kennel because there was nobody to look after them, and were preparing to chase the kitchen cat; the sergeant-at-arms was blowing out his chest with pleasure so far that he looked as if he might burst at any moment, and was commanding everybody in a very important voice to get ready to cheer when he said,

"One, Two!"

"One, Two!" cried the sergeant.

"Huzza!" cried everybody obediently, including Sir Ector.

"Look what I've got," shouted Kay. "I've shot a griffin and the Wart has been wounded."

"Yow-yow-yow," barked all the hounds, and poured over the Dog Boy, licking his face, scratching his chest, sniffing him all over to see what he had been up to, and looking hopefully at the griffin's head which the Dog Boy held high in the air so that they could not eat it.

"Bless my soul," exclaimed Sir Ector.

"Alas, the poor Phillip Sparrow," cried the nurse, dropping her banner, "pity his poor arm all to-brast in a green sling. God bless him."

"It's all right," said the Wart. "Ah, don't catch hold of me. It hurts." "May I have it stuffed?" asked Kay.

"Well, I be dommed," said Hob. "Be'nt thick wold chappie our Wat, that erst run lunatical?"

"My dear, dear boys," said Sir Ector. "I am so glad to see you back."

"Wold chuckle-head," exclaimed the nurse triumphantly. "Where be thy girt cudgel now?"

"Hem!" said Sir Ector. "How dare you go out of bounds and put us all to this anxiety?"

"It's a real griffin," said Kay, who knew there was nothing to be afraid of. "I shot dozens of them. Wart shot a wyvern and broke his collar bone. We rescued the Dog Boy and Wat."

"That comes of teaching the young Hidea 'ow to shoot," said the sergeant proudly.

Sir Ector kissed both boys and commanded the griffin to be displayed before him.

"Well!" he exclaimed. "What a monster! We'll have him stuffed in the dinin'- hall. What did you say his measurements were?"

"Eighty-two inches from ear to ear. Robin said it might be a record." "We shall have to write to the Field."

"It is rather a good one, isn't it," remarked Kay with studied calm.

"I shall have it set up by Rowland Ward," Sir Ector went on in high delight, "with a little ivory card with KAY'S FIRST GRIFFIN on it in black letters, and the date."

"Arrah, leave thy childishness," exclaimed the nurse.

"Now Master Art, my innocent, be off with thee to thy bed upon the instant.

And thou, Sir Ector, let thee think shame to be playing wi'

monster's heads like a godwit when the poor child stays upon the point of death. Now, sergeant, leave puffing of thy chest. Stir, man, and take horse to Cardoyle for the chirurgeon."

She waved her apron at the sergeant, who collapsed his chest and retreated like a shoo'd chicken.

"It's all right," said the Wart, "I tell you. It is only a broken collar bone, and Robin set it for me last night. It doesn't hurt a bit."

"Leave the boy, nurse," commanded Sir Ector, taking sides with the men against the women, and anxious to re-establish his superiority after the matter of the cudgel. "Merlyn will see to him if he needs it, no doubt. Who is this Robin?"

"Robin Wood," cried both the boys together. "Never heard of him."

"You call him Robin Hood," explained Kay in superior tones. "But it's Wood really, like the Wood that he's the spirit of."

"Well, well, well, so you've been foragin' with that rascal! Come in to breakfast, boys, and tell me all about him."

"We've had breakfast," said the Wart, "hours ago. May I please take Wat with me to see Merlyn?"

"Why, it's the old man who went wild and started rootin' in the forest. Where ever did you get hold of him?"

"The Good People had captured him with the Dog Boy and Cavall." "But we shot them," Kay put in. "I shot a hundred."

"So now I want to see if Merlyn can restore him to his wits."

"Master Art," said the nurse sternly. She had been breathless up to now on

account of Sir Ector's rebuke. "Master Art, thy room and thy bed is where thou art tending to, and that this instant. Wold fools may be wold fools, whether by yea or by nay, but I ha'nt served the Family for fifty year without a-learning of my duty. A flibberty-gibbeting about wi' a lot of want-wits, when thy own arm may be dropping to the floor at any moment!"

"Yes, thou wold turkey-cock," she added, turning fiercely upon Sir Ector. "And thou canst keep thy magician away from the poor mite's room till he's rested, that thou canst."

"A-wantoning wi' monsters and lunaticals," continued the victor as she led her helpless captive from the stricken field. I never heard the like."

"Please someone to tell Merlyn to look after Wat," cried the victim over his shoulder, in diminishing tones.

"Sniffings, indeed," they heard her concluding. "I'll give him sniffings."

The Wart woke up in his cool bed, feeling better. The dear old fire-eater who looked after him had covered the windows with a curtain, so that the room was dark and comfortable, but he could tell by the one ray of sunlight which shot golden across the floor that it was late afternoon. He not only felt better. He felt very well indeed, so well that it was quite impossible to stay in bed. He moved quickly to throw back the sheet, but stopped with a hiss at the creak or scratch of his shoulder, which he had forgotten about in his sleep. Then he got out more carefully, by sliding down the bed and pushing himself upright with one hand, shoved his bare feet into a pair of slippers, and managed to wrap a dressing- gown round him more or less. He padded off through the stone passages up the worn circular stairs to find Merlyn.

When he reached the schoolroom, he found that Kay was continuing his First Rate Eddication. He was evidently doing dictation, for as Wart opened the door he heard Merlyn pronouncing in measured tones, "Sciant presentes et futuri Quod," and Kay saying, "Wait a bit. My pen has gone all squee-gee."

"You'll catch it," remarked Kay, when he saw him. "You're supposed to be in bed, dying of gangrene or something."

"Merlyn," said the Wart, "what have you done with Wat?"

"You should try to speak without assonances," said Merlyn. "For instance, 'The beer is never clear near here, dear' is unfortunate, even as an assonance. And then again, your sentence is ambiguous to say the least of it. 'What what?' I might reply, taking it to be a conundrum, or if I were King Pellinore, 'What what, what?' Nobody can be too careful about their habits of speech."

Kay had evidently been doing his dictation well and the old gentleman was in a good humor.

"You know what I mean," said the Wart. "What have you done with the old

man with no nose?"

"He's cured him," said Kay.

"Well," said Merlyn, "you might call it that, and then again you might not. Of course, when one has lived in the world as long as I have, and backwards at that, one does learn to know a thing or two about pathology. The wonders of analytical psychology and plastic surgery are, I am afraid, to this generation but a closed book."

He leaned back in high delight. "What did you do to him? "

"Oh, I just psycho-analyzed him, you know," said Merlyn grandly. "That, and of course I sewed on a new nose on to both of them." "What kind of nose?" asked the Wart.

"It's too funny," said Kay. "He wanted to have the griffin's nose for one, but I wouldn't let him. So then he took the noses off two young pigs which we are going to have for supper, and used those. Personally I think they will both grunt."

"A ticklish operation," said Merlyn, "but a successful one."

"Well," said the Wart doubtfully. "I hope it will be all right. What did they do then?"

"They went off to the kennels together. Old Wat is very sorry for what he did to the Dog Boy, but he says he can't remember having done it. He says that suddenly everything went black, when they were throwing stones once, and he can't remember anything since. The Dog Boy forgave him and said he didn't mind a bit. They are going to work together in the kennels in future, and not think of what's past any more. The Dog Boy says that the old man was very good to him while they were prisoners of the Fairy Queen, and that he knows he ought not to have thrown stones at him in the first place. He says he often thought about that when the other boys were throwing stones at him."

"Well," said the Wart. "I'm glad it's all turned out for the best. Do you think I could go and visit them?"

"For heaven's sake, don't do anything to annoy your nurse," exclaimed Merlyn, looking about him anxiously. "That old woman hit me with a broom when I came to see you this forenoon, and broke my spectacles. Couldn't you wait until tomorrow?"

On the morrow Wat and the Dog Boy were the firmest of friends. Their common experiences of being stoned by the mob and then turned into ornaments by Morgan served as a bond and a topic of reminiscence, as they lay among the dogs at night, for the rest of their lives; and, by the morning, they had both pulled off the noses which Merlyn had so kindly given them. They explained

that they had got used to having no noses, now, and anyway they preferred to live with dogs.

CHAPTER THIRTEEN

THE SUMMER was over at last, and nobody could deny any longer that the autumn was definitely there. It was that rather sad time of year when for the first time for many months the fine old sun still blazes away in a cloudless sky, but does not warm you, and the hoar-frosts and the mists and the winds begin to stir their faint limbs at morning and evening, with the gossamer, as the sap of winter vigor remembers itself in the cold corpses which brave summer slew. The leaves were still on the trees, and still green, but it was the leaden green of old leaves which have seen much since the gay colors and happiness of spring — that seems so lately and, like all happy things, so quickly to have passed. The sheep fairs had been held. The plums had tumbled off the trees in the first big winds, and here and there, in the lovely sunlight too soon enfeebled, a branch of beech or oak was turning yellow: the one to die quickly and mercifully, the other perhaps to hold grimly to the frozen tree and to hiss with its papery skeletons all through the cast winds of winter, until the spring was there again.

The Wart's arm did not hurt any more, but he was not allowed to do his martial exercises under the sergeant-at-arms in the afternoons, for fear of spoiling it before it was properly mended. He went for walks instead, kept watch on a playful family of five hobbies, who shouted

"Cui-Cui-Cui-Cui-Cui" and would be migrating any day now — they were late already — and he collected the enormous caterpillars of moths which had been through all their changes and now sought lumberingly for a convenient place in which to turn into the chrysalis. His best capture was the four-inch plum and apricot upholstery of a Goat Moth, which buried itself quite cheerfully among trails of silk in a box of loose earth which he kept beside his bed. It had taken three years to reach its present size and would lie perdue for another, before the big dun moth crept out of its old armor and pumped the blood into the veins of its expanding wings. Merlyn caught a male grass snake on one of these walks. They met by chance, face to face, as each was turning the corner of a big bed of seeded nettles from opposite directions, and the magician pounced upon the reptile before it had time to flick its black tongue twice. He held it up, wriggling, hissing and smelling strongly of acetylene, while the Wart examined it in horror.

"Don't be afraid of it," said Merlyn. "It is only a piece of olive lightning with an ochre V behind its shining black head. It can t sting you and won't bite you. It has never done harm to anybody, and can only flee and stink."

"See," he said, and began stroking it from the head downwards: a touch which

the poor creature tried to evade but soon accepted, in its ceaseless efforts to pour and pour away.

"Everybody kills them," said Merlyn indignantly. "Some by-our-lady fool once said that you could tell an adder because it had a V on its head, which stood for viper. It would take you five minutes to find the mark on an adder's head anyway, but these helpless beauties with their bright yellow black-bordered V get bashed to death in consequence. Here, catch hold of him."

The Wart took the serpent gingerly into his hands, taking care to hold it well away from the vent from which the white smell came. He had thought that snakes were slimy as well as dangerous, but this was not. It was as dry as a piece of living rope, and had, like rope, a pleasing texture to the fingers, on account of its scales. Every ounce of it was muscle, every plate of its belly was a strong and moving foot. He had held toads before, and they, the fat, philosophical warty creatures, had been a little clammy on account of their loose flesh. This creature, on the other hand, was dry and delicately rough and liquid power. It was the same temperature as the ground on which it basked.

"You asked to be turned into a snake once," said Merlyn. "Do you still want that?"

"Yes, please."

"It isn't much of a life. I don't think you'll get anything very exciting to happen to you. This chap probably only eats about once a week or once a fortnight, and the rest of the time he dreams. Still, if I turned you into one, you might get him to talk. It won't be more than that."

"I should like it all the same."

"Well, it will be a rest after shooting griffins."

Merlyn loosed the grass snake, which immediately flashed off into the nettles. Then he exchanged a few words in Greek with an invisible gentleman called Aesculapius, and turned to the Wart.

He said, "I shall stay here for an hour or two, and perhaps I shall sit down against that tree and have a nap. Then I want you to come out to me when I call you. Good-by."

The Wart tried to say Good-by, but found that he was dumb. He looked quickly at his hands, but they were not there. Aesculapius had accepted him so gently that he had not noticed it, and he was lying on the ground.

"Pour off, then," said Merlyn. "Go and search for him in the nettles." Some people say that snakes are deaf, and others that they deafen themselves in order to escape being charmed by music. The thoughtful adder, for instance, is said by many learned persons to lay one ear upon the ground and to stick the point of his tail into the other so that he cannot hear your music. Wart found that as a matter

of fact snakes were not deaf. He had an ear anyway, which was conscious of deep roaring sounds that were approximate to the noises which he had learned as a boy. For instance, if somebody bangs on the side of the bath or if the pipes begin to gurgle when your ears are under water, you hear sounds which are different from those which would be heard in a normal position. But you would soon get accustomed to these sounds, and connect the roaring and bumbling with water-pipes, if you kept your head under water for long. In fact, although you heard a different kind of noise, you would still be hearing the pipes which human beings hear in the upper air. So the Wart could hear what Merlyn said, though it sounded very thin and high, and he therefore hoped to be able to talk to the snake. He darted out his tongue, which he used as a sort of feeler such as the long stick with which an explorer might probe the bogs in front of him, and he slid off into the nettles in search of his companion.

The other snake was lying flat on its face in a state of great agitation. It had managed to push itself into the very roots of the coarse grass among the nettles, for there is always a kind of empty layer between the green grass and the actual mud. The top green layer is supported on pillars of bleached roots, and it was in this secret acre-huge chamber, which covers every grass field, floored with mud and roofed with green, that the poor snake had sought concealment. It was lamenting to itself in a very sweet, cold, simple voice and crying, "Alas, Alas!" It is difficult to explain the way in which snakes talk, except by this. Everybody knows that there are rays of light, the infra-red and the ultra-violet and those beyond them, in which ants, for instance, can see, and men cannot. just so there are waves of sound higher than the bat's squeak, which Mozart once heard delivered by Lucrezia Ajugari in 1770, and lower than the distant thunder which pheasants hear (or is it that they see the flash?) before man. It was in these profound melodious accents that the snake conversed.

"Who are you?" asked the snake, trembling, as Wart poured himself into the secret chamber beside it. "Did you see that human? It was an H. sapiens, I believe. I only just got away."

It was in such a flutter that it did not wait for its question to be answered, but went on excitedly, "Oh, the horrid creature. Did you notice how it smelt? Well, I shan't go out again in a hurry, that I will say. Look what a mess I have got myself in. It was an H. sapiens barbatus, as far as I could see. They are quite common round here. You take my advice and lie close for a day or two. I just went out for a moment with the idea of getting a frog or two before hibernating, and it pounced upon me like a hedgehog. I don't believe I was ever so frightened in my life. Do you think it would be best to hibernate at once?"

"I shouldn't worry," said the Wart. "That particular human is fond of snakes, as

I happen to know."

"To eat?" stammered the serpent.

"No, no. He is friendly with them, and has some as pets. We — he, I mean — that is, he spends most of the botany hours looking for frogs to feed them on. It's wonderful how few frogs there are, once you begin looking for them — only toads. And of course snakes don't eat toads."

"I ate a toad once," said the other, who was beginning to calm down. "It was a small one, you know, but it wasn't very nice. Still, I don't think I should like to be a pet of that creature's, however many frogs it caught. Do you happen to know its sex?"

"It was a male," said the Wart.

"H. sapiens barbatus ," repeated the snake, feeling safer now that he had got the subject classified. "And what is your name, my child?" The Wart did not know what to answer, so he simply told the truth.

"It's a funny sort of name," said the snake doubtfully. "What is yours?" asked the Wart.

"T. natrix."

"Does the T stand for anything?"

"Well, not Tommy," said the snake rather coolly, "if that's what you mean. It's Tropidonotus: in my family always."

"I'm sorry."

"If you don't mind my saying so," remarked the snake, "it seems to me that your education has been neglected. First you have a mother who calls you Wart, just as if you were one of those vulgar Bufonidæ, and then you can't distinguish a T. natrix when you see him. Did you never have a mother?"

"As a matter of fact, I didn't."

"Oh, I am sorry," exclaimed the snake. "I hope I haven't hurt your feelings. Do you mean to say you never had anybody to teach you the Legends and Dreams and that?"

"Never."

"You poor newt. What do you do then when you hibernate?" "I suppose I just go to sleep."

"And not dream?"

"No," said the Wart. "I don't think so. Not much." It turned out that T. natrix was an affectionate and tender-hearted creature, for it now shed a small, clear tear through its nose — and exclaimed indignantly, "What a shame! Fancy the poor little reptile crawling into its lonely hole for all those months with not a mother to remember, and not a single Dream to keep it company. I suppose they haven't even taught you History?"

"I know some history," said the Wart doubtfully. "About Alexander the Great, and that."

"Some trashy modern stuff, no doubt," said the snake. "How in earth you get through the winter I don't know. Did anybody tell you about Adantosaurus immanis and Ceratosaurus nasicornis?"

"I don't think so."

"Well, I don't know what to say."

"Couldn't you tell me about them yourself?"

"It certainly seems the kindest thing to do," replied the snake, "and, by Aesculapius, I will do it, too, if it takes me all the afternoon. Why, I should hardly be able to sleep the whole winter, thinking of you shivering in that hole with nothing to muse about."

"It would be very kind of you if you would."

"And I will," said the gentle reptile. "I will teach you the sort of thing that all snakes revolve in their small, slow, winter brains, what time the snow shuffles down outside, or for that matter in the summer too, as they snooze beside warm stones. Would you rather have History or Legends?"

"I think History," said the Wart.

"History," murmured the snake, drawing a film over its eyes because it could not close them. "History," it repeated softly. "Ah."

"I wonder," said the snake after a minute. Then it gave a gentle sigh and gave it up.

"You must forget about us," it said absently. "There is no History in me or you. We are individuals too small for our great sea to care for. That is why I don't have any special name, but only T. natrix like all my forefathers before me. There is a little History in T. natrix, but none in me."

It stopped, baffled by its own feelings, and then began again in its slow voice. "There is one thing which all we snakes remember, child. Except for two

people, we are the oldest in the world. Look at that ridiculous H. sapiens barbatus which gave me such a fright just now. It was born when? Ten or twenty thousand years ago. What do the tens and twenties matter? The earth cooled. The sea covered it. It was a hundred million years ago that Life came to the Great Sea, and the fishes bred within it. They were the oldest people, the Fish. Their children climbed out of it and stood upon the bosky shores, and they were the Amphibia like our friends the newts. The third people, who sprang from them, were the Reptiles, of which we are one. Think of those old faces of the world upon which T. natrix moved in the slime, and of the millions of years. Why, the birds which you see every day are our descendants: we are their parents, but can persist to live along with them."

"Do you mean that when you were born there were no birds or men?"

"No birds or men: no monkeys or reindeer or elephants or any such animals: only the amphibia and the reptiles and the fishes and the mesozoic world."

"That's History," added the snake thoughtfully. "One of those H. sapiens barbatus ; might think of that next time he murders T. natrix for being a viper."

"There is something strange about the Will of the Sea. It is bound up with the history of my family. Did you ever hear the story of H. sapiens armatus georgius sanctus?"

"I don't think I did," said the Wart.

"Once, very long ago, when even T. natrix was young and hopeful, there were two families called Atlantosaurus immanis and Ceratosaurus nasicornis. Atlantosaurus was a hundred and fifteen feet long. He had not many brains, although I did hear once that he had something like an extra brain at the other end of him, to take care of his tail, and he lived by browsing on the trees. He was timid, ruminant and harmless, except to the tree-frogs which he munched by mistake among the boughs. He lived very long and thought all the time, so that, although he did not think very well, he had generally thought a good deal by the end of it. So far as I can remember, he had solved the problem of being a giant, without breaking on account of his own weighty height of twenty feet, by having his bones hollow. The birds do that too, you know, for other reasons. However, perhaps I am muddling him up with another of the Dinosauria.

"Ceratosaurus nasicornis was quite small. He was only seventeen feet long. But he had teeth, great, crushing and tearing teeth, which fitted into each other so badly that he leaped always with his slaughterous mouth half open, in a grin of terror. He leaped like a kangaroo, a death-dealing kangaroo, and he generally leaped upon poor Atlantosaurus immanis. He had a horn upon his nose, like a rhinoceros, with which he could rip an opening in that big and trundling old body, and his clashing teeth could meet in the flesh as in ripe fruit and tear it out in mouthfuls by the action of his muscular neck. What is more terrible, he leaped in packs.

"Ceratosaurus nasicornis was at war with Atlantosaurus immanis, in that strange war which the Spirit of the Waters wills, the war of competition and evolution which makes the trees fight upwards for the sun on the Amazon, and in the course of which, for the boon of life, many of my cousins have been content to sacrifice the benefits of limbs and teeth and eyesight.

"Ceratosaurus was savage and aggressive, Atlantosaurus timid and old. Their combat lasted for as many centuries as will be needed by H. sapiens also, in which to destroy himself. At the end of that time it was the defender who triumphed.  The  ferocious  Kangaroo  had  dealt  death  on  every  side,  had

decimated his adversaries and fed upon their carcasses, but carcasses cannot continue their species, and in the end the Kangaroos had consumed the very flesh on which they lived. Too remorseless for the Spirit of the Waters, too bloodthirsty for the hierarchy of progressive victims, the last Ceratosaurus roamed the thick-leaved jungles in a vain search for the food which could satisfy his gnashing jaws: then died and slept with his fathers.

"The last Atlantosaurus thrust her forty-foot neck out of the jungle in which she had been hiding, and surveyed the emaciated corpse of her starved persecutor. She had preserved her life, as the sensible wood pigeon does, by specializing in escape. She had learned to flee, to hide, to stand still, to control her scent, to conceal herself in waters. By humility she had survived her enemy, who had slain her own husband; and now she carried the children of the latter inside her, the last of the victorious race. They would be born in a few years.

"H. sapiens had come meanwhile. He also had suffered from the terror of the Kangaroo. In order to protect himself from its rapine, he had developed a sub- class called H. sapiens armatus, a class which was concealed in metal scales and carried a lance by means of which it defended itself against the Dinosauria. This sub-class had perfected an order called H. sapiens armatus georgius sanctus, which was sufficiently unobservant to classify all the Dinosaurs together as its enemies.

"Atlantosaurus thrust out her neck, and thought with triumph of her unborn children. She had never killed in her life, and these, the future, would perpetuate a vegetarian race. She heard the clank of H. sapiens armatus georgius sanctus, and turned the comely reptile head towards him in her kindly curiosity."

"Go on," said the Wart.

"He killed her, of course," concluded the serpent with sudden brevity, turning its own head away. "She was a reptile of my race."

"I am sorry," said the Wart. "I don't know what to say."

"There is nothing, dear," said the patient serpent, "that you can say. Perhaps I had better tell you a Legend or Dream, to change the subject." The Wart said, "I don't think I want to hear it, if it is sad."

"There is nothing sad," said the other, "except History. All these things are only something to muse upon while you are hibernating."

"Is it a good thing to muse.

"Well, it passes the time. Even H. sapiens has museums, you know: and as far as that goes, he has put the chalky bones of Atlantosaurus in many of them, along with the scales of georgius sanctus."

"If you knew a fairly cheerful Legend," said the Wart, "I think I could bear to hear that."

"Ridiculous newt," said T. natrix affectionately — for Newt seemed to be one of his pet words. "I suppose I shall have to tell you a Legend of my dangerous cousins, for whom I suffer."

"It is cheerful?"

"Well, it just goes on to the end, you know, and then stops — as Legends do." "Tell it," said the Wart.

"This Legend," said the snake in its sing-song voice, after a preparatory cough,"comes from Burma, a place of which you have probably never heard.

"Once upon a time there was only one poisonous serpent in the world, and this was the python. As you know, he is no longer venomous, and the story of how he lost his venom is an interesting one. In those days he was perfectly white. He happened to make the acquaintance of the wife of a human being, whose name was Aunt Eu, and in course of time they fell in love with each other. Aunt Eu left her husband and went off to live with the python, whose name was P. reticulatus. She was in some ways an old-fashioned kind of person, the kind which delights in making carpet-slippers for curates among the humans, and she soon set about weaving a most handsome and closely woven skin for her python. It was an ornamental affair, what with black lozenges and yellow dots, and here and there at regular intervals cubes and cross-stitches of amber, such as the humans use in rug-making or working samplers. P. reticulatus was pleased with it, and wears it always, so that now he is not white any more.

"At this time the python was interested in making experiments with his unique venom. Since he was the only poisonous snake, he naturally contained within himself all the poison which is nowadays spread out among the snakes. So concentrated was this terrible poison, therefore, that he could kill a man, however far away he was, simply by biting any footprint which the man had happened to leave on the ground. P. reticulatus was naturally proud of this accomplishment, but he could never get ocular proof of it. He could not be there to see the man die, and at the same time three or four miles away to bite his footprint. Yet he wanted very much to establish the truth of the experiment.

"One day he decided that he would have to rely on evidence. He persuaded a crow that was a friend of his to go off to a village of the Karens — this was the name of the men in that district — and to watch and see if the man did die while he was biting the footprint.

"Now the Karens had a curious habit of celebrating a death or a funeral, not by tears and lamentations, but by laughing, singing, dancing, jumping and beating on drums. When the crow arrived to watch events from a tree, and after the man had died, the Karens began to perform their usual rites in front of the hut in which he lay stricken. So the crow, after looking on for some time, returned to

the python, and reported that, so far from slaying by the venom of his bite, it had only the effect of causing extreme joy to the human beings and of transporting them into the seventh heaven. The python was so furious that he climbed up to the very top of a tree and sicked up every ounce of his useless poison.

"Of course the poison had to fall on something. Although the python had lost his power to sting, the tree itself became venomous — and its juice is used to this day to poison arrows — while several creatures which happened to be underneath it received a due share. The Cobra, the Water Snake and the Frog were among them.

"Now Aunt Eu naturally had a soft spot for her fellow mortals, and, when it was discovered that the poison was venomous after all, she upbraided P. reticulatus for spreading the power to slay among so many beings. P. reticulatus, who was grateful for his woven coat, felt remorse for what he had done, and hurried off to see how he could improve matters. He explained the nature of poison to all the creatures which had received it, and asked them to promise that their use of it should not be tyrannical.

"The Cobra agreed to the remarks of the python, and said, 'If there be transgression so as to dazzle my eyes, to make my tears fall seven times in one day, I will bite; but only then.' So said most of the kindlier creatures. But the Water Snake and the silly Frog said that they did not see what all this had to do with the python, and that they intended, for their part, to bite whenever they felt like it. The python immediately set upon them, chased them into the water, and there, of course, the poison was dissolved and washed away."

The Wart waited to see if there was any more of this story, but there was not. The voice of T. natrix had been getting slower and sleepier towards the end of it, for the afternoon was advancing and the wind was beginning to fall cold. The sing-song had seemed to get more and more wrapped up in its subject, if you can follow the idea, until it seemed that the story was telling itself while the serpent only drowsed — though it was not possible to tell whether he was really asleep, because snakes have no eyelids to close.

"Thank you," said the Wart, "I think that was a good story."

"Dream about it," whispered T. natrix sleepily, "while you hibernate." "I will."

"Good night," said the snake. "Good night."

The funny thing was that the Wart really did feel sleepy. Whether it was the voice of the snake, or the cold, or the influence of the story, in two minutes he was dreaming himself, in a reptilian dream. He was old, as old as the veins of the earth, which were serpents like him, and Aesculapius with a beard as white as

glaciers was lulling him to sleep. He was teaching him wisdom, the ancient wisdom, by which the old snakes can walk with three hundred feet at once upon the same world in which their grandchildren the birds have learned to fly; he was singing to him the song of all the Waters:

In the great sea the stars swing over The eternal whirlpool flows.

Rest, rest, wild head, in the old bosom Which neither feels nor knows.

She only rocks us, cradled in heaven, The reptile and the rose.

Her waters which bore us will receive us. Good night and sweet repose.

In the end it took Merlyn twenty shouts, in his high human voice, to wake the sleeping serpent up in time for tea.

CHAPTER FOURTEEN

IN THE autumn everybody was preparing for the winter. At night they spent most of the time rescuing Daddy-long-legs from their candles and rushlights. In the daytime the cows were turned into the high stubble and weeds which had been left by the harvest sickles, while the pigs were driven into the purlieus of the forest where boys beat the trees to supply them with acorns. Everybody was at a different job. From the granary there proceeded an invariable thumping of flails; in the strip fields the slow and enormously heavy wooden plows sailed up and down all day for the rye and the wheat, while the sowers swung rhythmically along, with their hoffers round their necks, casting right hand for left foot and vice versa. Foraging parties came lumbering in with their spike- wheeled carts full of bracken, remarking wisely that they must:

Get whome with ee breakes ere all summer be gone For tethered up cattle to sit down upon,

while others dragged in timber for the castle fires. The forest rang in the sharp air with the sound of beetle and wedge.

Everybody was happy. The villeins were slaves if you chose to look at it in one way, but, if you chose to look at it in another, they were just the same farm laborers as starve on thirty shillings a week today. Only neither the villein nor the farm laborer did starve. It has never been an economic proposition for an owner of cattle to starve his cows, so why should an owner of slaves starve them? The truth is that nowadays the farm laborer is ready to accept so little money because he does not have to throw his soul in with the bargain, as he would have to do in a town, and just the same freedom of spirit has obtained in the country since Sir Ector. The villeins were laborers; they lived in the same one-roomed hut with their families, few chickens, litter of pigs, or cow possibly called Crumbocke; most dreadful and insanitary! But they liked it. They were healthy, quite free of an air with no factory smoke in it, and, which was most of all, their heart's interest was bound up with their skill in labor. They knew that Sir Ector loved and was proud of them. They were more valuable to him even than his cattle, and, as he valued his cattle more than anything else except his children, this was saying a good deal. He walked and worked among them, thought of their welfare, and could tell the good workmen from the bad. He was the eternal farmer, in fact; one of those people who seem to be employing labor at thirty shillings a week, but are actually paying half as much again in voluntary overtime, providing a cottage free or at nominal rent, and possibly making an extra present of their milk and eggs and home-brewed beer.

Sir Ector now moved through all these activities with a brow of thunder. When an old lady who was sitting in a hedge by one of the strips of wheat, in order to scare away the rooks and pigeons, suddenly rose up beside him with an unearthly screech, he jumped a foot in the air. He was in a nervous state.

"Dang it," said Sir Ector. Then, considering the subject more attentively, he added in a loud, indignant voice, "Hell's bells and buckets of blood!" He took the letter out of his pocket and read it again. The Overlord of the Castle of Forest Sauvage was not only a farmer. He was a military captain, of course, who was prepared to organize and lead the defense of his estate, and he was a sportsman who occasionally took a day's joustin' when he could spare the time; but he was more than these. Sir Ector was an M.F.H. — or rather a Master of stag and other hounds — and he hunted his own pack himself. Clumsy, Trowneer, Phoebe, Colle, Gerland, Talbot, Luath, Luffra, Apollon, Orthros, Bran, Gelert, Bounce, Boy, Lion, Bungey, Toby, Diamond and Cavall were not pet dogs: they were the Forest Sauvage Hounds, no subscription, two days a week, huntsman the master. This is what the letter said, if we translate it out of Latin: THE, KING TO SIR

ECTOR, ETC.

We send you William Twyti, our huntsman, and his fellows to hunt in the Forest Sauvage with our boarhounds (canibus nostris porkericus) in order that they may capture two or three boars. You are to cause the flesh they capture to be salted and kept in good condition, but the skins you are to cause to be bleached which they give you, as the said William shall tell you. And we command you to provide necessaries for them as long as they shall be with you by our command, and the cost, etc., shall be accounted, etc.

Witnessed at the Tower of London, 20 November, in the twelfth year of our reign.

UTHER PENDRAGON.

12 Uther.

Now the forest belonged to the King, and he had every right to send his hounds to hunt in it. Also he maintained a large number of hungry mouths, what with his court and his army, so that it was natural that he would want as many dead boars, bucks, roes, etc., to be salted down as possible.

He was perfectly in the right. All this did not take away from the fact that Sir Ector regarded the forest as his forest, however, and resented the intrusion of the royal hounds — as if his own would not do just as well; the King had only to send for a couple of boars and he would have been only too glad to supply them himself. He feared that his coverts would be disturbed by a lot of wild royal retainers — never know what these city chaps will be up to next — and that the King's  huntsman,  this  fellow  Twyti,  would  sneer  at  his  humble  hunting

establishment, unsettle the hunt servants and perhaps even try to interfere with his own kennel management. In fact, Sir Ector was shy. Then there was another thing. Where the devil were the royal hounds to be kept? Was he, Sir Ector, to turn his own hounds into the street, in order to put the King's hounds in his kennels? "Hell's bells and buckets of blood!" repeated the unhappy master. It was as bad as paying tithes.

Sir Ector put the accursed letter in his pocket and stumped off up the plowing. The villeins, seeing him go, remarked cheerfully, "Our wold measter be on the gad again seemingly."

It was a confounded piece of tyranny, that's what it was. It happened every year, but it still was that. He always solved the kennel problem in the same way, but it still worried him. He would have to invite his neighbors to the meet specially, so as to look as impressive as possible under the royal huntsman's eye, and this would mean sendin' messengers through the forest to Sir Grummore, etc. Then he would have to show sport. The King had written early, so that evidently he intended to send the fellow at the very beginnin' of the season. The season did not begin till the 25th of December. Probably the chap would insist on one of those damned Boxin' Day meets, all show-off and no business, with hundreds of foot people all hollerin' and headin' the boar and trampin' down the seeds and spoilin' sport generally. How the devil was one to know in November where the best boars would be on Boxin' Day? What with sounders and gorgeaunts and hog-steers, you never knew where you were. And another thing. A hound that was going to be used next summer for the proper Hart huntin' was always entered at Christmas to the boar. It was the very beginnin' of his education, which led up through hares and what-nots to its real quarry, and this meant that the fellow Twyti would be bringin'

down a lot of raw puppies which would be nothin' but a plague to everybody. "Dang it!" said Sir Ector, and stamped upon a piece of mud. He stood gloomily for a moment, watching his two boys trying to catch the last leaves in the chase. They had not gone out with that intention, and did not really, even in those distant days, believe that every leaf you caught would mean a happy month next year. Only, as the west wind tore the golden rags away, they looked extremely fascinating and were difficult to catch. For the mere sport of catching them, of shouting and laughing and feeling giddy as they looked up, and of darting about to trap the creatures, which were certainly alive in the cunning with which they slipped away, the two boys were prancing about like young fawns in the ruin of the year.

The only chap, reflected Sir Ector, who could really be useful in showin' the King's huntsman proper sport was that fellow Robin Hood. Robin Wood, they

seemed to be callin' him now; some new-fangled idea, no doubt. But Wood or Hood, he was the chap to know where a fine tush was to be found. Been feastin' on the creatures for months now, he wouldn't be surprised, even if they were out of season.

But you couldn't very well ask a fellow to hunt up a few beasts of venery for you, and then not invite him to the meet. While, if you did invite him to the meet, what would the King's huntsman and the neighbors say at havin' an outlaw for a fellow guest? Not that this Robin Wood wasn't a good fellow; he was a damn good fellow, and a good neighbor too. He had often tipped Sir Ector the wink when a raiding party was on its way from the marches, and never molested him or his farming in any way. What did it matter if he did chase himself a bit of venison now and then?

There was forty square miles of this forest, they said, and enough for all.

Leave well alone, that was Sir Ector's motto. But that didn't alter the neighbors.

Another thing was the riot. It was all very well for these crack hunts in practically artificial forests like those at Windsor, where the King hunted, but it was quite a different thing in the Forest Sauvage. Suppose His Majesty's famous hounds was to go runnin' riot after a unicorn or something? Everybody knew that you could never catch a unicorn without a young virgin for bait (in which case the unicorn meekly laid its white head and mother-of-pearl horn in her lap) and so the puppies would go chargin' off into the forest for leagues and leagues, and never catch it, and get lost, and then what would Sir Ector say to his sovereign? It wasn't only unicorns. There was this Beast Glatisant that everybody had heard so much about. If you had the head of a serpent, the body of a leopard, the haunches of a lion, and were footed like a hart, and especially if you made a noise like thirty couple of hounds questin', it stood to reason that you would account for an excessive number of royal puppies before they pulled you down. Serve them right too. And what would King Pellinore says if Master William Twyti did succeed in killing his beast? Then there were the small dragons which lived under stones and hissed like kettles; dangerous varmints, very. Or suppose they were to come across one of the really big dragons? The boy Wart had been talkin' for months about nothin' except some dragon called Atlantic something- or-other, which was killed by a chap called St. Georgius. Suppose they was to run into one of them? Why, the boy said it was a hundred and fifteen feet long. Sir Ector considered the prospect moodily for some time, then began to feel better. It would be a jolly good thing, he concluded, if Master Twyti and his beastly dogs did meet Atlantic what-you-may-call-it, yes, and get eaten up by it too, every one.

Cheered by this vision, he turned round at the edge of the plowing and

stumped off home. At the hedge where the old lady lay waiting to scare rooks he was lucky enough to spot some approaching pigeons before she was aware of him or them, and let such a screech that he felt amply repaid for his own jump by seeing hers. It was going to be a good evening after all. "Good night to you," said Sir Ector affably, when the old lady recovered herself enough to drop him a curtsey.

He felt so much restored by this that he dropped in on the vicar, half-way up the village street, and invited him to dinner in hall. Then he climbed up to the solar, which was his special chamber, and sat down heavily to write a submissive message to King Uther in the two or three hours which remained to him before the meal. It would take him quite that time, what with sharpening quill pens, using too much sand to blot with, going to the top of the stairs to ask the butler how to spell things, and starting again if he made a mess.

Sir Ector sat in the solar, while the wintering sunlight threw broad orange beams across his bald head. He scratched and pluttered away, and laboriously bit the end of his pen, and the enormous castle room darkened about him. It was a room as big as the main hall over which it stood, and it could afford to have large southern windows because it was on the second story. There were two fireplaces, in which the ashy logs of wood turned from gray to red as the sunlight retreated. Round these, some favorite hounds lay snuffling in their dreams, or scratching themselves for fleas, or gnawing mutton bones which they had scrounged from the kitchens. The peregrine falcon stood hooded on a perch in the corner, a motionless idol dreaming of other skies.

If you were to go now to view the solar of Castle Sauvage, you would find it empty of furniture; but the sun would still stream in at those stone windows two feet thick, and, as it barred the mullions, it would catch a warmth of sandstone from them: the amber light of age. If you went to the nearest curiosity shop, you might find some clever copies of the furniture which it was supposed to contain. These would be oak chests and cupboards with Gothic paneling and strange faces of men or angels —

or devils — carved darkly upon them, black, bees-waxed, worm-eaten and shiny: gloomy testimonies to the old life in their coffin-like solidity. But the furniture in the solar was not like that. The devils' heads were there and the linen-fold paneling, but the wood was five or six centuries younger. So, in the warm-looking light of sunset, it was not only the mullions which had an amber glow. All the spare, strong chests in the room (they were converted for sitting by laying bright carpets upon them) were the young, the golden oak, and the cheeks of the devils and cherubim shone as if they had just been given a good soaping.

CHAPTER FIFTEEN

IT WAS Christmas night, the eve of the Boxing Day Meet. You must remember that this was in the old Merry England, when the rosy barons ate with their fingers, and had peacocks served before them with all their tall feathers streaming, or boars' heads with the tusks stuck in again; when there was no unemployment because there were too few people to be unemployed; when the forests rang with knights walloping each other on the helm, and the unicorns in the wintry moonlight stamped with their silver feet and snorted their noble breaths of blue upon the frozen air. These marvels were great and comfortable ones, but in the old England there was a greater still. The weather behaved itself. In the spring all the little flowers came out obediently in the meads, and the dew sparkled, and the birds sang; in the summer it was beautifully hot for no less than four months, and, if it did rain just enough for agricultural purposes, they managed to arrange it so that it rained while you were in bed; in the autumn the leaves flamed and rattled before the west winds, tempering their sad adieu with glory; and in the winter, which was confined by statute to two months, the snow

lay evenly, three feet thick, but never turned into slush.

It was Christmas night in the Castle of the Forest Sauvage, and all around the castle the snow lay as it ought to he. It hung heavily on the battlements, like extremely thick icing on a very good cake, and in a few convenient places it modestly turned itself into the clearest icicles of the greatest possible length. It hung on the boughs of the forest trees in rounded lumps, even better than apple- blossom, and occasionally slid off the roofs of the village, when it saw a chance of falling upon some amusing character and giving pleasure to all. The boys made snowballs with it, but never put stones in them to hurt each other, and the dogs, when they were taken out to scombre, bit it and rolled in it, and looked surprised but delighted when they vanished into the bigger drifts. There was skating on the moat, which roared all day with the gliding steel, while hot chestnuts and spiced mead were served on the bank to all and sundry. The owls hooted. The cooks put out all the crumbs they could for the small birds. The villagers brought out their red mufflers. Sir Ector's face shone redder even than these. And reddest of all shone the cottage fires all down the main street of an evening, while the winds howled outside and the old English wolves wandered about slavering in an appropriate manner, or sometimes peeping in at the keyholes with their blood-red eyes. It was Christmas night and all the proper things had been done. The whole village had come to dinner in the hall. There had been boar's head and venison and pork and beef and mutton and capons; but

no turkey, on account of this bird not having yet been invented. There had been plum pudding and snap-dragon, with blue fire on the tips of one's fingers, and as much mead as anybody could drink. Sir Ector's health had been drunk with "Best respects, Measter," with "Best compliments of the Season, my lords and ladies, and many of them." There had been mummers to play an exciting dramatic presentation of a story in which St. George and a Saracen and a very funny Doctor did some surprising things, also carol-singers who rendered "Adeste Fideles" and "I Sing of a Maiden," in high, clear, tenor voices. After that, those children who had not been sick over their dinner played Hoodman Blind and other appropriate games, while the young men and maidens danced morris dances in the middle, the tables having been cleared away. The old folks sat round the walls holding glasses of mead in their hands and feeling thankful that they were past all such capers, hoppings and skippings, while those children who had been sick sat with them, and soon went to sleep, the small heads leaning against their shoulders. At the high table Sir Ector sat with his knightly guests, who had come for the morrow's hunting, smiling and nodding and drinking burgundy or sherries, sack or malmsey wine. After a bit, silence was prayed for Sir Grummore. He stood up and sang his old school song, amidst great applause, but forgot most of it and had to make a humming noise in his mustache. Then King Pellinore was nudged to his feet and sang bashfully: Oh, I was born a Pellinore in famous Lincolnshire.

Full well I chased the Questing Beast for more than seventeen year. Till I took up with Sir Grummore here In the season of the year. (Since when) 'tis my delight On a feather-bed night To sleep at home, my dear.

"You see," explained King Pellinore blushing, as he sat down with everybody whacking him on the back, "old Grummore invited me home, what, after we had been having a splendid joust together, and since then I've been letting my beastly Beast go and hang itself on the wall, what?"

"Well done," they all told him. "You live your own life while you've got it."

William Twyti was called for, who had arrived on the previous evening, and the famous huntsman stood up with a perfectly straight face, and his crooked eye fixed upon Sir Ector, to sing: D'ye ken William Twyti

With his jerkin so dagged? D'ye ken William Twyti Who never yet lagged?

Yes, I ken William Twyti And he ought to be gagged

With his hounds and his horn in the morning.

"Bravo!" cried Sir Ector. "Did you hear that, eh? Said he ought to be gagged,

my deah fellah. Blest if I didn't think he was going to boast when he began. Splendid chaps, these huntsmen, eh? Pass Master Twyti the malmsey with my compliments."

The boys lay curled up under the benches near the fire, Wart with Cavall in his arms. Cavall did not like the heat and the shouting and the smell of mead, and wanted to go away, but Wart held him tightly because he needed something to hug, and Cavall had to stay with him perforce, panting over a long pink tongue.

"Now, Ralph Passelewe," cried Sir Ector, and all his Villeins cried, "Ralph Passelewe," "Good wold Ralph," "Who killed the cow, Ralph?" "Pray silence for Master Passelewe that couldn't help it."

At this, the most lovely old man got up at the very furthest and humblest end of the hall, as he had got up on all similar occasions for the past half-century. He was no less than eighty-seven years of age, almost blind, almost dumb, almost deaf, but still able and willing and happy to quaver out the same old song which he had sung for the pleasure of the Forest Sauvage since before Sir Ector was bound up in a kind of tight linen puttee in his cradle. They could not hear him at the high table — he was much too far away in Time to be able to reach across a room — but everybody knew what the cracked old voice was singing, and everybody loved it. This is what he sang: Whe—an/Wold King — Cole/was a/wakkin -doon-t'street, H—e/saw -a-lovely laid-y a/steppin-in-a-puddle./

She—e/lifted hup-er-skeat/ For to/

Hop acrorst ter middle,/ An ee/saw her/an-kel.

Wasn't that a fuddle?/

Ee could 'ernt elp it,/ee Ad to.

There were about twenty verses of this song, in which Wold King Cole helplessly saw more and more things that he ought not to have seen, and everybody cheered at the end of each verse until, at the conclusion, old Ralph was overwhelmed with congratulations and sat down smiling dimly to a replenished mug of mead.

It was now Sir Ector's turn to wind up the proceedings. He stood up importantly and delivered the following speech: "Friends, tenants and otherwise. Unaccustomed as I am to public speakin' — "

There was a faint cheer at this, for everybody recognized the speech which Sir Ector had made for the last twenty years, and welcomed it like a brother.

" — unaccustomed as I am to public speakin', it is my pleasant duty — I might say my very pleasant duty — to welcome all and sundry to this our homely feast. It has been a good year, and I say it without fear of contradiction, in pasture and

plow. We all know how Crumbocke of Forest Sauvage won the first prize at Cardoyle Cattle Show for the second time, and one more year will win the cup outright. More power to the Forest Sauvage. As we sit down tonight, I notice some faces now gone from amongst us and some which have added to the family circle. Such matters are in the hands of an almighty Providence, to which we all feel thankful. We ourselves have been first created and then spared to enjoy the rejoicin's of this pleasant evening. I think we are all grateful for the blessin's which have been showered upon us. Tonight we welcome in our midst the famous King Pellinore, whose labors in riddin' our forest of the redoubtable Questin' Beast are known to us all. God bless King Pellinore. (Hear, hear.) Also Sir Grummore Grummursum, a sportsman, though I say it to his face, who will stick to his mount as long as his Quest will stand up in front of him. (Hooray!) Finally, last but not least, we are honored by a visit from his Majesty's most famous huntsman, Master William Twyti, who will, I feel sure, show us such sport tomorrow that we will rub our eyes and wish that a royal pack of hounds could always be huntin' in the Forest which we all love so well. (View-halloo and several recheats blown in imitation.) Thank you, my dear friends, for your spontaneous welcome to these gentlemen. They will, I know, accept it in the true and warm-hearted spirit in which it is offered. And now it is time that I should bring my brief remarks to a close. Another year has almost sped and it is time that we should be lookin' forward to the challengin' future. What about the Cattle Show next year? Friends, I can only wish you a very Merry Christmas, and, after Reverend Sidebottom has said our Grace for us, we shall conclude with a singin' of the National Anthem."

The cheers which broke out at the end of Sir Ector's speech were only just prevented, by several hushes, from drowning the last part of the vicar's grace in Latin, and then everybody stood up loyally in the firelight and sang: God save King Pendragon,

May his reign long drag on, God save the King.

Send him most gorious, Great and uproarious, Horrible and hoarious, God save our King.

The last notes died away, the hall emptied of its rejoicing humanity. Lanterns flickered outside, in the village street, as everybody went home in bands for fear of the moonlit wolves, and the Castle of the Forest Sauvage slept peacefully and lightless, in the strange silence of the holy snow.

CHAPTER SIXTEEN

THE WART got up very early next morning. He made a determined effort the moment he woke up, threw off the great bearskin rug under which he slept, and plunged his body into the biting air. He dressed furiously, trembling, skipping about to keep warm, and hissing blue breaths to himself as if he were grooming a horse. He broke the ice in a basin and dipped his face in it with a grimace like eating something sour, said A-a-ah, and rubbed his stinging checks vigorously with a towel. Then he felt quite warm again and scampered off to the emergency kennels to watch the King's huntsman making his last arrangements.

Master William Twyti turned out in daylight to be a shriveled, harassed- looking man, with an expression of deep melancholy on his face. All his life he had been forced to pursue various animals for the royal table, and, when he had caught them, to cut them up into the various joints. He was more than half a butcher. He had to know what parts the hounds should eat, and what parts should be given to his various assistants. He had to cut everything up handsomely, leaving two vertebrae on the tail to make the chine look attractive, and almost ever since he could remember he had been either pursuing a hart or cutting it up into joints. He was not particularly fond of doing this. The harts and hinds in their herds, the boars in their singulars, the skulks of foxes, the richesses of martens, the bevies of roes, the cetes of badgers and the routs of wolves: all came to him more or less as something which you either skin or flayed and then took home to the cook. You could talk to him about os and argos, suet and grease, croteys, fewmets and fiants, but he only looked polite. He knew that you were showing off your knowledge of these words, which were to him a business. You could talk about a mighty boar which had nearly slashed you last winter, but only stared at you with his distant eyes: he had been slashed sixteen times by mighty boars, and his legs had white weals of shiny flesh that stretched right up to his ribs. While you talked, he got on with whatever part of his profession he had in hand. There was only one thing which could move Master William Twyti. Summer or winter, snow or shine he was running or galloping after boars and harts, and all the time his soul was somewhere else. Mention a hare to Master Twyti and, although he would still go on galloping after the wretched hart which seemed to be his destiny, he would gallop with one eye over his shoulder yearning for puss. It was the only thing he ever talked about. He was always being sent to one castle or another, all over England, and when he was there the local servants would fete him and keep his glass filled and ask him about his greatest hunts. He would answer distractedly in monosyllables. But if anybody

mentioned a huske of hares he was all attention, and then he would thump his glass upon the table and discourse upon the marvels of this astonishing beast, declaring that you could never blow a menee for it, because the same hare could at one time be male and another time female, while it carried grease and croteyed and gnawed, which things no beast in the earth did except it.

Wart watched the great man in silence for some time, then went indoors to see if there was any hope of breakfast. He found that there was, for the whole castle was suffering from the same sort of nervous excitement which had got him out of bed so early, and even Merlyn had dressed himself in a pair of running shorts to see the fun.

Boar-hunting was fun. It was nothing like badger-digging or covert-shooting or fox-hunting today. Perhaps the nearest thing to it would be ferreting for rabbits: except that you used dogs instead of ferrets, had a boar that quite easily might kill you, instead of a rabbit, and carried a boar-spear upon which your life depended instead of a gun. They did not usually hunt the boar on horseback. Perhaps the reason for this was that the boar season happened in the two winter months, when the old English snow would be liable to ball in your horse's hoofs and render galloping too dangerous. The result was that you were yourself on foot, armed only with steel, against an adversary who weighed a good deal more than you did and who could unseam you from the nave to the chaps, and set your head upon his battlements. There was only one rule in boar-hunting. It was: Hold on. If the boar charged you, you had to drop on one knee and present your boar- spear in his direction. You held the butt of it with your right hand on the ground to take the shock, while you stretched your left arm to its fullest extent and held the spear tightly with it, as high up as possible. You kept the point towards the charging boar. The spear was as sharp as a razor, and it had a cross-piece about eighteen inches away from the point. This cross-piece or horizontal bar prevented the spear from going more than eighteen inches into his chest. Without the cross-piece, a charging boar would have been capable of rushing right up the spear, even if it did go through him, and getting at you like that. But with the cross-piece he was held away from you at a spear's length, with eighteen inches of steel inside him. It was in this situation that you had to hold on. He weighed between ten and twenty score, and his one object in life was to heave and weave and sidestep, until he could get at you and champ you into chops, while your one object was not to let go of the spear, clasped tight under your arm, until somebody had come to finish him off. If only you could keep hold of your end of the spear, while the other end was stuck in him, you knew that there was at least a spear's length between you, however much he ran you round the forest. You may be able to understand, if you think this over, why all the sportsmen of the

castle got up early for the Boxing Day Meet, and ate their breakfast with a certain amount of suppressed feeling.

"Ah," said Sir Grummore, gnawing a pork chop which he held in his fingers, "down in time for breakfast, hey?"

"Yes, I am," said the Wart.

"Fine huntin' mornin'," said Sir Grummore. "Got your spear sharp, hey?" "Yes, I have, thank you," said the Wart. He went over to the sideboard to get a

chop for himself.

"Come on, Pellinore," said Sir Ector. "Have a few of these chickens. You're eatin' nothin' this mornin'."

King Pellinore said, "I don't think I will, thank you all the same. I don't think I feel quite the thing, this morning, what?" Sir Grummore took his nose out of his chop and inquired sharply,

"Nerves?"

"Oh, no," cried King Pellinore. "Oh, no, really not that, what? I think I must have taken something last night that disagreed with me."

"Nonsense, my dear fellah," said Sir Ector, "here, you just have a few chickens to keep your strength up."

He helped the unfortunate King to two or three capons, and the latter sat down miserably at the end of the table, trying to swallow down a few bits of them.

"Need them," said Sir Grummore meaningly, "by the end of the day, I dare say."

"Do you think so?" asked King Pellinore anxiously.

"Know so," said Sir Grummore, and winked at his host. The Wart, however, noticed that both Sir Ector and Sir Grummore were eating with rather exaggerated gusto. He did not himself feel that he could manage more than one chop, and, as for Kay, he had stayed away from the breakfast-room altogether.

When breakfast was over, and Master Twyti had been consulted, the Boxing Day cavalcade moved off to the Meet. Perhaps the hounds would have seemed rather a mixed pack to a master of hounds today. There were half a dozen black and white alaunts, which looked like greyhounds with the heads of bull-terriers or worse. These, which were the proper hounds for boars, wore muzzles on account of their ferocity. The gaze-hounds, of which there were two taken just in case, were in reality nothing but greyhounds according to modem language, while the lymers were a sort of mixture between the bloodhound and the red setter of today. The latter had collars on, and were led with straps. The braches were just like beagles, and trotted along with the master in the way that beagles always have trotted, and a charming way it is.

With the hounds went the foot-people. Merlyn, in his running shorts, looked

rather like Lord Baden-Powell, only, of course, the latter has not got a beard. Sir Ector was dressed in "sensible" leather clothes — it was not considered sporting to hunt in armor — and he walked beside Master Twyti with that bothered and important expression which has always been worn by masters of hounds. Sir Grummore, just behind, was puffing rather and asking everybody whether they had sharpened their spears. King Pellinore had dropped back right among the villagers, feeling that there was safety in numbers. And all the villagers were there, every male soul on the estate from Hob the austringer down to old Wat with no nose, all carrying spears or pitchforks or old scythe blades or stout poles. Even some of the young women who were courting had come out, with baskets of provisions for their men. It was a regular Boxing Day Meet. At the edge of the forest the last follower joined up. He was a tall and distinguished-looking person dressed in green, and he carried a seven-foot bow.

"Good morning Master," he said pleasantly to Sir Ector.

"Ah, yes," said Sir Ector. "Yes, yes, good mornin', eh? Yes, good mornin'."

Then he led the gentleman in green aside and said in a loud whisper that could be heard by everybody, "For heaven's sake, my dear fellow, do be careful. This is the King's own huntsman, and those two other chaps are King Pellinore and Sir Grummore. Now do be a good chap, my dear fellow, and don't say anything controversial, will you, old boy, there's a good chap?"

"Certainly I won't," said the green man reassuringly. "But I think you had better introduce me to them."

Sir Ector blushed deeply and called out: "Ah, Grummore, come over here a minute, will you? I want to introduce a friend of mine, old chap, a chap called Wood, old chap — Wood with a W, you know, not an H. Yes, and this is King Pellmore. Master Wood — King Pellinore."

"Hall," said King Pellinore, who had not quite got out of the habit when nervous.

"How do," said Sir Grummore.

"No relation to Robin Hood, I suppose?"

"Oh, not in the least," interrupted Sir Ector hastily. "Double you, double owe, dee, you know, like the stuff they make furniture out of —

furniture, you know, and spears, and — well — spears, you know, and furniture."

"How do you do," said Robin. "Hail," said King Pellinore.

"Well," said Sir Grummore, "it's funny you should both wear green."

"Yes, it is funny, isn't it?" said Sir Ector anxiously. "He wears it in mournin' for an aunt of his, who died by fallin' out of a tree."

"Beg pardon, I'm sure," said Sir Grummore, grieved at having touched upon this tender subject; and all was well.

"Now, then, Mr. Wood," said Sir Ector when he had recovered himself. "Where shall we go for our first draw?"

As soon as this question had been put, Master Twyti was fetched into the conversation, and a brief confabulation followed in which all sorts of technical terms like "lesses" were bandied about. Then there was a long walk in the wintry forest, and the fun began.

Wart had lost the rather panicky feeling which had taken hold of his stomach when he was breaking his fast. The exercise and the snow-wind had breathed him, so that his eyes sparkled almost as brilliantly as the frost crystals in the white winter sunlight and his blood raced with the excitement of the chase. He watched the lymerer who held the two bloodhound dogs on their leashes, and saw the dogs straining more and more as the boar's lair was approached. He saw how, one by one and ending with the gaze-hounds, who did not hunt by scent, the various hounds became uneasy and began to whimper with desire. He noticed Robin pause and pick up some lesses, which he handed to Master Twyti, and then the whole cavalcade came to a halt. They had reached the dangerous spot.

Boar-hunting was like cub-hunting to this extent, that the boar was attempted to be held up. The object of the hunt was to kill him as quickly as possible. Wart took up his position in the circle round the monster's lair, and knelt down on one knee in the snow, with the handle of his spear couched on the ground, ready for emergencies. He felt the hush which fell upon the company and saw Master Twyti wave silently to the lymerer to uncouple his hounds. The two lymers plunged immediately into the covert which the hunters surrounded. They ran mute.

There were five long minutes during which nothing happened. The hearts beat thunderously in the circle, and a small vein on the side of each neck throbbed in harmony with each heart. The heads turned quickly from side to side, as each man assured himself of his neighbors, and the breath of life steamed away on the north wind most sweetly, as each realized how beautiful life was, which a reeking tush might, in a few seconds, rape away from one or another of them if things went wrong.

The boar did not this time express his fury with his voice. There was no uproar in the covert or yelping from the lymers. Only, about a hundred yards away from the Wart, there was suddenly a black creature standing on the edge of the clearing. It did not seem to be a boar particularly, not in the first seconds that it stood there. It had come too quickly to appear to be anything. It was charging

Sir Grummore before the Wart had recognized what it was.

The black thing rushed over the white snow, throwing up little puffs of it. Sir Grummore, also looking black against the snow, turned a quick somersault in a rather larger puff. A kind of grunt, but no noise of falling, came clearly on the north wind, and then the boar was gone. When it was gone, but not before, the Wart knew certain things about it: things which he had not had time to notice while the boar was there. He remembered the rank mane of bristles standing upright on its razor back, one flash of a sour tush, the staring ribs, the head held low, and a red flame from a piggy eye.

Sir Grummore got up, dusting snow out of himself unhurt, blaming his spear: a few drops of blood were to be seen frothing on the white earth. Master Twyd put his horn to his lips. The alaunts were uncoupled as the exciting notes of the menee began to ring through the forest, and then the whole scene began to move. The lymers which had reared the boar — the proper word for dislodging — were allowed to pursue him to make them keen on their work: the braches gave musical tongue: the alaunts galloped baying through the drifts: everybody began to shout and run.

"Avoy, avoy!" cried the foot people. "Shahou, shahou! Avaunt, sire, avaunt." "Swef, swef!" cried Master Twyti anxiously. "Now, now, gentlemen, give the

hounds room if you please."

"I say, I say!" cried King Pellinore. "Did anybody see which way he went?

What an exciting day, what? Sa sa cy avaunt, cy sa avaunt sa cy avaunt!"

"Hold hard, Pellinore," cried Sir Ector. "'Ware hounds, man, 'ware hounds. Can't catch him yourself, you know. Il est hault-t-il est hault!" And "Til est ho," echoed the foot-people. "Tilly-ho," sang the trees.

"Tally-ho," murmured the distant snowdrifts as the heavy branches, disturbed by the vibrations, slid noiseless puffs of sparkling powder on to the muffled earth.

The Wart found himself running with Master Twyti.

It was like beagling in a way, except that it was beagling in a forest where it was sometimes difficult even to move. Everything depended on the music of the hounds and the various notes which the huntsman could blow to tell where he was and what he was doing. Without these the whole field would have been lost in two minutes; and even with them about half of it was lost in three.

Wart stuck to Twyti like a burr. He could move as quickly as the huntsman because, although the latter possessed the experience of a lifetime, he himself was smaller to get through obstacles and had, moreover, been taught by Maid Marian. He noticed that Robin kept up too, but soon the grunting of Sir Ector and the baa-ing of King Pellinore were left behind. Sir Grummore had given in

early, having had most of the breath knocked out of him by the boar, and stood far in the rear declaring that his spear could no longer be quite sharp. Kay had stayed with him, so that he should not get lost. The foot-people had been early mislaid because they did not understand the notes of the horn. Merlyn had torn his breeches and stopped to try and mend them up again by magic. The sergeant had thrown out his chest so far in crying Tally-ho and telling everybody which way they ought to run that he had soon lost all sense of place, and was leading a disconsolate party of villagers, in Indian file, at the double, with knees up, in the wrong direction. Hob was still in the running.

"Swef, swef," panted the huntsman again, addressing the Wart as if he had been a hound. "Not so fast, master, they are going off the line." Even as he spoke, Wart noticed that the hound music was weaker and more querulous.

"Stop," said Robin, "or we may tumble over him." The music died away. "Swef, swef!" shouted Master Twyti at the top of his voice. "Sto arere, so

howe, so howe!" He swung his baldrick in front of him and, lifting the horn to his lips, began to blow a recheat.

There was a single note from one of the lymers. "Hoo arere," cried the huntsman.

The lymer's note grew in confidence, faltered, then rose the full bay.

"Hoo arere! Here how, amy. Hark to Beaumont the valiant! Ho moy, ho moy, hole, hole, hole, hole!"

The lymer was taken up by the tenor bells of the braches. The noise grew to a crescendo of excitement as the blood-thirsty thunder of the alaunts pealed through the lesser notes.

"They have him," said Twyti briefly, and the three humans began to run again, while the huntsman blew encouragement with Trou-rou-root. In a small bushment the grimly boar stood at bay. He had got his hindquarters into the nook of a tree blown down by a gale, in an impregnable position. He stood on the defensive with his upper jaw writhed back in a snarl. The blood of Sir Grummore's gash welled fatly among the bristles of his shoulder and down his leg, while the foam of his chops dropped on the blushing snow and melted it. His small eyes darted in every direction. The hounds stood round, yelling at his hateful mask, and Beaumont, with his back broken, writhed at his feet. He paid no further attention to the living hound, for it could do him no harm. He was black, flaming and bloody.

"So-ho," said the huntsman softly.

He advanced upon the murderer with his spear held out in front of him, and the hounds, encouraged by their master, stepped forward with him pace by pace.

The scene changed as suddenly as a house of cards falling down. The boar

was not at bay any more, but charging Master Twyti. As it charged, the alaunts closed in, seizing it fiercely by shoulder or throat or leg, so that what surged down on the huntsman was not one boar but a bundle of animals. He dared not use his spear for fear of hurting the dogs. The bundle rolled forward remorselessly, as if the hounds did not impede it at all. Twyti began to reverse his spear, to keep the charge off with its butt end, but even as he reversed it the tussle was upon him. He sprang back, tripped over a root, and the battle closed on top. The Wart pranced round the edge, waving his own spear in an agony, but there was nowhere where he dared to thrust it in. Robin dropped his spear, drew his falchion in the same movement, stepped into the huddle of snarls, and calmly picked an alaunt up by the leg. The dog did not let go, but there was space where its body had been. Into this space the falchion went slowly, once, twice, thrice. The whole superstructure stumbled, recovered itself, stumbled again, and sank down ponderously on its left side. The hunt was over.

Master William Twyti drew one leg slowly from under the boar, stood up, took hold of his knee with his right hand, moved it inquiringly in various directions, nodded to himself and stretched his back straight. Then he picked up his spear without saying anything and limped over towards Beaumont. He knelt down beside him and took his head on his lap. He stroked Beaumont's head and said, "Hark to Beaumont. Softly, Beaumont, mon amy. Oyez à Beaumont the valiant. Swef,le douce Beaumont, swef, swef." Beaurnont licked his hand but could not wag his tail. The huntsman nodded to Robin, who was standing behind, and held the hound's eyes with his own. He said, "Good dog, Beaumont the valiant, sleep now, old friend Beaumont, good old dog." Then Robin's falchion let Beaumont out of this world, to run free with Orion and to roll among the stars. The Wart did not like to watch Master Twyti for a moment or two. The strange, little leathery man stood up without saying anything and whipped the hounds off the corpse of the boar as he was accustomed to do. He put his horn to his lips and blew the four long notes of the mort without a quaver. But he was blowing the notes for something else, and he startled the Wart because he seemed to be crying.

The mort brought most of the stragglers up in due time. Hob was there already and Sir Ector came up next, whacking the brambles aside with his boar-spear, puffing importantly and shouting, "Well done, Twyti. Splendid hunt, very. That's the way to chase a beast of venery, I will say. What does he weigh?" The others dribbled in by batches, King Pellinore bounding along and crying out, "Tally-ho! tally-ho! tally-ho!" in ignorance that the hunt was done. When informed of this fact, he stopped and said

"Tally-ho, what? " in a feeble voice, then relapsed into silence. Even the

sergeant's Indian file arrived in the end, still doubling with knees up, and were halted in the clearing while the sergeant explained to them with great satisfaction that if it had not been for him, all would have been lost. Merlyn appeared holding up his running shorts, having failed in his magic. Sir Grummore came stumping along with Kay, saying that it had been one of the finest points he had ever seen run, although he had not seen it, and then the butcher's business of the "undoing" was proceeded with apace.

Over this there was a bit of excitement. King Pellinore, who had really been scarcely himself all day, made the fatal mistake of asking when the hounds were going to be given their quarry. Now, as everybody knows, a quarry is a reward of entrails, etc., which is given to the hounds on the hide of the dead beast (sur le quir), and, as everybody else knows, a slain boar is not skinned. It is disemboweled without the hide being taken off, and, since there can be no hide, there can be no quarry. We all know that the hounds are rewarded with a fouail, or mixture of bowels and bread cooked over a fire, and, of course, poor King Pellinore had used the wrong word.

So King Pellinore's trousers were taken down amid loud huzzas, and the protesting monarch was bent over the dead beast and given a hearty smack with a sword blade by Sir Ector. King Pellinore then said, "I do think you are all a lot of beastly cads," and wandered off mumbling into the forest.

The boar was undone, the hounds rewarded, and the foot-people, standing about in chattering groups because they would have got wet if they had sat down in the snow, ate the provisions which the young women had brought in baskets. A small barrel of wine which had been thoughtfully provided by Sir Ector was broached, and a good drink was had by all. The boar's feet were tied together, a pole was slipped between its legs, and two men hoisted it upon their shoulders. William Twyti stood back, and courteously blew the prise.

It was at this moment that King Pellinore reappeared. Even before he came into view they could hear him crashing in the undergrowth and calling out, "I say, I say! Come here at once! A most dreadful thing has happened!" He appeared dramatically upon the edge of the clearing, just as a disturbed branch, whose burden was too heavy, emptied a couple of hundredweight of snow upon his head. King Pellinore paid no attention. He climbed out of the snow heap as if he had not noticed it, still calling out

"I say! I say!"

"What is it, Pellinore?" shouted Sir Ector.

"Oh, come quick," cried the King and, turning round distracted, he vanished again into the forest.

"Is he all right," inquired Sir Ector, "do you suppose?"

"Excitable character," said Sir Grummore. "Very." "Better follow up and see what he's doin'."

The procession moved off sedately in King Pellinore's direction, following his erratic course by the fresh tracks in the snow. The spectacle which they came across was one for which they were not prepared. In the middle of a dead gorse bush King Pellinore was sitting, with the tears streaming down his face. In his lap there was an enormous snake's head, which he was patting. At the other end of the snake's head there was a long, lean, yellow body with spots on it. At the end of the body there were some lion's legs which ended in the slots of a hart.

"There, there," King Pellinore was saying. "I didn't mean to leave you altogether. It was only because I wanted to sleep in a feather bed, just for a bit. I was coming back, honestly I was. Oh, please don't die, Beast, and leave me without any fewmets."

When he saw Sir Ector, the King took command of the situation. Desperation had given him authority.

"Now, then, Ector," he exclaimed. "Don't stand there like a ninny. Fetch that barrel of wine along at once."

They brought the barrel and poured out a generous tot for the Questing Beast. "Poor creature," said King Pellinore indignantly. "It's pined away, positively

pined away, just because there was nobody to take an interest in it. How I could have stayed all that while with Sir Grummore and never given my old Beast a thought I really don't know. Look at its ribs, I ask you. Like the hoops of a barrel. And lying out in the snow all by itself, almost without the will to live. Come on, Beast, you see if you can't get down another gulp of this. It will do you good."

"Mollocking about in a feather bed," added the remorseful monarch, glaring at Sir Grummore,"like a — like a kidney!"

"But how did you — how did you find it?" faltered Sir Grummore.

"I happened on it. And small thanks to you. Running about like a lot of nincompoops and smacking each other with swords. I happened on it in this gorse bush here, with snow all over its poor back and tears in its eyes and nobody to care for it in the wide world. It's what comes of not leading a regular life. Before, it was all right. We got up at the same time, and quested for regular hours, and went to bed at half-past ten. Now look at it. It's gone to pieces altogether, and it will be your fault if it dies. You and your hummocky bed."

"But, Pellinore," said Sir Grummore.

"Shut your mouth," replied the King at once. "Don't stand there bleating like a fool, man. Do something. Fetch another pole so that we can carry old Glatisant home. Now, then, Ector, haven't you got any sense? We must just carry him

home and put him in front of the kitchen fire. Send somebody on to make some bread and milk. And you, Twyti, or whatever you choose to call yourself, stop fiddling with that trumpet of yours and run ahead to get some blankets warmed." "When we get home," concluded King Pellinore, "the first thing will be to give it a nourishing meal, and then, if it's all right in the morning, I'll give it a couple of hours' start and then hey-ho for the old life once again. What about that, Glatisant, hey? You'll tak' the high road and I'll tak' the low road, what? Come along, Robin Hood, or whoever you are — you may think I don't know, but I do — stop leaning on your bow with that look of negligent woodcraft. Pull yourself together, man, and get that musclebound sergeant to help you carry her. Now then, lift her easy. Come along, you chuckle-heads, and mind you don't trip. Feather beds and quarry, indeed; a lot of childish nonsense. Go on, advance,

proceed, step forward, march! Feather brains, I call it, that's what I do."

"And as for you, Grummore," added the King, even after he had concluded, "you can just roll yourself up in your feather bed and stifle in it."

CHAPTER SEVENTEEN

"I THINK it is time," said Merlyn, looking at him over the top of his spectacles one afternoon, "that you had another dose of education. That is, as Time goes."

It was an afternoon in early spring and everything outside the window looked most beautiful. The winter mantle had gone, taking with it Sir Grummore, Master Twyti, King Pellinore and the Questing Beast, the latter having revived under the influence of kindliness and bread-and-milk. It had bounded off into the snow with every sign of gratitude, to be followed two hours later by the excited King, and the watchers from the battlements had observed it confusing its snowy footprints most ingeniously, as it reached the edge of the chase — it was running backwards, bounding twenty foot sideways, rubbing out its marks with its tall, climbing along horizontal branches, and performing many other tricks with evident enjoyment. They had also seen King Pellinore, who had dutifully kept his eyes shut and counted ten thousand while this was going on, becoming quite confused when he arrived at the difficult spot, and finally galloping off in the wrong direction with his brachet trailing behind him.

It was a lovely afternoon. Outside the schoolroom window the larches of the distant forest had already assumed the fullness of their dazzling green, the earth twinkled and swelled with a million drops, and every bird in the world had come home to court and sing. The village folk were forth in their gardens every evening, planting garden beans, and it seemed that, what with these emergencies and those of the slugs (coincidentally with the beans), the buds, the lambs, and the birds, every living thing had conspired to come out.

"What would you like to be?" asked Merlyn.

Wart looked out of the window, listening to the thrush's twice-done song of dew.

He said, "I have been a bird once, but it was only in the mews at night, and I never got a chance to fly. Even if one ought not to do one's education twice, don't you think I could be a bird so as to learn about that?"

He had been bitten with the craze for birds which bites all sensible people in the spring, and which sometimes even leads to such excesses as birds' nesting, etc.

"I can see no reason why you shouldn't," said the magician. "Why not try it at night?"

"But they will be asleep at night."

"All the better chance of inspecting them without their flying away. You could

go with Archimedes this evening, and he would tell you about them." "Would you do that, Archimedes?"

"I should love to," said the owl. "I was feeling like a little saunter myself." "Do you know," asked the Wart, thinking of the thrush, "why birds sing, or

how? Is it a language?"

"Of course it's a language. It isn't a big language like human speech, but it's large."

"Gilbert White," said Merlyn, "remarks, or will remark, however you like to put it, that 'the language of birds is very ancient, and, like other ancient modes of speech, little is said, but much is intended! He also says somewhere that 'the rooks, in the breeding season, attempt sometimes, in the gaiety of their hearts, to sing — but with no great success.' "

"I love rooks," said the Wart. "It's funny, but I think they are my favorite bird." "Why?" asked Archimedes.

"Well, I like them. I like their sauce."

"Neglectful parents," quoted Merlyn, who was in a scholarly mood, "and saucy, perverse children."

"It Is true," said Archimedes reflectively, "that all the corvidae possess a distorted sense of humor."

Wart explained.

"I love the way they enjoy flying. They don't just fly, like other birds, but they fly for fun. It is lovely when they hoist home to bed in a flock at night, all cheering and making rude remarks and pouncing on each other in a vulgar way. They turn over on their backs sometimes and tumble out of the air, just to be ridiculous, or else because they have forgotten they are flying and have coarsely begun to scratch themselves for fleas, without thinking about it."

"They are intelligent birds," said Archimedes, "in spite of their low humor. They are one of the birds that have parliaments, you know, and a social system."

"Do you mean that they have laws?"

"Certainly they have laws. They meet in the autumn, in a field to talk them over."

"What sort of laws?"

"Oh, well, laws about the defense of the rookery, and marriage, and so forth. You are not allowed to marry outside the rookery, and, if you do become quite lost to all sense of decency, and bring back a sable virgin from a neighboring settlement, then everybody pulls your nest to pieces as fast as you can build it up. They make you go into the suburbs, you know, and that is why every rookery has out-lying nests all round it, several trees away."

"Another thing I like about them," said the Wart, "is their Go. They may be

thieves and practical jokers, and they do quarrel and bully each other in a squawky way, but they have got the courage to mob their enemies. I should think it takes some courage to mob a hawk, even if there is a pack of you. And even while they are doing it they clown."

"They are mobs," said Archimedes loftily. "You have said the word." "Well, they are larky mobs, anyway," said the Wart, "and I like them!" "What is your favorite bird?" asked Merlyn politely, to keep the peace.

Archimedes thought this over for some time, and then said, "Well, it's a large question, you know. It's rather like asking you what is your favorite book. On the whole, however, I think that I must prefer the pigeon."

"To eat?"

"I was leaving that side of it out," said the owl in civilized tones.

"Actually the pigeon is the favorite dish of all raptors if they are big enough to take her, but I was thinking of nothing but domestic habits."

"Describe them."

"The pigeon," said Archimedes, "is a kind of Quaker. She dresses in gray. A dutiful child, a constant lover, and a wise parent, she knows like all philosophers that the hand of every man is against her. She has learned throughout the centuries to specialize in escape. No pigeon has ever committed an act of aggression nor turned upon her persecutors; but no bird, likewise, is so skillful in eluding them. She has learned to drop out of a tree on the opposite side to man, and to fly low so that there is a hedge between them. No other bird can estimate a range so well. Vigilant, powdery, odorous and loose-feathered so that dogs object to take them in their mouths, armored against pellets by the padding of these feathers, the pigeons coo to one another with true love, nourish their cunningly hidden children with true solicitude, and flee from the aggressor with true philosophy, a race of peace lovers continually caravaning away from the destructive Indian in covered wagons. They are loving individualists surviving against the forces of massacre only by wisdom in escape."

"Did you know," added Archimedes, "that a pair of pigeons always roosts head to tail, so that they can keep a look-out in both directions?"

"I know our tame pigeons do," said the Wart. "What I like about wood- pigeons is the clap of their wings, and how they soar up and close their wings and sink, during their courting flights, so that they fly rather like woodpeckers."

"It isn't very like woodpeckers," said Merlyn. "No, it isn't," admitted the Wart.

"And what is your favorite bird?" asked Archimedes, feeling that his master ought to be allowed a say.

Merlyn put his fingers together like Sherlock Holmes and replied immediately,

"I prefer the chaffinch. My friend Linnæus calls him coelebs or bachelor bird. The flocks have the sense to separate during the winter, so that all the males are in one flock and all the females in the other. For the winter months, at any rate, there is perfect peace."

"The conversation," observed Archimedes, "arose out of whether birds could talk."

"Another friend of mine," said Merlyn immediately, in his most learned voice, "maintains, or will maintain, that the question of the language of birds arises out of imitation. Aristotle, you know, also attributes tragedy to imitation."

Archimedes sighed heavily, and remarked in prophetic tones, "You had better get it off your chest."

"It's like this," said Merlyn. "The kestrel drops upon a mouse, and the poor mouse, transfixed with those needle talons, cries out in agony his one squeal of K-e-e-e! Next time the kestrel sees a mouse, his own soul cries out Kee in imitation. Another kestrel, perhaps his mate, comes to that cry, and after a few million years all the kestrels are calling each other with their individual note of Kee-kee-kee."

"You can't make the whole story out of one bird," said the Wart.

"I don't want to. The hawks scream like their prey; the mallards croak like the frogs they eat, the shrikes also, like these creatures in distress; the blackbirds and thrushes click like the snail shells they hammer to pieces; the various finches make the noise of cracking seeds, and the woodpecker imitates the tapping on wood which he makes to get the insects that he eats."

"But all birds do not give a single note!"

"No, of course not. The call note arises out of imitation, and then the various bird songs are developed by repeating the single call note and descanting upon it."

"I see," said Archimedes coldly. "And what about me?"

"Well, you know quite well," said Merlyn, "that the shrew-mouse you pounce upon squeals out Kweek! That is why the young of your species call Keewick."

"And the old?" inquired Archimedes sarcastically.

"Hooroo, Hooroo," cried Merlyn, refusing to be damped. "It's obvious, my dear fellow. After their first winter, that's the wind in the hollow trees where they prefer to sleep."

"I see," said Archimedes, more coolly than ever. "This time, we note, it is not a question of prey at all."

"Oh, come along," replied Merlyn. "There are other things besides the things you eat. Even a bird drinks sometimes, for instance, or bathes itself in water; it is the liquid notes of a river that we hear in a robin's song."

"It seems now," said Archimedes, "that it is no longer a question of what we eat, but also what we drink or hear."

"And why not?"

The owl said resignedly, "Oh, well."

"I think it is an interesting idea," said the Wart, to encourage his tutor. "But how does a language come out of these imitations?"

"They repeat them at first," said Merlyn, "and then they vary them. You don't seem to realize what a lot of meaning there resides in the tone and the speed of voice. Suppose I were to say 'What a nice day,' just like that. You would answer, Yes, so It is.' But if I were to say, 'What a nice day,' in caressing tones, you might think I was a nice person. But then again, if I were to say, 'What a nice day,' quite breathless, you might look about you to see what had put me in a fright. It is like this that the birds have developed their language."

"Would you mind telling us," said Archimedes, "since you know so much about it, how many various things we birds are able to express by altering the tempo and emphasis of the elaborations of our call-notes?"

"But a large number of things. You can cry Keewick in tender accents, if you are in love, or Keewick angrily in challenge or in hate: you can cry it on a rising scale as a call-note, if you don't know where your partner is, or to attract their attention away if strangers are straying near your nest: if you go near the old nest in the wintertime you may cry Keewick lovingly, a conditioned reflex from the pleasures which you once enjoyed within it, and if I come near to you in a startling way you may cry out Keewick-keewick-keewick, in loud alarm."

"When we come to conditioned reflexes," remarked Archimedes sourly, "I prefer to look for a mouse."

"So you may. And when you find it I dare say you will make another sound characteristic of owls, though not often mentioned in books of ornithology. I refer to the sound 'Tock' or 'Tck' which human beings call a smacking of the lips."

"And what sound is that supposed to imitate?" "Obviously, the breaking of mousy bones."

"You are a cunning master," said Archimedes admiringly, "and as far as a poor owl is concerned you will just have to get away with it. All I can tell you from my own personal experience is that it is not like that at all. A tit can tell you not only that it is in danger, but what kind of danger it is in. It can say, 'Look out for the cat,' or 'Look out for the hawk,' or 'Look out for the tawny owl,' as plainly as A.B.C."

"I don't deny it," said Merlyn. "I am only telling you the beginnings of the language. Suppose you try to tell me the song of any single bird which I can't

attribute originally to imitation?" "The night-jar," said the Wart.

"The buzzing of the wings of beetles," replied his tutor at once. "The nightingale," cried Archimedes desperately.

"Ah," said Merlyn, leaning back in his comfortable chair. "Now we are to imitate the soul-song of our beloved Proserpine, as she stirs to wake in all her liquid self."

"Tereu," said the Wart softly. "Pieu," added the owl quietly.

"Music!" concluded the necromancer in ecstasy, quite unable to make the smallest beginnings of an imitation.

"Hallo," said Kay, opening the door of the afternoon schoolroom.

"I'm sorry I'm late for the geography lesson. I was trying to get a few small birds with my cross-bow. Look, I have killed a thrush."

CHAPTER EIGHTEEN

THE WART lay awake as he had been instructed to do. He was to wait until Kay was asleep, and then Archimedes would come for him with Merlyn's magic. He lay under the great bearskin and stared out of the window at the stars of spring, no longer frosty and metallic, but as if they had been new-washed and had swollen with the moisture. It was a lovely evening, without rain or cloud. The sky between the stars was of the deepest and the fullest velvet. Framed in the thick western window, Aldebaran and Betelgeuse were racing Sirius over the horizon, the hunting dog-star looking to his master Orion, who had not yet heaved himself above the rim. In at the window came also the unfolding scent of benighted flowers, for the currants, the wild cherries, the plums and the hawthorn were already in bloom, and no less than five nightingales were holding a contest of beauty among the bowery, the looming trees. Wart lay on his back with his bearskin half off him and his hands clasped behind his head. It was too beautiful to sleep, too temperate for the rug. He watched out at the stars in a kind of trance. Soon it would be the summer again, when he could sleep on the battlements and watch these stars hovering as close as moths above his face — and, in the Milky Way at least, with something of the mothy pollen. They would be at the same time so distant that unutterable thoughts of space and eternity would baffle themselves in his sighing breast, and he would imagine to himself how he was falling upwards higher and higher amongst them, never reaching, never ending, leaving and losing everything in the tranquil speed of space.

He was fast asleep when Archimedes came for him.

"Eat this," said Archimedes, and handed him a dead mouse. The Wart felt so strange that he took the furry atomy without protest, and popped it into his mouth without any feelings that it was going to be horrid. So he was not surprised when it turned out to be excellent, with a fruity taste like eating a peach with the skin on, though naturally the skin was not so nice as the mouse.

"Now, we had better fly," said the owl. "Just flip to the window-sill here, to get accustomed to yourself before we take off." Wart jumped for the sill and automatically gave himself an extra kick with his wings, just as a high jumper swings his arms. He landed on the sill with rather a thump, as owls are apt to do, did not stop himself in time, and toppled straight out of the window. "This," he thought to himself cheerfully, "is where I break my neck." It was curious, but he was not taking life at all seriously. He felt the castle walls streaking past him, and the ground and the moat swimming up. He kicked with his wings, and the ground sank again, like water in a leaking well. In a second that kick of his

wings had lost its effect, and the ground was welling up again. He kicked again. It was extraordinarily queer, going forward like this with the earth ebbing and flowing beneath him, in the utter silence of his down-fringed feathers.

"For heaven's sake," panted Archimedes, bobbing up and down in the dark air beside him, "do stop flying like a woodpecker. Anybody would take you for a Little Owl, if the brutes had been invented. What you are doing is to give yourself flying speed with one flick of your wings. You then rise on that flick until you have lost flying speed and begin to stall. Then you give another just as you are beginning to drop out of the air, and do a switchback. It's extremely confusing to keep up with you."

"Well," said the Wart recklessly, "if I stop doing this I shall just go bump altogether."

"Idiot," said the owl. "Waver your wings all the time, like me, instead of doing these solitary bounds."

The Wart did what he was told, and was surprised to find that the ridiculous earth became stable again and moved underneath him without tilting, in a regular pour. He did not feel himself to be moving at all.

"That's better."

"How curious everything looks," observed the Wart with some wonder, now that he had time to look about him.

And, indeed, the world did look curious. In some ways the best description of it would be to say that it looked a little like a photographer's negative, for he was seeing one ray beyond the spectrum which is visible to human beings. An infra- red camera will take photographs in the dark, when we cannot see, and it will also take photographs in daylight. The owls are the same, for it is quite untrue that they can only see at night. They see in the day just as well, only they happen to possess the advantage of seeing pretty well at night also, and so they naturally prefer to do their hunting then, when other creatures are more at their mercy. To the Wart the green trees would have looked whitish in the daytime, as if they were covered with apple blossom, and now, at night, everything had the same kind of different look. It was like flying in a twilight which had reduced everything to shades of the same color, and, as in the twilight, there was a considerable amount of gloom.

"Do you like it?" asked the owl.

"I like it very much. Do you know, when I was a fish there were parts of the water which were colder or warmer than the other parts, and now it is the same in the air."

"The temperature of both," said Archimedes instructively, "depends upon the vegetation of the bottom. Woods or weeds, they make it warm above them."

"Well," said the Wart, "I can see why the reptiles who had given up being fishes decided to become birds. It certainly is fun."

"You are beginning to fit things together," remarked Archimedes. "Do you mind if we sit down?"

"How does one?"

"You must stall. That means you must launch yourself upwards until you lose flying speed, and then, just as you feel yourself beginning to tumble — why, you sit down. Haven't you ever noticed how birds usually fly upwards to perch? They don't come straight down on the branch, but dive below it and then rise. At the top of their rise they stall and sit down."

"But birds land on the ground too. And what about mallards on the water?

They can't rise to sit on that."

"Well, it's perfectly possible to land on flat things, but more difficult. You have to glide in at stalling speed all the way, and then increase your wind resistance by cupping your wings, dropping your feet, tail, etc. You may have noticed that few birds do it really gracefully. Look how a crow thumps down and how the mallard splashes. The spoon-winged birds like heron and plover seem to do it best. As a matter of fact, we owls aren't so bad at it ourselves."

"And the long-winged birds like swifts, I suppose they are the worst, for they can't rise from a flat surface at all?"

"The reasons are different," said Archimedes, "yet the fact is true. But need we talk on the wing? I am getting quite tired."

"So am I."

"Owls usually prefer to sit down every few hundred yards." The Wart copied Archimedes in zooming up towards the branch which they had selected. He began to fall just as they were above it, clutched it with his furry feet at the last moment, swayed backwards and forwards twice, and found that he had landed successfully. He folded up his wings.

While the Wart sat still and admired the view, his friend proceeded to give him a longish lecture upon flights in birds. He told how, although the swift was so fine a flyer that he could sleep on the wing all night, and although the Wart himself had claimed to admire the way in which rooks enjoyed their flights, the real aeronaut of the lower strata (which cut out the swift) was the plover. He explained how plovers indulged in acrobatics, and would actually do such stunts as spins, stall turns and even rolls for the mere grace of the thing. They were the only birds which made a practice of slipping off height to land. Wart paid little or no attention to the lecture, but got his eyes accustomed to the strange tones of light instead, and watched Archimedes out of the corner of one of them. For Archimedes, while he was talking, was absent-mindedly spying for his dinner.

This spying was an odd performance.

You know how a spinning top which is beginning to lose its spin slowly describes circles with its highest point before falling down. The leg of the top remains in the same place, but the apex makes circles which get bigger and bigger towards the end. This is what Archimedes was absent-mindedly doing. His feet remained stationary, but he moved the upper part of his body round and round, like somebody trying to see from behind a fat lady at a cinema, and uncertain which side of her gave the best view. As he could also turn his head almost completely round on his shoulders, you may imagine that his antics were worth watching.

"What are you doing?" asked the Wart.

But, even as he asked, Archimedes was gone. First there had been an owl talking about plover, and then there was no owl. Only, far below the Wart, there was a thump and a rattle of leaves, as the aerial torpedo went smack into the middle of a bush, quite regardless of obstructions. In a minute the owl was sitting beside him again on the branch, thoughtfully breaking up a dead sparrow.

"May I do that?" asked the Wart, inclined to be bloodthirsty.

"As a matter of fact," said Archimedes, after waiting to crop his mouthful, "you may not. That magic mouse which turned you into an owl will be quite enough for you — after all, you've been eating as a human all day — and no owl kills for pleasure. It simply isn't done. Besides, I am supposed to be taking you for your education, and, as soon as I have finished my snack here, that is what we shall have to do."

"Where are you going to take me?"

Archimedes finished his sparrow, wiped his beak politely on the bough, and turned his tender eyes full upon the Wart. These great, round eyes had, as a famous writer has expressed it, a bloom of light upon them like the purple bloom of powder on a grape.

"I am going to take you," said he slowly, "where no human being has ever been, to see my dear mother Athene, the goddess of wisdom." It was a long and terrible journey, passing beyond the solitude into the undiscovered country of Kennaquhair, whose latitude is 91 degrees north and longitude 181 degrees west. Here, in the luminous hollow of a tree stump that had been blasted by lightning and whittled clean by the winds of knowledge, they alighted on the outstretched hands of the goddess. Athene was invisible, or at least the Wart never remembered having seen her afterwards. At the time he did not notice that she was invisible — it only struck him when he woke up next morning — because he was aware of her without seeing her. He was aware that her unthinkable beauty was neither that of age nor of youth. That her eyes were the only things

you thought of looking at, and that to be her was terrible, whereas to be with her was the only joy. If you can understand this, she was in herself so unhappy that words only melt in such temperatures, but towards other people she was the spirit of invincible mercy and protection. She lived, of course, beyond sorrow and solitude, and, if you follow me, the suffering which had brought her there had left her with a kind of supernatural good manners.

She was a conqueror.

Archimedes kissed her tenderly. He was not overawed by her, but saluted her almost with pity, as if he were a man of the world visiting his sister, a nun who did not understand how to get on in his world, or perhaps a prosperous banker who had always tried to be reasonably decent, meeting the man whose destiny it was to be nailed up and left to die of sunstroke, agony and exhaustion, in order to save the prosperous bankers.

Even Archimedes did not understand her. She knew this.

"Hail, mother," said Archimedes. "I have brought you a young human, who is to learn things, by decree."

When the Wart came to think about it afterwards, he realized that he had not only never seen the goddess but that he had also never heard her speak. The owl spoke, and he spoke; but the words of Athene did not come out of a mouth.

"This part," said Archimedes with a sort of purr, "is at the rate of thirty years in a minute. It is one of our owl's dreams, you know, such as we gain our wisdom from in the sighing of the night."

Athene did not speak, but she held the Wart in the hollow of her kind hand, and he knew that he was to look in front of him.

He saw the world with his own eyes now, no longer using the strange spectrum which he had experienced since he came out with Archimedes, and no doubt this was done in order to make things easier for him. They needed to be made easier, for it was now his business to watch a world in which a year passed in two seconds. It was a world of trees.

"We dream of this," explained Archimedes, "when we perch on a tree in the winds of winter, or sleep in its hollow in the rains of spring." Sometimes nowadays you can see a cinema film of a flower, for instance, in which one exposure has been taken every hour. In it you see the petals expand and throb open or shut for day or night, until the whole story is over and the seeds have been thrown out upon the wind. There was a woodland now in front of the Wart, and in it an oak sapling which grew, flourished and shed its leaves into nakedness, all in the time during which you could slowly count three. A whole year had passed in that time, with all its human joys and sorrows.

"This," said Athene, or at any rate it is what she seemed to be saying, in the most glorious of voices, "is called the Dream of the Trees." People don't think of trees as alive. We never see them moving unless the wind disturbs them, and then it is not their movement but the wind's. The Wart saw now that trees are living, and do move. He saw all that forest, like seaweed on the ocean's floor, how the branches rose and groped about and waved, how they panted forth their leaves like breathing (and indeed they were breathing) and, what is still more extraordinary, how they talked.

If you should be at a cinema when the talking apparatus breaks down, you may have the experience of hearing it start again too slowly. Then you will hear the words which would be real words at a proper speed now droning out unintelligibly in long roars and sighs, which give no meaning to the human brain. The same thing happens with a gramophone whose disc is not revolving fast.

So it is with humans. We cannot hear the trees talking, except as a vague noise of roaring and hushing which we attribute to the wind in the leaves, because they talk too slowly for us. These noises are really the syllables and vowels of the trees.

"You may speak for yourselves," said Athene.

Oak spoke first, as became the noblest of all. He stood throbbing his leaves in the twilight, to which Time had mixed down day and night; stretching out his great muscular branches; yawning, as it were, like a noble giant of the earth who cracks his limbs in the morning when he wakes.

"Ah," said the oak. "It's good to be alive. Look at my biceps, will you?

Do you see how the other trees are afraid of Gravity, afraid that he will break their branches off? They point them up in the air, or down at the ground, so as to give the old earth-giant his least purchase upon them. Now I am ready to challenge Gravity, and I can stretch my branches straight out in a line parallel to the earth. He may swing on them for all I care, but, bless you, they won't break. Do you know how long I live? A thousand years is my expectation. Three hundred years to grow, three hundred years to live, and three hundred years to die. And when I am dead, what of that? They make me into timber, into ships and house beams that will be good for another thousand. My leaves come the last and go the last. I am a conservative, I am; and out of my apples they make ink, whose words may live as long as me, even as me, the oak." Ash said softly, "I am the Venus of the forest. I am pliable."

"My dear Madam," said a rather society box, in smirking, urban, scholastic, eighteenth-century accents, "a decoction of boxwood promotes the growth of hair, while an oil distilled from its shavings is a cure for haemorrhoids,

toothache, epilepsy, and stomach worms. So, at least, we are told."

"If it comes to being sarcastic," replied a homely hazel, who was a good fellow at heart, although he was inclined to snap, "may I mention that hazel chips will clear turbid wine in twenty-four hours, and twigs of hazel twisted together will serve for yeast in brewing? You may be a sort of Lord Chesterfield, but at least you will have to yield to me in the matter of genteel tipsyfication practiced by the elegant gentlemen of your century."

"As far as drink goes," said an impossible female ivy, who was always clinging to her husband, putting her oar in, and making his life a misery,

"ground ivy is used for clarifying beer."

She simpered when she said the word "beer" in the most unpleasant way. She was a sour creature in any light.

"I don't know why we are talking about drink," said a dignified beech. "But if we are talking about it I may as well mention that Virgil's drinking bowl, divini opus Alcimedontis, was turned out of my wood."

"Great men," remarked a close-grained svelte lime, "are always going back to the trees. Grindling Gibbons would never carve his nets and baskets out of anything but me."

"And Salvator Rosa," said a chestnut, "was always painting me." "Corot," said a willow sighing, "was fond of me."

"How your humans do spin about," remarked a crafty elm coldly.

"What a speed they live at. It is rather good sport trying to spot them, and then to drop an old bough on their heads if you can get them directly underneath. But of course you have to stand very stiff and give no signs of dropping it till the actual moment. The cream of the joke is that they make the coffins out of me afterwards."

"You always were a treacherous fellow," replied an old yew. "What's the point of it? Surely it's better to help than to hinder? Now Oak here, and a few others of us, we take pride in keeping faith. We like to be steadfast. Everybody prizes me because, like Alder, I scorn to rot in water. My gateposts are more durable than iron, for they do not even rust."

"Yes," chimed in some cypresses, sycamores and others. "Live and let live, that's the best motto. We and our sisters are always pleased to see the grass growing under our shade."

"On the contrary," said a fir who always killed the grass beneath him, and a nervous aspen joined in, "kill or be killed, that's the way to get on."

"But please don't talk of killing," added the aspen. "The cross was made out of me, and I have trembled ever since. I only kill, you know, because I am frightened. It is a terrible thing always to be afraid." A cedar decided to cheer her

  1. "Oh, come," he remarked, twinkling his dusky spines. "What's the point of all this argument and boasting about your powers? It seems to me that you all take life too seriously. Look at my old friend Sequoia here, who has had the humorous idea of constructing himself a very hard-looking bark out of soft blotting-paper, so that you can punch him without hurting yourself. If it comes to that, look at me. What is my mission in life? You may think it a humble one, considering my size, but I find it amusing. I am antipathetic to fleas."

All the trees laughed at this — it resulted in a splendid summer that year — and decided to go on with their dance. It was a sort of Indian dance, in which they moved their bodies but not their feet, and a very graceful one it was. The Wart watched while the whole troop of them rippled their twigs like serpents, or made slow ritual gestures about their heads and bodies with the larger boughs. He saw how they grew big and lusty in their dancing, how they threw their arms out towards heaven in an ecstasy of being alive. The younger trees tired first. The little fruit trees stopped waving, hung their weary heads for a moment, then fell down on the ground. The big ones moved more slowly, faltered and fell one by one; till only Oak was left. He stood with his chin sunk upon his chest, kept upright by his mighty will, thinking of the lovely dance which now was over. He sighed and looked upwards to Athene, stretched out his bare arms sorrowfully to her, to ask her why, and then he also fell on sleep.

"The next dream," said Athene, "is called the Dream of the Stones."

"It is the last dream she will give you," added Archimedes, and this one goes at two million years a second. You will have to keep your eyes skinned."

Wart saw a darkness in front of him, with lights in it. The dark was so dark that it was like lampblack, and the lights so light that the coldest blue fire of diamonds could not touch them. The harsh contrast between them made his eyes ache. He was looking at Sirius, actually, just as he had been looking at him a few hours before, but it took him quite a time before he realized that he was looking at a star at all. There was none of the mellow velvet which he had been accustomed to see through the earth's atmosphere, but only this fierce emptiness of black and white, and, besides this fact, the constellations were in different positions. It was a few thousand million years ago and all the shapes of the evening have altered since then.

The nearest star, which looked the biggest for that reason, burned with a roar of terrible gases, and another star was coming towards it. You could see them surging on their endless paths into eternity, marking their aimed but aimless courses across the universe with straight lines of remembered fire — like the meteors with which the Creator sometimes stitches together the weak seams of our dome, the bright darning-needles suddenly darted in and out of the velvet by

a finger on the other side. As the two stars came closer together a huge mountain of flame was dragged out by attraction from each. When they were at their closest point the top of this mountain broke off from the smaller star and streamed through the emptiness towards the bigger. Some of it reached its destination; but the bigger star was proceeding quickly on its way, and some of it was left behind. This part hung in space, lost to both its parent and its seducer, a whirling cigar of fire. Its mists of flame began to crystallize as they cooled, to turn into drops, as water does when it is cooled from steam. The drops took up a circular path of their own, spinning round the star from which they had been dragged.

The Wart found himself closer to the third drop. Its haze of incandescent worms crawled in and out of it, formed into funnels and whirlpools, crept over its round surface, sometimes leaped out into space, curled over, and rained back. They were flames. The light died down from far beyond white to blue, to red, to a dim brown. It became a ball of steam. Out of this steam a smaller ball shot out. The first ball shrank and was a globe of boiling water.

The water began to cool but the fires still burned inside it. They convulsed the surface of the water, threw up great continents and islands of the interior rock. The centuries were passing so quickly that even these continents seemed to bubble like porridge, as the volcanoes and mountains and earthquakes came and went. The unbridled furnace within was still unstable, and, till quite late in the dream, the globe did not always spin on the same axis, but lurched over sideways as some stress gave way inside. The lurches destroyed continents and made more.

The Wart found himself closer still. He was actually on the globe and facing an enormous cliff. At two million years a second, the cliff's mountain moved. It was alive as the trees had been, and roared most dreadfully. It fell, it folded on itself, it shoved itself along the surface of the globe, pushing a bow wave of its own folds for miles. Its great rock split and powdered, pouring stone torrents into the heaving sea. The sea itself grew tired of the mountain, made it to sink down and to be covered. Another convulsion threw up the remains again, streaming.

Round the foot of the chastened mountain there lay its powder and its pebbles, great rocks worn smooth by the sea. The rocks themselves broke and were scattered, the sea always rolling and rolling them together between its hands until the tiny fragments were often as round as their mother had been, the globe.

A green scum formed over the sinking mountain, a haze of color which was still sometimes dipped under the water or lifted high above it, as the earth undulated. The trees came, but their voices were quite drowned by the slower

howling of the mineral world, which twitched through the millennia like a dog's skin in sleep.

"Hold fast," was what the rocks thundered. "Hold, cohere." But all the time they were broken apart, thrown down, and their hold broken. There was nothing to be seen of the mountain except a flat green plain which had some pebbles on it. They were bits of the cliff which he had first watched.

The dream, like the one before it, lasted about half an hour. In the last three minutes of the dream some fishes, dragons and such-like ran hurriedly about. A dragon swallowed one of the pebbles, but spat it out. In the ultimate twinkling of an eye, far tinier in time than the last millimeter on a six-foot rule, there came a man. He split up the one pebble which remained of all that mountain with blows; then made an arrowhead of it, and slew his brother.

"Well, Wart," said Kay in an exasperated voice. "Do you want all the rug?

And why do you heave and mutter so? You were snoring too." "I don't snore," replied the Wart indignantly.

"You do."

"I don't."

"You do. You snore like a volcano." "I don't."

"You do."

"I don't. And you snore worse." "No, I don't."

"Yes, you do."

"How can I snore worse if you don't snore at all?"

By the time they had thrashed this out, they were nearly late for breakfast.

They dressed hurriedly and ran out into the spring.

CHAPTER NINETEEN

IN THE evenings, except in the very height of summer, they used to meet in the solar after the last meal of the day. There the parson, Reverend Sidebottom, or if he were busy over his sermon then Merlyn himself, would read to them out of some learned book of tales, to calm their spirits. It was glorious in the winter, while the big logs roared in the fire — the beech blue-flamy and relentless, the elm showy and soon gone, the holly bright, or the pine with his smoking scents

  • while the dogs dreamed of conquest, or the boys imagined those sweet maidens letting down their golden hair so that their rescuers might save them out of towers. But almost at any time of the year it was as good.

The book they usually used was Gesta Romanorum, whose fascinating tales began with such provoking sentences as "There was a certain King who had a singular partiality for little dogs that barked loudly," or "A certain nobleman had a white cow, to which he was extremely partial: he assigned two reasons for this, first because she was spotlessly white, and next, because . . ."

The boys, and for that matter the men, would sit as quiet as church mice while the marvels of the story were unfolded, and, when the unpredictable narrative had come to an end, they would look towards Reverend Sidebottom (or Merlyn

  • who was not so good at it) to have the story explained. Reverend Sidebottom would draw a deep breath and plunge into his task, explaining how the certain King was really Christ, and the barking dogs zealous preachers, or how the white cow was the soul and her milk represented prayer and supplication. Sometimes, indeed generally, the unfortunate vicar was hard put to it to find a moral, but nobody ever doubted that his explanations were the right ones; and anyway most of his listeners were soon asleep.

It was a fine summer night, the last night which would give any excuse for fires, and Reverend Sidebottom was reading out his tale. Wart lay snoozing among the lean ribs of the gaze-hounds: Sir Ector sipped his wine with his eyes brooding on the logs which lit the evening: Kay played chess with himself rather badly: and Merlyn, with his long beard saffron in the firelight, sat cross-legged knitting, beside the Wart.

"There was once discovered at Rome," read Reverend Sidebottom through his nose, "an uncorrupted body, taller than the wall of the city, on which the following words were inscribed — 'Pallas, the son of Evander, whom the lance of a crooked soldier slew, is interred here.' A candle burned at his head which neither water nor wind could extinguish, until air was admitted through a hole made with the point of a needle beneath the flame. The wound of which this

giant had died was four feet and a half long. Having been killed after the overthrow of Troy, he remained in his tomb two thousand two hundred and forty years."

"Have you ever seen a giant?" asked Merlyn softly, so as not to interrupt the reading. "No, I remember you haven't. Just catch hold of my hand a moment, and shut your eyes."

The vicar was droning on about the gigantic son of Evander, Sir Ector was staring into the fire, and Kay was making a slight click as he moved one of the chessmen, but the Wart and Merlyn were immediately standing hand in hand in an unknown forest.

"This is the Forest of the Burbly Water," said Merlyn, "and we are going to visit the giant Galapas. Now listen. You are invisible at the moment, because you are holding my hand. I am able to keep myself invisible by an exercise of will- power — an exceedingly exhausting job it is

— and I can keep you invisible so long as you hold on to me. It takes twice as much will-power, but there. If, however, you let go of me even for a moment, during that moment you will become visible, and, if you do it in the presence of Galapas, he will munch you up in two bites. So hold on."

"Very well," said the Wart.

"Don't say 'Very well.' It isn't very well at all. On the contrary, it is very ill indeed. And another thing. The whole of this beastly wood is dotted with pitfalls and I shall be grateful if you will look where you are going."

"What sort of pitfalls?"

"He digs a lot of pits about ten feet deep, with smooth clay walls, and covers them over with dead branches, pine needles and such-like. Then, if people walk about, they tumble into them, and he goes round with his bow every morning to finish them off. When he has shot them dead, he climbs in and collects them for dinner. He can hoist himself out of a ten-foot pit quite easily."

"Very well," said the Wart again, and corrected himself to, "I will be careful."

Being invisible is not so pleasant as it sounds. After a few minutes of it you forget where you last left your hands and legs — or at least you can only guess to within three or four inches — and the result is that it is by no means easy to make your way through a brambly wood. You can see the brambles all right, but where exactly you are in relation to them becomes more confusing. The only guide to your legs, for the feeling in them soon becomes complicated, is by looking for your footprints — these you can see in the neatly flattened grass below you — and, as for your arms and hands, it becomes hopeless unless you concentrate your mind to remember where you put them last. You can generally tell where your body is, either by the unnatural bend of a thorn branch, or by the

pain of one of its thorns, or by the strange feeling of centralness which all human beings have, because we keep our souls in the region of our liver.

"Hold on," said Merlyn, "and for glory's sake don't trip up. They proceeded to tread their tipsy way through the forest, staring carefully at the earth in front of them in case it should give way, and stopping very often when an extra large bramble fastened itself in their flesh. When Merlyn was stuck with a bramble, he swore, and when he swore he lost some of his concentration and they both became dimly visible, like autumn mist. The rabbits upwind of them stood on their hind legs at this, and exclaimed, "Good gracious!"

"What are we going to do?" asked the Wart.

"Well," said Merlyn, "here we are at the Burbly Water. You can see the giant's castle on the opposite bank, and we shall have to swim across. It may be difficult to walk when you are invisible, but to swim is perfectly impossible, even with years of practice. You are always getting your nose under water. So I shall have to let go of you until we have swum across in our own time. Don't forget to meet me quickly on the other bank." The Wart went down into the warm starlit water, which ran musically like a real salmon stream, and struck out for the other side. He swam fast, across and down river, with a kind of natural dog-stroke, and he had to go about a quarter of a mile below his landing-place along the bank before Merlyn also came out to meet him, dripping. Merlyn swam the breast- stroke, very slowly and with great precision, watching ahead of him over the bow wave of his beard, with that faintly anxious expression of a faithful retriever.

"Now," said Merlyn, "catch hold again, and we will see what Galapas is about."

They walked invisible across the sward, where many

unhappy-looking gardeners with iron collars round their necks were mowing, weeding and sweeping by torchlight, although it was so late, in what had begun to be a garden. They were slaves.

"Talk in whispers," said Merlyn, "if you have to talk." There was a brick wall in front of them, with fruit trees nailed along it, and this they were forced to climb. They did so by the usual methods of bending over, climbing on each

other's backs, giving a hand up from on top, and so forth, but every time that the Wart was compelled to let go of his magician for a moment he became visible. It was like an early cinematograph flickering very badly, or one of those magic lanterns where you put in slide after slide. A slave gardener, looking at that part of the wall, sadly tapped himself on the head and went away into a shrubbery to be sick.

"Hush," whispered Merlyn from the top of the wall, and they looked down upon the giant in person, as he took his evening ease by candlelight upon the bowling green.

"But he's not big at all," whispered the Wart disappointedly.

"He is ten feet high," hissed Merlyn, "and that is extremely big for a giant. I chose the best one I knew. Even Goliath was only six cubits and a span — or nine feet four inches. If you don't like him you can go home."

"I'm sorry. I didn't mean to be ungrateful, Merlyn, only I thought they were sixty feet long and that sort of thing."

"Sixty feet," sniffed the necromancer.

The giant had heard something at the top of the wall, and looked up towards them, remarking in a rumbling tone, "How the bats squeak at night!" Then he poured himself out another hornful of madeira and tossed it off in one draught.

Merlyn lowered his voice and explained. "People find the teeth and bones of creatures like your friend Atlantosaurus, and then they tell stories about human giants. One of them found a tooth weighing two hundred ounces. It's dragons, not giants, that grow really big."

"But can't humans grow big too?"

"I don't understand it myself, but it is something about the composition of their bones. If a human was to grow sixty feet high, he would simply snap his bones with the weight of their own gravity. The biggest real giant was Eleazer, and he was only ten feet and a half."

"Well," said the Wart, "I must say it is rather a disappointment."

"I don't mean being brought to see him," he added hastily, "but that they don't grow like I thought. Still, I suppose ten feet is quite big when you come to think of it."

"It is twice as high as you are," said Merlyn. "You would just come up to his navel, and he could pitch you up to a corn rick about as high as you can throw a sheaf."

They had become interested in this discussion, so that they got less and less careful of their voices, and now the giant rose up out of his easy-chair. He came towards them with a three-gallon bottle of wine in his hand, and stared earnestly at the wall on which they were sitting. Then he threw the bottle at the wall rather

to their left, said in an angry voice,

"Beastly screech owls!" and proceeded to stump off into the castle. "Follow him," cried Merlyn quickly.

They scrambled down off the wall, joined hands, and hurried after the giant by the garden door.

In the beginning the downstair parts were reasonably civilized, with green baize doors behind which butlers and footmen — though with iron collars round their necks — were polishing silver and finishing off the decanters. Later on there were strong-rooms with ancient safes in them, that contained the various gold cups, épergnes and other trophies won at jousts and horse-races by the giant. Next there were dismal cellars with cobwebs over the wine bins, and dreary-looking rats peeping thoughtfully at the bodiless footprints in the dust, and several corpses of human beings hanging up in the game cupboards until they should be ready to eat. It was like the place for adults only in the Chamber of Horrors at Madame Tussaud's.

At the very bottom of the castle they came upon the dungeons. Here the chalky walls dripped with greasy moisture, and there were pathetic messages and graffiti scratched upon the stone. "Pray for poor Priscilla," said one, and another said, "Oh, if I had only paid for my dog license honestly, I should never have come to this pass." There was a picture of a man hanging from a gallows, with arms and legs sticking out like those of a Guy Fawkes in all directions, and another of a demon with horns. A fifth carving said, "Midnight Sun for the two- thirty," while a Sixth said, "Oh, yeah?" and a seventh exclaimed, "Alas, that I should have forgotten to feed my poor canary: now I am in the same dread doom." A message which had been scratched out said, "Beastly old Galapas loves Madame Mim, the dirty hound," and somebody else had written, "Repent and be saved for the Kingdom of Hell is at hand." There were kisses, dates, pious ejaculations, mottoes such as "Waste not, want not," and "Good night, ladies," also hearts with arrows in them, skulls and crossbones, pictures of pigs drawn with the eyes shut, and pathetic messages such as, "Don't forget to take the potatoes off at half-past twelve," "The key is under the geranium," "Revenge me on stinking Galapas, by whom I am foully slain," or merely "Mazawatee Mead for Night Starvation." It was a grimly place.

"Ha!" cried Galapas, stopping outside one of his cells. "Are you going to give me back my patent unbreakable helm, or make me another one?"

"It's not your helm," answered a feeble voice. "I invented it, and I patented it, and you can go sing for another one, you beast."

"No dinner tomorrow," said Galapas cruelly, and went on to the next cell. "What about that publicity?" asked the giant. "Are you going to say that the

Queen of Sheba made an unprovoked attack upon me and that I took her country in self-defense?"

"No, I'm not," said the journalist in the cell.

"Rubber truncheons for you," said Galapas, "in the morning."

"Where have you hidden my elastic stays?" thundered the giant at the third cell.

"I shan't tell you," said the cell.

"If you don't tell me," said Galapas, "I shall have your feet burnt." "You can do what you like."

"Oh, come on," pleaded the giant. "My stomach hangs down without them. If you will tell me where you put them I will make you a general, and you shall go hunting in Poland in a fur cap. Or you can have a pet lion, or a comic beard, and you can fly to America with an Armada. Would you like to marry any of my daughters?"

"I think all your propositions are foul," said the cell. "You had better have a public trial of me for propaganda."

"You are just a mean, horrible bully," said the giant, and went on to the next cell.

"Now then," said Galapas. "What about that ransom, you dirty English pig?" "I'm not a pig," said the cell, "and I'm not dirty, or I wasn't until I fell into that

beastly pit. Now I've got pine needles all down my back. What have you done with my toothbrush, you giant, and where have you put my poor little brachet, what?"

"Never mind your brachet and your toothbrush," shouted Galapas,

"what about that ransom, you idiot, or are you too steeped in British sottishness to understand anything at all?"

"I want to brush my teeth," answered King Pellinore obstinately.

"They feel funny, if you understand what I mean, and it makes me feel not very well."

"Uomo bestiale," cried the giant. "Have you no finer feelings?"

"No," said King Pellinore, "I don't think I have. I want to brush my teeth, and I am getting cramp through sitting all the time on this bench, or whatever you call it."

"Unbelievable sot," screamed the master of the castle. "Where is your soul, you shop-keeper? Do you think of nothing but your teeth?"

"I think of lots of things, old boy," said King Pellinore. "I think how nice it would be to have a poached egg, what?"

"Well, you shan't have a poached egg, you shall just stay there until you pay my ransom. How do you suppose I am to run my business if I don't have my

ransoms? What about my concentration camps, and my thousand-dollar wreaths at funerals? Do you suppose that all this is run on nothing? Why, I had to send a wreath for King Gwythno Garanhir which consisted of a Welsh Harp forty feet long, made entirely out of orchids. It said, 'Melodious Angels Sing Thee to Thy Rest."

"I think that was a very good wreath," said King Pellinore admiringly.

"But couldn't I have my toothbrush, what? Dash it all, really, it isn't much compared with a wreath like that. Or is it?"

"Imbecile," exclaimed the giant, and moved on to the next cell.

"We shall have to rescue him," whispered the Wart. "It is poor old King Pellinore, and he must have fallen into one of those traps you were telling me about, while he was after the Questing Beast."

"Let him stay," said Merlyn. "A chap who doesn't know enough to keep himself out of the clutches of one of these giants isn't worth troubling about."

"Perhaps he was thinking of something else," whispered the Wart.

"Well, he shouldn't have been," hissed the magician. "Giants like this do absolutely no harm in the long run, and you can keep them quite quiet by the smallest considerations, such as giving them back their stays. Anybody knows that. If he has got himself into trouble with Galapas, let him stay in it. Let him pay the ransom."

"I know for a fact," said the Wart, "that he hasn't got the money. He can't even afford to buy himself a feather bed."

"Then he should be polite," said Merlyn doubtfully.

"He is trying to be," said the Wart. "He doesn't understand very much. Oh, please, King Pellinore is a friend of mine and I don't like to see him in these forbidding cells without a single helper."

"Whatever can we do?" cried Merlyn angrily. "The cells are firmly locked."

There was really nothing to do, but the magician's louder cry had altered matters into a crisis. Forgetting to be silent as well as invisible, Merlyn had spoken too loudly for the safety of his expedition.

"Who's there?" shrieked Galapas, wheeling round at the fifth cell.

"It's nothing," cried Merlyn. "Only a mouse." The giant Galapas whipped out his mighty sword, and stared backwards down the narrow passage with his torch held high above his head. "Nonsense," he pronounced. "Mouses don't talk in human speech."

"Eek," said Merlyn, hoping that this would do.

"You can't fool me," said Galapas. "Now I shall come for you with my shining blade, and I shall see what you are, by yea or by nay." He came down towards them, holding the blue glittering edge in front of him, and his fat eyes were

brutal and piggish in the torchlight. You can imagine that it was not very pleasant having a person who weighed five hundred pounds looking for you in a narrow passage, with a sword as long as yourself, in the hopes of sticking it into your liver.

"Don't be silly," said Merlyn. "It is only a mouse, or two mice. You ought to know better."

"It is an invisible magician," said Galapas. "And as for invisible magicians, I slit them up, see? I shed their bowels upon the earth, see? I rip them and tear them, see, so that their invisible guts fall out upon the earth. Now, where are you, magician, so that I may slice and zip?"

"We are behind you," said Merlyn anxiously. "Look, in that further corner behind your back."

"Yes," said Galapas grimly, "except for your voice."

"Hold on," cried Merlyn, but the Wart in the confusion had slipped his hand. "A visible magician," remarked the giant, "this time. But only a small one. We

shall see whether the sword goes in with a slide."

"Catch hold, you idiot," cried Merlyn frantically, and with several fumblings they were hand in hand.

"Gone again," said Galapas, and swiped with his sword towards where they had been. It struck blue sparks from the stones.

Merlyn put his invisible mouth right up to the Wart's invisible car, and whispered, "Lie flat in the passage. We will press ourselves one to each side, and hope that he will go beyond us."

This worked; but the Wart, in wriggling along the floor, lost contact with his protector once again. He groped everywhere but could not find him, and of course he was now visible again, like any other person.

"Ha!" cried Galapas. "The same small one, equally visible." He made a swipe into the darkness, but Merlyn had snatched his pupil's hand again, and just dragged him out of danger.

"Mysterious chaps," said the giant. "The best thing would be to go snip-snap along the floor."

"That's the way they cut up spinach, you know," added the giant, "or anything you have to chip small."

Merlyn and the Wart crouched hand in hand at the furthest corner of the corridor, while the horrible giant Galapas slowly minced his way towards them, laughing from the bottom of his thunderous belly, and not sparing a single inch of the ground. Click, click, went sword upon the brutal stones, and there seemed to be no hope of rescue. He was behind them now and had cut them off.

"Good-by," whispered the Wart. "It was worth it."

"Good-by," said Merlyn. "I don't think it was at all."

"You may well say Good-by," sneered the giant, "for soon this choppy blade will rip you."

"My dear friends," shouted King Pellinore out of his cell, "don't you say Good-by at all. I think I can hear something coming, and while there is life there is hope."

"Yah," cried the imprisoned inventor, also coming to their help. He feebly rattled the bars of his cell. "You leave those persons alone, you grincing giant, or I won't make you an unbreakable helmet, ever."

"What about your stays?" exclaimed the next cell fiercely, to distract his attention. "Fatty!"

"I am not fat," shouted Galapas, stopping half-way down the passage. "Yes, you are," replied the cell. "Fatty!"

"Fatty!" shouted all the prisoners together. "Fat old Galapas. "Fat old Galapas cried for his mummy.

He couldn't find his stays and down fell his tummy!"

"All right," said the giant, looking perfectly blue in the face. "All right, my beauties. I'll just finish these two off and then it will be truncheons for supper."

"Truncheons yourself," they answered. "You leave those two alone." "Truncheons," was all the giant said. "Truncheons and a few little

thumbscrews to finish up with. Now then, where are we?"

There was a distant noise, a kind of barking; and King Pellinore, who had been listening at his barred window while this was going on, began to jump and hop.

"It's it!" he shouted in high delight. "It's it." "What's it?" they asked him.

"It!" explained the King. "It, itself."

While he was explaining, the noise had come nearer and now was clamoring just outside the dungeon door, behind the giant. It was a pack of hounds,

"Wouff!" cried the door, while the giant and all his victims stood transfixed. "Wouff!" cried the door again, and the hinges creaked.

"Wouff!" cried the door for the third time, and the hinges broke.

"Wow!" cried the giant Galapas, as the door crashed to the stone flags with a tremendous slap, and the Beast Glatisant bounded into the corridor.

"Let go of me, you awful animal," cried the giant, as the Questing Beast fixed its teeth into the seat of his pants.

"Help! Help!" squealed the giant, as the monster ran him out of the broken door.

"Good old Beast!" yelled King Pellinore, from behind his bars. "Look at that, I

ask you! Good old Beast. Leu,leu,leu, leu! Fetch him along then, old lady: bring him on, then, bring him on. Good old girl, bring him on: bring him on, then, bring him on."

"Dead, dead," added King Pellinore rather prematurely. "Bring him on dead, then: bring him on dead. There you are then, good old girl. Hie lost! Hie lost! Leu,leu,leu,leu! What do you know about that, for a retriever entirely self- trained?"

"Hourouff," barked the Questing Beast in the far distance. "Hourouff, hourouff." And they could just hear the giant Galapas running round and round the circular stairs, towards the highest turret in his castle. Merlyn and the Wart hurriedly opened all the cell doors with the keys which the giant had dropped — though the Beast would no doubt have been able to break them down even if he had not — and the pathetic prisoners came out blinking into the torchlight. They were thin and bleached like mushrooms, but their spirits were not broken.

"Well," they said. "Isn't this a bit of all right?" "No more thumbscrews for supper."

"No more dungeons, no more stench," sang the inventor. "No more sitting on this hard bench."

"I wonder where he can have put my toothbrush?"

"That's a splendid animal of yours, Pellinore. We owe her all our lives." "Three cheers for Glatisant!"

"And the brachet must be somewhere about."

"Oh, come along, my dear fellow. You can clean your teeth some other time, with a stick or something, when we get out. The thing to do is to set free all the slaves and to run away before the Beast lets him out of the Tower."

"As far as that goes, we can pinch the épergnes on the way out."

"Lordy, I shan't be sorry to see a nice fire again. That place fair gave me the rheumatics."

"Let's burn all his truncheons, and write what we think of him on the walls." "Good old Glatisant!"

"Three cheers for Pellinore!" "Three cheers for everybody else!" "Huzza! Huzza! Huzza!"

Merlyn and the Wart slipped away invisibly from the rejoicings. They left the slaves thronging out of the Castle while King Pellinore carefully unlocked the iron rings from their necks with a few appropriate words, as if he were distributing the prizes on speech day. Glatisant was still making a noise like thirty couple of hounds questing, outside the Tower door, and Galapas, with all the furniture piled against the door, was leaning out of the Tower window

shouting for the fire brigade. The slaves giggled at him as they went out. Downstairs the occupant of cell No. 3 was busily collecting the Ascot Gold Cup and other trophies out of the giant's safe, while the publicity man was having a splendid time with a bonfire of truncheons, thumbscrews and anything else that looked as if it would melt the instruments of torture. Across the corridor of the now abandoned dungeons the inventor was carving a rude message with hammer and chisel, and this said, "Nuts to Galapas." The firelight and the cheering, with King Pellinore's encouraging remarks, such as "Britons never shall be slaves," or "I hope you will never forget the lessons you have learned while you were with us here," or "I shall always be glad to hear from any Old Slaves, how they get on in life," or "Try to make it a rule always to clean your teeth twice a day," combined to make the leave-taking a festive one, from which the two invisible visitors were sorry to depart. But time was precious, as Merlyn said, and they hurried off towards the Burbly Water. Considering the things that had happened, there must have been something queer about Time, as well as its preciousness, for when the Wart opened his eyes in the solar, Kay was still clicking his chessmen and Sir Ector still staring into the flames.

"Well," said Sir Ector, "what about the giant?" Merlyn looked up from his knitting, and the Wart opened a startled mouth to speak, but the question had been addressed to the vicar. Reverend Sidebottom closed his book about Pallas, the son of Evander, rolled his eyeballs wildly, clutched his thin beard, gasped for breath, shut his eyes, and exclaimed hurriedly, "My beloved, the giant is Adam, who was formed free from all corruption. The wound from which he died is transgression of the divine command."

Then he blew out his cheeks, let go of his beard and glanced triumphantly at Merlyn.

"Very good," said Merlyn. "Especially that bit about remaining uncorrupted.

But what about the candle and the needle?"

The vicar closed his eyes again, as if in pain, and all waited in silence for the explanation.

After they had waited for several minutes, Wart said, "If I were a knight in armor, and met a giant, I should smite off both his legs by the knees, saying, 'Now art thou better of a size to deal with than thou were,'

and after that I should swish off his head." "Hush," said Sir Ector. "Never mind about that."

"The candle," said the vicar wanly, "is eternal punishment, extinguished by means of a needle — that is by the passion of Christ."

"Very good indeed," said Merlyn, patting him on the back. The fire burned merrily, as if it were a bonfire which some slaves were dancing round, and one

of the gaze-hounds next to the Wart now went "Hourouff, hourouff " in its sleep, so that it sounded like a pack of thirty couple of hounds questing in the distance, very far away beyond the night-lit woods.

CHAPTER TWENTY

IT WAS haymaking again, and Merlyn had been with them a year. The wind had been, and the snow, and the rain, and the sun once more. The boys looked longer in the leg, but otherwise everything was the same. Six other years passed by.

Sometimes Sir Grummore came on a visit: sometimes King Pellinore could be descried galloping over the purlieus after the Beast, or with the Beast after him if they happened to have got muddled up. Cully lost the vertical stripes of his first year's plumage and became grayer, grimmer, madder, and distinguished by smart horizontal bars where the long stripes had been. The merlins were released every winter and new ones caught again next year. Hob's hair went white. The sergeant-at-arms developed a pot-belly and nearly died of shame, but continued to cry out One-Two, in a huskier voice, upon every possible occasion. Nobody else seemed to change at all, except the boys.

These grew longer. They ran like wild colts as before, and visited Robin when they had a mind to, and had innumerable adventures too lengthy to be recorded.

Merlyn's extra tuition went on just the same: for in those days even the grown- ups were so childish that they saw nothing uninteresting in being turned into snakes or owls, or in going invisibly to visit giants. The only difference was that now, in their fencing lessons, Kay and the Wart were an easy match for the pot- bellied sergeant, and paid him back accidentally for many of the buffets which he had once given them. They had more and more proper weapons given to them, when they had reached their 'teens, until in the end they had full suits of armor and bows nearly six feet long, which would fire the real clothyard shaft. You were not supposed to use a bow longer than your own height, for it was considered that by doing so you were expending unnecessary energy, rather like using an elephant-gun, to shoot an ovis ammon with. At any rate, modest men were careful not to over-bow themselves. It was a form of boasting.

As the years went by, Kay became more difficult. He always used a bow too big for him, and did not shoot very accurately with it either. He lost his temper and challenged nearly everybody to have a fight, and in those few cases where he did actually have the fight, he was invariably beaten. Also he became sarcastic. He made the sergeant miserable by nagging about his stomach, and went on at the Wart about his father and mother when Sir Ector was not about. He did not seem to want to do this. It was as if he disliked it, but could not help it.

The Wart continued to be stupid, fond of Kay, and interested in birds.

Merlyn looked younger every year; which was only natural, because he was younger.

Archimedes got married, and brought up several handsome families of quilly youngsters in the tower room.

Sir Ector got sciatica; three trees were struck by lightning; Master Twyti came every Christmas without altering a hair; Goat lost all his teeth and could eat nothing but slops, but miraculously lived on; Master Passelewe remembered a new verse about King Cole.

The years passed regularly and the old English snow lay as it was expected to lie — sometimes with a Robin Red breast in one corner of the picture, a church bell or lighted window in the other — and in the end it was nearly time for Kay's initiation as a full-blown knight. Proportionately as the day became nearer, the two boys drifted apart: for Kay did not care to associate with the Wart any longer on the same terms, because he would need to be more dignified as a knight, and could not afford to have his squire on intimate terms with him. The Wart, who would have to be the squire, followed him about disconsolately as long as he was allowed to do so, and then went off full miserably to amuse himself alone, as best he might.

He went to the kitchen.

"Well, I am a Cinderella now," he said to himself. "Even if I have had the best of it for some mysterious reason, up to the present time, in our education, now I must pay for my past pleasures and for seeing all those delightful dragons, witches, unicorns, camelopards and such like, by being a mere second-rate squire and holding Kay's extra spears for him, while he hoves by some well or other and jousts with all comers. Never mind, I have had a good time while it lasted, and it is not such bad fun being a Cinderella, when you can do it in a kitchen which has a fireplace big enough to roast an ox."

And the Wart looked round the busy kitchen, which was colored by the flames till it looked much like hell, with sorrowful affection. The education of any civilized gentleman in those days used to go through three stages, page, squire, knight, and at any rate the Wart had been through the first two of these. It was rather like being the son of a modern gentleman who has made his money out of trade, for your father started you on the bottom rung even then, in your education of manners. As a page, Wart had learned to lay the tables with three cloths and a carpet, and to bring meat from the kitchen, and to serve Sir Ector or his guests on bended knee, with one clean towel over his shoulder, one for each visitor, and one to wipe out the basins. He had been taught all the noble arts of servility, and, from the earliest time that he could remember, there had lain pleasantly in the

end of his nose the various scents of mint

— used to freshen the water in the ewers — or of basil, camomile, fennel, hysop and lavender — which he had been taught to strew upon the rushy floors

— or of the angelica, saffron, aniseed, and tarragon, which were used to spice the savories which he had to carry. So he was accustomed to the kitchen, quite apart from the fact that everybody who lived in the castle was a friend of his, who might be visited on any occasion. Wart sat in the enormous firelight and looked about him with pleasure. He looked upon the long spits which he had often turned when he was smaller, sitting behind an old straw target soaked in water, so that he might not be roasted himself, and upon the ladles and spoons whose handles could be measured in yards, with which he had been accustomed to baste the meat. He watched with water in his mouth the arrangements for the evening meal — a boar's head with a lemon in its jaws, and split almond whiskers, which would be served with a fanfare of trumpets; a kind of pork pie with sour apple juice, peppered custard, and several birds'

legs, or spiced leaves, sticking out of the top to show what was in it; and a most luscious-looking frumenty. He said to himself with a sigh, "It is not so bad being a servant after all."

"Still sighing?" asked Merlyn, who had turned up from somewhere, "like you was that day we went to watch King Pellinore's joust? "

"Oh, no," said the Wart. "Or rather, oh yes, and for the same reason. But I don't really mind. I am sure I shall make a better squire than old Kay would. Look at the saffron going into that frumenty: it just matches the firelight on the hams in the chimney."

"It is lovely", said Merlyn. "Only fools want to be great."

"Kay won't tell me," said the Wart, "what happens when you are made into a knight. He says it is too sacred. What does happen?"

"Oh, just a lot of fuss. You will have to undress him and put him into a bath hung with rich hangings, and then two experienced knights will turn up — probably Sir Ector will get hold of old Grummore and King Pellinore and they will both sit on the edge of the bath and give him a long lecture about the ideals of chivalry. When they have done, they will pour some of the bath water over him and sign him with the cross, and then you will have to conduct him into a clean bed to get dry. Then you dress him up as a hermit and take him off to the chapel, and there he stays awake all night, watching his armor and saying prayers. People say it's lonely and terrible for him in this vigil, but it isn't at all really, because the vicar and the man who sees to the candles and an armed guard, and probably you as well, as his esquire, will have to sit up with him at the same time. In the morning you lead him off to bed to have a good sleep, as

soon as he has confessed and heard mass and offered a candle with a piece of money stuck into it as near the lighted end as possible, and then, when all are rested, you dress him up again in his very best clothes for dinner. Before dinner you lead him into the hall, with his spurs and sword all ready, and King Pellinore puts on the first spur, and Sir Grummore puts on the second, and then Sir Ector girds on the sword and kisses him and smacks him on the shoulder and says, 'Be thou a good knight.'"

"Is that all?"

"No. You go to the chapel again then, and Kay offers his sword to the vicar, and the vicar gives it back to him, and after that our good cook over there meets him at the door and claims his spurs as a reward, and says, 'I shall keep these spurs for you, and if at any time you don't behave like a true knight should do, why, I shall pop them in the soup.'"

"That is the end?"

"Yes, except for the dinner."

"If I were to be made a knight," said the Wart, staring dreamily into the fire, "I should insist upon my doing my vigil all by myself, as Hob does with his hawks, and I should pray to God to let me encounter all the evil in the world in my own person, so that if I conquered there should be none left, while if I were defeated, it would be I who would suffer for it."

"That would be extremely presumptuous of you," said Merlyn, "and you would be conquered, and you would suffer for it."

"I shouldn't mind."

"Wouldn't you? Wait till it happens and see."

"Why do people not think, when they are grown up, as I do when I am young?"

"Oh, dear," said Merlyn. "You are making me feel confused. Suppose you wait till you are grown up and know the reason?"

"I don't think that is an answer at all," replied the Wart, pretty justly. Merlyn wrung his hands.

"Well, anyway," he said. "Suppose they didn't let you stand against all the evil in the world?"

"I could ask," said the Wart.

"You could ask," repeated Merlyn.

He thrust the end of his beard into his mouth, stared tragically in the fire, and began to munch it fiercely.

CHAPTER TWENTY-ONE

THE DAY for the great ceremony drew near, the invitations to King Pellinore and Sir Grummore were sent out, and the Wart withdrew himself more and more into the kitchen.

"Come on, Wart, old boy," said Sir Ector ruefully. "I didn't think you would take it so bad. It doesn't become you to do this sulkin'."

"I am not sulking," said the Wart. "I don't mind a bit and I am very glad that Kay is going to be a knight. Please don't think I am sulking."

"You are a good boy," said Sir Ector. "I know you're not sulkin' really, but do cheer up. Kay isn't such a bad stick, you know, in his way."

"Kay is a splendid chap," said the Wart. "Only I was not happy because he did not seem to want to go hawking, or anything, with me, any more."

"It's his youthfulness," said Sir Ector. "It will all clear up."

"I am sure it will," said the Wart. "It is only that he doesn't want me to go with him, just at the moment. And so, of course, I don't go."

"But I will go," added the Wart. "As soon as he commands me, I will do exactly what he says. Honestly, I think Kay is a good person, and I was not sulking a bit."

"You have a glass of this canary," said Sir Ector, "and go and see if old Merlyn can't start cheerin' you up."

"Sir Ector has given me a glass of canary," said the Wart, "and sent me to see if you can't cheer me up."

"Sir Ector," said Merlyn, "is a wise man." "Well," said the Wart, "what about it?"

"The best thing for disturbances of the spirit," replied Merlyn, beginning to puff and blow, "is to learn. That is the only thing that never fails. You may grow old and trembling in your anatomies, you may lie awake at night listening to the disorder of your veins, you may miss your only love and lose your moneys to a monster, you may see the world about you devastated by evil lunatics, or know your honor trampled in the sewers of baser minds. There is only one thing for it then — to learn. Learn why the world wags and what wags it. That is the only thing which the poor mind can never exhaust, never alienate, never be tortured by, never fear or distrust, and never dream of regretting. Learning is the thing for you. Look at what a lot of things there are to learn — pure science, the only purity there is. You can learn astronomy in a lifetime, natural history in three, literature in six. And then, after you have exhausted a milliard lifetimes in biology  and  medicine  and  theo-criticism  and  geography  and  history  and

economics, why, you can start to make a cartwheel out of the appropriate wood, or spend fifty years learning to begin to learn to beat your adversary at fencing. After that you can start again on mathematics, until it is time to learn to plow."

"Apart from all these things," said the Wart, "what do you suggest for me to do just now?"

"Let me see," said the magician, considering. "We have had a short six years of this, and in that time I think I am right in saying that you have been something in either animal, vegetable or mineral; something in earth, air, fire or water? "

"I don't know much," said the Wart, "about the animals and earth." "Then the best thing is, that you should meet my friend the badger." "I have never met a badger."

"Good," said Merlyn. "Except for dear old Archimedes, I think he is the most learned creature that I know. You will like him."

"By the way, Wart," added the magician, stopping in the middle of his spell, "there is one thing I ought to tell you. This is the last time I shall be able to turn you into anything. All the magic for that kind of thing has been used up, and this will be the end of your education. When Kay has been knighted my labors will be over. You will to go away then, to be his squire in the wide world, and I shall go elsewhere. Do you think you have learned anything?"

"I have learned, and been happy."

"That's all right, then," said Merlyn. "Try to remember what you learned."

He proceeded with the spell, pointed his wand of lignum vitae at the Little Bear, which had just begun to glow in the dimity as it hung by its tail from the North Star, and called out cheerfully, "Have a good time for the last night. Give love to Badger."

The call sounded from far away, and Wart found himself standing at the edge of a fallen bank in the Forest Sauvage, with a big black hole in front of him.

"Badger lives in there," he said to himself, "and I am supposed to go and talk to him. But I won't. It was bad enough never to be a knight, but now my own tutor that I found on the only Quest I shall ever have is to be taken from me also, and there will be no more natural history or exciting duels with Madame Mim. Very well, I will have one more night of joy before I am condemned, and, as I am wild beast now, I will be a wild beast, and there it is."I

So he trundled off fiercely over the twilight snow, for it was winter. If you are feeling desperate, a badger is a good thing to be. A relation of the bears, otters and wizzles, you are the nearest thing to a bear now left in England, and your skin is so thick that it makes no difference who bites you. As far as your own bite is concerned, there is something about the formation of your jaw which makes it almost impossible to be dislocated, and so, however much the thing you

are biting twists about, there is no reason why you should ever let go. You are one of the few creatures which can munch up hedgehogs quite unconcernedly, just as you can munch up everything else from wasps'

nests and roots to baby rabbits.

It so happened that a sleeping hedgehog was the first thing which came in the Wart's way.

"Hedge-pig," said the Wart, peering at his victim with blurred, short-sighted eyes, "I am going to munch you up."

The hedgehog, which had hidden its own bright little eye-buttons and long sensitive nose inside its curl, and which had ornamented its spikes with a not very tasteful arrangement of dead leaves, before going to bed for the winter in its grassy nest, woke up at this and squealed most lamentably.

"The more you squeal," said the Wart, "the more I shall gnash. It makes my blood boil within me."

"Ah, Measter Brock," cried the hedgehog, holding himself tight shut.

"Good Measter Brock, show mercy to a poor urchin and don't 'ee be tyrannical. Us be'nt no common tiggy, measter, for to be munched and mumbled. Have mercy, kind sir, on a harmless, flea-bitten crofter which can't tell his left hand nor his right."

"Hedge-pig," said the Wart remorselessly, "forbear to whine, neither thrice nor once."

"Alas, my poor wife and childer!"

"I bet you haven't got any. Come out of that, thou tramp, and prepare to meet thy doom."

"Measter Brock," implored the unfortunate pig, "come now, doan't 'ee be okkerd, sweet Measter Brock, my duck.

Hearken to an urchin's prayer! Grant the dear boon of life uncommon tiggy, lordly measter, and he shall in numbers sweet or teach

'ee how to suck the pearly dew."

"Sing?" asked the Wart, stopping, quite taken aback.

"Aye, sing," cried the hedgehog. And it began hurriedly to sing in a very placating manner, but rather muffled because it dared not uncurl.

"Oh, Genevieve," it sang most mournfully into its tummy, "Sweet Genevieve, Ther days may come,

Ther days may go,

But still the light of Mem'ry weaves Those gentle dreams of long ago."

It also sang, without pausing for a moment between the songs: Home Sweet Home and The Old Rustic Bridge by The Mill. Then, because it had finished all

its repertoire, it drew a hurried but quavering breath, and began again on Genevieve. After that, it sang Home Sweet Home and The Old Rustic Bridge by the Mill.

"Come on," said the Wart. "You can stop that. I won't bite you."

"Clementious measter," whispered the hedge-pig humbly. Us shall bless the saints and board of governors for thee for thy most kindly chops, so long as fleas skip nor urchins climb up chimbleys."

Then, for fear that its brief relapse into prose might have hardened the tyrant's heart, it launched out breathlessly into Genevieve, for the third time.

"Stop singing," said the Wart, "for heaven's sake. Uncurl. I won't do you any harm. Come, you silly little urchin, and tell me where you learned these beautiful songs."

"Uncurl is one word," answered the porcupine tremblingly — it did not feel in the least fretful at the moment — "but curling up is still another. If 'ee was to see my liddle naked nose, measter, at this dispicuous moment, 'ee might feel a twitching in thy white toothsomes; and all's fear in love and war, that we do know. Let un sing to 'ee again, sweet Measter Brock, concerning thick there rustic mill?"

"I don't want to hear it any more. You sing it very well, but I don't want it again. Uncurl, you idiot, and tell me where you learned to sing."

"Us be'nt no common urchin," quavered the poor creature, staying curled up as tight as ever. "Us wor a-teuk when liddle by one of them there gentry, like, as it might be from the mother's breast. Ah, doan't 'ee nip our tender vitals, lovely Measter Brock, for ee wor a proper gennelman, ee wor, and brought us up full comely on cow's milk an' that, all supped out from a lordly dish. Ah, there be'nt many urchins what a drunken tap water outer porcelain, that there be'nt."

"I don't know what you are talking about," said the Wart.

"Ee wor a gennelman," cried the hedgehog desperately, "like I tell

'ee. Ee teuk un when us wor liddle, an fed un when us ha'nt no more. Ee wor a proper gennelman what fed un in ter parlor, like what no urchins ha'nt been afore nor since; fed out from gennelman's porcelain, aye, and a dreary day it wor whenever us left un for nought but willfullness, that thou may'st be sure."

"What was the name of this gentleman?"

"Ee wor a gennelman, ee wor. Ee hadden no proper neame like, not like you may remember, but ee wor a gennelman, that ee wor, an fed un out a porcelain."

"Was he called Merlyn?" asked the Wart curiously.

"Ah, that wor is neame. A proper fine neame it wor, but us never could lay tongue to it by nary means. Ah Mearn ee called to iself, and fed un out a porcelain, like a proper fine gennelman."

"Oh, do uncurl," exclaimed the Wart. "I know the man who kept you, and I think I have seen you, yourself, when you were a baby in cotton wool. Come on, urchin, I'm sorry I frightened you. We are friends here, and I want to see your little gray wet twitching nose, just for old sake's sake."

"Twitching noase be one neame," answered the hedgehog obstinately, "and a- twitching of that noase be another, measter. Now you move along, kind Measter Brock, and leave a poor crofter to teak 'is winter drowse. Let you think of beetles or honey, sweet baron, and flights of angels sing thee to thy rest."

"Nonsense," exclaimed the Wart. "I won't do you any harm, because I knew you when you were little."

"Ah, them badgers," said the poor thing to its tummy, "they go a-barrowing about with no harm in their hearts, Lor bless 'em, but doan't they fair give you a nip without a-noticing of it, and Lor bless 'ee what is a retired mun to do? It's that there skin of theirs, that's what it be, which from earliest childer they've been a-nipping of among each other, and also of their Ma's, without a-feeling of anything among theirselves, so natural they nips elsewhere like the seame. Now my poor gennelman, Measter Mearn, they was allars a-rushing arter his ankels, with their yik-yik-yik, when they wanted to be fed like, those what ee kept from liddles — and, holy church, how ee would scream! Aye, 'tis a mollocky thing to deal with they badgers, that us may be sure."

"Doan't see nothing," added the hedgehog, before the Wart could protest. "Blunder along like to one of they ambling hearth rugs, on the outsides of their girt feet. Get in their way for a moment, just out of fortune like, without nary wicked intention and 'tis snip-snap, just like that, out of self-defense for the hungry blind, and then where are you?"

"On'y pleace us can do for un," continued the urchin, "is to hit un onter noase. A killee's heel they neame un on ter scriptures. Hit one of they girt trollops on ter noase bim-bam, like that 'ere, and the sharp life is fair outed him 'ere ee can snuffle. 'Tis a fair knock-out, that it is."

"But how can a pore urchin dump un on ter noase?" concluded the lecturer mournfully, "when ee ha'nt got nothing to dump with, nor way to hold un? And then they comes about 'ee and asks 'ee for to uncurl!"

"You needn't uncurl," said the Wart resignedly. "I am sorry I woke you up, chap, and I'm sorry I frightened you. I think you are a charming hedgehog, and meeting you has made me feel more cheerful again. You just go to sleep like you were when I met you, and I shall go off to look for my friend badger, as I was told to do. Good night, urchin, and good luck in the snow."

"Good night it may be," muttered the pig grumpily. "And then again it mayern't. First it's uncurl and then it's curl. One thing one moment, and another

thing ter next. Hey-ho, 'tis a turvey world; but Good night, Ladies is my motter, come hail, come snow, and so us shall be continued in our next."

With these words the humble animal curled himself up still more snugly than before, gave several squeaky grunts, and was far away in a dream-world so much deeper than our human dreams as a whole winter's sleep is longer than the mercy of a single night.

"Well," thought the Wart, "he certainly gets over his troubles pretty quickly. Fancy going to sleep again as quick as that. I dare say he was never more than half-awake all the time, and will think it was only a dream when he gets up properly in the spring."

He watched the dirty little ball of leaves and grass and fleas for a moment, curled up tightly inside its hole, then grunted and moved off towards the badger's sett, following his own oblong footmarks backwards in the snow.

"So Merlyn sent you to me," said the badger, "to finish off your education. Well, I can only teach you two things: to dig, and to love your home. These are the true end of philosophy."

"Would you show me your home?"

"Certainly," said the badger, "though, of course, I don't use it all. It's a rambling old place, much too big for a single man. I suppose some parts of it may be a thousand years old. There are about four families of us in it, here and there, take it by and large, from cellar to attics, and sometimes we don't meet for months. A crazy old place, I suppose it must seem to you modern people, but there, it's cozy."

He went ambling off down the corridors, rolling from leg to leg with that queer badger paddle, his white mask with its black stripes looking ghostly in the gloom.

"It's along that passage," he said, "if you want to wash your hands. Badgers are not like foxes. They have a special midden where they put out their used bones and rubbish, proper earth closets, and bedrooms whose bedding they turn out frequently, to keep it clean. The Wart was enchanted with all he saw. He admired the Great Hall most, for this was the central room of the whole fortification — it was difficult to know whether to think of it as a fortification or as a palace — and all the various suites and bolt holes radiated outwards from it. It was a bit cobwebby, owing to being a sort of common-room instead of being looked after by one particular family, but it was decidedly solemn. Badger called it the Combination Room. All round the paneled walls there were ancient paintings of departed badgers, famous in their day for scholarship or godliness, lit up from above by shaded glow-worms. There were stately chairs with the badger arms stamped in gold upon their Spanish leather seats — the leather was

coming off — and a portrait of the Founder over the fireplace. The chairs were arranged in a semi-circle round the fire, and there were mahogany fans with which everybody could shield their faces from the flames, and a kind of tilting- board by means of which the decanters could be slid back from the bottom of the semi-circle to the top. Some black gowns hung in the passage outside, and all was extremely ancient.

"I'm a bachelor at the moment," said the badger apologetically, when they got back to his own snug room with the flowered wallpaper, "so I'm afraid there is only one chair. You will have to sit on the bed. Make yourself at home, my dear, while I brew some punch, and tell me how things are going on in the wide world."

"Oh, they go on much the same. Merlyn is very well, and Kay is to be made a knight next week."

"An interesting ceremony," commented the badger, stirring the spirits with a big spoon.

"What enormous arms you have got," remarked the Wart, watching him. "So have I, for that matter." And he looked down at his own bandy-legged muscles. He was really just a tight chest holding together a pair of forearms, mighty as thighs.

"It's to dig with," said the badger complacently. "Mole and I, I suppose you would have to dig pretty quick to match with us."

"I met a hedgehog outside," said the Wart.

"Did you now? They say nowadays that hedgehogs can carry swine fever and foot-and-mouth disease."

"I thought he was rather nice."

"They do have a sort of pathetic appeal," said the badger sadly, "but I'm afraid I generally just munch them up. There is something irresistible about pork crackling."

"The Egyptians " he added, and by this he meant the gypsies, "are fond of them for eating, too."

"Mine wouldn't uncurl."

"You should have pushed him into some water," said the badger, and then he'd have shown you his poor legs quick enough. Come, the punch is ready. Sit you down by the fire and take your ease."

"It's nice to sit here with the snow and wind outside."

"It is nice. Let us drink good luck to Kay in his knighthood." "Good luck to Kay, then."

"Good luck."

"Well," said the badger, setting down his glass again with a sigh.

"Now what could have possessed Merlyn to send you to me?" "He was talking about learning," said the Wart.

"Ah, well, if it's learning you are after, you have come to the right shop. But don't you find learning rather dull?"

"Sometimes I do," said the Wart, "and sometimes I don't. On the whole I can bear a good deal of learning if it's about natural history."

"I am writing a treatise just now," said the badger, coughing diffidently to show that he was absolutely set upon explaining it, "which is to point out why Man has become the master of all the animals. Perhaps you would like to hear that?"

"It's for my D. Litt, you know," added the badger hastily, before Wart could protest. He got so few chances of reading his treatises to anybody, that he could not bear to let this priceless opportunity slip by.

"Thank you very much," said the Wart.

"It will be good for you, you know," explained the badger in a humble tone. "It's just the thing to top off your education. Study birds and fish and animals: then finish off with Man. How fortunate you came. Now where the devil did I put that manuscript?"

The old gentleman hurriedly scratched about with his great claws until he had turned up a dirty old bundle of papers, one corner of which had been used for lighting something. Then he sat down in his leather arm-chair, which had a deep depression in the middle of it; put on his velvet smoking-cap, with the tassel; and produced a pair of tarantula spectacles, which he balanced on the end of his nose.

"Hem," said the badger.

He immediately became completely paralyzed with shyness, and sat blushing at his papers, unable to begin.

"Go on," said the Wart.

"It's not very good," explained the badger coyly. "It's just a rough draft, you know. I shall alter a lot before I send it in."

"I am sure it must be interesting," said the Wart.

"Oh, no, it isn't a bit interesting. It's just an odd thing I threw off in an odd half-hour, just to pass the odd time, you know. But still, this is how it begins."

"Hem!" said the badger. Then he put on an impossibly high falsetto voice and began to read as fast as possible.

"People often ask as an idle question whether the process of evolution began with the chicken or the egg. Was there an egg out of which the first chicken came, or did a chicken lay the first egg? I am in a position to state that the first thing created was the egg.

"When God had manufactured all the eggs out of which the fishes and the serpents and the birds and the mammals and even the duck-billed platypus would eventually emerge, he called the embryos before him, and saw that they were good.

"Perhaps I ought to explain," added the badger, lowering his papers nervously and looking at the Wart over the top of them, "that all embryos look very much the same. They are what you are before you are born, and, whether you are going to be a tadpole or a peacock or a camelopard or a man, when you are an embryo you just look like a peculiarly repulsive and helpless human being. I continue as follows:

"The embryos stood up in front of God, with their feeble hands clasped politely over their stomachs and their heavy heads hanging down respectfully, and God addressed them.

"He said: 'Now, you embryos, here you are, all looking exactly the same, and We are going to give you the choice of what you are going to be. When you grow up you will get bigger anyway, but We are pleased to grant you another gift as well. You may alter any parts of yourselves into anything which you think would be useful to you in after life. For instance, at the moment you can't dig. Anybody who would like to turn his hands into a pair of spades or garden forks is allowed to do so. Or, to put it another way, at present you can only use your mouths for eating with. Anybody who would like to use his mouth as an offensive weapon, can change it by asking, and be a corkindrill or a saber- toothed tiger. Now then, step up and choose your tools, but remember that what you choose you will grow into, and will have to stick to.'

"All the embryos thought the matter over politely, and then, one by one, they stepped up before the eternal throne. They were allowed two or three specializations, so that some chose to use their arms as flying machines and their mouths as weapons, or crackers, or drillers, or spoons, while others selected to use their bodies as boats and their hands as oars. We badgers thought very hard and decided to ask three boons. We wanted to change our skins for shields, our mouths for weapons, and our arms for garden forks. These boons were granted to us. Everybody specialized in one way or another, and some of us in very queer ones. For instance, one of the lizards decided to swap his whole body for blotting-paper, and one of the toads who lived in the antipodes decided simply to be a waterbottle.

"The asking and granting took up two long days — they were the fifth and sixth, so far as I remember — and at the very end of the sixth day, just before it was time to knock off for Sunday, they had got through all the little embryos except one. This embryo was Man.

"'Well, Our little man,' said God. 'You have waited till the last, and slept on your decision, and We are sure you have been thinking hard all the time. What can We do for you?'

"'Please, God,' said the embryo, 'I think that You made me in the shape which I now have for reasons best known to Yourselves, and that it would be rude to change. If I am to have my choice I will stay just as I am. I will not alter any of the parts which You gave to me, for other and doubtless inferior tools, and I will stay a defenseless embryo all my life, doing my best to make unto myself a few feeble implements out of the wood, iron and other materials which you have seen fit to put before me. If I want a boat I will endeavor to construct it out of trees, and if I want to fly I will put together a chariot to do it for me. Probably I have been very silly in refusing to take advantage of Your kind offer, but I have done my best to think it over carefully and now hope that the feeble decision of this small innocent will find favor with Yourselves.'

"'Well done,' exclaimed the Creator in delighted tones. 'Here, all you embryos, come here with your beaks and what-nots to look upon Our first Man. He is the only one who has guessed Our riddle, out of all of you, and We have great pleasure in conferring upon him the Order of Dominion over the Fowls of the Air, and the Beasts of the Earth, and the Fishes of the Sea. Now let the rest of you get along, and love and multiply, for it is time to knock off for the week-end. As for you, Man, you will be a naked tool all your life, though a user of tools: you will look like an embryo till they bury you, but all others will be embryos before your might; eternally undeveloped, you will always remain potential in Our image, able to see some of Our sorrows and to feel some of Our joys. We are partly sorry for you, Man, and partly happy, but always proud. Run along then, Man, and do your best. And listen, Man, before you go. . .'

"'Well?' asked Adam, turning back from his dismissal.

"'We were only going to say,' said God shyly, twisting Their hands together. 'Well, We were just going to say, God bless you.'"

CHAPTER TWENTY-TWO

KING PELLINORE arrived for the important week-end, in a high state of flurry.

"I say," he exclaimed. "Do you know? Have you heard? Is it a secret, what?" "Is what a secret, what?" they asked him.

"Why, the King," cried his majesty. "You know, about the King?"

"What's the matter with the King?" inquired Sir Ector. "You don't say he's comin' down to hunt with those damned hounds of his or anythin' like that?"

"He's dead," cried King Pellinore tragically. "He's dead, poor fellah, and can't hunt any more."

Sir Grummore stood up respectfully and took off his helm.

"The King is dead," he said. "Long live the King." Everybody else felt they ought to stand up too, and the boys' nurse burst into tears.

"There, there," she sobbed. "His loyal highness dead and gone, and him such a respectful gentleman. Many's the illuminated picture I've cut out of him, from the illustrated Missals, aye, and stuck up over the mantel. From the time when he was in swaddling bands, right through them world towers till he was a-visiting the dispersed areas as the world's Prince Charming, there wasn't a picture of 'im but I had it out, aye, and give 'im a last thought o' nights."

"Compose yourself, Nannie," said Sir Ector.

"It's solemn, isn't it," said King Pellinore, "what?"

"A solemn moment," said Sir Grummore. "The King is dead. Long live the King."

"We ought to pull down the blinds," said Kay, who was always a stickler for good form, "or half-mast the banners."

"That's right," said Sir Ector. "Somebody go and tell the sergeant-at-arms."

It was obviously the Wart's duty to execute this command, for he was now the junior of all the noblemen present, and so he ran out cheerfully to find the sergeant. Soon those who were left in the solar could hear a voice crying out, "Nah then, one-two, special mourning fer 'is lite majesty, lower awai on the command Two!" and then the flapping of all the standards, banners, pennons, pennoncells, banderolls, guidons, streamers and cognizances which made gay the snowy turrets of the Forest Sauvage.

"How did you hear?" asked Sir Ector.

"I was just pricking through the purlieus of the forest after that Beast, you know, when I met with a solemn friar of orders gray, and he told me. It's the very latest news."

"Poor old Pendragon," said Sir Ector.

"The King is dead," said Sir Grummore solemnly. "Long live the King."

"It's all very well for you to keep on mentioning that, my dear Grummore," exclaimed King Pellinore petulantly, "but who is this King, what, that is to live so long, what, accordin' to you?"

"Well, his heir," said Sir Grummore, rather taken aback.

"Our blessed monarch," said the Nurse tearfully, "never had no hair. Anybody that studied the loyal family knowed that."

"Good gracious. exclaimed Sir Ector. "But he must have had a next-of-kin?" "That's just it," cried King Pellinore in high excitement. "That's the excitin'

part about it, what? No hair and no next of skin, and who's to succeed to the throne? That's what my friar was so excited about, what, and why he was asking who could succeed to what, what? What?"

"Do you mean to tell me," exclaimed Sir Grummore indignantly, "that there ain't no King of England?"

"Not a scrap of one," cried King Pellinore, feeling most important. "And there have been signs and wonders of no mean might."

"I think it's a scandal," said Sir Grummore. "God knows what the dear old country is comin' to. It's these bolshevists, no doubt."

"What sort of signs and wonders?" asked Sir Ector.

"Well, there has appeared a sort of sword in a stone, what, in a sort of a church. Not in the church, if you see what I mean, and not in the stone, but that sort of thing, what, like you might say."

"I don't know what the Church is coming to," said Sir Grummore. "It's in an anvil," explained the King.

"The church?" "No, the sword."

"But I thought you said the sword was in the stone?

"No," said King Pellinore. "The stone is outside the church."

"Look here, Pellinore," said Sir Ector. "You have a bit of a rest, old boy, and start again. Here, drink up this horn of mead and take it easy."

"The sword," said King Pellinore, "is stuck through an anvil which stands on a stone. It goes right through the anvil and into the stone. The anvil is stuck to the stone. The stone stands outside a church. Give me some more mead."

"I don't think that's much of a wonder," remarked Sir Grummore.

"What I wonder at is that they should allow such things to happen. But you can't tell nowadays, what with all these socialists."

"My dear fellah," cried Pellinore, getting excited again, "it's not where the stone is, what, that I'm trying to tell you, but what is written on it, what, where it

is."

"What?"

"Why, on its pommel."

"Come on, Pellinore," said Sir Ector. "You just sit quite still with your face to the wall for a minute, and then tell us what you are talkin' about. Take it easy, old fruit. No need for hurryin'. You sit still and look at the wall, there's a good chap, and talk as slow as you can."

"There are words written on this sword in this stone outside this church," cried King Pellinore piteously, "and these words are as follows. Oh, do try to listen to me, you two, instead of interruptin' all the time about nothin', for it makes a man's head go ever so."

"What are these words?" asked Kay.

"These words say this," said King Pellinore, "so far as I can understand from that old friar of orders gray."

"Go on, do," said Kay, for the King had come to a halt.

"Go on," said Sir Ector, "what do these words on this sword in this anvil in this stone outside this church, say?"

"Some red propaganda, no doubt," remarked Sir Grummore. King Pellinore closed his eyes tight, extended his arms in both directions, and announced in capital letters, "Whoso Pulleth Out This Sword of this Stone and Anvil, is Rightwise King Born of All England."

"Who said that?" asked Sir Grummore. "But the sword said it, like I tell you."

"Talkative weapon," remarked Sir Grummore skeptically.

"It was written on it," cried the King angrily. "Written on it in letters of gold." "Why didn't you pull it out then?" asked Sir Grummore.

"But I tell you that I wasn't there. All this that I am telling you was told to me by that friar I was telling you of, like I tell you."

"Has this sword with this inscription been pulled out?" inquired Sir Ector. "No,"  whispered  King  Pellinore  dramatically.  "That's  where the whole

excitement comes in. They can't pull this sword out at all, although they have all been tryin' like fun, and so they have had to proclaim a tournament all over England, for New Year's Day, so that the man who comes to the tournament and pulls out the sword can be King of all England for ever, what, I say?" _

"Oh, father," cried Kay. "The man who pulls that sword out of the stone will be the King of England. Can't we go to this tournament, father, and have a shot?"

"Couldn't think of it," said Sir Ector.

"Long way to London," said Sir Grummore, shaking his head. "My father went there once," said King Pellinore.

Kay said, "Oh, surely we could go? When I am knighted I shall have to go to a tournament somewhere, and this one happens at just the right date. All the best people will be there, and we should see the famous knights and great kings. It doesn't matter about the sword, of course, but think of the tournament, probably the greatest there has ever been in England, and all the things we should see and do. Dear father, let me go to this tourney, if you love me, so that I may bear away the prize of all, in my maiden fight."

"But Kay," said Sir Ector, "I have never been to London."

"All the more reason to go. I believe that anybody who doesn't go for a tournament like this, will be proving that he has no noble blood in his veins. Think what people will say about us, if we don't go and have a shot at that sword. They will say that Sir Ector's family was too vulgar and knew it had no chance."

"We all know the family has no chance," said Sir Ector, "that is, for the sword."

"Lot of people in London," remarked Sir Grummore, with a wild surmise. "So they say."

He took a deep breath and goggled at his host with eyes like marbles.

"And shops," added King Pellinore suddenly, also beginning to breathe heavily.

"Dang it!" cried Sir Ector, bumping his horn mug on the table so that it spilled. "Let's all go to London, then, and see the new King!" They rose up as one man.

"Why shouldn't I be as good a man as my father?" exclaimed King Pellinore. "Dash it all," cried Sir Grummore. "After all, damn it all? it is the capital." "Hurray!" shouted Kay.

"Lord have mercy," said the nurse.

At this moment the Wart came in with Merlyn, and everybody was too excited to notice that, if he had not now been grown up, he would have been on the verge of tears.

"Oh, Wart," cried Kay, forgetting for the moment that he was only addressing his squire, and slipping back into the familiarity of their boyhood. "What do you think? We are all going to London for a great tournament on New Year's Day!"

"Are we?"

"Yes, and you will carry my shield and spears for the jousts, and I shall win the palm of everybody and be a great knight!"

"Well, I am glad we are going," said the Wart, "for Merlyn is leaving us too." "Oh, we shan't need Merlyn."

"He is leaving us," repeated the Wart.

"Leavin' us?" asked Sir Ector. I thought it was we that were leavin'." "He is going away from the Forest Sauvage."

Sir Ector said, "Oh, come now, Merlyn, what's all this about? I don't understand all this a bit."

I have come to say Good-by, Sir Ector," said the old magician.

"Tomorrow my pupil Kay will be knighted, and the next week my other pupil will go away as his squire. I have outlived my usefulness here, and it is time to go."

"Now, now, don't say that," said Sir Ector. "I think you're a jolly useful chap whatever happens. You just stay here and teach me, or be the librarian or something. Don't you leave an old man alone, after the children have flown."

"We shall all meet again," said Merlyn. "There is no cause to be sad." "Don't go," said Kay.

"I must go," replied their tutor. "We have had a good time while we were young, but it is in the nature of Time to fly. There are many things in other parts of the kingdom which I ought to be attending to just now: and it is a specially busy time for me. Come, Archimedes, say Good-by to the company."

"Good-by," said Archimedes tenderly to the Wart. "Good-by," said the Wart without looking up at all.

"But you can't go," cried Sir Ector, "not without a month's notice."

"Can't I?" replied Merlyn, taking up the position always assumed by philosophers who propose to dematerialize. He stood on his toes, while Archimedes held tight to his shoulder: began to spin on them slowly like a top: spun faster and faster till he was only a blur of grayish light: and in a few seconds there was no one there at all.

"Good-by, Wart," cried two faint voices outside the solar window.

"Good-by," said the Wart for the last time; and the poor fellow went quickly out of the room.

CHAPTER TWENTY-THREE

THE KNIGHTING took place in a whirl of preparations. Kay's sumptuous bath had to be set up in the box-room, between two towel-horses and an old box of selected games which contained a worn-out straw dart-board — it was called flechette in those days —

because all the other rooms were full of packing. The nurse spent the whole time constructing new warm pants for everybody, on the principle that the climate of any place outside the Forest Sauvage must be treacherous to the extreme, and, as for the sergeant, he polished all the armor till it was quite brittle and sharpened the swords till they were almost worn away.

At last it was time to set out.

Perhaps, if you happen not to have lived in the old England of the fifteenth century, or whenever it was, and in a remote castle on the borders of the Marches at that, you will find it difficult to imagine the wonders of their journey.

The road, or track, ran most of the time along the high ridges of the hills or downs, and they could look down on either side of them upon the desolate marshes where the snowy reeds sighed, and the ice crackled, and the duck in the red sunsets quacked loud on the winter air. The whole country was like that. Perhaps there would be a moory marsh on one side of the ridge, and a forest of thirty thousand acres on the other, with all the great branches weighted in white. They could sometimes see a wisp of smoke among the trees, or a huddle of buildings far out among the impassable reeds, and twice they came to quite respectable towns which had several inns to boast of; but on the whole it was an England without civilization. The better roads were cleared of cover for a bow- shot on either side of them, lest the traveler should be slain by hidden thieves. They slept where they could, sometimes in the hut of some cottager who was prepared to welcome them, sometimes in the castle of a brother knight who invited them to refresh themselves, sometimes in the firelight and fleas of a dirty little hovel with a bush tied to a pole outside it — this was the sign-board used at that time by inns — and once or twice on the open ground, all huddled together for warmth between their grazing chargers. Wherever they went and wherever they slept, the east wind whistled in the reeds, and the geese went over high in the starlight, honking at the stars.

London was full to the brim. If Sir Ector had not been lucky enough to own a little land in Pie Street, on which there stood a respectable inn, they would have been hard put to it to find a lodging. But he did own it, and as a matter of fact drew most of his dividends from this source, so that they were able to get three

beds between the five of them. They thought themselves fortunate.

On the first day of the tournament, Sir Kay managed to get them on the way to the lists at least an hour before the jousts could possibly begin. He had lain awake all night, imagining how he was going to beat the best barons in England, and he had not been able to eat his breakfast. Now he rode at the front of the cavalcade, with pale cheeks, and Wart wished there was something he could do to calm him down.

For country people who only knew the dismantled tilting ground of Sir Ector's castle, the scene which now met their eyes was really ravishing. It was a huge green pit in the earth, about as big as the arena at a football match. It lay about ten feet lower than the surrounding country, with sloping banks, and all the snow had been swept off it. It had been kept warm with straw, which had been cleared off that morning, and now all the close-mown grass sparkled green in the white landscape. Round the arena there was a world of color so dazzling and moving and twinkling as to make you blink your eyes. The wooden grandstands were painted in scarlet and white. The silk pavilions of famous people, pitched on every side, were azure and green and saffron and chequered. The pennons and pennoncells which floated everywhere in the sharp wind were flapping with every color of the rainbow, as they strained and slapped at their flag-poles, and the barrier down the middle of the arena itself was done in chessboard squares of black and white. Most of the combatants and their friends had not yet arrived, but you could see from those few who had arrived how the very people would turn the scene into a bank of flowers, and how the armor would flash, and the scalloped sleeves of the heralds jig in the wind, as they raised their brazen trumpets to their lips to shake the fleecy clouds of winter with joyances and fanfares.

"Good heavens!" cried Sir Kay. "I have left my sword at home." "Can't joust without a sword," said Sir Grummore, "Quite irregular." "Better go and fetch it," said Sir Ector. "You have time."

"My squire will do," said Sir Kay. "What a damned mistake to make. Here, squire, ride hard back to the inn and fetch my sword. You shall have a shilling if you fetch it in time."

The Wart went as pale as Sir Kay was, and looked as if he were going to strike him. Then he said, "It shall be done, master," and turned his stupid little ambling palfrey against the stream of newcomers. He began to push his way towards their hostelry as best he might.

"To offer me money!" cried the Wart to himself. "To look down at this beastly little donkey-affair off his great charger and to call me Squire!

Oh, Merlyn, give me patience with the brute, and stop me from throwing his

filthy shilling in his face."

When he got to the inn it was closed. Everybody had thronged out to see the famous tournament, and the entire household had followed after the mob. Those were lawless days and it was not safe to leave your house

— or even to go to sleep in it — unless you were certain that it was impregnable. The wooden shutters bolted over the downstairs windows were two inches thick, and the doors were double-barred.

"Now what do I do," said the Wart, "to earn my shilling?" He looked ruefully at the blind little inn, and began to laugh.

"Poor Kay," he said. "All that shilling stuff was only because he was scared and miserable, and now he has good cause to be. Well, he shall have a sword of some sort if I have to break into the Tower of London."

"How does one get hold of a sword?" he continued. "Where can I steal one? Could I waylay some knight, even if I am mounted on an ambling pad, and take his weapons by force? There must be some swordsmith or armorer in a great town like this, whose shop would be still open."

He turned his mount and cantered off along the street.

There was a quiet churchyard at the end of it, with a kind of square in front of the church door. In the middle of the square there was a heavy stone with an anvil on it, and a fine new sword was struck through the anvil.

"Well," said the Wart, "I suppose it's some sort of war memorial, but it will have to do. I am quite sure nobody would grudge Kay a war memorial, if they knew his desperate straits."

He tied his reins round a post of the lych-gate, strode up the gravel path, and took hold of the sword.

"Come, sword," he said. "I must cry your mercy and take you for a better cause."

"This is extraordinary," said the Wart. "I feel queer when I have hold of this sword, and I notice everything much more clearly. Look at the beautiful gargoyles of this church, and of the monastery which it belongs to. See how splendidly all the famous banners in the aisle are waving. How nobly that yew holds up the red flakes of its timbers to worship God. How clean the snow is. I can smell something like fetherfew and sweet briar —

and is that music that I hear?"

It was music, whether of pan-pipes or of recorders, and the light in the churchyard was so clear, without being dazzling, that you could have picked a pin out twenty yards away.

"There is something in this place," said the Wart. "There are people here. Oh, people, what do you want?"

Nobody answered him, but the music was loud and the light beautiful. "People," cried the Wart. "I must take this sword. It is not for me, but for Kay.

I will bring it back."

There was still no answer, and Wart turned back to the sword. He saw the golden letters on it, which he did not read, and the jewels on its pommel, flashing in the lovely light.

"Come, sword," said the Wart.

He took hold of the handles with both hands, and strained against the stone.

There was a melodious consort on the recorders, but nothing moved.

The Wart let go of the handles, when they were beginning to bite into the palms of his hands, and stepped back from the anvil, seeing stars.

"It is well fixed," said the Wart.

He took hold of it again and pulled with all his might. The music played more and more excitedly, and the light all about the churchyard glowed like amethysts; but the sword still stuck.

"Oh, Merlyn," cried the Wart, "help me to get this sword." There was a kind of rushing noise, and a long chord played along with it. All round the churchyard there were hundreds of old friends. They rose over the church wall all together, like the Punch and Judy ghosts of remembered days, and there were otters and nightingales and vulgar crows and hares and serpents and falcons and fishes and goats and dogs and dainty unicorns and newts and solitary wasps and goat-moth caterpillars and corkindrills and volcanoes and mighty trees and patient stones. They loomed round the church wall, the lovers and helpers of the Wart, and they all spoke solemnly in turn. Some of them had come from the banners in the church, where they were painted in heraldry, some from the waters and the sky and the fields about, but all, down to the smallest shrew mouse, had come to help on account of love. Wart felt his power grow.

"Remember my biceps," said the Oak, "which can stretch out horizontally against Gravity, when all the other trees go up or down."

"Put your back into it," said a Luce (or pike) off one of the heraldic banners, "as you did once when I was going to snap you up. Remember that all power springs from the nape of the neck."

"What about those forearms," asked a Badger gravely, "that are held together by a chest? Come along, my dear embryo, and find your tool." A Merlin sitting at the top of the yew tree cried out, "Now then, Captain Wart, what is the first law of the foot? I thought I once heard something about never letting go?"

"Don't work like a stalling woodpecker," urged a Tawny Owl affectionately. "Keep up a steady effort, my duck, and you will have it yet."

"Cohere," said a Stone in the church wall.

A Snake, slipping easily along the coping which bounded the holy earth, said, "Now then, Wart, if you were once able to walk with three hundred ribs at once, surely you can co-ordinate a few little muscles here and there? Make everything work together, as you have been learning to do ever since God let the amphibia crawl out of the sea. Fold your powers together, with the spirit of your mind, and it will come out like butter. Come along, homo sapiens, for all we humble friends of yours are waiting here to cheer."

The Wart walked up to the great sword for the third time. He put out his right hand softly and drew it out as gently as from a scabbard. There was a lot of cheering, a noise like a hurdy-gurdy which went on and on. In the middle of this noise, after a very long time, he saw Kay and gave him the sword. The people at the tournament were making a frightful row.

"But this isn't my sword," said Sir Kay.

"It was the only one I could get," said the Wart. "The inn was locked." "It is a nice-looking sword. Where did you get it?"

"I found it stuck in a stone, outside a church."

Sir Kay had been watching the tilting nervously, waiting for his turn. He had not paid much attention to his squire.

"That's a funny place to find a sword," he said. "Yes, it was stuck through an anvil."

"What?" cried Sir Kay, suddenly rounding upon him. "Did you just say this sword was stuck in a stone?"

"It was," said the Wart. "It was a sort of war memorial." Sir Kay stared at him for several seconds in amazement, opened his mouth, shut it again, licked his lips, then turned his back and plunged through the crowd. He was looking for Sir Ector, and the Wart followed after him.

"Father," cried Sir Kay, "come here a moment."

"Yes, my boy," said Sir Ector. "Splendid falls these professional chaps do manage. Why, what's the matter, Kay? You look as white as a sheet."

"Do you remember that sword which the King of England would pull out?" "Yes."

"Well, here it is. I have it. It is in my hand. I pulled it out." Sir Ector did not say anything silly. He looked at Kay and he looked at the Wart. Then he stared at Kay again, long and lovingly, and said, "We will go back to the church."

"Now then, Kay," he said, when they were at the church door. He looked at his first-born again, kindly, but straight between the eyes. "Here is the stone, and you have the sword. It will make you the King of England. You are my son that I am proud of, and always will be, whatever happens. Will you promise me that you took it out by your own might?" Kay looked at his father. He also looked at

the Wart and at the sword.

Then he handed the sword to the Wart quite quietly. He said, "I am a liar. Wart pulled it out."

As far as the Wart was concerned, there was a time after this in which Sir Ector kept telling him to put the sword back into the stone —

which he did — and in which Sir Ector and Kay then vainly tried to take it out. The Wart took it out for them, and stuck it back again once or twice. After this, there was another time which was more painful.

He saw that his dear guardian Sir Ector was looking quite old and powerless, and that he was kneeling down with difficulty on a gouty old knee.

"Sir," said poor old Sir Ector, without looking up, although he was speaking to his own boy.

"Please don't do this, father," said the Wart, kneeling down also. "Let me help you up, Sir Ector, because you are making me unhappy."

"Nay, nay, my lord," said Sir Ector, with some very feeble old tears.

"I was never your father nor of your blood, but I wote well ye are of an higher blood than I wend ye were."

"Plenty of people have told me you are not my father," said the Wart, "but it doesn't matter a bit."

"Sir," said Sir Ector humbly, "will ye be my good and gracious lord when ye are King?"

"Don't!" said the Wart.

"Sir," said Sir Ector, "I will ask no more of you but that you will make my son, your foster-brother, Sir Kay, seneschal of all your lands." Kay was kneeling down too, and it was more than the Wart could bear.

"Oh, do stop," he cried. "Of course he can be seneschal, if I have got to be this King, and, oh, father, don't kneel down like that, because it breaks my heart. Please get up, Sir Ector, and don't make everything so horrible. Oh, dear, oh, dear, I wish I had never seen that filthy sword at all."

And the Wart also burst into tears.

CHAPTER TWENTY-FOUR

PERHAPS THERE ought to be one more chapter about the coronation. The barons naturally kicked up a dreadful fuss, but as the Wart was prepared to go on putting the sword into the stone and pulling it out again till Doomsday, and as there was nobody else who could do the thing at all, in the end they had to give in. A few revolted, who were quelled later, but in the main the people of England were glad to settle down.

The coronation was a splendid ceremony, and, what was still more splendid, it was like a birthday or Christmas Day. Everybody sent presents to the Wart, for his prowess in having learned to pull swords out of stones, and several burghers of the City of London asked him to help them in taking stoppers out of unruly bottles, unscrewing taps which had got stuck, and in other household emergencies which had got beyond their control. The Dog Boy and Wat clubbed together and sent him a mixture for the distemper, which contained quinine and was absolutely priceless. Goat sent him a watch-chain plaited out of his own beard. Cavall came quite simply, and gave him his heart and soul. The Nurse of the Forest Sauvage sent a cough mixture, thirty dozen handkerchiefs all marked, and a pair of combinations with a double chest. The sergeant sent him his medals, to be preserved in the British Museum. Hob lay awake in agony all night, and sent off Cully with brand-new white leather jesses, silver varvels and silver bell. Robin and Marian went out on an expedition which took them six weeks, and sent a whole gown made out of the skins of pine martens. Little John added a yew bow, seven feet long, which he was quite unable to draw. An anonymous hedgehog sent four or five dirty leaves with some fleas on them. The Questing Beast and King Pellinore put their heads together and sent some of their most perfect fewmets, all wrapped up in the green leaves of spring in a golden horn with a red velvet baldrick. Sir Grummore sent a gross of spears, with the old school crest on all of them. The vicar chose a work called De Clericali Disciplina, attributed to Petrus Alphonsus, which could be read at nights and did not have to be explained. The cooks, tenants, villeins and retainers of the Castle of the Forest Sauvage, who were all given an angel each and sent up for the ceremony in a char-a-banc at Sir Ector's charge, brought an enormous silver model of cow Crumbocke, who had won the championship for the third time, and Ralph Passelewe to sing at the coronation banquet. Archimedes sent his own great-great-grandson, so that he could sit on the back of the King's throne at dinner, and make messes in the soup. The Lord Mayor and Aldermen of the City of London subscribed for a spacious aquarium-mews-cum-menagerie

in which all the creatures were starved one day a week for the good of their stomachs; and here, for the fresh food, good bedding, constant attention, and every modern convenience, all the Wart's friends resorted in their old age, on wing and foot and fin, for the sunset of their happy lives. The citizens of London sent fifty million pounds, to keep the menagerie up, and the Ladies of Britain constructed a pair of black velvet carpet slippers with the Wart's initials embroidered on in gold.

Kay sent his own record griffin, with honest love. There were many other tasteful presents, from various barons, archbishops, princes, landgraves, tributary kings,

corporations, popes, sultans, royal

commissions, urban district councils, czars, beys, mahatmas, and so forth, but the nicest present of all was sent most affectionately by his own guardian, old Sir Ector. This present was a dunce's cap, rather like a pharaoh's serpent, which you lit at the top end. The Wart lit it, and watched it grow. When the flame had quite gone out, Merlyn was standing before him in his magic hat.

"Well, Wart," said Merlyn, "here we are — or were — again. How nice you look in your crown. I was not allowed to tell you before, or since, but your father was, or will be, King Uther Pendragon, and it was I myself, disguised as a beggar, who first carried you to Sir Ector's castle, in your golden swaddling bands. I know all about your birth and parentage and who gave you your real name. I know the sorrows before you, and the joys, and how there will never again be anybody who dares to call you by the friendly name of Wart. In future it will be your glorious doom to take up the burden and to enjoy the nobility of your proper name: so now I shall crave the privilege of being the very first of your subjects to address you with it — as my dear liege lord, King Arthur."

"Will you stay with me for a long time?" asked the Wart, not understanding much of this.

"Yes, Wart," said Merlyn. "Or rather, as I should say (or is it have said?), Yes, King Arthur."

THE BEGINNING

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<![CDATA[ERIN hUNTER'S THE WARRIORS: tHE APPRENTICE'S QUEST]]>Sun, 20 Nov 2022 08:40:28 GMThttp://daydreaminstudios.org/children-library/november-20th-2022
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<![CDATA[GULLIVER'S TRAVELS BY JONATHAN SWIFT]]>Mon, 07 Nov 2022 18:36:19 GMThttp://daydreaminstudios.org/children-library/november-07th-2022
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TRAVELS.

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PART I.

A VOYAGE TO LILLIPUT.

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CHAPTER I.

THE AUTHOR GIVES SOME ACCOUNT OF HIMSELF AND FAMILY: HIS FIRST INDUCEMENTS TO TRAVEL. HE IS SHIPWRECKED, AND SWIMS FOR HIS LIFE; GETS SAFE ASHORE IN THE COUNTRY OF LILLIPUT; IS MADE A PRISONER, AND CARRIED UP THE COUNTRY.

My father had a small estate in Nottinghamshire; I was the third of five sons. He sent me to Emmanuel College in Cambridge at fourteen years old, where I resided three years, and applied myself close to my studies; but the charge of maintaining me, although I had a very scanty allowance, being too great for a narrow fortune, I was bound apprentice to Mr. James Bates, an eminent surgeon in London, with whom I continued four years; and my father now and then sending me small sums of money, I laid them out in learning navigation, and other parts of the mathematics useful to those who intend to travel, as I always believed it would be, some time or other, my fortune to do. When I left Mr. Bates, I went down to my father, where, by the assistance of him, and my uncle John and some other relations, I got forty pounds,[2] and a promise of thirty pounds a year, to maintain me at Leyden. There I studied physic two years and seven months, knowing it would be useful in long voyages.

Soon after my return from Leyden, I was recommended by my good master, Mr. Bates, to be surgeon to the "Swallow," Captain Abraham Pannell, commander; with whom I continued three years and a half, making a voyage or two into the Levant,[3] and some other parts. When I came back I resolved to settle in London; to which Mr. Bates, my master, encouraged me, and by him I was recommended to several patients. I took part of a small house in the Old Jewry; and, being advised to alter my condition, I married Mrs. Mary Burton,[4] second daughter to Mr. Edmund Burton, hosier in Newgate Street, with whom I received four hundred pounds for a portion.

But my good master, Bates, dying in two years after, and I having few friends, my business began to fail; for my conscience would not suffer me to imitate the bad practice of too many among my brethren. Having, therefore, consulted with my wife, and some of my acquaintance, I determined to go again to sea. I was surgeon successively in two ships, and made several voyages, for six years, to the East and West Indies, by which I got some addition to my fortune. My hours of leisure I spent in reading the best authors, ancient and modern, being always provided with a good number of books; and, when I was ashore, in observing the manners and dispositions of the people, as well as learning their language, wherein I had a great facility, by the strength of my memory.

The last of these voyages not proving very fortunate, I grew weary of the sea, and intended to stay at home with my wife and family. I removed from the Old Jewry to Fetter Lane, and from thence to Wapping, hoping to get business among the sailors; but it would not turn to account. After three years' expectation that things would mend, I accepted an advantageous offer from Captain William Prichard, master of the "Antelope," who was making a voyage to the South Sea.[5] We set sail from Bristol, May 4, 1699; and our voyage at first was very prosperous.

It would not be proper, for some reasons, to trouble the reader with the particulars of our adventures in those seas. Let it suffice to inform him, that, in our passage from thence to the East Indies, we were driven by a violent storm, to the northwest of Van Diemen's Land.[6]

By an observation, we found ourselves in the latitude of 30 degrees and 2 minutes south. Twelve of our crew were dead by immoderate labor and ill food; the rest were in a very weak condition.

On the fifth of November, which was the beginning of summer in those parts, the weather being very hazy, the seamen spied a rock within half a cable's length of the ship;[7] but the wind was so strong, that we were driven directly upon it, and immediately split. Six of the crew, of whom I was one, having let down the boat into the sea, made a shift to get clear of the ship and the rock. We rowed, by my computation, about three leagues, till we were able to work no longer, being already spent with labor, while we were in the ship. We, therefore, trusted ourselves to the mercy of the waves; and, in about half an hour, the boat was overset by a sudden flurry from the north. What became of my companions in the boat, as well as those who escaped on the rock, or were left in the vessel, I cannot tell, but conclude they were all lost.

For my own part, I swam as fortune directed me, and was pushed forward by wind and tide. I often let my legs drop, and could feel no bottom; but, when I was almost gone, and able to struggle no longer, I found myself within my depth; and, by this time, the storm was much abated.

The declivity was so small that I walked near a mile before I got to the shore, which I conjectured was about eight o'clock in the evening. I then advanced forward near half a mile, but could not discover any sign of houses or inhabitants; at least, I was in so weak a condition, that I did not observe them. I was extremely tired, and with that, and the heat of the weather, and about half a pint of brandy that I drank as I left the ship, I found myself much inclined to sleep. I lay down on the grass, which was very short and soft, where I slept sounder than ever I remembered to have done in my life, and, as I reckoned, about nine hours; for, when I awaked, it was just daylight. I attempted to rise, but was not able to stir: for as I happened to lie on my back, I found my arms and legs were strongly fastened on each side to the ground; and my hair, which was long and thick, tied down in the same manner. I likewise felt several slender ligatures across my body, from my arm-pits to my thighs. I could only look upwards, the sun began to grow hot, and the light offended my eyes.

I heard a confused noise about me; but, in the posture I lay, could see nothing except the sky. In a little time, I felt something alive moving on my left leg, which, advancing gently forward over my breast, came almost up to my chin; when, bending my eyes downward, as much as I could, I perceived it to be a human creature, not six inches high, with a bow and arrow in his hands, and a quiver at his back. In the meantime I felt at least forty more of the same kind (as I conjectured) following the first.

I was in the utmost astonishment, and roared so loud that they all ran back in a fright; and some of them, as I was afterwards told, were hurt with the falls they got by leaping from my sides upon the ground. However, they soon returned, and one of them, who ventured so far as to get a full sight of my face, lifting up his hands and eyes by way of admiration, cried out in a shrill, but distinct voice—Hekinah degul! the others repeated the same words several times, but I then knew not what they meant.

I lay all this while, as the reader may believe, in great uneasiness. At length, struggling to get loose, I had the fortune to break the strings, and wrench out the pegs, that fastened my left arm to the ground; for by lifting it up to my face, I discovered the methods they had taken to bind me, and, at the same time, with a violent pull, which gave me excessive pain, I a little loosened the strings that tied down my hair on the left side, so that I was just able to turn my head about two inches.

But the creatures ran off a second time, before I could seize them; whereupon there was a great shout in a very shrill accent, and after it ceased, I heard one of them cry aloud, Tolgo phonac; when, in an instant, I felt above an hundred arrows discharged on my left hand, which pricked me like so many needles; and, besides, they shot another flight into the air, as we do bombs in Europe, whereof many, I suppose, fell on my body (though I felt them not), and some on my face, which I immediately covered with my left hand.

When this shower of arrows was over, I fell a-groaning with grief and pain, and then striving again to get loose, they discharged another volley larger than the first, and some of them attempted with spears to stick me in the sides; but by good luck I had on me a buff jerkin,[8] which they could not pierce. I thought it the most prudent method to lie still, and my design was to continue so till night, when, my left hand being already loose, I could easily free myself; and as for the inhabitants, I had reason to believe I might be a match for the greatest army they could bring against me, if they were all of the same size with him that I saw.

I LAY ALL THIS WHILE IN GREAT UNEASINESS

"I LAY ALL THIS WHILE IN GREAT UNEASINESS"

But fortune disposed otherwise of me. When the people observed I was quiet, they discharged no more arrows: but, by the noise I heard, I knew their numbers increased; and about four yards from me, over against my right ear, I heard a knocking for above an hour, like that of people at work; when, turning my head that way, as well as the pegs and strings would permit me, I saw a stage erected, about a foot and a half from the ground, capable of holding four of the inhabitants, with two or three ladders to mount it; from whence one of them, who seemed to be a person of quality, made me a long speech, whereof I understood not one syllable.

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But I should have mentioned, that before the principal person began his oration, he cried out three times, Langro debul san (these words, and the former, were afterwards repeated, and explained to me). Whereupon immediately about fifty of the inhabitants came and cut the strings that fastened the left side of my head, which gave me the liberty of turning it to the right, and of observing the person and gesture of him that was to speak. He appeared to be of a middle age, and taller than any of the other three who attended him, whereof one was a page that held up his train, and seemed to be somewhat longer than my middle finger; the other two stood one on each side, to support him. He acted every part of an orator, and I could observe many periods of threatenings, and others of promises, pity, and kindness.

I answered in a few words, but in the most submissive manner, lifting up my left hand, and both my eyes, to the sun, as calling him for a witness: and, being almost famished with hunger, having not eaten a morsel for some hours before I left the ship, I found the demands of nature so strong upon me, that I could not forbear showing my impatience (perhaps against the strict rules of decency) by putting my finger frequently to my mouth, to signify that I wanted food. The hurgo (for so they call a great lord, as I afterwards learned) understood me very well. He descended from the stage, and commanded that several ladders should be applied to my sides; on which above a hundred of the inhabitants mounted, and walked towards my mouth, laden with baskets full of meat, which had been provided and sent thither by the king's orders, upon the first intelligence he received of me.

I observed there was the flesh of several animals, but could not distinguish them by the taste. There were shoulders, legs, and loins, shaped like those of mutton, and very well dressed, but smaller than the wings of a lark. I ate them by two or three at a mouthful, and took three loaves at a time, about the bigness of musket bullets. They supplied me as they could, showing a thousand marks of wonder and astonishment at my bulk and appetite. I then made another sign that I wanted drink.

They found by my eating that a small quantity would not suffice me; and being a most ingenious people, they slung up with great dexterity, one of their largest hogsheads, then rolled it towards my hand, and beat out the top: I drank it off at a draught; which I might well do, for it did not hold half a pint, and tasted like a small[9] wine of Burgundy, but much more delicious. They brought me a second hogshead, which I drank in the same manner, and made signs for more; but they had none to give me.

When I had performed these wonders, they shouted for joy, and danced upon my breast, repeating, several times, as they did at first, Hekinah degul. They made me a sign, that I should throw down the two hogsheads, but first warning the people below to stand out of the way, crying aloud, Borach nevola; and, when they saw the vessels in the air, there was an universal shout of Hekinah degul.

I confess, I was often tempted, while they were passing backwards and forwards on my body, to seize forty or fifty of the first that came in my reach, and dash them against the ground. But the remembrance of what I had felt, which probably might not be the worst they could do, and the promise of honor I made them—for so I interpreted my submissive behavior—soon drove out those imaginations. Besides, I now considered myself as bound, by the laws of hospitality, to a people who had treated me with so much expense and magnificence. However, in my thoughts I could not sufficiently wonder at the intrepidity of these diminutive mortals, who durst venture to mount and walk upon my body, while one of my hands was at liberty, without trembling at the very sight of so prodigious a creature, as I must appear to them.

PRODUCING HIS CREDENTIALS.

"PRODUCING HIS CREDENTIALS."

After some time, when they observed that I made no more demands for meat, there appeared before me a person of high rank from his imperial majesty. His excellency, having mounted on the small of my right leg, advanced forwards up to my face, with about a dozen of his retinue: and, producing his credentials under the signet-royal,[10] which he applied close to my eyes, spoke about ten minutes, without any signs of anger, but with a kind of determinate resolution, often pointing forwards, which, as I afterwards found, was towards the capital city, about half a mile distant, whither it was agreed by his majesty in council that I must be conveyed. I answered in few words, but to no purpose, and made a sign with my hand that was loose, putting it to the other (but over his excellency's head, for fear of hurting him or his train) and then to my own head and body, to signify that I desired my liberty.

It appeared that he understood me well enough, for he shook his head by way of disapprobation, and held his hand in a posture to show that I must be carried as a prisoner. However, he made other signs, to let me understand that I should have meat and drink enough, and very good treatment. Whereupon I once more thought of attempting to break my bonds; but again, when I felt the smart of their arrows upon my face and hands, which were all in blisters, and many of the darts still sticking in them, and observing, likewise, that the number of my enemies increased, I gave tokens to let them know, that they might do with me what they pleased. Upon this the hurgo and his train withdrew, with much civility, and cheerful countenances.

Soon after, I heard a general shout, with frequent repetitions of the words, Peplom selan, and I felt great numbers of people on my left side, relaxing the cords to such a degree, that I was able to turn upon my right, and to get a little ease. But, before this, they had daubed my face and both my hands with a sort of ointment very pleasant to the smell, which, in a few minutes, removed all the smart of their arrows. These circumstances, added to the refreshment I had received by their victuals and drink, which were very nourishing, disposed me to sleep. I slept about eight hours, as I was afterwards assured; and it was no wonder, for the physicians, by the emperor's order, had mingled a sleepy potion in the hogsheads of wine.

It seems that, upon the first moment I was discovered sleeping on the ground after my landing, the emperor had early notice of it, by an express; and determined in council, that I should be tied in the manner I have related (which was done in the night, while I slept), that plenty of meat and drink should be sent to me, and a machine prepared to carry me to the capital city.

This resolution, perhaps, may appear very bold and dangerous, and I am confident would not be imitated by any prince in Europe, on the like occasion. However, in my opinion, it was extremely prudent, as well as generous; for, supposing these people had endeavored to kill me with their spears and arrows, while I was asleep, I should certainly have awaked with the first sense of smart, which might so far have roused my rage and strength, as to have enabled me to break the strings wherewith I was tied; after which, as they were not able to make resistance, so they could expect no mercy.

These people are most excellent mathematicians, and arrived to a great perfection in mechanics, by the countenance and encouragement of the emperor, who is a renowned patron of learning. The prince hath several machines fixed on wheels for the carriage of trees, and other great weights. He often builds his largest men of war, whereof some are nine feet long, in the woods where the timber grows, and has them carried on these engines three or four hundred yards to the sea. Five hundred carpenters and engineers were immediately set to work, to prepare the greatest engine they had. It was a frame of wood, raised three inches from the ground, about seven feet long and four wide, moving upon twenty-two wheels. The shout I heard was upon the arrival of this engine, which, it seems, set out in four hours after my landing. It was brought parallel to me, as I lay. But the principal difficulty was, to raise and place me in this vehicle.

Eighty poles, each of one foot high, were erected for this purpose, and very strong cords, of the bigness of packthread, were fastened by hooks to many bandages, which the workmen had girt round my neck, my hands, my body, and my legs. Nine hundred of the strongest men were employed to draw up these cords by many pulleys fastened on the poles; and thus, in less than three hours, I was raised and slung into the engine, and tied fast.

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All this I was told; for, while the whole operation was performing, I lay in a profound sleep, by the force of that soporiferous medicine infused into my liquor. Fifteen hundred of the emperor's largest horses, each about four inches and a half high, were employed to draw me towards the metropolis, which, as I said, was half a mile distant.

About four hours after we began our journey, I awaked, by a very ridiculous accident; for, the carriage being stopt a while, to adjust something that was out of order, two or three of the young natives had the curiosity to see how I looked, when I was asleep. They climbed up into the engine, and advancing very softly to my face, one of them, an officer in the guards, put the sharp end of his half-pike[11] a good way up into my left nostril, which tickled my nose like a straw, and made me sneeze violently; whereupon they stole off, unperceived, and it was three weeks before I knew the cause of my awaking so suddenly.

We made a long march the remaining part of the day, and rested at night with five hundred guards on each side of me, half with torches, and half with bows and arrows, ready to shoot me, if I should offer to stir. The next morning, at sunrise, we continued our march, and arrived within two hundred yards of the city gates about noon. The emperor, and all his court, came out to meet us; but his great officers would by no means suffer his majesty to endanger his person, by mounting on my body.

At the place where the carriage stopt, there stood an ancient temple, esteemed to be the largest in the whole kingdom, which, having been polluted some years before by an unnatural murder, was, according to the zeal of those people, looked upon as profane, and therefore had been applied to common use, and all the ornaments and furniture carried away. In this edifice it was determined I should lodge. The great gate, fronting to the north, was about four feet high, and almost two feet wide, through which I could easily creep. On each side of the gate was a small window, not above six inches from the ground; into that on the left side the king's smith conveyed four score and eleven chains, like those that hang to a lady's watch in Europe, and almost as large, which were locked to my left leg with six-and-thirty padlocks.

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Over against this temple, on the other side of the great highway, at twenty feet distance, there was a turret at least five feet high. Here the emperor ascended, with many principal lords of his court, to have an opportunity of viewing me, as I was told, for I could not see them. It was reckoned that above an hundred thousand inhabitants came out of the town upon the same errand; and, in spite of my guards, I believe there could not be fewer than ten thousand, at several times, who mounted my body, by the help of ladders. But a proclamation was soon issued, to forbid it, upon pain of death.

When the workmen found it was impossible for me to break loose, they cut all the strings that bound me; whereupon I rose up, with as melancholy a disposition as ever I had in my life. But the noise and astonishment of the people, at seeing me rise and walk, are not to be expressed. The chains that held my left leg were about two yards long, and gave me not only the liberty of walking backwards and forwards in a semi-circle, but, being fixed within four inches of the gate, allowed me to creep in, and lie at my full length in the temple.

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CHAPTER II.

THE EMPEROR OF LILLIPUT, ATTENDED BY SEVERAL OF THE NOBILITY, COMES TO SEE THE AUTHOR IN HIS CONFINEMENT. THE EMPEROR'S PERSON AND HABIT DESCRIBED. LEARNED MEN APPOINTED TO TEACH THE AUTHOR THEIR LANGUAGE. HE GAINS FAVOR BY HIS MILD DISPOSITION. HIS POCKETS ARE SEARCHED, AND HIS SWORD AND PISTOLS TAKEN FROM HIM.

When I found myself on my feet, I looked about me, and must confess I never beheld a more entertaining prospect. The country around, appeared like a continued garden, and the enclosed fields, which were generally forty feet square, resembled so many beds of flowers. These fields were intermingled with woods of half a stang,[12] and the tallest trees, as I could judge, appeared to be seven feet high. I viewed the town on my left hand, which looked like the painted scene of a city in a theatre.

The emperor was already descended from the tower, and advancing on horseback towards me, which had like to have cost him dear; for the beast, though very well trained, yet wholly unused to such a sight, which appeared as if a mountain moved before him, reared up on his hind feet. But that prince, who is an excellent horseman, kept his seat, till his attendants ran in and held the bridle, while his majesty had time to dismount.

When he alighted, he surveyed me round with great admiration, but kept without the length of my chain. He ordered his cooks and butlers, who were already prepared, to give me victuals and drink, which they pushed forward in a sort of vehicles upon wheels, till I could reach them. I took these vehicles, and soon emptied them all; twenty of them were filled with meat; each afforded me two or three good mouthfuls. The empress and young princes of the blood of both sexes, attended by many ladies, sat at some distance in their chairs;[13] but upon the accident that happened to the emperor's horse, they alighted, and came near his person, which I am now going to describe. He is taller, by almost the breadth of my nail, than any of his court, which alone is enough to strike an awe into the beholders. His features are strong and masculine, with an Austrian lip and arched nose, his complexion olive, his countenance erect, his body and limbs well proportioned, all his motions graceful, and his deportment majestic. He was then past his prime, being twenty-eight years and three-quarters old, of which he had reigned about seven in great felicity, and generally victorious. For the better convenience of beholding him, I lay on my side, so that my face was parallel to his, and he stood but three yards off. However, I have had him since many times in my hand, and therefore cannot be deceived in the description.

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His dress was very plain and simple, and the fashion of it between the Asiatic and the European; but he had on his head a light helmet of gold, adorned with jewels, and a plume an the crest.[14] He held his sword drawn in his hand, to defend himself, if I should happen to break loose; it was almost three inches long; the hilt and scabbard were gold, enriched with diamonds. His voice was shrill, but very clear and articulate, and I could distinctly hear it, when I stood up.

The ladies and courtiers were all most magnificently clad; so that the spot they stood upon seemed to resemble a petticoat spread on the ground, embroidered with figures of gold and silver. His imperial majesty spoke often to me, and I returned answers, but neither of us could understand a syllable. There were several of his priests and lawyers present (as I conjectured by their habits), who were commanded to address themselves to me; and I spoke to them in as many languages as I had the least smattering of, which were, High and Low Dutch, Latin, French, Spanish, Italian, and Lingua Franca;[15] but all to no purpose.

After about two hours the court retired, and I was left with a strong guard, to prevent the impertinence, and probably the malice of the rabble, who were very impatient to crowd about me as near as they durst; and some of them had the impudence to shoot their arrows at me, as I sat on the ground by the door of my house, whereof one very narrowly missed my left eye. But the colonel ordered six of the ring-leaders to be seized, and thought no punishment so proper as to deliver them bound into my hands; which some of his soldiers accordingly did, pushing them forwards with the butt-ends of their pikes into my reach. I took them all on my right hand, put five of them into my coat-pocket; and as to the sixth, I made a countenance as if I would eat him alive. The poor man squalled terribly, and the colonel and his officers were in much pain, especially when they saw me take out my penknife; but I soon put them out of fear, for, looking mildly, and immediately cutting the strings he was bound with, I set him gently on the ground, and away he ran. I treated the rest in the same manner, taking them one by one out of my pocket; and I observed both the soldiers and people were highly delighted at this mark of my clemency, which was represented very much to my advantage at court.

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Towards night, I got with some difficulty into my house, where I lay on the ground, and continued to do so about a fortnight, during which time the emperor gave orders to have a bed prepared for me. Six hundred beds, of the common measure, were brought in carriages and worked up in my house; an hundred and fifty of their beds, sewn together, made up the breadth and length; and these were four double, which, however, kept me but very indifferently from the hardness of the floor, which was of smooth stone. By the same computation, they provided me with sheets, blankets, and coverlets, which were tolerable enough for one who had been so long inured to hardships as I.

As the news of my arrival spread through the kingdom, it brought prodigious numbers of rich, idle, and curious people to see me; so that the villages were almost emptied; and great neglect of tillage and household affairs must have ensued, if his imperial majesty had not provided, by several proclamations and orders of state, against this inconvenience. He directed that those who had already beheld me should return home, and not presume to come within fifty yards of my house without license from court; whereby the secretaries of state got considerable fees.

In the meantime, the emperor held frequent councils, to debate what course should be taken with me; and I was afterwards assured by a particular friend, a person of great quality, who was as much in the secret as any, that the court was under many difficulties concerning me. They apprehended my breaking loose; that my diet would be very expensive, and might cause a famine. Sometimes they determined to starve me, or at least to shoot me in the face and hands with poisoned arrows, which would soon despatch me: but again they considered that the stench of so large a carcase might produce a plague in the metropolis, and probably spread through the whole kingdom.

In the midst of these consultations, several officers of the army went to the door of the great council-chamber, and two of them being admitted, gave an account of my behavior to the six criminals above-mentioned, which made so favorable an impression in the breast of his majesty, and the whole board, in my behalf, that an imperial commission was issued out, obliging all the villages nine hundred yards round the city to deliver in, every morning, six beeves, forty sheep, and other victuals, for my sustenance; together with a proportionable quantity of bread and wine, and other liquors; for the due payment of which his majesty gave assignments upon his treasury. For this prince lives chiefly upon his own demesnes, seldom, except upon great occasions, raising any subsidies upon his subjects, who are bound to attend him in his wars at their own expense. An establishment was also made of six hundred persons, to be my domestics, who had board-wages allowed for their maintenance, and tents built for them very conveniently on each side of my door.

It was likewise ordered that three hundred tailors should make me a suit of clothes, after the fashion of the country; that six of his majesty's greatest scholars should be employed to instruct me in their language; and lastly, that the emperor's horses, and those of the nobility and troops of guards, should be frequently exercised in my sight, to accustom themselves to me.

All these orders were duly put in execution, and in about three weeks I made a great progress in learning their language; during which time the emperor frequently honored me with his visits, and was pleased to assist my masters in teaching me. We began already to converse together in some sort; and the first words I learnt were to express my desire that he would please give me my liberty, which I every day repeated on my knees. His answer, as I could apprehend it, was, that this must be a work of time, not to be thought on without the advice of his council, and that first I must lumos kelmin pesso desmar lon emposo; that is, swear a peace with him and his kingdom. However, that I should be used with all kindness; and he advised me to acquire, by my patience and discreet behavior, the good opinion of himself and his subjects.

He desired I would not take it ill, if he gave orders to certain proper officers to search me; for probably I might carry about me several weapons which must needs be dangerous things, if they answered the bulk of so prodigious a person. I said his majesty should be satisfied, for I was ready to strip myself and turn up my pockets before him. This I delivered, part in words, and part in signs.

He replied, that by the laws of the kingdom, I must be searched by two of his officers; that he knew this could not be done without my consent and assistance; that he had so good an opinion of my generosity and justice, as to trust their persons in my hands; that whatever they took from me should be returned when I left the country, or paid for at the rate which I should set upon them. I took up the two officers in my hands, put them first into my coat-pockets, and then into every other pocket about me, except my two fobs[16] and another secret pocket, which I had no mind should be searched, wherein I had some little necessaries that were of no consequence to any but myself. In one of my fobs there was a silver watch, and in the other a small quantity of gold in a purse.

THESE GENTLEMEN MADE AN EXACT INVENTORY OF EVERYTHING THEY SAW.

"THESE GENTLEMEN MADE AN EXACT INVENTORY OF EVERYTHING THEY SAW."

These gentlemen having pen, ink, and paper about them, made an exact inventory of everything they saw; and, when they had done, desired I would set them down, that they might deliver it to the emperor. This inventory I afterwards translated into English, and is word for word as follows:—

Imprimis,[17] In the right coat-pocket of the great man-mountain (for so I interpret the words quinbus flestrin), after the strictest search, we found only one great piece of coarse cloth, large enough to be a foot-cloth for your majesty's chief room of state. In the left pocket, we saw a huge silver chest, with a cover of the same metal, which we the searchers were not able to lift. We desired it should be opened, and one of us stepping into it, found himself up to the mid-leg in a sort of dust, some part whereof flying up to our faces, set us both a sneezing for several times together. In his right waistcoat pocket we found a prodigious number of white thin substances folded one over another, about the bigness of three men, tied with a strong cable, and marked with black figures; which we humbly conceive to be writings, every letter almost half as large as the palm of our hands. In the left, there was a sort of engine, from the back of which were extended twenty long poles, resembling the palisadoes before your majesty's court; wherewith we conjecture the man-mountain combs his head, for we did not always trouble him with questions, because we found it a great difficulty to make him understand us. In the large pocket on the right side of his middle cover (so I translate the word ranfu-lo, by which they meant my breeches), we saw a hollow pillar of iron, about the length of a man, fastened to a strong piece of timber, larger than the pillar; and upon one side of the pillar were huge pieces of iron sticking out, cut into strange figures, which we know not what to make of. In the left pocket, another engine of the same kind. In the smaller pocket on the right side were several round flat pieces of white and red metal, of different bulk; some of the white, which seemed to be silver, were so large and so heavy, that my comrade and I could hardly lift them. In the left pocket, were two black pillars irregularly shaped; we could not without difficulty reach the top of them, as we stood at the bottom of his pocket. One of them was covered, and seemed all of a piece; but at the upper end of the other, there appeared a white and round substance, about twice the bigness of our heads. Within each of these was enclosed a prodigious plate of steel, which, by our orders, we obliged him to show us, because we apprehended they might be dangerous engines. He took them out of their cases, and told us that in his own country his practice was to shave his beard with one of these, and to cut his meat with the other. There were two pockets which we could not enter: these he called his fobs. Out of the right fob hung a great silver chain, with a wonderful kind of engine at the bottom. We directed him to draw out whatever was at the end of that chain, which appeared to be a globe, half silver, and half of some transparent metal; for on the transparent side we saw certain strange figures, circularly drawn, and thought we could touch them till we found our fingers stopped by that lucid substance.[18] He put this engine to our ears, which made an incessant noise, like that of a water-mill; and we conjecture it is either some unknown animal, or the god that he worships; but we are more inclined to the latter opinion, because he assured us (if we understood him right, for he expressed himself very imperfectly), that he seldom did anything without consulting it. He called it his oracle, and said it pointed out the time for every action of his life. From the left fob he took out a net almost large enough for a fisherman, but contrived to open and shut like a purse, and served him for the same use; we found therein several massy pieces of yellow metal, which, if they be real gold, must be of immense value.

Having thus, in obedience to your majesty's commands, diligently searched all his pockets, we observed a girdle about his waist, made of the hide of some prodigious animal, from which, on the left side, hung a sword of the length of five men; and on the right, a bag or pouch, divided into two cells, each cell capable of holding three of your majesty's subjects. In one of these cells were several globes, or balls, of a most ponderous metal, about the bigness of our heads, and required a strong hand to lift them; the other cell contained a heap of certain black grains, but of no great bulk or weight, for we could hold about fifty of them in the palms of our hands.

This is an exact inventory of what we found about the body of the man-mountain, who used us with great civility and due respect to your majesty's commission. Signed and sealed, on the fourth day of the eighty-ninth moon of your majesty's auspicious reign.

CLEFRIN FRELOC.
MARSI FRELOC.

When this inventory was read over to the emperor, he directed me, although in very gentle terms, to deliver up the several particulars.

He first called for my scimitar, which I took out, scabbard and all. In the meantime, he ordered three thousand of his choicest troops (who then attended him) to surround me at a distance, with their bows and arrows just ready to discharge; but I did not observe it, for mine eyes were wholly fixed upon his majesty. He then desired me to draw my scimitar, which, although it had got some rust by the sea-water, was in most parts exceedingly bright. I did so, and immediately all the troops gave a shout between terror and surprise; for the sun shone clear, and the reflection dazzled their eyes, as I waved the scimitar to and fro in my hand. His majesty, who is a most magnanimous prince, was less daunted than I could expect; he ordered me to return it into the scabbard, and cast it on the ground as gently as I could, about six feet from the end of my chain.

The next thing he demanded was one of the hollow iron pillars, by which he meant my pocket-pistols. I drew it out, and at his desire, as well as I could, expressed to him the use of it; and charging it only with powder, which, by the closeness of my pouch, happened to escape wetting in the sea (an inconvenience against which all prudent mariners take special care to provide), I first cautioned the emperor not to be afraid, and then let it off in the air.

The astonishment here was much greater than at the sight of my scimitar. Hundreds fell down as if they had been struck dead; and even the emperor, although he stood his ground, could not recover himself in some time I delivered up both my pistols, in the same manner as I had done my scimitar, and then my pouch of powder and bullets, begging him that the former might be kept from fire, for it would kindle with the smallest spark, and blow up his imperial palace into the air.

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I likewise delivered up my watch, which the emperor was very curious to see, and commanded two of his tallest yeomen of the guards[19] to bear it on a pole upon their shoulders, as draymen in England do a barrel of ale. He was amazed at the continual noise it made and the motion of the minute-hand, which he could easily discern; for their sight is much more acute than ours. He asked the opinions of his learned men about it, which were various and remote, as the reader may well imagine without my repeating; although, indeed, I could not very perfectly understand them.

I then gave up my silver and copper money, my purse, with nine large pieces of gold, and some smaller ones; my knife and razor, my comb and silver snuffbox, my handkerchief and journal-book. My scimitar, pistols, and pouch were conveyed in carriages to his majesty's stores; but the rest of my goods were returned to me.

I had, as I before observed, one private pocket, which escaped their search, wherein there was a pair of spectacles (which I sometimes use for the weakness of mine eyes), a pocket perspective,[20] and some other little conveniences; which, being of no consequence to the emperor, I did not think myself bound in honor to discover; and I apprehended they might be lost or spoiled if I ventured them out of my possession.

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CHAPTER III.

THE AUTHOR DIVERTS THE EMPEROR AND HIS NOBILITY OF BOTH SEXES IN A VERY UNCOMMON MANNER. THE DIVERSIONS OF THE COURT OF LILLIPUT DESCRIBED. THE AUTHOR HAS HIS LIBERTY GRANTED HIM UPON CERTAIN CONDITIONS.

My gentleness and good behavior had gained so far on the emperor and his court, and indeed upon the army and people in general, that I began to conceive hopes of getting my liberty in a short time, I took all possible methods to cultivate this favorable disposition. The natives came by degrees to be less apprehensive of any danger from me. I would sometimes lie down, and let five or six of them dance on my hand, and at last the boys and girls would venture to come and play at hide and seek in my hair. I had now made a good progress in understanding and speaking their language.

The emperor had a mind, one day, to entertain me with one of the country shows, wherein they exceed all nations I have known, both for dexterity and magnificence. I was diverted with none so much as that of the rope-dancers, performed upon a slender white thread, extended about two feet, and twelve inches from the ground. Upon which I shall desire liberty, with the reader's patience, to enlarge a little.

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This diversion is only practised by those persons who are candidates for great employments and high favor at court. They are trained in this art from their youth, and are not always of noble birth or liberal education. When a great office is vacant, either by death or disgrace (which often happens) five or six of those candidates petition the emperor to entertain his majesty, and the court, with a dance on the rope, and whoever jumps the highest, without falling, succeeds in the office. Very often the chief ministers themselves are commanded to show their skill, and to convince the emperor that they have not lost their faculty. Flimnap, the treasurer, is allowed to cut a caper on the straight rope, at least an inch higher than any lord in the whole empire. I have seen him do the summersault several times together upon a trencher,[21] fixed on a rope, which is no thicker than a common packthread in England. My friend Reldresal, principal secretary for private affairs, is, in my opinion, if I am not partial, the second after the treasurer; the rest of the great officers are much upon a par.

These diversions are often attended with fatal accidents, whereof great numbers are on record. I myself have seen two or three candidates break a limb. But the danger is much greater when the ministers themselves are commanded to show their dexterity! for, by contending to excel themselves and their fellows, they strain so far that there is hardly one of them who hath not received a fall, and some of them two or three. I was assured that a year or two before my arrival, Flimnap would have infallibly broke his neck if one of the king's cushions, that accidentally lay on the ground, had not weakened the force of his fall.

There is likewise another diversion, which is only shown before the emperor and empress and first minister, upon particular occasions. The emperor lays on the table three fine silken threads, of six inches long; one is purple, the other yellow, and the third white. These threads are proposed as prizes for those persons whom the emperor hath a mind to distinguish by a peculiar mark of his favor. The ceremony is performed in his majesty's great chamber of state, where the candidates are to undergo a trial of dexterity very different from the former, and such as I have not observed the least resemblance of in any other country of the old or new world.

The emperor holds a stick in his hands, both ends parallel to the horizon, while the candidates, advancing one by one, sometimes leap over the stick, sometimes creep under it, backwards and forwards several times, according as the stick is advanced or depressed. Sometimes the emperor holds one end of the stick, and his first minister the other: sometimes the minister has it entirely to himself. Whoever performs his part with most agility, and holds out the longest in leaping and creeping, is rewarded with the blue-colored silk; the yellow is given to the next, and the green to the third, which they all wear girt twice about the middle; and you see few great persons round about this court who are not adorned with one of these girdles.

The horses of the army, and those of the royal stables, having been daily led before me, were no longer shy, but would come up to my very feet without starting. The riders would leap them over my hand as I held it on the ground; and one of the emperor's huntsmen, upon a large courser, took my foot, shoe and all, which was indeed a prodigious leap.

I had the good fortune to divert the emperor one day after a very extraordinary manner. I desired he would order several sticks of two feet high, and the thickness of an ordinary cane, to be brought me; whereupon his majesty commanded the master of his woods to give directions accordingly; and the next morning six wood-men arrived with as many carriages, drawn by eight horses to each.

I took nine of these sticks, and fixing them firmly in the ground in a quadrangular figure, two feet and a half square, I took four other sticks and tied them parallel at each corner, about two feet from the ground; then I fastened my handkerchief to the nine sticks that stood erect, and extended it on all sides, till it was as tight as the top of a drum; and the four parallel sticks, rising about five inches higher than the handkerchief, served as ledges on each side.

When I had finished my work, I desired the emperor to let a troop of his best horse, twenty-four in number, come and exercise upon this plain. His majesty approved of the proposal, and I took them up one by one in my hands, ready mounted and armed, with the proper officers to exercise them. As soon as they got into order, they divided into two parties, performed mock skirmishes, discharged blunt arrows, drew their swords, fled and pursued, attacked and retired, and, in short, discovered the best military discipline I ever beheld. The parallel sticks secured them and their horses from falling over the stage: and the emperor was so much delighted that he ordered this entertainment to be repeated several days, and once was pleased to be lifted up and give the word of command; and, with great difficulty, persuaded even the empress herself to let me hold her in her close chair within two yards of the stage, from whence she was able to take a full view of the whole performance.

It was my good fortune that no ill accident happened in these entertainments; only once a fiery horse, that belonged to one of the captains, pawing with his hoof, struck a hole in my handkerchief, and his foot slipping, he overthrew his rider and himself; but I immediately relieved them both, and covering the hole with one hand, I set down the troop with the other, in the same manner as I took them up. The horse that fell was strained in the left shoulder, but the rider got no hurt, and I repaired my handkerchief as well as I could; however, I would not trust to the strength of it any more in such dangerous enterprises.

About two or three days before I was set at liberty, as I was entertaining the court with feats of this kind, there arrived an express to inform his majesty that some of his subjects riding near the place where I was first taken up, had seen a great black substance lying on the ground, very oddly shaped, extending its edges round as wide as his majesty's bed-chamber, and rising up in the middle as high as a man; that it was no living creature, as they had at first apprehended, for it lay on the grass without motion; and some of them had walked round it several times; that, by mounting upon each other's shoulders, they had got to the top, which was flat and even, and, stamping upon it, they found it was hollow within; that they humbly conceived it might be something belonging to the man-mountain; and if his majesty pleased, they would undertake to bring it with only five horses.

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I presently knew what they meant, and was glad at heart to receive this intelligence. It seems, upon my first reaching the shore after our shipwreck, I was in such confusion that, before I came to the place where I went to sleep, my hat, which I had fastened with a string to my head while I was rowing, and had stuck on all the time I was swimming, fell off after I came to land; the string, as I conjecture, breaking by some accident which I never observed, but thought my hat had been lost at sea. I intreated his imperial majesty to give orders it might be brought to me as soon as possible, describing to him the use and nature of it; and the next day the wagoners arrived with it, but not in a very good condition; they had bored two holes in the brim, within an inch and a half of the edge, and fastened two hooks in the holes; these hooks were tied by a long cord to the harness; and thus my hat was dragged along for above half an English mile; but the ground in that country being extremely smooth and level, it received less damage than I expected.

Two days after this adventure, the emperor, having ordered that part of the army which quarters in and about his metropolis to be in readiness, took a fancy of diverting himself in a very singular manner. He desired I would stand like a colossus, with my legs as far asunder as I conveniently could. He then commanded his general (who was an old, experienced leader and a great patron of mine) to draw up the troops in close order and march under me; the foot by twenty-four abreast and the horse by sixteen, with drums beating, colors flying, and pikes advanced. This body consisted of three thousand foot and a thousand horse.

I had sent so many memorials and petitions for my liberty, that his majesty at length mentioned the matter, first in the cabinet, and then in full council; where it was opposed by none, except Skyrris Bolgolam who was pleased, without any provocation, to be my mortal enemy. But it was carried against him by the whole board, and confirmed by the emperor. That minister was galbet, or admiral of the realm, very much in his master's confidence, and a person well versed in affairs, but of a morose and sour complexion. However, he was at length persuaded to comply; but prevailed, that the articles and conditions upon which I should be set free, and to which I must swear, should be drawn up by himself.

These articles were brought to me by Skyrris Bolgolam in person, attended by two under-secretaries, and several persons of distinction. After they were read, I was demanded to swear to the performance of them, first in the manner of my own country, and afterwards in the method prescribed by their laws; which was, to hold my right foot in my left hand, and to place the middle finger of my right hand on the crown of my head, and my thumb on the tip of my right ear.

But because the reader may be curious to have some idea of the style and manner of expression peculiar to that people, as well as to know the articles upon which I recovered my liberty, I have made a translation of the whole instrument, word for word, as near as I was able, which I here offer to the public.

Golbasto Momaren Evlame Gurdilo Shefin Mully Ully Gue, Most Mighty Emperor of Lilliput, delight and terror of the universe, whose dominions extend five thousand blustrugs (about twelve miles in circumference) to the extremities of the globe; monarch of all monarchs, taller than the sons of men; whose feet press down to the centre, and whose head strikes against the sun; at whose nod the princes of the earth shake their knees; pleasant as the spring, comfortable as the summer, fruitful as autumn, dreadful as winter. His most sublime majesty proposeth to the man-mountain, lately arrived at our celestial dominions, the following articles, which by a solemn oath he shall be obliged to perform.

First. The man-mountain shall not depart from our dominions without our license under our great seal.

Second. He shall not presume to come into our metropolis, without our express order, at which time the inhabitants shall have two hours warning to keep within doors.

Third. The said man-mountain shall confine his walks to our principal high roads, and not offer to walk or lie down in a meadow or field of corn.[22]

Fourth. As he walks the said roads, he shall take the utmost care not to trample upon the bodies of any of our loving subjects, their horses or carriages, nor take any of our subjects into his hands without their own consent.

Fifth. If an express requires extraordinary despatch, the man-mountain shall be obliged to carry in his pocket the messenger and horse a six-days' journey once in every moon, and return the said messenger back (if so required) safe to our imperial presence.

Sixth. He shall be our ally against our enemies in the island of Blefuscu, and do his utmost to destroy their fleet, which is now preparing to invade us.

Seventh. That the said man-mountain shall at his times of leisure be aiding and assisting to our workmen, in helping to raise certain great stones, towards covering the wall of the principal park, and other our royal buildings.

Eighth. That the said man-mountain shall, in two moons time, deliver in an exact survey of the circumference of our dominions, by a computation of his own paces round the coast.

Lastly. That upon his solemn oath to observe all the above articles, the said man-mountain shall have a daily allowance of meat and drink sufficient for the support of 1724 of our subjects, with free access to our royal person, and other marks of our favor. Given at our palace at Belfaborac, the twelfth day of the ninety-first moon of our reign.

I swore and subscribed to the articles with great cheerfulness and content, although some of them were not so honorable as I could have wished; which proceeded wholly from the malice of Skyrris Bolgolam, the high admiral; whereupon my chains were immediately unlocked, and I was at full liberty. The emperor himself in person did me the honor to be by at the whole ceremony. I made my acknowledgments, by prostrating myself at his majesty's feet: but he commanded me to rise; and after many gracious expressions, which, to avoid the censure of vanity, I shall not repeat, he added, that he hoped I should prove a useful servant, and well deserve all the favors he had already conferred upon me, or might do for the future.

The reader may please to observe, that, in the last article for the recovery of my liberty, the emperor stipulates to allow me a quantity of meat and drink sufficient for the support of 1724 Lilliputians. Some time after, asking a friend at court, how they came to fix on that determinate number, he told me, that his majesty's mathematicians having taken the height of my body by the help of a quadrant,[23] and finding it to exceed theirs in the proportion of twelve to one, they concluded, from the similarity of their bodies, that mine must contain at least 1724 of theirs, and consequently would require as much food as was necessary to support that number of Lilliputians. By which the reader may conceive an idea of the ingenuity of that people, as well as the prudent and exact economy of so great a prince.

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CHAPTER IV.

MILENDO, THE METROPOLIS OF LILLIPUT, DESCRIBED TOGETHER WITH THE EMPEROR'S PALACE. A CONVERSATION BETWEEN THE AUTHOR AND A PRINCIPAL SECRETARY, CONCERNING THE AFFAIRS OF THAT EMPIRE. THE AUTHOR OFFERS TO SERVE THE EMPEROR IN HIS WARS.

The first request I made, after I had obtained my liberty, was, that I might have license to see Milendo, the metropolis; which the emperor easily granted me, but with a special charge to do no hurt, either to the inhabitants or their houses. The people had notice, by proclamation, of my design to visit the town.

The wall, which encompassed it, is two feet and a half high, and at least eleven inches broad, so that a coach and horses may be driven very safely round it; and it is flanked with strong towers at ten feet distance. I stept over the great western gate, and passed very gently, and sideling, through the two principal streets, only in my short waistcoat, for fear of damaging the roofs and eaves of the houses with the skirts[24] of my coat. I walked with the utmost circumspection, to avoid treading on any stragglers who might remain in the streets; although the orders were very strict, that all people should keep in their houses at their own peril. The garret-windows and tops of houses were so crowded with spectators, that I thought in all my travels I had not seen a more populous place.

The city is an exact square, each side of the wall being five hundred feet long. The two great streets, which run across and divide it into four quarters, are five feet wide. The lanes and alleys, which I could not enter, but only viewed them as I passed, are from twelve to eighteen inches. The town is capable of holding five hundred thousand souls; the houses are from three to five stories; the shops and markets well provided.

The emperor's palace is in the centre of the city, where the two great streets meet. It is enclosed by a wall of two foot high, and twenty foot distant from the buildings. I had his majesty's permission to step over this wall; and the space being so wide between that and the palace, I could easily view it on every side.

The outward court is a square of forty feet, and includes two other courts; in the inmost are the royal apartments, which I was very desirous to see, but found it extremely difficult; for the great gates from one square into another were but eighteen inches high, and seven inches wide. Now the buildings of the outer court were at least five feet high, and it was impossible for me to stride over them without infinite damage to the pile, though the walls were strongly built of hewn stone, and four inches thick.

At the same time, the emperor had a great desire that I should see the magnificence of his palace; but this I was not able to do till three days after, which I spent in cutting down, with my knife, some of the largest trees in the royal park, about an hundred yards distance from the city. Of these trees I made two stools, each about three feet high, and strong enough to bear my weight.

HER IMPERIAL MAJESTY WAS PLEASED TO SMILE VERY GRACIOUSLY UPON ME.

HER IMPERIAL MAJESTY WAS PLEASED TO SMILE VERY GRACIOUSLY UPON ME.

The people having received notice a second time, I went again through the city to the palace, with my two stools in my hands. When I came to the side of the outer court, I stood upon one stool, and took the other in my hand; this I lifted over the roof, and gently set it down on the space between the first and second court, which was eight feet wide. I then stept over the building very conveniently, from one stool to the other, and drew up the first after me with a hooked stick. By this contrivance I got into the inmost court; and, lying down upon my side, I applied my face to the windows of the middle stories, which were left open on purpose, and discovered the most splendid apartments that can be imagined. There I saw the empress and the young princes in their several lodgings, with their chief attendants about them. Her imperial majesty was pleased to smile very graciously upon me, and gave me out of the window her hand to kiss.

But I shall not anticipate the reader with farther descriptions of this kind, because I reserve them for a greater work, which is now almost ready for the press, containing a general description of this empire, from its first erection, through a long series of princes, with a particular account of their wars and politics, laws, learning, and religion, their plants and animals, their peculiar manners and customs, with other matters very curious and useful; my chief design, at present, being only to relate such events and transactions as happened to the public, or to myself, during a residence of about nine months in that empire.

One morning, about a fortnight after I had obtained my liberty, Reldresal, principal secretary (as they style him) for private affairs, came to my house, attended only by one servant. He ordered his coach to wait at a distance, and desired I would give him an hour's audience; which I readily consented to, on account of his quality and personal merits, as well as of the many good offices he had done me during my solicitations at court. I offered to lie down, that he might the more conveniently reach my ear; but he chose rather to let me hold him in my hand during our conversation.

He began with compliments on my liberty; said he might pretend to some merit in it. But however, added, that if it had not been for the present situation of things at court, perhaps I might not have obtained it so soon. For, said he, as flourishing a condition as we may appear to be in to foreigners, we labor under two mighty evils: a violent faction at home, and the danger of an invasion, by a most potent enemy, from abroad. As to the first, you are to understand, that, for above seventy moons past, there have been two struggling parties in this empire, under the names of Tramecksan and Slamecksan, from the high and low heels of their shoes, by which they distinguish themselves. It is alleged, indeed, that the high heels are most agreeable to our ancient constitution; but, however this may be, his majesty hath determined to make use only of low heels in the administration of the government, and all offices in the gift of the crown, as you cannot but observe: and particularly, that his majesty's imperial heels are lower, at least by a drurr, than any of his court (drurr is a measure about the fourteenth part of an inch). The animosities between these two parties run so high, that they will neither eat nor drink nor talk with each other. We compute the Tramecksan, or high heels, to exceed us in number; but the power is wholly on our side. We apprehend his imperial highness, the heir to the crown, to have some tendency towards the high heels; at least, we can plainly discover that one of his heels is higher than the other, which gives him a hobble in his gait. Now, in the midst of these intestine disquiets, we are threatened with an invasion from the island of Blefuscu, which is the other great empire of the universe, almost as large and powerful as this of his majesty. For, as to what we have heard you affirm, that there are other kingdoms and states in the world, inhabited by human creatures as large as yourself, our philosophers are in much doubt, and would rather conjecture that you dropped from the moon or one of the stars, because it is certain, that an hundred mortals of your bulk would, in a short time, destroy all the fruits and cattle of his majesty's dominions. Besides, our histories of six thousand moons make no mention of any other regions than the two great empires of Lilliput and Blefuscu. Which two mighty powers have, as I was going to tell you, been engaged in a most obstinate war for six-and-thirty moons past. It began upon the following occasion: It is allowed on all hands, that the primitive way of breaking eggs, before we eat them, was upon the larger end; but his present majesty's grandfather, while he was a boy, going to eat an egg, and breaking it according to the ancient practice, happened to cut one of his fingers. Whereupon the emperor, his father, published an edict, commanding all his subjects, upon great penalties, to break the smaller end of their eggs. The people so highly resented this law, that our histories tell us, there have been six rebellions raised on that account, wherein one emperor lost his life, and another his crown. These civil commotions were constantly fomented by the monarchs of Blefuscu; and when they were quelled, the exiles always fled for refuge to that empire. It is computed, that eleven thousand persons have, at several times, suffered death, rather than submit to break their eggs at the smaller end. Many hundred large volumes have been published upon this controversy, but the books of the Big-endians have been long forbidden, and the whole party rendered incapable, by law, of holding employments.

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During the course of these troubles, the Emperors of Blefuscu did frequently expostulate, by their ambassadors, accusing us of making a schism in religion, by offending against a fundamental doctrine of our great prophet Lustrog, in the fifty-fourth chapter of the Blundecral (which is their Alcoran)[25] This, however, is thought to be a mere strain upon the text; for the words are these: That all true believers break their eggs at the convenient end. And which is the convenient end, seems, in my humble opinion, to be left to every man's conscience, or, at least, in the power of the chief magistrate to determine. Now, the Big-endian exiles have found so much credit in the emperor of Blefuscu's court, and so much private assistance and encouragement from their party here at home, that a bloody war hath been carried on between the two empires fo six-and-thirty moons, with various success; during which time we have lost forty capital ships, and a much greater number of smaller vessels, together with thirty thousand of our best seamen and soldiers; and the damage received by the enemy is reckoned to be somewhat greater than ours. However, they have now equipped a numerous fleet, and are just preparing to make a descent upon us; and his imperial majesty, placing great confidence in your valor and strength, hath commanded me to lay this account of his affairs before you.

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I desired the secretary to present my humble duty to the emperor, and to let him know that I thought it would not become me, who was a foreigner, to interfere with parties; but I was ready, with the hazard of my life, to defend his person and state against all invaders.

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CHAPTER V.

THE AUTHOR, BY AN EXTRAORDINARY STRATAGEM, PREVENTS AN INVASION. A HIGH TITLE OF HONOR IS CONFERRED UPON HIM. AMBASSADORS ARRIVE FROM THE EMPEROR OF BLEFUSCU, AND SUE FOR PEACE. THE EMPRESS'S APARTMENT ON FIRE, BY ACCIDENT; THE AUTHOR INSTRUMENTAL IN SAVING THE REST OF THE PALACE.

The empire of Blefuscu is an island, situate to the north northeast of Lilliput, from whence it is parted only by a channel of eight hundred yards wide. I had not yet seen it; and upon this notice of an intended invasion, I avoided appearing on that side of the coast, for fear of being discovered by some of the enemy's ships, who had received no intelligence of me, all intercourse between the two empires having been strictly forbidden during the war, upon the pain of death, and an embargo[26] laid by our emperor upon all vessels whatsoever.

I communicated to his majesty a project I had formed, of seizing the enemy's whole fleet; which, as our scouts assured us, lay at anchor in the harbor, ready to sail with the first fair wind. I consulted the most experienced seamen upon the depth of the channel, which they had often plumbed; who told me, that in the middle, at high water, it was seventy glumgluffs deep, which is about six feet of European measure; and the rest of it fifty glumgluffs at most. I walked towards the northeast coast, over against Blefuscu; where, lying down behind a hillock, I took out my small perspective glass, and viewed the enemy's fleet at anchor, consisting of about fifty men-of-war, and a great number of transports; I then came back to my house, and gave orders (for which I had a warrant) for a great quantity of the strongest cable and bars of iron. The cable was about as thick as packthread, and the bars of the length and size of a knitting needle. I trebled the cable, to make it stronger; and, for the same reason, I twisted three of the iron bars together, bending the extremities into a hook.

Having thus fixed fifty hooks to as many cables, I went back to the northeast coast, and putting off my coat, shoes, and stockings, walked into the sea in my leathern jerkin, about half an hour before high-water. I waded with what haste I could, and swam in the middle about thirty yards, till I felt ground; I arrived at the fleet in less than half an hour. The enemy were so frightened, when they saw me, that they leaped out of their ships, and swam to shore, where there could not be fewer than thirty thousand souls: I then took my tackling, and fastening a hook to the hole at the prow of each, I tied all the cords together at the end.

While I was thus employed, the enemy discharged several thousand arrows, many of which stuck in my hands and face; and, besides the excessive smart, gave me much disturbance in my work. My greatest apprehension was for mine eyes, which I should have infallibly lost, if I had not suddenly thought of an expedient. I kept, among other little necessaries, a pair of spectacles, in a private pocket, which, as I observed before, had escaped the emperor's searchers. These I took out, and fastened as strongly as I could upon my nose, and thus armed, went on boldly with my work, in spite of the enemy's arrows, many of which struck against the glasses of my spectacles, but without any other effect, farther than a little to discompose them.[27] I had now fastened all the hooks, and, taking the knot in my hand, began to pull: but not a ship would stir, for they were all too fast held by their anchors; so that the boldest part of my enterprise remained. I therefore let go the cord, and, leaving the hooks fixed to the ships, I resolutely cut with my knife the cables that fastened the anchors, receiving above two hundred shots in my face and hands; then I took up the knotted end of the cables, to which my hooks were tied, and, with great ease, drew fifty of the enemy's largest men-of-war after me.

The Blefuscudians, who had not the least imagination of what I intended, were at first confounded with astonishment. They had seen me cut the cables, and thought my design was only to let the ships run adrift, or fall foul on each other: but when they perceived the whole fleet moving in order, and saw me pulling at the end, they set up such a scream of grief and despair as it is almost impossible to describe or conceive. When I had got out of danger, I stopped awhile to pick out the arrows that stuck in my hands and face: and rubbed on some of the same ointment that was given me at my first arrival, as I have formerly mentioned. I then took off my spectacles, and waiting about an hour, till the tide was a little fallen, I waded through the middle with my cargo, and arrived safe at the royal port of Lilliput.

The emperor and his whole court stood on the shore, expecting the issue of this great adventure. They saw the ships move forward in a large half-moon, but could not discern me, who was up to my breast in water. When I advanced to the middle of the channel, they were yet more in pain, because I was under water to my neck. The emperor concluded me to be drowned, and that the enemy's fleet was approaching in an hostile manner: but he was soon eased of his fears; for the channel growing shallower every step I made, I came in a short time within hearing; and holding up the end of the cable, by which the fleet was fastened, I cried in a loud voice, Long live the most puissant[28] emperor of Lilliput! This great prince received me at my landing, with all possible encomiums, and created me a nardac upon the spot, which is the highest title of honor among them.

His majesty desired I would take some other opportunity of bringing all the rest of his enemy's ships into his ports. And so immeasurable is the ambition of princes, that he seemed to think of nothing less than reducing the whole empire of Blefuscu into a province, and governing it by viceroy; of destroying the Big-endian exiles, and compelling that people to break the smaller end of their eggs, by which he would remain the sole monarch of the whole world. But I endeavored to divert him from this design, by many arguments, drawn from the topics of policy, as well as justice. And I plainly protested, that I would never be an instrument of bringing a free and brave people into slavery. And when the matter was debated in council, the wisest part of the ministry were of my opinion.

AND CREATED ME A NARDAC UPON THE SPOT.

"AND CREATED ME A NARDAC UPON THE SPOT."

This open, bold declaration of mine was so opposite to the schemes and politics of his imperial majesty, that he could never forgive me; he mentioned it, in a very artful manner, at council, where, I was told, that some of the wisest appeared, at least by their silence, to be of my opinion; but others, who were my secret enemies, could not forbear some expressions, which by a side-wind reflected on me. And, from this time began an intrigue between his majesty and a junto[29] of ministers maliciously bent against me, which broke out in less than two months, and had like to have ended in my utter destruction. Of so little weight are the greatest services to princes, when put into the balance with a refusal to gratify their passions.

About three weeks after this exploit, there arrived a solemn embassy from Blefuscu, with humble offers of peace; which was soon concluded, upon conditions very advantageous to our emperor, wherewith I shall not trouble the reader. There were six ambassadors, with a train of about five hundred persons; and their entry was very magnificent, suitable to the grandeur of their master, and the importance of their business. When their treaty was finished, wherein I did them several good offices, by the credit I now had, or at least appeared to have at court, their excellencies, who were privately told how much I had been their friend, made me a visit in form. They began with many compliments upon my valor and generosity, invited me to that kingdom, in the emperor their master's name, and desired me to show some proofs of my prodigious strength, of which they had heard so many wonders; wherein I readily obliged them, but shall not trouble the reader with the particulars.

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When I had for some time entertained their Excellencies, to their infinite satisfaction and surprise, I desired they would do me the honor to present my most humble respects to the emperor their master, the renown of whose virtues had so justly filled the whole world with admiration, and whose royal person I resolved to attend, before I returned to my own country. Accordingly, the next time I had the honor to see our emperor, I desired his general license to wait on the Blefuscudian monarch, which he was pleased to grant me, as I could plainly perceive, in a very cold manner; but could not guess the reason, till I had a whisper from a certain person, that Flimnap and Bolgolam had represented my intercourse with those ambassadors as a mark of disaffection, from which, I am sure, my heart was wholly free. And this was the first time I began to conceive some imperfect idea of courts and ministers.

It is to be observed, that these ambassadors spoke to me by an interpreter, the languages of both empires differing as much from each other as any two in Europe, and each nation priding itself upon the antiquity, beauty, and energy of its own tongue, with an avowed contempt for that of its neighbor; yet our emperor, standing upon the advantage he had got by the seizure of their fleet, obliged them to deliver their credentials, and make their speech in the Lilliputian tongue.

And it must be confessed, that, from the great intercourse of trade and commerce between both realms; from the continual reception of exiles, which is mutual among them; and from the custom in each empire, to send their young nobility, and richer gentry, to the other, in order to polish themselves, by seeing the world, and understanding men and manners; there are few persons of distinction, or merchants, or, seamen, who dwell in the maritime parts, but what can hold conversation in both tongues, as I found some weeks after, when I went to pay my respects to the Emperor of Blefuscu, which, in the midst of great misfortunes, through the malice of my enemies, proved a very happy adventure to me, as I shall relate in its proper place.

The reader may remember, that when I signed those articles, upon which I recovered my liberty, there were some which I disliked, upon account of their being too servile; neither could anything but an extreme necessity have forced me to submit. But, being now a nardac of the highest rank in that empire, such offices were looked upon as below my dignity, and the emperor, to do him justice, never once mentioned them to me. However, it was not long before I had an opportunity of doing his majesty, at least as I then thought, a most signal service. I was alarmed at midnight with the cries of many hundred people at my door, by which, being suddenly awaked, I was in some kind of terror. I heard the word burglum repeated incessantly.

Several of the emperor's court, making their way through the crowd, entreated me to come immediately to the palace, where her imperial majesty's apartment was on fire, by the carelessness of a maid of honor, who fell asleep while she was reading a romance. I got up in an instant; and orders being given to clear the way before me, and it being likewise a moonshine night, I made a shift to get to the palace, without trampling on any of the people. I found they had already applied ladders to the walls of the apartment, and were well provided with buckets, but the water was at some distance. These buckets were about the size of a large thimble, and the poor people supplied me with them as fast as they could; but the flame was so violent that they did little good. I might easily have stifled it with my coat, which I unfortunately left behind me for haste, and came away only in my leathern jerkin. The case seemed wholly desperate and deplorable, and this magnificent palace would have infallibly been burnt down to the ground, if, by a presence of mind unusual to me, I had not suddenly thought of an expedient by which in three minutes the fire was wholly extinguished, and the rest of that noble pile, which had cost so many ages in erecting, preserved from destruction.

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It was now daylight, and I returned to my house, without waiting to congratulate with the emperor; because, although I had done a very eminent piece of service, yet I could not tell how his majesty might resent the manner by which I had performed it: for, by the fundamental laws of the realm, it is capital in any man, of what quality soever, to even touch the empress or the royal princesses without invitation. But I was a little comforted by a message from his majesty, that he would give orders to the grand justiciary for passing my pardon in form, which, however, I could not obtain. And I was privately assured that the empress, conceiving the greatest abhorrence of me, and, in the presence of her chief confidants, could not forbear vowing revenge.

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CHAPTER VI.

OF THE INHABITANTS OF LILLIPUT; THEIR LEARNING, LAWS, AND CUSTOMS; THE MANNER OF EDUCATING THEIR CHILDREN. THE AUTHOR'S WAY OF LIVING IN THAT COUNTRY.

Although I intend to leave the description of this empire to a particular treatise, yet, in the meantime, I am content to gratify the curious reader with some general ideas. As the common size of the natives is somewhat under six inches high, so there is an exact proportion in all other animals, as well as plants and trees: for instance, the tallest horses and oxen are between four and five inches in height, the sheep an inch and a half, more or less; their geese about the bigness of a sparrow, and so the several gradations downwards, till you come to the smallest, which, to my sight, were almost invisible; but nature hath adapted the eyes of the Lilliputians to all objects proper for their view; they see with great exactness, but at no great distance. And, to show the sharpness of their sight, towards objects that are near, I have been much pleased with observing a cook pulling[30] a lark, which was not so large as a common fly; and a young girl threading an invisible needle with invisible silk.

Their tallest trees are about seven feet high; I mean some of those in the great royal park, the tops whereof I could but just reach with my fist clenched. The other vegetables are in the same proportion; but this I leave to the reader's imagination.

I shall say but little at present of their learning, which, for many ages, hath flourished in all its branches among them: but their manner of writing is very peculiar, being neither from the left to the right like the Europeans; nor from the right to the left, like the Arabians; nor from up to down, like the Chinese, but aslant, from one corner of the paper to the other, like ladies in England.

They bury their dead with their heads directly downwards, because they hold an opinion, that in eleven thousand moons they are all to rise again, in which period the earth (which they conceive to be flat) will turn upside down, and by this means they shall, at the resurrection, be found ready, standing on their feet. The learned among them confess the absurdity of this doctrine, but the practice still continues, in compliance to the vulgar.

There are some laws and customs in this empire very peculiar; and, if they were not so directly contrary to those of my own dear country, I should be tempted to say a little in their justification. It is only to be wished they were as well executed. The first I shall mention relates to informers. All crimes against the state are punished here with the utmost severity; but, if the person accused maketh his innocence plainly to appear upon his trial, the accuser is immediately put to an ignominious death; and, out of his goods, or lands, the innocent person is quadruply recompensed for the loss of his time, for the danger he underwent, for the hardship of his imprisonment, and for all the charges he hath been at in making his defence, or, it that fund be deficient, it is largely supplied by the crown. The emperor also confers on him some public mark of his favor, and proclamation is made of his innocence through the whole city.

They look upon fraud as a greater crime than theft, and therefore seldom fail to punish it with death; for they allege, that care and vigilance, with a very common understanding, may preserve a man's goods from thieves, but honesty has no fence against superior cunning; and, since it is necessary that there should be a perpetual intercourse of buying and selling, and dealing upon credit, where fraud is permitted and connived at, or hath no law to punish it, the honest dealer is always undone, and the knave gets the advantage. I remember, when I was once interceding with the king for a criminal, who had wronged his master of a great sum of money, which he had received by order, and run away with, and happening to tell his majesty, by way of extenuation, that it was only a breach of trust, the emperor thought it monstrous in me, to offer as a defence the greatest aggravation of the crime; and, truly, I had little to say in return, farther than the common answer, that different nations had different customs; for, I confess, I was heartily ashamed.

Although we usually call reward and punishment the two hinges upon which all government turns, yet I could never observe this maxim to be put in practice by any nation except that of Lilliput. Whoever can there bring sufficient proof that he hath strictly observed the laws of his country for seventy-three moons, hath a claim to certain privileges, according to his quality and condition of life, with a proportionable sum of out of a fund appropriated for that use; he likewise acquires the title of snillpall, or legal, which is added to his name, but doth not descend to his posterity. And these people thought it a prodigious defect of policy among us, when I told them that our laws were enforced only by penalties, without any mention of reward. It is upon this account that the image of Justice, in their courts of judicature, is formed with six eyes, two before, as many behind, and on each side one, to signify circumspection, with a bag of gold open in her right hand, and a sword sheath in her left, to show she was more disposed to reward than to punish.

In choosing persons for all employments, they have more regard to good morals than to great abilities; for, since government is necessary to mankind, they believe that the common size of human understanding is fitted to some station or other, and that Providence never intended to make the management of public affairs a mystery, to be comprehended only by a few persons of sublime genius, of which there seldom are three born in an age; but they suppose truth, justice, temperance, and the like, to be in every man's power, the practice of which virtues, assisted by experience, and a good intention, would qualify any man for the service of his country, except where a course of study is required. But they thought the want of moral virtues was so far from being supplied by superior endowments of the mind, that employments could never be put into such dangerous hands as those of persons so qualified; and at least, that the mistakes committed by ignorance, in a virtuous disposition, would never be of such fatal consequences to the public weal as the practices of a man whose inclinations led him to be corrupt, and who had great abilities to manage, to multiply, and defend his corruptions.

In like manner, the disbelief of a Divine Providence renders a man incapable of holding any public station; for, since kings avow themselves to be the deputies of Providence, the Lilliputians think nothing can be more absurd than for a prince to employ such men as disown the authority under which he acts.

In relating these and the following laws, I would only be understood to mean the original institutions, and not the most scandalous corruptions into which these people are fallen, by the degenerate nature of man. For, as to that infamous practice of acquiring great employments by dancing on the ropes, or badges of favor and distinction by leaping over sticks, and creeping under them, the reader is to observe, that they were first introduced by the grandfather of the emperor, now reigning, and grew to the present height by the gradual increase of party and faction.

Ingratitude is, among them, a capital crime, as we read it to have been in some other countries; for they reason thus, that whoever makes ill returns to his benefactor, must needs be a common enemy to the rest of mankind, from whom he hath received no obligation, and therefore such a man is not fit to live.

Their notions relating to the duties of parents and children differ extremely from ours. Their opinion is, that parents are the last of all others to be trusted with the education of their own children; and, therefore, they have, in every town, public nurseries, where all parents, except cottagers and laborers, are obliged to send their infants of both sexes to be reared and educated, when they come to the age of twenty moons, at which time they are supposed to have some rudiments of docility. These schools are of several kinds, suited to different qualities, and to both sexes. They have certain professors, well skilled in preparing children for such a condition of life as befits the rank of their parents, and their own capacities as well as inclinations. I shall first say something of the male nurseries, and then of the female.

The nurseries for males of noble or eminent birth are provided with grave and learned professors, and their several deputies. The clothes and food of the children are plain and simple. They are bred up in the principles of honor, justice, courage, modesty, clemency, religion, and love of their country; they are always employed in some business, except in the times of eating and sleeping, which are very short, and two hours for diversions, consisting of bodily exercises. They are dressed by men till four years of age, and then are obliged to dress themselves, although their quality be ever so great; and the women attendants, who are aged proportionably to ours at fifty, perform only the most menial offices. They are never suffered to converse with servants, but go together in smaller or greater numbers to take their diversions, and always in the presence of a professor, or one of his deputies; whereby they avoid those early bad impressions of folly and vice, to which our children are subject. Their parents are suffered to see them only twice a year; the visit to last but an hour; they are allowed to kiss the child at meeting and parting; but a professor, who always stands by on those occasions, will not suffer them to whisper, or use any fondling expressions, or bring any presents of toys, sweetmeats, and the like.

The pension from each family, for the education and entertainment of a child, upon failure of due payment, is levied by the emperor's officers.

The nurseries for children of ordinary gentlemen, merchants, traders, and handicrafts, are managed proportionally after the same manner; only those designed for trades are put out apprentices at eleven years old, whereas those persons of quality continue in their exercises till fifteen, which answers to twenty-one with us; but the confinement is gradually lessened for the last three years.

In the female nurseries, the young girls of quality are educated much like the males, only they are dressed by orderly servants of their own sex; but always in the presence of a professor or deputy, till they come to dress themselves, which is at five years old. And if it be found that these nurses ever presume to entertain the girls with frightful or foolish stories, or the common follies practised by the chambermaids among us, they are publicly whipped thrice about the city, imprisoned for a year, and banished for life to the most desolate part of the country. Thus, the young ladies there are as much ashamed of being cowards and fools as the men, and despise all personal ornaments beyond decency and cleanliness: neither did I perceive any difference in their education, made by their difference of sex, only that the exercises of the women were not altogether so robust, and that some rules were given them relating to domestic life, and a smaller compass of learning was enjoined them: for their maxim is that, among people of quality, a wife should be always a reasonable and agreeable companion, because she cannot always be young. When the girls are twelve years old, which among them is the marriageable age, their parents or guardians take them home, with great expressions of gratitude to the professors, and seldom without tears of the young lady and her companions.

In the nurseries of females of the meaner sort, the children are instructed in all kinds of works proper for their sex and their several degrees; those intended for apprentices are dismissed at seven years old, the rest are kept to eleven.

The meaner[31] families who have children at these nurseries are obliged, besides their annual pension, which is as low as possible, to return to the steward of the nursery a small monthly share of their gettings, to be a portion[32] for the child; and, therefore, all parents are limited in their expenses by the law. For the Lilliputians think nothing can be more unjust than for people to leave the burden of supporting their children on the public. As to persons of quality, they give security to appropriate a certain sum for each child, suitable to their condition; and these funds are always managed with good husbandry and the most exact justice.

The cottagers and laborers keep their children at home, their business being only to till and cultivate the earth, and therefore their education is of little consequence to the public; but the old and diseased among them are supported by hospitals; for begging is a trade unknown in this empire.

And here it may perhaps divert the curious reader to give some account of my domestic,[33] and my manner of living in this country, during a residence of nine months and thirteen days. Having a head for mechanics, and being likewise forced by necessity, I had made for myself a table and chair, convenient enough, out of the largest trees in the royal park. Two hundred sempstresses were employed to make me shirts, and linen for my bed and table, all of the strongest and coarsest kind they could get; which, however, they were forced to quilt together in several folds, for the thickest was some degrees finer than lawn. Their linen is usually three inches wide, and three feet make a piece.

The sempstresses took my measure as I lay on the ground, one standing at my neck, and another at my mid-leg, with a strong cord extended that each held by the end, while a third measured the length of the cord with a rule of an inch long. Then they measured my right thumb, and desired no more; for, by a mathematical computation, that twice round the thumb is once round the wrist, and so on to the neck and the waist, and by the help of my old shirt, which I displayed on the ground before them for a pattern, they fitted me exactly. Three hundred tailors were employed in the same manner to make me clothes; but they had another contrivance for taking my measure. I kneeled down, and they raised a ladder from the ground to my neck; upon this ladder one of them mounted, and let fall a plumb-line from my collar to the floor, which just answered the length of my coat; but my waist and arms I measured myself. When my clothes were finished, which was done in my house (for the largest of theirs would not have been able to hold them), they looked like the patchwork made by the ladies in England, only that mine were all of a color.

THREE HUNDRED TAILORS WERE EMPLOYED TO MAKE ME CLOTHES

"THREE HUNDRED TAILORS WERE EMPLOYED TO MAKE ME CLOTHES"

I had three hundred cooks to dress my victuals, in little convenient huts built about my house, where they and their families lived, and prepared me two dishes a-piece. I took up twenty waiters in my hand, and placed them on the table; an hundred more attended below on the ground, some with dishes of meat, and some with barrels of wine and other liquors, flung on their shoulders; all of which the waiters above drew up, as I wanted, in a very ingenious manner, by certain cords, as we draw the bucket up a well in Europe. A dish of their meat was a good mouthful, and a barrel of their liquor a reasonable draught. Their mutton yields to ours, but their beef is excellent, I have had a sirloin so large that I have been forced to make three bites of it; but this is rare. My servants were astonished to see me eat it, bones and all, as in our country we do the leg of a lark. Their geese and turkeys I usually eat at a mouthful, and I must confess they far exceed ours. Of their smaller fowl, I could take up twenty or thirty at the end of my knife.

One day his imperial majesty, being informed of my way of living, desired that himself and his royal consort, with the young princes of the blood of both sexes, might have the happiness, as he was pleased to call it, of dining with me. They came accordingly, and I placed them in chairs of state upon my table, just over against me, with their guards about them. Flimnap, the lord high treasurer, attended there likewise, with his white staff; and I observed he often looked on me with a sour countenance, which I would not seem to regard, but eat more than usual, in honor to my dear country, as well as to fill the court with admiration. I have some private reasons to believe that this visit from his majesty gave Flimnap an opportunity of doing me ill offices to his master. That minister had always been my secret enemy, though he outwardly caressed me more than was usual to the moroseness of his nature. He represented to the emperor the low condition of his treasury; that he was forced to take up money at a great discount; that exchequer bills[34] would not circulate under nine per cent, below par; that I had cost his majesty above a million and a half of sprugs (their greatest gold coin, about the bigness of a spangle); and, upon the whole, that it would be advisable in the emperor to take the first fair occasion of dismissing me.

THE HAPPINESS ... OF DINING WITH ME.

"THE HAPPINESS ... OF DINING WITH ME."


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CHAPTER VII.

THE AUTHOR, BEING INFORMED OF A DESIGN TO ACCUSE HIM OF HIGH TREASON, MAKES HIS ESCAPE TO BLEFUSCU. HIS RECEPTION THERE.

Before I proceed to give an account of my leaving this kingdom, it may be proper to inform the reader of a private intrigue which had been for two months forming against me.

I had been hitherto all my life a stranger to courts, for which I was unqualified by the meanness of my condition. I had indeed heard and read enough of the dispositions of great princes and ministers, but never expected to have found such terrible effects of them in so remote a country, governed, as I thought, by very different maxims from those in Europe.

When I was just preparing to pay my attendance on the emperor of Blefuscu, a considerable person at court (to whom I had been very serviceable, at a time when he lay under the highest displeasure of his imperial majesty) came to my house very privately at night, in a close chair,[35] and without sending his name, desired admittance. The chairmen were dismissed; I put the chair, with his lordship in it, into my coat-pocket; and, giving orders to a trusty servant to say I was indisposed and gone to sleep, I fastened the door of my house, placed the chair on the table, according to my usual custom, and sat down by it. After the common salutations were over, observing his lordship's countenance full of concern, and inquiring into the reason, he desired I would hear him with patience, in a matter that highly concerned my honor and my life. His speech was to the following effect, for I took notes of it as soon as he left me:—

You are to know, said he, that several committees of council have been lately called in the most private manner on your account; and it is but two days since his majesty came to a full resolution.

You are very sensible that Skyrris Bolgolam (galbet or high-admiral) hath been your mortal enemy almost ever since your arrival: his original reasons I know not; but his hatred is increased since your great success against Blefuscu, by which his glory, as admiral, is much obscured. This lord, in conjunction with Flimnap the high treasurer, whose enmity against you is notorious, Limtoc the general, Lalcon the chamberlain, and Balmuff the grand justiciary, have prepared articles of impeachment against you, for treason, and other capital crimes.

This preface made me so impatient, being conscious of my own merits and innocence, that I was going to interrupt; when he entreated me to be silent, and thus proceeded.

HE DESIRED I WOULD HEAR HIM WITH PATIENCE.

"HE DESIRED I WOULD HEAR HIM WITH PATIENCE."

Out of gratitude for the favors you have done for me, I procured information of the whole proceedings, and a copy of the articles; wherein I venture my head for your service.

ARTICLES OF IMPEACHMENT AGAINST QUINBUS FLESTRIN, THE MAN-MOUNTAIN.

ARTICLE I.

Whereas, by a statute made in the reign of his Imperial Majesty Calin Deffar Plune, it is enacted, That whoever shall lay hands upon the empress, or upon any of the royal children, shall be liable to the pains and penalties of high treason. Notwithstanding, the said Quinbus Flestrin, in open breach of the said law, under color of extinguishing the fire kindled in the apartment of his Majesty's most dear imperial consort, did maliciously, and traitorously, pull her by the arms, and lift her high in the air in both his hands, against the statute in that case provided, &c., against the duty, &c.

ARTICLE II.

That the said Quinbus Flestrin, having brought the imperial fleet of Blefuscu into the royal port, and being afterwards commanded by his imperial majesty to seize all the other ships of the said empire of Blefuscu, and reduce that empire to a province, to be governed by a viceroy from hence, and to destroy and put to death, not only all the Big-endian exiles, but likewise all the people of that empire who would not immediately forsake the Big-endian heresy. He, the said Flestrin, like a false traitor against his most auspicious, serene, imperial majesty, did petition to be excused from the said service, upon pretence of unwillingness to force the consciences or destroy the liberties and lives of an innocent people.

ARTICLE III.

That, whereas certain ambassadors arrived from the court of Blefuscu, to sue for peace in his majesty's court; he, the said Flestrin, did, like a false traitor, aid, abet, comfort, and divert the said ambassadors, although he knew them to be servants to a prince who was lately an open enemy to his imperial majesty, and in open war against his said majesty.

ARTICLE IV.

That the said Quinbus Flestrin, contrary to the duty of a faithful subject, is now preparing to make a voyage to the court and empire of Blefuscu, for which he hath received only verbal license from his imperial majesty; and under color of the said license, doth falsely and traitorously intend to take the said voyage, and thereby to aid, comfort, and abet the emperor of Blefuscu, so late an enemy, and in open war with his imperial majesty aforesaid.

There are some other articles, but these are the most important, of which I have read you an abstract.

In the several debates upon this impeachment, it must be confessed that his majesty gave many marks of his great lenity, often urging the services you had done him, and endeavoring to extenuate your crimes. The treasurer and admiral insisted that you should be put to the most painful and ignominious death, by setting fire on your house at night; and the general was to attend, with twenty thousand men armed with poisoned arrows, to shoot you on the face and hands. Some of your servants were to have private orders to strew a poisonous juice on your shirts and sheets, which would soon make you tear your own flesh, and die in the utmost torture. The general came into the same opinion; so that for a long time there was a majority against you: but his majesty resolving, if possible, to spare your life, at last brought off the chamberlain.

Upon this incident, Reldresal, principal secretary for private affairs, who always approved himself your true friend, was commanded by the emperor to deliver his opinion, which he accordingly did; and therein justified the good thoughts you have of him. He allowed your crimes to be great, but that still there was room for mercy, the most commendable virtue in a prince, and for which his majesty was so justly celebrated. He said, the friendship between you and him was so well known to the world, that perhaps the most honorable board might think him partial; however, in obedience to the command he had received, he would freely offer his sentiments; that if his majesty, in consideration of your services, and pursuant to his own merciful disposition, would please to spare your life, and only give orders to put out both your eyes, he humbly conceived that, by this expedient, justice might in some measure be satisfied, and all the world would applaud the lenity of the emperor, as well as the fair and generous proceedings of those who have the honor to be his counsellors: that the loss of your eyes would be no impediment to your bodily strength, by which you might still be useful to his majesty: that blindness is an addition to courage, by concealing dangers from us: that the fear you had for your eyes was the greatest difficulty in bringing over the enemy's fleet: and it would be sufficient for you to see by the eyes of the ministers, since the greatest princes do no more.

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This proposal was received with the utmost disapprobation by the whole board. Bolgolam, the admiral, could not preserve his temper, but rising up in fury, said he wondered how the secretary durst presume to give his opinion for preserving the life of a traitor: that the services you had performed were, by all true reasons of state, the great aggravation of your crimes: that you, who extinguished the fire in that unprincipled manner, might at another time inundate and drown the whole palace; and the same strength, which enabled you to bring over the enemy's fleet, might serve, upon the first discontent, to carry it back: that he had good reasons to think you were a Big-endian in your heart; and, as treason begins in the heart, before it appears in overt acts, so he accused you as a traitor on that account, and therefore insisted you should be put to death.

The treasurer was of the same opinion. He showed to what straits his majesty's revenue was reduced, by the charge of maintaining you, which would soon grow insupportable. That the secretary's expedient of putting out your eyes was so far from being a remedy against this evil, that it would probably increase it, as is manifest from the common practice of blinding some sort of fowls, after which they fed the faster, and grew sooner fat. That his sacred majesty, and the council, who are your judges, were to their own consciences fully convinced of your guilt, which was a sufficient argument to condemn you to death without the formal proofs required by the strict letter of the law.

But his imperial majesty, fully determined against capital punishment, was graciously pleaded to say, that since the council thought the loss of your eyes too easy a censure, some other might be inflicted hereafter. And your friend, the secretary, humbly desiring to be heard again, in answer to what the treasurer had objected concerning the great charge his majesty was at in maintaining you, said that his excellency, who had the sole disposal of the emperor's revenue, might easily provide against that evil, by gradually lessening your establishment; by which, for want of sufficient food, you would grow weak and faint, and lose your appetite, and consume in a few months; neither would the stench of your carcase be then so dangerous when it should become more than half diminished; and, immediately upon your death, five or six thousand of his majesty's subjects might in two or three days cut your flesh from your bones, take it away by cart-loads, and bury it in distant parts, to prevent infection, leaving the skeleton as a monument of admiration to posterity.

Thus, by the great friendship of the secretary, the whole affair was compromised. It was strictly enjoined that the project of starving you by degrees should be kept a secret, but the sentence of putting out your eyes was entered on the books, none dissenting except Bolgolam, the admiral, who, being a creature of the empress, was perpetually instigated by her majesty to insist upon your death, she having borne perpetual malice against you, on account of that illegal method you took to remove her and her children the night of the fire.

In three days, your friend the secretary will be directed to come to your house and read before you the articles of impeachment; and then to signify the great lenity and favor of his majesty and council, whereby you are only condemned to the loss of your eyes, which his majesty doth not question you will gratefully and humbly submit to; and twenty of his majesty's surgeons will attend, in order to see the operation well performed, by discharging very sharp-pointed arrows into the balls of your eyes as you lie on the ground.

I leave to your prudence what measures you will take; and, to avoid suspicion, I must immediately return, in as private a manner as I came.

His lordship did so, and I remained alone, under many doubts and perplexities of mind.

It was a custom, introduced by this prince and his ministry (very different, as I have been assured, from the practices of former times), that after the court had decreed any cruel execution either to gratify the monarch's resentment or the malice of a favorite, the emperor always made a speech to his whole council, expressing his great lenity and tenderness, as qualities known and confessed by all the world. This speech was immediately published through the kingdom; nor did anything terrify the people so much as those encomiums on his majesty's mercy; because it was observed that, the more these praises were enlarged and insisted on, the more inhuman was the punishment, and the sufferer more innocent. Yet, as to myself, I must confess, having never been designed for a courtier, either by my birth or education, I was so ill a judge of things that I could not discover the lenity and favor of this sentence, but conceived it (perhaps erroneously) rather to be rigorous than gentle, I sometimes thought of standing my trial; for although I could not deny the facts alleged in the several articles, yet I hoped they would admit of some extenuation. But having in my life perused many state-trials, which I ever observed to terminate as the judges thought fit to direct, I durst not rely on so dangerous a decision, in so critical a juncture, and against such powerful enemies. Once I was strongly bent upon resistance, for, while I had liberty, the whole strength of that empire could hardly subdue me, and I might easily with stones pelt the metropolis to pieces; but I soon rejected that project with horror, by remembering the oath I had made to the emperor, the favors I received from him, and the high title of nardac he conferred upon me. Neither had I so soon learned the gratitude of courtiers as to persuade myself that his majesty's present seventies acquitted me of all past obligations.

At last I fixed upon a resolution, for which it is probable I may incur some censure, and not unjustly; for I confess I owe the preserving mine eyes, and consequently my liberty, to my own great rashness and want of experience; because if I had then known the nature of princes and ministers, which I have since observed in many other courts, and their methods of treating criminals less obnoxious than myself, I should with great alacrity and readiness have submitted to so easy a punishment. But, hurried on by the precipitancy of youth, and having his imperial majesty's license to pay my attendance upon the emperor of Blefuscu, I took this opportunity, before the three days were elapsed, to send a letter to my friend the secretary, signifying my resolution of setting out that morning for Blefuscu pursuant to the leave I had got; and, without waiting for an answer, I went to that side of the island where our fleet lay. I seized a large man-of-war, tied a cable to the prow, and lifting up the anchors, I stript myself, put my clothes (together with my coverlet, which I carried under my arm) into the vessel, and drawing it after me, between wading and swimming arrived at the royal port of Blefuscu, where the people had long expected me; they lent me two guides to direct me to the capital city, which is of the same name. I held them in my hands until I came within two hundred yards of the gate, and desired them to signify my arrival to one of the secretaries, and let him know I there waited his majesty's command. I had an answer in about an hour, that his majesty, attended by the royal family and great officers of the court, was coming out to receive me. I advanced a hundred yards. The emperor and his train alighted from their horses, the empress and ladies from their coaches, and I did not perceive they were in any fright or concern. I lay on the ground to kiss his majesty's and the empress's hand.

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I told his majesty that I was come, according to my promise, and with the license of the emperor, my master, to have the honor of seeing so mighty a monarch, and to offer him any service in my power consistent with my duty to my own prince, not mentioning a word of my disgrace, because I had hitherto no regular information of it, and might suppose myself wholly ignorant of any such design; neither could I reasonably conceive that the emperor would discover the secret while I was out of his power, wherein however it soon appeared I was deceived.

I shall not trouble the reader with the particular account of my reception at this court, which was suitable to the generosity of so great a prince; nor of the difficulties I was in for want of a house and bed, being forced to lie on the ground, wrapped up in my coverlet.

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CHAPTER VIII.

THE AUTHOR, BY A LUCKY ACCIDENT, FINDS MEANS TO LEAVE BLEFUSCU, AND AFTER SOME DIFFICULTIES, RETURNS SAFE TO HIS NATIVE COUNTRY.

Three days after my arrival, walking out of curiosity to the northeast coast of the island, I observed, about half a league off in the sea, somewhat that looked like a boat overturned. I pulled off my shoes and stockings, and wading two or three hundred yards, I found the object to approach nearer by force of the tide; and then plainly saw it to be a real boat, which I supposed might by some tempest have been driven from a ship: whereupon I returned immediately towards the city, and desired his imperial majesty to lend me twenty of the tallest vessels he had left after the loss of his fleet, and three thousand seamen under the command of his vice-admiral. This fleet sailed round, while I went back the shortest way to the coast, where I first discovered the boat. I found the tide had driven it still nearer. The seamen were all provided with cordage, which I had beforehand twisted to a sufficient strength. When the ships came up, I stripped myself, and waded till I came within a hundred yards of the boat, after which I was forced to swim till I got up to it. The seamen threw me the end of the cord, which I fastened to a hole in the forepart of the boat, and the other end to a man-of-war. But I found all my labor to little purpose; for, being out of my depth, I was not able to work. In this necessity, I was forced to swim behind, and push the boat forwards as often as I could with one of my hands, and, the tide favoring me, I advanced so far, that I could just hold up my chin and feel the ground. I rested two or three minutes, and then gave the boat another shove, and so on till the sea was no higher than my arm-pits; and now, the most laborious part being over, I took out my other cables, which were stowed in one of the ships, and fastened them first to the boat, and then to nine of the vessels which attended me; the wind being favorable, the seamen towed, and I shoved, till we arrived within forty yards of the shore, and waiting till the tide was out, I got dry to the boat, and, by the assistance of two thousand men, with ropes and engines, I made a shift to turn it on its bottom, and found it was but little damaged.

Pulleys, capstans, and other contrivances.

I shall not trouble the reader with the difficulties I was under, by the help of certain paddles, which cost me ten days making, to get my boat to the royal port of Blefuscu, where a mighty concourse of people appeared upon my arrival, full of wonder at the sight of so prodigious a vessel. I told the emperor that my good fortune had thrown this boat in my way, to carry me to some place from whence I might return into my native country, and begged his majesty's orders for getting materials to fit it up, together with his license to depart, which, after some kind expostulation, he was pleased to grant.

I did very much wonder, in all this time, not to have heard of any express relating to me from our emperor to the court of Blefuscu. But I was afterwards given privately to understand that his imperial majesty, never imagining I had the least notice of his designs, believed I was only gone to Blefuscu in performance of my promise according to the license he had given me, which was well known at our court, and would return in a few days when the ceremony was ended. But he was at last in pain at my long absence; and, after consulting with the treasurer and the rest of that cabal,[36] a person of quality was despatched with the copy of the articles against me. This envoy had instructions to represent to the monarch of Blefuscu the great lenity of his master, who was content to punish me no farther than the loss of mine eyes; that I had fled from justice, and, if I did not return in two hours, I should be deprived of my title of nardac and declared a traitor. The envoy farther added that, in order to maintain the peace and amity between both empires, his master expected that his brother of Blefuscu would give orders to have me sent back to Lilliput, bound hand and foot, to be punished as a traitor.

The emperor of Blefuscu, having taken three days to consult, returned an answer consisting of many civilities and excuses. He said that, as for sending me bound, his brother knew it was impossible. That, although I had deprived him of his fleet, yet he owed great obligations to me for many good offices I had done him in making the peace. That, however, both their majesties would soon be made easy; for I had found a prodigious vessel on the shore, able to carry me on the sea, which he had given orders to fit up with my own assistance and direction; and he hoped in a few weeks both empires would be freed from so insupportable an incumbrance.

With this answer the envoy returned to Lilliput, and the monarch of Blefuscu related to me all that had passed; offering me at the same time (but under the strictest confidence) his gracious protection if I would continue in his service; wherein, although I believed him sincere, yet I resolved never more to put any confidence in princes or ministers where I could possibly avoid it; and, therefore, with all due acknowledgments for his favorable intentions, I humbly begged to be excused. I told him that, since fortune, whether good or evil, had thrown a vessel in my way, I was resolved to venture myself in the ocean, rather than be an occasion of difference between two such mighty monarchs. Neither did I find the emperor at all displeased; and I discovered, by a certain accident, that he was very glad of my resolution, and so were most of his ministers.

These considerations moved me to hasten my departure somewhat sooner than I intended; to which the court, impatient to have me gone, very readily contributed. Five hundred workmen were employed to make two sails to my boat, according to my directions, by quilting thirteen folds of their strongest linen together. I was at the pains of making ropes and cables, by twisting ten, twenty, or thirty of the thickest and strongest of theirs. A great stone, that I happened to find after a long search by the sea-shore, served me for an anchor. I had the tallow of three hundred cows for greasing my boat, and other uses. I was at incredible pains in cutting down some of the largest timber-trees for oars and masts, wherein I was, however, much assisted by his majesty's ship-carpenters, who helped me in smoothing them after I had done the rough work.

In about a month, when all was prepared, I sent to receive his majesty's commands, and to take my leave. The emperor and royal family came out of the palace. I lay down on my face to kiss his hand, which he very graciously gave me; so did the empress and young princes of the blood. His majesty presented me with fifty purses of two hundred sprugs a-piece, together with his picture at full length, which I put immediately into one of my gloves, to keep it from being hurt. The ceremonies at my departure were too many to trouble the reader with at this time.

I SET SAIL AT SIX IN THE MORNING

I SET SAIL AT SIX IN THE MORNING

I stored the boat with the carcases of a hundred oxen, and three hundred sheep, with bread and drink proportionable, and as much meat ready dressed as four hundred cooks could provide. I took with me six cows and two bulls alive, with as many ewes and lambs, intending to carry them into my own country, and propagate the breed. And to feed them on board, I had a good bundle of hay and a bag of corn. I would gladly have taken a dozen of the natives, but this was a thing the emperor would by no means permit; and, besides a diligent search into my pockets, his majesty engaged my honor not to carry away any of his subjects, although with their own consent and desire.

Having thus prepared all things as well as I was able, I set sail on the twenty-fourth day of September, 1701, at six in the morning; and, when I had gone about four leagues to the northward, the wind being at southeast, at six in the evening I descried a small island about half a league to the northwest I advanced forward, and cast anchor on the lee side[37] of the island, which seemed to be uninhabited. I then took some refreshment, and went to my rest. I slept well, and, as I conjecture, at least six hours, for I found the day broke two hours after I awaked. It was a clear night. I ate my breakfast before the sun was up; and heaving anchor, the wind being favorable, I steered the same course that I had done the day before, wherein I was directed by my pocket-compass. My intention was to reach, if possible, one of those islands, which, I had reason to believe, lay to the northeast of Van Diemen's Land. I discovered nothing all that day; but upon the next, about three o'clock in the afternoon, when I had, by my computation, made twenty-four leagues from Blefuscu, I descried a sail steering to the southeast: my course was due east. I hailed her, but could get no answer; yet I found I gained upon her, for the wind slackened. I made all the sail I could, and in half-an-hour she spied me, then hung out her ancient,[38] and discharged a gun.

It is not easy to express the joy I was in, upon the unexpected hope of once more seeing my beloved country, and the dear pledges I left in it. The ship slackened her sails, and I came up with her, between five and six in the evening, September twenty-sixth; but my heart leaped within me to see her English colors.

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I put my cows and sheep into my coat-pockets, and got on board with all my little cargo of provisions. The vessel was an English merchantman returning from Japan by the North and South Seas; the captain, Mr. John Biddle, of Deptford, a very civil man and an excellent sailor. We were now in the latitude of 30 degrees south. There were about fifty men in the ship; and here I met an old comrade of mine, one Peter Williams, who gave me a good character to the captain. This gentleman treated me with kindness, and desired I would let him know what place I came from last, and whither I was bound; which I did in few words, but he thought I was raving, and that the dangers I had underwent had disturbed my head; whereupon I took my black cattle and sheep out of my pocket, which, after great astonishment, clearly convinced him of my veracity. I then showed him the gold given me by the emperor of Blefuscu, together with his majesty's picture at full length, and some other rareties of that country. I gave him two purses of two hundred sprugs each, and promised, when we arrived in England, to make him a present of a cow and a sheep.

I shall not trouble the reader with a particular account of this voyage, which was very prosperous for the most part. We arrived in the Downs[39] on the thirteenth of April, 1702. I had only one misfortune, that the rats on board carried away one of my sheep; I found her bones in a hole, picked clean from the flesh. I got the rest of my cattle safe ashore, and set them a-grazing in a bowling-green at Greenwich, where the fineness of the grass made them feed very heartily, though I had always feared the contrary: neither could I possibly have preserved them in so long a voyage, if the captain had not allowed me some of his best biscuits, which, rubbed to powder, and mingled with water, was their constant food. The short time I continued in England, I made a considerable profit by showing my cattle to many persons of quality and others: and before I began my second voyage I sold them for six hundred pounds.

Since my last return, I find the breed is considerably increased, especially the sheep, which I hope will prove much to the advantage of the woollen manufacture, by the fineness of the fleeces.

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I stayed but two months with my wife and family; for my insatiable desire of seeing foreign countries would suffer me to continue no longer. I left fifteen hundred pounds with my wife and fixed her in a good house at Redriff. My remaining stock I carried with me, part in money, and part in goods, in hopes to improve my fortune. My eldest uncle, John, had left me an estate in land, near Epping, of about thirty pounds a year; and I had a long lease of the "Black Bull,"[40] in Fetter Lane, which yielded me as much more: so that I was not in any danger of leaving my family upon the parish. My son Johnny, named so after his uncle, was at the grammar-school, and a towardly[41] child. My daughter Betty (who is now well married, and has children), was then at her needlework. I took leave of my wife and boy and girl, with tears on both sides, and went on board the "Adventure," a merchant ship of three hundred tons, bound for Surat, Captain John Nicholas, of Liverpool, commander. But my account of this voyage must be referred to the second part of my travels.

THE END OF THE FIRST PART.


THEY CONCLUDED ... THAT I WAS ONLY Relplum Scalcath.

"THEY CONCLUDED ... THAT I WAS ONLY Relplum Scalcath.


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TRAVELS.

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PART II.

A VOYAGE TO BROBDINGNAG.


CHAPTER I.

A GREAT STORM DESCRIBED; THE LONG-BOAT SENT TO FETCH WATER; THE AUTHOR GOES WITH IT TO DISCOVER THE COUNTRY. HE IS LEFT ON SHORE, IS SEIZED BY ONE OF THE NATIVES, AND CARRIED TO A FARMER'S HOUSE. HIS RECEPTION, WITH SEVERAL ACCIDENTS THAT HAPPENED THERE. A DESCRIPTION OF THE INHABITANTS.

Having been condemned by nature and fortune to an active and restless life, in two months after my return I again left my native country, and took shipping in the Downs on the twentieth day of June, 1702, in the "Adventure," Captain John Nicholas, a Cornish man, commander, bound for Surat. We had a very prosperous gale till we arrived at the Cape of Good Hope, where we landed for fresh water; but, discovering a leak, we unshipped our goods and wintered there: for, the captain falling sick of an ague, we could not leave the Cape till the end of March. We then set sail, and had a good voyage till we passed the Straits of Madagascar;[42] but having got northward of that island, and to about five degrees south latitude, the winds, which in those seas are observed to blow a constant equal gale, between the north and west, from the beginning of December to the beginning of May, on the nineteenth of April began to blow with much greater violence and more westerly than usual, continuing so for twenty days together, during which time we were driven a little to the east of the Molucca Islands, and about three degrees northward of the line,[43] as our captain found by an observation he took the second of May, at which time the wind ceased and it was a perfect calm; whereat I was not a little rejoiced. But, he, being a man well experienced in the navigation of those seas, bid us all prepare against a storm, which accordingly happened the day following: for the southern wind, called the southern monsoon, began to set in, and soon it was a fierce storm.

Finding it was like to overblow, we took in our sprit-sail, and stood by to hand the foresail; but making foul weather, we looked the guns were all fast, and handed the mizzen.

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The ship lay very broad off, so we thought it better spooning before the sea, than trying, or hulling. We reefed the foresail and set him, we hauled aft the foresheet: the helm was hard-a-weather. The ship wore bravely. We belayed the fore down-haul; but the sail was split, and we hauled down the yard, and got the sail into the ship, and unbound all the things clear of it. It was a very fierce storm; the sea broke strange and dangerous. We hauled off the laniard of the whipstaff, and helped the man at the helm. We could not get down our topmast, but let all stand, because she scudded before the sea very well, and we knew that the topmast being aloft, the ship was the wholesomer, and made better way through the sea, seeing we had sea-room. When the storm was over, we set foresail and mainsail, and brought the ship to. Then we set the mizzen, main-top-sail, and the fore-top-sail. Our course was east north east, the wind was at southwest. We got the starboard tacks aboard, we cast off our weather braces and lifts; we set in the lee braces, and hauled forward by the weather bowlings, and hauled them tight and belayed them, and hauled over the mizzen tack to wind-ward and kept her full and by, as near as she could lie.

During this storm, which was followed by a strong wind, west southwest, we were carried, by my computation, about five hundred leagues to the east, so that the oldest sailor on board could not tell in what part of the world we were. Our provisions held out well, our ship was staunch, and our crew all in good health; but we lay in the utmost distress for water. We thought it best to hold on the same course, rather than turn more northerly, which might have brought us to the northwest parts of Great Tartary, and into the Frozen Sea.

On the sixteenth day of June, 1703, a boy on the topmast discovered land. On the seventeenth, we came in full view of a great island or continent (for we knew not which), on the south side whereof was a small neck of land, jutting out into the sea, and a creek too shallow to hold a ship of above one hundred tons. We cast anchor within a league of this creek, and our captain sent a dozen of his men well armed in the long-boat, with vessels for water, if any could be found. I desired his leave to go with them, that I might see the country, and make what discoveries I could.

When we came to land, we saw no river or spring, nor any sign of inhabitants. Our men therefore wandered on the shore to find out some fresh water near the sea, and I walked alone about a mile on the other side, where I observed the country all barren and rocky. I now began to be weary, and seeing nothing to entertain my curiosity, I returned gently down toward the creek; and the sea being full in my view, I saw our men already got into the boat, and rowing for life to the ship. I was going to holla after them, although it had been to little purpose, when I observed a huge creature walking after them in the sea, as fast as he could; he waded not much deeper than his knees, and took prodigious strides; but our men had the start of him about half a league, and the sea thereabouts being full of pointed rocks, the monster was not able to overtake the boat. This I was afterwards told, for I durst not stay to see the issue of the adventure; but ran as fast as I could the way I first went, and then climbed up a steep hill, which gave me some prospect of the country. I found it fully cultivated; but that which first surprised me was the length of the grass, which, in those grounds that seemed to be kept for hay, was about twenty feet high.

A HUGE CREATURE WALKING ... IN THE SEA.

"A HUGE CREATURE WALKING ... IN THE SEA."

I fell into a high road, for so I took it to be, though it served to the inhabitants only as a footpath through a field of barley. Here I walked on for some time, but could see little on either side, it being now near harvest, and the corn rising at least forty feet. I was an hour walking to the end of this field, which was fenced in with a hedge of at least one hundred and twenty feet high, and the trees so lofty that I could make no computation of their altitude. There was a stile to pass from this field into the next. It had four steps, and a stone to cross over when you came to the uppermost. It was impossible for me to climb this stile because every step was six feet high, and the upper stone above twenty.

I was endeavoring to find some gap in the hedge, when I discovered one of the inhabitants in the next field, advancing towards the stile, of the same size with him whom I saw in the sea pursuing our boat. He appeared as tall as an ordinary spire steeple, and took about ten yards at every stride, as near as I could guess. I was struck with the utmost fear and astonishment, and ran to hide myself in the corn, from whence I saw him at the top of the stile, looking back into the next field on the right hand, and heard him call in a voice many degrees louder than a speaking trumpet; but the noise was so high in the air that at first I certainly thought it was thunder. Whereupon seven monsters, like himself, came towards him with reaping-hooks in their hands, each hook about the largeness of six scythes. These people were not so well clad as the first, whose servants or laborers they seemed to be; for, upon some words he spoke, they went to reap the corn in the field where I lay. I kept from them at as great a distance as I could, but was forced to move, with extreme difficulty, for the stalks of the corn were sometimes not above a foot distance, so that I could hardly squeeze my body betwixt them. However, I made a shift to go forward till I came to a part of the field where the corn had been laid by the rain and wind. Here it was impossible for me to advance a step; for the stalks were so interwoven that I could not creep through, and the beards of the fallen ears so strong and pointed that they pierced through my clothes into my flesh. At the same time I heard the reapers not above a hundred yards behind me.

Being quite dispirited with toil, and wholly overcome by grief and despair, I lay down between two ridges, and heartily wished I might there end my days. I bemoaned my desolate widow and fatherless children. I lamented my own folly and wilfulness in attempting a second voyage against the advice of all my friends and relations. In this terrible agitation of mind, I could not forbear thinking of Lilliput, whose inhabitants looked upon me as the greatest prodigy that ever appeared in the world; where I was able to draw an imperial fleet in my hand, and perform those other actions which will be recorded forever in the chronicles of that empire, while posterity shall hardly believe them, although attested by millions. I reflected what a mortification it must prove to me to appear as inconsiderable in this nation as one single Lilliputian would be among us. But this I conceived was to be among the least of my misfortunes: for, as human creatures are observed to be more savage and cruel in proportion to their bulk, what could I expect but to be a morsel in the mouth of the first among these enormous barbarians that should happen to seize me? Undoubtedly philosophers are in the right when they tell us that nothing is great or little otherwise than by comparison. It might have pleased fortune to let the Lilliputians find some nation where the people were as diminutive with respect to them as they were to me. And who knows but that even this prodigious race of mortals might be equally overmatched in some distant part of the world, whereof we have yet no discovery?

Scared and confounded as I was, I could not forbear going on with these reflections, when one of the reapers, approaching within ten yards of the ridge where I lay, made me apprehend that with the next step I should be squashed to death under his foot, or cut in two with his reaping-hook. And, therefore, when he was again about to move, I screamed as loud as fear could make me. Whereupon the huge creature trod short, and looking round about under him for some time, at last espied me as I lay on the ground. He considered awhile, with the caution of one who endeavors to lay hold on a small dangerous animal in such a manner that it shall not be able either to scratch or to bite him, as I myself have sometimes done with a weasel in England.

WHEREUPON THE HUGE CREATURE TROD SHORT.

"WHEREUPON THE HUGE CREATURE TROD SHORT."

At length he ventured to take me up between his forefinger and thumb, and brought me within three yards of his eyes, that he might behold my shape more perfectly. I guessed his meaning, and my good fortune gave me so much presence of mind that I resolved not to struggle in the least as he held me in the air, above sixty feet from the ground, although he grievously pinched my sides, for fear I should slip through his fingers. All I ventured was to raise my eyes towards the sun, and place my hands together in a supplicating posture, and to speak some words in an humble melancholy tone, suitable to the condition I then was in. For I apprehended every moment that he would dash me against the ground, as we usually do any little hateful animal which we have a mind to destroy. But my good star would have it that he appeared pleased with my voice and gestures, and began to look upon me as a curiosity, much wondering to hear me pronounce articulate words, although he could not understand them. In the meantime I was not able to forbear groaning and shedding tears, and turning my head towards my sides; letting him know, as well as I could, how cruelly I was hurt by the pressure of his thumb and finger. He seemed to apprehend my meaning; for, lifting up the lappet of his coat, he put me gently into it, and immediately ran along with me to his master, who was a substantial farmer, and the same person I had first seen in the field.

The farmer, having (as I suppose by their talk) received such an account of me as his servant could give him, took a piece of a small straw, about the size of a walking-staff, and therewith lifted up the lappets of my coat, which it seems he thought to be some kind of covering that nature had given me. He blew my hair aside, to take a better view of my face. He called his hinds[44] about him, and asked them (as I afterwards learned) whether they had ever seen in the fields any little creature that resembled me. He then placed me softly on the ground upon all fours, but I got immediately up, and walked slowly backwards and forwards to let those people see that I had no intent to run away.

They all sat down in a circle about me, the better to observe my motions. I pulled off my hat, and made a low bow towards the farmer. I fell on my knees, and lifted up my hands and eyes, and spoke several words as loud as I could: I took a purse of gold out of my pocket, and humbly presented it to him. He received it on the palm of his hand, then applied it close to his eye to see what it was, and afterwards turned it several times with the point of a pin (which he took out of his sleeve), but could make nothing of it. Whereupon I made a sign that he should place his hand on the ground. I then took the purse, and opening it, poured all the gold into his palm. There were six Spanish pieces, of four pistoles[45] each, besides twenty or thirty smaller coins. I saw him wet the tip of his little finger upon his tongue, and take up one of my largest pieces, and then another, but he seemed to be wholly ignorant what they were. He made me a sign to put them again into my purse, and the purse again into my pocket, which, after offering it to him several times, I thought it best to do.

The farmer by this time was convinced I must be a rational creature. He spoke often to me, but the sound of his voice pierced my ears like that of a water-mill, yet his words were articulate enough. I answered as loud as I could in several languages, and he often laid his ear within two yards of me; but all in vain, for we were wholly unintelligible to each other. He then sent his servants to their work, and taking his handkerchief out of his pocket, he doubled and spread it on his left hand, which he placed flat on the ground, with the palm upwards, making me a sign to step into it, as I could easily do, for it was not above a foot in thickness.

I thought it my part to obey, and, for fear of falling, laid myself at full length upon the handkerchief, with the remainder of which he lapped me up to the head for farther security, and in this manner carried me home to his house. There he called his wife, and showed me to her; but she screamed and ran back, as women in England do at the sight of a toad or a spider. However, when she had awhile seen my behavior, and how well I observed the signs her husband made, she was soon reconciled, and by degrees grew extremely tender of me.

It was about twelve at noon, and a servant brought in dinner. It was only one substantial dish of meat (fit for the plain condition of an husbandman) in a dish of about four-and-twenty feet diameter. The company were the farmer and his wife, three children, and an old grandmother. When they were sat down, the farmer placed me at some distance from him on the table, which was thirty feet high from the floor. I was in a terrible fright, and kept as far as I could from the edge for fear of falling. The wife minced a bit of meat, then crumbled some bread on a trencher,[46] and placed it before me. I made her a low bow, took out my knife and fork, and fell to eat, which gave them exceeding delight.

The mistress sent her maid for a small dram cup, which held about three gallons, and filled it with drink: I took up the vessel with much difficulty in both hands, and in a most respectful manner drank to her ladyship's health, expressing the words as loud as I could in English, which made the company laugh so heartily that I was almost deafened by the noise. This liquor tasted like a small cider, and was not unpleasant. Then the master made me a sign to come to his trencher-side; but as I walked on the table, being in great surprise all the time, as the indulgent reader will easily conceive and excuse, I happened to stumble against a crust, and fell flat on my face, but received no hurt. I got up immediately, and observing the good people to be in much concern, I took my hat (which I held under my arm out of good manners), and, waving it over my head, made three huzzas, to show that I had got no mischief by my fall.

But advancing forwards towards my master (as I shall henceforth call him), his youngest son, who sat next him, an arch boy of about ten years old, took me up by the legs, and held me so high in the air, that I trembled in every limb; but his father snatched me from him, and at the same time gave him such a box in the left ear as would have felled an European troop of horse to the earth, ordering him to be taken from the table. But being afraid the boy might owe me a spite, and well remembering how mischievous all children among us naturally are to sparrows, rabbits, young kittens, and puppy dogs, I fell on my knees, and, pointing to the boy, made my master to understand as well as I could, that I desired his son might be pardoned. The father complied, and the lad took his seat again; whereupon I went to him and kissed his hand, which my master took, and made him stroke me gently with it.

In the midst of dinner, my mistress's favorite cat leapt into her lap. I heard a noise behind me like that of a dozen stocking-weavers at work; and, turning my head, I found it proceeded from the purring of that animal, who seemed to be three times larger than an ox, as I computed by the view of her head and one of her paws, while her mistress was feeding and stroking her. The fierceness of this creature's countenance altogether discomposed me, though I stood at the further end of the table, above fifty feet off, and although my mistress held her fast, for fear she might give a spring and seize me in her talons.

But it happened there was no danger; for the cat took not the least notice of me, when my master placed me within three yards of her. And as I have been always told, and found true by experience in my travels, that flying or discovering[47] fear before a fierce animal is a certain way to make it pursue or attack you, so I resolved in this dangerous juncture to show no manner of concern. I walked with intrepidity five or six times before the very head of the cat, and came within half a yard of her; whereupon she drew herself back, as if she were more afraid of me. I had less apprehension concerning the dogs, whereof three or four came into the room, as it is usual in farmers' houses; one of which was a mastiff equal in bulk to four elephants, and a greyhound somewhat taller than the mastiff, but not so large.

When dinner was almost done, the nurse came in with a child of a year old in her arms, who immediately spied me, and began a squall that you might have heard from London Bridge to Chelsea,[48] after the usual oratory of infants, to get me for a plaything. The mother out of pure indulgence took me up, and put me towards the child, who presently seized me by the middle and got my head in its mouth, where I roared so loud that the urchin was frighted, and let me drop, and I should infallibly have broke my neck if the mother had not held her apron under me. The nurse, to quiet her babe, made use of a rattle, which was a kind of hollow vessel filled with great stones, and fastened by a cable to the child's waist. As she sat down close to the table on which I stood, her appearance astonished me not a little. This made me reflect upon the fair skins of our English ladies, who appear so beautiful to us, only because they are of our own size, and their defects not to be seen but through a magnifying glass, where we find by experiment that the smoothest and whitest skins look rough, and coarse and ill-colored.

I remember, when I was at Lilliput, the complexions of those diminutive people appeared to me the fairest in the world; and talking upon this subject with a person of learning there, who was an intimate friend of mine, he said that my face appeared much fairer and smoother when he looked on me from the ground than it did upon a nearer view, when I took him up in my hand and brought him close, which he confessed was at first a very shocking sight. He said he could discover great holes in my skin; that the stumps of my beard were ten times stronger than the bristles of a boar, and my complexion made up of several colors altogether disagreeable: although I must beg leave to say for myself that I am as fair as most of my sex and country, and very little sunburnt by my travels. On the other side, discoursing of the ladies of that emperor's court, he used to tell me one had freckles, another too wide a mouth, a third too large a nose, nothing of which I was able to distinguish. I confess this reflection was obvious enough; which, however, I could not forbear, lest the reader might think those vast creatures were actually deformed: for I must do them justice to say they are a comely race of people; and particularly the features of my master's countenance, although he were but a farmer, when I beheld him from the height of sixty feet, appeared very well proportioned.

When dinner was done my master went out to his labors, and, as I could discover by his voice and gestures, gave his wife a strict charge to take care of me. I was very much tired and disposed to sleep, which, my mistress perceiving, she put me on her own bed, and covered me with a clean white handkerchief, but larger and coarser than the mainsail of a man-of-war.

I slept about two hours, and dreamed I was at home with my wife and children, which aggravated my sorrows when I awaked and found myself alone in a vast room, between two and three hundred feet wide, and above two hundred high, lying in a bed twenty yards wide. My mistress was gone about her household affairs, and had locked me in. The bed was eight yards from the floor.

I ... DREW MY HANGER TO DEFEND MYSELF.

"I ... DREW MY HANGER TO DEFEND MYSELF."

Presently two rats crept up the curtains, and ran smelling backwards and forwards on my bed. One of them came almost up to my face; whereupon I rose in a fright, and drew out my hanger to defend myself. The horrible animals had the boldness to attack me both sides, and one of them held his forefeet at my collar; but I killed him before he could do me any mischief. He fell down at my feet; and the other, seeing the fate of his comrade, made his escape, but not without one good wound on the back, which I gave him as he fled, and made the blood run trickling from him. After this exploit I walked gently to and fro on the bed to recover my breath and loss of spirits. These creatures were of the size of a large mastiff, but infinitely more nimble and fierce; so that, if I had taken off my belt before I went to sleep, I must infallibly have been torn to pieces and devoured. I measured the tail of the dead rat, and found it to be two yards long wanting an inch; but it went against my stomach to draw the carcase off the bed, where it still lay bleeding. I observed it had yet some life; but, with a strong slash across the neck, I thoroughly despatched it.

I hope the gentle reader will excuse me for dwelling on these and the like particulars, which, however insignificant they may appear to grovelling vulgar minds, yet will certainly help a philosopher to enlarge his thoughts and imagination, and apply them to the benefit of public as well as private life, which was my sole design in presenting this and other accounts of my travels to the world; wherein I have been chiefly studious of truth, without affecting any ornaments of teaming or style. But the whole scene of this voyage made so strong an impression on my mind, and is so deeply memory, that in committing it to paper I did not omit one material circumstance. However, upon a strict review, I blotted out several passages of less moment which were in my first copy, for fear of being censured as tedious and trifling, whereof travellers are often, perhaps not without justice, accused.

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CHAPTER II.

A DESCRIPTION OF THE FARMER'S DAUGHTER. THE AUTHOR CARRIED TO A MARKET-TOWN, AND THEN TO THE METROPOLIS. THE PARTICULARS OF THIS JOURNEY.

My mistress had a daughter of nine years old, a child of toward parts for her age, very dexterous at her needle, and skilful in dressing her baby. Her mother and she contrived to fit up the baby's cradle for me against night. The cradle was put into a small drawer cabinet, and the drawer placed upon a hanging shelf for fear of the rats. This was my bed all the time I stayed with these people, though made more convenient by degrees, as I began to learn their language and make my wants known.

She made me seven shirts, and some other linen, of as fine cloth as could be got, which indeed was coarser than sackcloth; and these she constantly washed for me with her own hands. She was likewise my school-mistress, to teach me the language. When I pointed to anything, she told me the name of it in her own tongue, so that in a few days I was able to call for whatever I had a mind to. She was very good-natured, and not above forty feet high, being little for her age. She gave me the name of Grildrig, which the family took up, and afterwards the whole kingdom. The word imports what the Latins call nanunculus, the Italians homunceletino, and the English mannikin. To her I chiefly owe my preservation in that country. We never parted while I was there; I called her my Glumdalclitch, or little nurse; and should be guilty of great ingratitude if I omitted this honorable mention of her care and affection towards me, which I heartily wish it lay in my power to requite as she deserves.

It now began to be known and talked of in the neighborhood, that my master had found a strange animal in the field, about the bigness of a splacnuck, but exactly shaped in every part like a human creature; which it likewise imitated in all its actions, seemed to speak in a little language of its own, had already learned several words of theirs, went erect upon two legs, was tame and gentle, would come when it was called, do whatever it was bid, had the finest limbs in the world, and a complexion fairer than a nobleman's daughter of three years old. Another farmer, who lived hard by, and was a particular friend of my master, came on a visit on purpose to inquire into the truth of this story. I was immediately produced and placed upon a table, where I walked as I was commanded, drew my hanger, put it up again, made my reverence to my master's guest, asked him in his own language how he did, and told him he was welcome, just as my little nurse had instructed me. This man, who was old and dim-sighted, put on his spectacles to behold me better, at which I could not forbear laughing very heartily, for his eyes appeared like the full moon shining into a chamber at two windows. Our people, who discovered the cause of my mirth, bore me company in laughing, at which the old fellow was fool enough to be angry and out of countenance. He had the character of a great miser; and, to my misfortune, he well deserved it by the cursed advice he gave my master, to show me as a sight upon a market-day in the next town, which was half an hour's riding, about two-and-twenty miles from our house. I guessed there was some mischief contriving, when I observed my master and his friend whispering long together, sometimes pointing at me; and my fears made me fancy that I overheard and understood some of their words.

I CALLED HER MY GLUMDALCLITCH.

"I CALLED HER MY GLUMDALCLITCH."

But the next morning, Glumdalclitch, my little nurse, told me the whole matter, which she had cunningly picked out from her mother. The poor girl laid me on her bosom, and fell a-weeping with shame and grief. She apprehended some mischief would happen to me from rude vulgar folks, who might squeeze me to death, or break one of my limbs by taking me in their hands. She had also observed how modest I was in my nature, how nicely I regarded my honor, and what an indignity conceive it to be exposed for money, as a public spectacle, to the meanest of the people. She said her papa and mamma had promised that Grildrig should be hers, but now she found they meant to serve her as they did last year when they pretended to give her a lamb, and yet as soon as it was fat sold it to a butcher. For my own part I may truly affirm that I was less concerned than my nurse. I had a strong hope, which left me, that I should one day recover my liberty; to the ignominy of being carried about for a monster, I considered myself to be a perfect stranger in the country, and that such a misfortune could never be charged upon me as a reproach if ever I should return to England; since the king of Great Britain himself, in my condition, must have undergone the same distress.

My master, pursuant to the advice of his friend, carried me in a box the next market-day, to the neighboring town, and took along with him his little daughter, my nurse, upon a pillion[49] behind him. The box was close on every side, with a little door for me to go in and out, and a few gimlet holes to let in air. The girl had been so careful as to put the quilt of her baby's bed into it, for me to lie down on. However, I was terribly shaken and discomposed in this journey, though it were but of half an hour. For the horse went about forty feet at every step, and trotted so high that the agitation was equal to the rising and falling of a ship in a great storm, but much more frequent; our journey was somewhat farther than from London to St. Alban's. My master alighted at an inn which he used to frequent; and after consulting a while with the innkeeper and making some necessary preparations, he hired the grultrud, or crier, to give notice through the town, of a strange creature to be seen at the sign of the Green Eagle, not so big as a splacnuck (an animal in that country, very finely shaped, about six feet long), and in every part of the body resembling a human creature, could speak several words, and perform a hundred diverting tricks.

I was placed upon a table in the largest room of the inn, which might be near three hundred feet square. My little nurse stood on a low stool close to the table, to take care of me, and direct what I should do. My master, to avoid a crowd, would suffer only thirty people at a time to see me. I walked about on the table as the girl commanded. She asked me questions, as far as she knew my understanding of the language reached, and I answered them as loud as I could. I turned about several times to the company, paid my humble respects, said they were welcome, and used some other speeches I had been taught. I took a thimble filled with liquor, which Glumdalclitch had given me for a cup, and drank their health. I drew out my hanger, and flourished with it, after the manner of fencers in England. My nurse gave me part of a straw, which I exercised as a pike, having learnt the art in my youth. I was that day shown to twelve sets of company, and as often forced to act over again the same fopperies, till I was half dead with weariness and vexation. For those who had seen me made such wonderful reports, that the people were ready to break down the doors to come in.

My master, for his own interest, would not suffer any one to touch me except my nurse, and, to prevent danger, benches were set round the table at such a distance as to put me out of everybody's reach. However, an unlucky school-boy aimed a hazel-nut directly at my head, which very narrowly missed me: otherwise, it came with so much violence, that it would have infallibly knocked out my brains, for it was almost as large as a small pumpion,[50] but I had the satisfaction to see the young rogue well beaten, and turned out of the room.

FLOURISHED AFTER THE MANNER OF FENCERS IN ENGLAND.

"FLOURISHED AFTER THE MANNER OF FENCERS IN ENGLAND."

My master gave public notice that he would show me again the next market-day, and in the meantime he prepared a more convenient vehicle for me, which he had reason enough to do; for I was so tired with my first journey, and with entertaining company for eight hours together, that I could hardly stand upon my legs or speak a word. It was at least three days before I recovered my strength; and that I might have no rest at home, all the neighboring gentleman, from a hundred miles round, hearing of my fame, came to see me at my master's own house. There could not be fewer than thirty persons with their wives and children (for the country was very populous); and my master demanded the rate of a full room whenever he showed me at home, although it were only to a single family; so that for some time I had but little ease every day of the week (except Wednesday which is their Sabbath), although I was not carried to the town.

My master, finding how profitable I was like to be, resolved to carry me to the most considerable cities of the kingdom. Having, therefore, provided himself with all things necessary for a long journey, and settled his affairs at home, he took leave of his wife, and upon the seventeenth of August, 1703, about two months after my arrival, we set out for the metropolis, situated the middle of that empire, and about three thousand miles distance from our house. My master made his daughter Glumdalclitch ride behind him. She carried me on her lap, in a box tied about her waist. The girl had lined it on all sides with the softest cloth she could get, well quilted underneath, furnished it with her baby's bed, provided me with linen and other necessaries, and made everything as conveniently as she could. We had no other company but a boy of the house, who rode after us with the luggage.

My master's design was to show me in all the towns by the way, and to step out of the road for fifty or a hundred miles, to any village, or person of quality's house, where he might expect custom. We made easy journeys of not above seven or eight score miles a day; for Glumdalclitch, on purpose to spare me, complained she was tired with the trotting of the horse. She often took me out of my box at my own desire, to give me air and show me the country, but always held me fast by a leading-string. We passed over five or six rivers, many degrees broader and deeper than the Nile or the Ganges; and there was hardly a rivulet so small as the Thames at London Bridge. We were ten weeks in our journey, and I was shown in eighteen large towns, besides many villages and private families.

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On the twenty-sixth of October we arrived at the metropolis, called in their language, Lorbrulgrud, or Pride of the Universe. My master took a lodging in the principal street of the city, not far from the royal palace, and put out bills in the usual form, containing an exact description of my person and parts.[51] He hired a large room between three and four hundred feet wide. He provided a table sixty feet in diameter, upon which I was to act my part, and palisadoed it round three feet from the edge, and as many high, to prevent my falling over. I was shown ten times a day, to the wonder and satisfaction of all people. I could now speak the language tolerably well, and perfectly understood every word that was spoken to me. Besides, I had learned their alphabet, and could make a shift to explain a sentence here and there; for Glumdalclitch had been my instructor while we were at home, and at leisure hours during our journey. She carried a little book in her pocket, not much larger than a Sanson's Atlas;[52] it was a common treatise for the use of young girls, giving a short account of their religion; out of this she taught me my letters, and interpreted the words.

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CHAPTER III.

THE AUTHOR SENT FOR TO COURT. THE QUEEN BUYS HIM OF HIS MASTER THE FARMER, AND PRESENTS HIM TO THE KING. HE DISPUTES WITH HIS MAJESTY'S GREAT SCHOLARS. AN APARTMENT AT COURT PROVIDED FOR THE AUTHOR. HE IS IN HIGH FAVOR WITH THE QUEEN. HE STANDS UP FOR THE HONOR OF HIS OWN COUNTRY. HE QUARRELS WITH THE QUEEN'S DWARF.

The frequent labors I underwent every day, made in a few weeks a very considerable change in my health; the more my master got by me, the more insatiable he grew. I had quite lost my stomach, and was almost reduced to a skeleton. The farmer observed it, and, concluding I must soon die, resolved to make as good a hand of me[53] as he could. While he was thus reasoning and resolving with himself, a slardral, or gentleman-usher, came from court, commanding my master to carry me immediately thither, for the diversion of the queen and her ladies. Some of the latter had already been to see me, and reported strange things of my beauty, behavior, and good sense. Her majesty, and those who attended her, were beyond measure delighted with my demeanor. I fell on my knees and begged the honor of kissing her imperial foot; but this gracious princess held out her little finger towards me, after I was set on a table, which I embraced in both my arms, and put the tip of it with the utmost respect to my lip.

She made me some general questions about my country, and my travels, which I answered as distinctly, and in as few words, as I could. She asked whether I would be content to live at court. I bowed down to the board of the table, and humbly answered that I was my master's slave; but if I were at my own disposal, I should be proud to devote my life to her majesty's service. She then asked my master whether he were willing to sell me at a good price. He, who apprehended I could not live a month, was ready enough to part with me, and demanded a thousand pieces of gold, which were ordered him on the spot, each piece being the bigness of eight hundred moidores[54]; but, for the proportion of all things between that country and Europe, and the high price of gold among them, was hardly so great a sum as a thousand guineas[55] would be in England. I then said to the queen, since I was now her majesty's most humble creature and vassal, I must beg the favor, that Glumdalclitch, who had always attended me with so much care and kindness, and understood to do it so well, might be admitted into her service, and continue to be my nurse and instructor.

Her majesty agreed to my petition, and easily got the farmer's consent, who was glad enough to have his daughter preferred at court, and the poor girl herself was not able to hide her joy. My late master withdrew, bidding me farewell, and saying he had left me in good service, to which I replied not a word, only making him a slight bow.

THIS GRACIOUS PRINCESS HELD OUT HER LITTLE FINGER.

"THIS GRACIOUS PRINCESS HELD OUT HER LITTLE FINGER."

The queen observed my coldness, and, when the farmer was gone out of the apartment, asked me the reason. I made bold to tell her majesty that I owed no other obligation to my late master, than his not dashing out the brains of a poor harmless creature, found by chance in his field; which obligation was amply recompensed by the gain he had made in showing me through half the kingdom, and the price he had now sold me for. That the life I had since led was laborious enough to kill an animal of ten times my strength. That my health was much impaired by the continual drudgery of entertaining the rabble every hour of the day, and that, if my master had not thought my life in danger, her majesty would not have got so cheap a bargain. But as I was out of all fear of being ill-treated under the protection of so great and good an empress, the ornament of nature, the darling of the world, the delight of her subjects, the phoenix[56] of the creation; so, I hoped my late master's apprehensions would appear to be groundless, for I already found my spirits to revive, by the influence of her most august presence.

This was the sum of my speech, delivered with great improprieties and hesitation; the latter part was altogether framed in the style peculiar to that people, whereof I learned some phrases from Glumdalclitch, while she was carrying me to court.

The queen, giving great allowance for my defectiveness in speaking, was, however, surprised at so much wit and good sense in so diminutive an animal.

SHE ... CARRIED ME TO THE KING.

"SHE ... CARRIED ME TO THE KING."

She took me in her own hand, and carried me to the king, who was then retired to his cabinet.[57] His majesty, a prince of much gravity and austere countenance, not well observing my shape at first view, asked the queen, after a cold manner, how long it was since she grew fond of a splacnuck; for such it seems he took me to be, as I lay upon my breast in her majesty's right hand. But this princess, who hath an infinite deal of wit and humor, set me gently on my feet upon the scrutoire,[58] and commanded me to give his majesty an account of myself, which I did in a very few words; and Glumdalclitch, who attended at the cabinet-door, and could not endure I should be out of her sight, being admitted, confirmed all that had passed from my arrival at her father's house.

The king, although he be as learned a person as any in his dominions, had been educated in the study of philosophy, and particularly mathematics; yet, when he observed my shape exactly, and saw me walk erect, before I began to speak, conceived I might be a piece of clockwork (which is in that country arrived to a very great perfection) contrived by some ingenious artist. But when he heard my voice, and found what I delivered to be regular and rational, he could not conceal his astonishment. He was by no means satisfied with the relation I gave him of the manner I came into his kingdom, but thought it a story concerted between Glumdalclitch and her father, who had taught me a set of words, to make me sell at a better price. Upon this imagination he put several other questions to me, and still received rational answers, no otherwise defective than by a foreign accent, and an imperfect knowledge in the language, with some rustic phrases, which I had learned at the farmer's house, and did not suit the polite style of a court.

His majesty sent for three great scholars, who were then in their weekly waiting[59] according to the custom in that country. These gentlemen, after they had a while examined my shape with much nicety, were of different opinions concerning me. They all agreed that I could not be produced according to the regular laws of nature, because I was not framed with a capacity of preserving my life, either by swiftness or climbing of trees, or digging holes in the earth. They observed by my teeth, which they viewed with great exactness, that I was a carnivorous animal; yet most quadrupeds being an overmatch for me, and field-mice, with some others, too nimble, they could not imagine how I should be able to support myself, unless I fed upon snails and other insects, which they offered, by many learned arguments, to evince that I could not possibly do. They would not allow me to be a dwarf, because my littleness was beyond all degrees of comparison; for the queen's favorite dwarf, the smallest ever known in that kingdom, was nearly thirty feet high. After much debate, they concluded unanimously that I was only relplum scalcath, which is interpreted literally, lusus naturae;[60] a determination exactly agreeable to the modern philosophy of Europe: whose professors, disdaining the old evasion of occult causes, whereby the followers of Aristotle endeavored in vain to disguise their ignorance, have invented this wonderful solution of all difficulties, to the unspeakable advancement of human knowledge.

After this decisive conclusion, I entreated to be heard a word or two. I applied myself to the king, and assured his majesty that I came from a country which abounded with several millions of both sexes, and of my own stature; where the animals, trees, and houses were all in proportion, and where, by consequence, I might be as able to defend myself, and to find sustenance, as any of his majesty's subjects could do here; which I took for a full answer to those gentlemen's arguments. To this they only replied with a smile of contempt, saying, that the farmer had instructed me very well in my lesson. The king, who had a much better understanding, dismissing his learned men, sent for the farmer, who, by good fortune, was not yet gone out of town; having therefore first examined him privately, and then confronted him with me and the young girl, his majesty began to think that what we had told him might possibly be true. He desired the queen to order that a particular care should be taken of me, and was of opinion that Glumdalclitch should still continue in her office of tending me, because he observed that we had a great affection for each other. A convenient apartment was provided for her at court; she had a sort of governess appointed to take care of her education, a maid to dress her, and two other servants for menial offices; but the care of me was wholly appropriated to herself. The queen commanded her own cabinet-maker to contrive a box, that might serve me for a bed-chamber, after the model that Glumdalclitch and I should agree upon. This man was a most ingenious artist, and, according to my directions, in three weeks finished to me a wooden chamber of sixteen feet square and twelve high, with sash-windows, a door, and two closets, like a London bed-chamber. The board that made the ceiling was to be lifted up and down by two hinges, to put in a bed ready furnished by her majesty's upholsterer, which Glumdalclitch took out every day to air, made it with her own hands, and, letting it down at night, locked up the roof over me. A nice workman, who was famous for little curiosities, undertook to make me two chairs, with backs and frames, of a substance not unlike ivory, and two tables, with a cabinet to put my things in. The room was quilted on all sides, as well as the floor and the ceiling, to prevent any accident from the carelessness of those who carried me, and to break the force of a jolt when I went in a coach. I desired a lock for my door, to prevent rats and mice from coming in: the smith, after several attempts, made the smallest that ever was seen among them; for I have known a larger at the gate of a gentleman's house in England. I made a shift to keep the key in a pocket of my own, fearing Glumdalclitch might lose it. The queen likewise ordered the thinnest silks that could be gotten to make me clothes, not much thicker than an English blanket, very cumbersome, till I was accustomed to them. They were after the fashion of the kingdom, partly resembling the Persian, and partly the Chinese, and are a very grave and decent habit.

The queen became so fond of my company that she could not dine without me. I had a table placed upon the same at which her Majesty ate, just at her left elbow, and a chair to sit on. Glumdalclitch stood on a stool on the floor, near my table, to assist and take care of me. I had an entire set of silver dishes and plates, and other necessaries, which, in proportion to those of the queen, were not much bigger than what I have seen in a London toy-shop for the furniture of a baby-house: these my little nurse kept in her pocket in a silver box, and gave me at meals as I wanted them, always cleaning them herself. No person dined with the queen but the two princesses royal the elder sixteen years old, and the younger at that time thirteen and a month. Her majesty used to put a bit of meat upon one of my dishes, out of which I carved for myself: and her diversion was to see me eat in miniature; for the queen (who had, indeed, but a weak stomach) took up at one mouthful as much as a dozen English farmers could eat at a meal, which to me was for some time a very nauseous sight. She would craunch the wing of a lark, bones and all, between her teeth, although it were nine times as large as that of a full-grown turkey; and put a bit of bread in her mouth as big as two twelve-penny loaves. She drank out of a golden cup, above a hogshead at a draught. Her knives were twice as long as a scythe, set straight upon the handle. The spoons, forks, and other instruments, were all in the same proportion. I remember when Glumdalclitch carried me, out of curiosity, to see some of the tables at court, where ten or a dozen of these enormous knives and forks were lifted up together, I thought I had never till then beheld so terrible a sight.

It is the custom that every Wednesday (which, as I have before observed, is their Sabbath) the king and queen, with the royal issue of both sexes dine together in the apartment of his majesty, to whom I was now become a great favorite; and, at these times, my little chair and table were placed at his left hand, before one of the salt-cellars. This prince took a pleasure in conversing with me, inquiring into the manners, religion, taws, government, and learning of Europe; wherein I gave him the best account I was able. His apprehension was so clear, and his judgment so exact, that he made very wise reflections and observations upon all I said. But I confess that after I had been a little too copious in talking of my own beloved country, of our trade, and wars by sea and land, of our schisms in religion, and parties in the state; the prejudices of his education prevailed so far that he could not forbear taking me up in his right hand, and, stroking me gently with the other, after a hearty fit of laughing, asked me, whether I was a whig or a tory? Then turning to his first minister, who waited behind him with a white staff, near as tall as the mainmast of the "Royal Sovereign,"[61] he observed how contemptible a thing was human grandeur, which could be mimicked by such diminutive insects as I: and yet, says he, I dare engage these creatures have their titles and distinctions of honor; they contrive little nests and burrows, that they call houses and cities; they make a figure in dress and equipage; they love, they fight, they dispute, they cheat, they betray. And thus he continued on, while my color came and went several times with indignation, to hear our noble country, the mistress of arts and arms, the scourge of France, the arbitress of Europe, the seat of virtue, piety, honor, and truth, the pride and envy of the world, so contemptuously treated.

But, as I was not in a condition to resent injuries, so upon mature thoughts, I began to doubt whether I was injured or no. For, after having been accustomed, several months, to the sight and converse of this people, and observed every object upon which I cast mine eyes to be of proportionable magnitude, the horror I had at first conceived from their bulk and aspect was so far worn off, that, if I had then beheld a company of English lords and ladies in their finery, and birthday clothes, acting their several parts in the most courtly manner of strutting and bowing and prating, to say the truth, I should have been strongly tempted to laugh as much at them as the king and his grandees did at me. Neither, indeed, could I forbear smiling at myself, when the queen used to place me upon her hand towards a looking-glass, by which both our persons appeared before me in full view together; and there could nothing be more ridiculous than the comparison; so that I really began to imagine myself dwindled many degrees below my usual size.

Nothing angered and mortified me so much, as the queen's dwarf, who being of the lowest stature that ever in that country (for I verily think he was not full thirty feet high) became so insolent at seeing a creature so much beneath him, that he would always affect to swagger, and look big, as he passed by me in the queen's ante-chamber, while I was standing on some table, talking with the lords or ladies of the court, and he seldom failed of a smart word or two upon my littleness; against which I could only revenge myself, by calling him brother, challenging him to wrestle, and such repartees as are usual in the mouths of court pages. One day, at dinner, this malicious little cub was so nettled with something I had said to him, that, raising himself upon the frame of her majesty's chair, he took me up, as I was sitting down, not thinking any harm; and let me drop into a large silver bowl of cream, and then ran away as fast as he could. I fell over head and ears, and, if I had not been a good swimmer, it might have gone very hard with me; for Glumdalclitch, in that instant, happened to be at the other end of the room, and the queen was in such a fright, that she wanted presence of mind to assist me. But my little nurse ran to my relief, and took me out, after I had swallowed above a quart of cream. I was put to bed; however, I received no other damage than the loss of a suit of clothes, which was utterly spoiled. The dwarf was soundly whipped, and, as a farther punishment, forced to drink up the bowl of cream into which he had thrown me; neither was he ever restored to favor; for, soon after, the queen bestowed him on a lady of high quality, so that I saw him no more, to my very great satisfaction; for I could not tell to what extremity such a malicious urchin might have carried his resentment.

I COULD ONLY REVENGE MYSELF BY CALLING HIM BROTHER.

"I COULD ONLY REVENGE MYSELF BY CALLING HIM BROTHER."

He had before served me a scurvy trick, which set the queen a-laughing, although, at the same time she was heartily vexed, and would have immediately cashiered him, if I had not been so generous as to intercede. Her majesty had taken a marrow-bone upon her plate and, after knocking out the marrow, placed the bone on the dish erect, as it stood before. The dwarf watching his opportunity, while Glumdalclitch was gone to the sideboard, mounted upon the stool she stood on to take care of me at meals, took me up in both hands, and, squeezing my legs together, wedged them into the marrow-bone above my waist, where I stuck for some time, and made a very ridiculous figure, I believe it was near a minute before any one knew what was became of me; for I thought it below me to cry out. But, as princes seldom get their meat hot, my legs were not scalded, only my stockings and breeches in a sad condition. The dwarf, at my entreaty, had no other punishment than a sound whipping.

I was frequently rallied by the queen upon account of my fearfulness; and she used to ask me, whether the people of my country were as great cowards as myself? The occasion was this; the kingdom is much pestered with flies in summer; and these odious insects, each of them as big as a Dunstable lark,[62] hardly gave me any rest, while I sat at dinner, with their continual humming and buzzing about my ears. They would sometimes alight upon my victuals. Sometimes they would fix upon my nose or forehead, where they stung me to the quick, and I had much ado to defend myself against these detestable animals, and could not forbear starting when they came on my face. It was the common practice of the dwarf, to catch a number of these insects in his hand, as school-boys do among us, and let them out suddenly under my nose, on purpose to frighten me, and divert the queen. My remedy was, to cut them in pieces with my knife, as they flew in the air, wherein my dexterity was much admired.

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I remember, one morning, when Glumdalclitch had set me in my box upon a window, as she usually did in fair days, to give me air (for I durst not venture to let the box be hung on a nail out of the window, as we do with cages in England) after I had lifted up one of my sashes, and sat down at my table to eat a piece of sweet-cake for my breakfast, above twenty wasps, allured by the smell, came flying into the room, humming louder than the drones[63] of as many bag-pipes. Some of them seized my cake, and carried it piece-meal away; others flew about my head and face, confounding me with the noise, and putting me in the utmost terror of their stings. However, I had the courage to rise and draw my hanger, and attack them in the air. I despatched four of them, but the rest got away, and I presently shut my window. These creatures were as large as partridges; I took out their stings, found them an inch and a half long, and as sharp as needles. I carefully preserved them all, and having since shown them, with some other curiosities, in several parts of Europe, upon my return to England, I gave three of them to Gresham College,[64] and kept the fourth for myself.

Illustration
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CHAPTER IV.

THE COUNTRY DESCRIBED. A PROPOSAL FOR CORRECTING MODERN MAPS. THE KING'S PALACE, AND SOME ACCOUNT OF THE METROPOLIS. THE AUTHOR'S WAY OF TRAVELLING. THE CHIEF TEMPLE DESCRIBED.

I now intend to give the reader a short description of this country, as far as I travelled in it, which was not above two thousand miles round Lorbrulgrud, the metropolis. For the queen, whom I always attended, never went farther when she accompanied the king in his progresses, and there staid till his majesty returned from viewing his frontiers. The whole extent of this prince's dominions reacheth about six thousand miles in length, and from three to five in breadth. From whence I cannot but conclude, that our geographers of Europe are in a great error, by supposing nothing but sea between Japan and California; for it was ever my opinion, that there must be a balance of earth to counterpoise the great continent of Tartary; and therefore they ought to correct their maps and charts, by joining this vast tract of land to the northwest parts of America, wherein I shall be ready to lend them my assistance.

The kingdom is a peninsula, terminated to the northeast by a ridge of mountains, thirty miles high, which are altogether impassable, by reason of the volcanoes upon the tops: neither do the most learned know what sort of mortals inhabit beyond those mountains, or whether they be inhabited at all. On the three other sides it is bounded by the ocean. There is not one sea-port in the whole kingdom, and those parts of the coasts into which the rivers issue, are so full of pointed rocks, and the sea generally so rough, that there is no venturing with the smallest of their boats; so that these people are wholly excluded from any commerce with the rest of the world.

But the large rivers are full of vessels, and abound with excellent fish, for they seldom get any from the sea, because the sea-fish are of the same size with those in Europe, and consequently not worth catching, whereby it is manifest, that nature, in the production of plants and animals of so extraordinary a bulk, is wholly confined to this continent, of which I leave the reasons to be determined by philosophers. However, now and then, they take a whale, that happens to be dashed against the rocks, which the common people feed on heartily. These whales I have known so large, that a man could hardly carry one upon his shoulders; and sometimes, for curiosity, they are brought in hampers to Lorbrulgrud: I saw one of them in a dish at the king's table, which passed for a rarity, but I did not observe he was fond of it; for I think indeed the bigness disgusted him, although I have seen one somewhat larger in Greenland.

The country is well inhabited, for it contains fifty-one cities, near a hundred walled towns, and a great number of villages. To satisfy my curious reader, it may be sufficient to describe Lorbrulgrud. This city stands upon almost two equal parts on each side the river that passes through. It contains above eighty thousand houses, and about six hundred thousand inhabitants. It is in length three glomglungs (which make about fifty-four English miles) and two and a half in breadth, as I measured it myself in the royal map made by the king's order, which was laid on the ground on purpose for me, and extended a hundred feet: I paced the diameter and circumference several times barefoot, and, computing by the scale, measured it pretty exactly.

The king's palace is no regular edifice, but a heap of buildings, about seven miles round: the chief rooms are generally two hundred and forty feet high, and broad and long in proportion. A coach was allowed to Glumdalclitch and me, wherein her governess frequently took her out to see the town, or go among the shops; and I was always of the party, carried in my box; although the girl, at my own desire, would often take me out, and hold me in her hand, that I might more conveniently view the houses and the people as we passed along the streets, I reckoned our coach to be about the square of Westminster-hall, but not altogether so high: however, I cannot be very exact.

Besides the large box in which I was usually carried, the queen ordered a smaller one to be made for me, of about twelve feet square and ten high, for the convenience of travelling, because the other was somewhat too large for Glumdalclitch's lap, and cumbersome in the coach. It was made by the same artist, whom I directed in the whole contrivance. This travelling closet was an exact square,[65] with a window in the middle of three of the squares, and each window was latticed with iron wire on the outside, to prevent accidents in long journeys. On the fourth side, which had no window, two strong staples were fixed, through which the person who carried me, when I had a mind to be on horseback, put a leathern belt, and buckled it about his waist. This was always the office of some grave, trusty servant, in whom I could confide, whether I attended the king and queen in their progresses, or were disposed to see the gardens, or pay a visit to some great lady or minister of state in the court; for I soon began to be known and esteemed among the greatest officers, I suppose more on account of their majesties' favor than any merit of my own.

In journeys, when I was weary of the coach, a servant on horseback would buckle on my box, and place it upon a cushion before him; and there I had a full prospect of the country on three sides from my three windows. I had in this closet a field-bed, and a hammock hung from the ceiling, two chairs and a table, neatly screwed to the floor, to prevent being tossed about by the agitation of the horse or the coach. And having been long used to sea voyages, those motions, although sometimes very violent, did not much discompose me.

Whenever I had a mind to see the town, it was always in my travelling closet, which Glumdalclitch held in her lap, in a kind of open sedan, after the fashion of the country, borne by four men, and attended by two others in the queen's livery. The people, who had often heard of me, were very curious to crowd about the sedan, and the girl was complaisant enough to make the bearers stop, and to take me in her hand, that I might be more conveniently seen.

I was very desirous to see the chief temple, and particularly the tower belonging to it, which is reckoned the highest in the kingdom. Accordingly, one day my nurse carried me thither, but I must truly say I came back disappointed; for the height is not above three thousand feet, reckoning from the ground to the highest pinnacle top; which, allowing for the difference between the size of those people and us in Europe, is no great matter for admiration, nor at all equal in proportion (if I rightly remember) to Salisbury steeple.[66] But, not to detract from a nation, to which during my life I shall acknowledge myself extremely obliged, it must be allowed that whatever this famous tower wants in height is amply made up in beauty and strength. For the walls are nearly a hundred feet thick, built of hewn stone, whereof each is about forty feet square, and adorned on all sides with statues of gods and emperors, cut in marble larger than life, placed in their several niches. I measured a little finger which had fallen down from one of these statues, and lay unperceived among some rubbish, and found it exactly four feet and an inch in length. Glumdalclitch wrapped it up in her handkerchief and carried it home in her pocket, to keep among other trinkets, of which the girl was very fond, as children at her age usually are.

The king's kitchen is indeed a noble building, vaulted at top, and about six hundred feet high. The great oven is not so wide by ten paces as the cupola at St. Paul's, for I measured the latter on purpose after my return. But if I should describe the kitchen-grate, the prodigious pots and kettles, the joints of meat turning on the spits, with many other particulars, perhaps I should be hardly believed; at least, a severe critic would be apt to think I enlarged a little, as travellers are often suspected to do. To avoid which censure, I fear I have run too much into the other extreme; and that if this treatise should happen to be translated into the language of Brobdingnag (which is the general name of that kingdom) and transmitted thither, the king and his people would have reason to complain that I had done them an injury, by a false and diminutive representation.

His majesty seldom keeps above six hundred horses in his stables: they are generally from fifty-four to sixty feet high. But when he goes abroad on solemn days, he is attended for state by a militia guard of five hundred horse, which indeed I thought was the most splendid sight that could be ever beheld, till I saw part of his army in battalia,[67] whereof I shall find another occasion to speak.

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CHAPTER V.

SEVERAL ADVENTURES THAT HAPPENED TO THE AUTHOR. THE AUTHOR SHOWS HIS SKILL IN NAVIGATION.

I should have lived happily enough in that country, if my littleness had not exposed me to several ridiculous and troublesome accidents, some of which I shall venture to relate. Glumdalclitch often carried me into the gardens of the court in my smaller box, and would sometimes take me out of it, and hold me in her hand, or set me down to walk. I remember, before the dwarf left the queen, he followed us one day into those gardens, and my nurse having set me down, he and I being close together, near some dwarf apple-trees, I must needs show my wit by a silly allusion between him and the trees, which happens to hold in their language, as it doth in ours. Whereupon the malicious rogue, watching his opportunity, when I was walking under one of them, shook it directly over my head; by which a dozen apples, each of them near as large as a Bristol barrel, came tumbling about my ears; one of them hit me on the back as I chanced to stoop, and knocked me down flat on my face; but I received no other hurt; and the dwarf was pardoned at my desire, because I had given the provocation.

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Another day, Glumdalclitch left me on a smooth grass-plot to divert myself, while she walked at some distance with her governess. In the meantime there suddenly fell such a violent shower of hail, that I was immediately, by the force of it, struck to the ground; and when I was down, the hail stones gave me such cruel bangs all over the body as if I had been pelted with tennis-balls, however, I made a shift to creep on all fours, and shelter myself by lying flat on my face on the lee-side of a border of lemon-thyme, but so bruised from head to foot that I could not go abroad in ten days. Neither is this at all to be wondered at, because nature, in that country, observing the same proportion through all her operations, a hail-stone is near eighteen hundred times as large as one in Europe, which I can assert upon experience, having been so curious to weigh and measure them.

But a more dangerous accident happened to me in the same garden, when my little nurse, believing she had put me in a secure place, which I often entreated her to do, that I might enjoy my own thoughts, and having left my box at home, to avoid the trouble of carrying it, went to another part of the garden with governess and some ladies of her acquaintance, she was absent and out of hearing, a small white belonging to one of the chief gardeners, having got by accident into the garden, happened to place where I lay: the dog, following the scent, came directly up, and taking me in his mouth, ran straight to his master, wagging his tail, and set me gently on the ground. By good fortune, he had been so well taught, that I was carried between his teeth without the least hurt, or even tearing my clothes. But the poor gardener, who knew me well, and had a great kindness for me, was in a terrible fright: he gently took me up in both his hands, and asked me how I did; but I was so amazed and out of breath, that I could not speak a word. In a few minutes I came to myself, and he carried me safe to my little nurse, who by this time had returned to the place where she left me, and was in cruel agonies when I did not appear nor answer when she called. She severely reprimanded the gardener on account of his dog, but the thing was bushed up and never known at court; for the girl was afraid of the queen's anger, and truly, as to myself, I thought it would not be for my reputation that such a story should go about.

This accident absolutely determined Glumdalclitch never to trust me abroad for the future out of her sight. I had been long afraid of this resolution, and therefore concealed from her some little unlucky adventures that happened in those times when I was left by myself. Once a kite, hovering over the garden, made a stoop at me; and if I had not resolutely drawn my hanger, and run under a thick espalier,[68] he would have certainly carried me away in his talons. Another time, walking to the top of a fresh mole-hill, I fell to my neck in the hole through which that animal had cast up the earth. I likewise broke my right shin against the shell of a snail, which I happened to stumble over as I was walking alone and thinking on poor England.

I cannot tell whether I were more pleased or mortified to observe in those solitary walks that the smaller birds did not appear to be at all afraid of me, but would hop about within a yard's distance, looking for worms and other food, with as much indifference and security as if no creature at all were near them. I remember a thrush had the confidence to snatch out of my hand with his bill a piece of cake that Glumdalclitch had just given me for my breakfast.

When I attempted to catch any of these birds they would boldly turn against me, endeavoring to pick my fingers, which I durst not venture within their reach; and then they would hop back unconcerned to hunt for worms and snails as they did before. But one day I took a thick cudgel, and threw it with all my strength so luckily at a linnet that I knocked him down, and seizing him by the neck with both my hands ran with him in triumph to my nurse. However, the bird, who had only been stunned, recovering himself, gave me so many boxes with his wings on both sides of my head and body, though I held him at arm's length and was out of the reach of his claws, that I was twenty times thinking of letting him go. But I was soon relieved by one of our servants, who wrung off the bird's neck, and I had him next day for dinner by the queen's command. This linnet, as near as I can remember, seemed to be somewhat larger than an English swan.

The queen, who often used to hear me talk of my sea-voyages, and took all occasions to divert me when I was melancholy, asked me, whether I understood how to handle a sail or an oar, and whether a little exercise of rowing might not be convenient for my health. I answered, that I understood both very well; for, although my proper employment had been to be surgeon or doctor to the ship, yet often, upon a pinch, I was forced to work like a common mariner. But I could not see how this could be done in their country, where the smallest wherry was equal to a first-rate man-of-war among us, and such a boat as I could manage would never live in any of their rivers.

THE SMALLER BIRDS DID NOT APPEAR TO BE AT ALL AFRAID OF ME.

"THE SMALLER BIRDS DID NOT APPEAR TO BE AT ALL AFRAID OF ME."

Her majesty said, if I could contrive a boat, her own joiner should make it, and she would provide a place for me to sail in. The fellow was an ingenious workman, and, by my instructions, in ten days finished a pleasure-boat, with all its tackling, able conveniently to hold eight Europeans. When it was finished, the queen was so delighted that she ran with it in her lap to the king, who ordered it to be put in a cistern full of water, with me in it, by way of trial; where I could not manage my two sculls,[69] or little oars, for want of room.

But the queen had before contrived another project. She ordered the joiner to make a wooden trough of three hundred feet long, fifty broad, and eight deep; which, being well pitched, to prevent leaking, was placed on the floor along the wall in an outer room of the palace. It had a cock near the bottom to let out the water, when it began to grow stale; and two servants could easily fill it in half-an-hour. Here I often used to row for my own diversion, as well as that of the queen and her ladies, who thought themselves well entertained with my skill and agility. Sometimes I would put up my sail, and then my business was only to steer, while the ladies gave me a gale with their fans; and when they were weary, some of their pages would blow my sail forward with their breath, while I showed my art by steering starboard[70] or larboard, as I pleased. When I had done, Glumdalclitch always carried back my boat, into her closet, and hung it oh a nail to dry.

In this exercise I once met an accident, which had like to have cost me my life; for one of the pages having put my boat into the trough, the governess, who attended Glumdalclitch, very officiously lifted me up to place me in the boat, but I happened to slip through her fingers, and should infallibly have fallen down forty feet upon the floor, if, by the luckiest chance in the world, I had not been stopped by a corking-pin[71] that stuck in the good gentlewoman's stomacher;[72] the head of the pin passed between my shirt and the waistband of my breeches, and thus I held by the middle in the air, till Glumdalclitch ran to my relief.

GAVE ME A GALE WITH THEIR FANS.

"GAVE ME A GALE WITH THEIR FANS."

Another time, one of the servants, whose office it was to fill my trough every third day with fresh water, was so careless as to let a huge frog (not perceiving it) slip out of his pail. The frog lay concealed till I was put into my boat, but then seeing a resting-place, climbed up, and made it lean so much on one side that I was forced to balance it with all my weight on the other to prevent overturning. When the frog was got in, it hopped at once half the length of the boat, and then over my head backwards and forwards. The largeness of its features made it appear the most deformed animal that can be conceived. However, I desired Glumdalclitch to let me deal with it alone. I banged it a good while with one of my sculls, and at last forced it to leap out of the boat.

But the greatest danger I ever underwent in that kingdom was from a monkey, who belonged to one of the clerks of the kitchen. Glumdalclitch had locked me up in her closet, while she went somewhere upon business or a visit. The weather being very warm the closet window was left open, as well as the windows and the door of my bigger box, in which I usually lived, because of its largeness and conveniency. As I sat quietly meditating at my table, I heard something bounce in at the closet window, and skip about from one side to the other; whereat, although I was much alarmed, yet I ventured to look out, but not stirring from my seat; and then I saw this frolicsome animal frisking and leaping up and down, till at last he came to my box, which he seemed to view with great pleasure and curiosity, peeping in at the door and every window.

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I retreated to the farther corner of my room or box; but the monkey looking in at every side, put me into such a fright that I wanted presence of mind to conceal myself under the bed, as I might easily have done. After some time spent in peeping, grinning, and chattering, he at last espied me, and reaching one of his paws in at the door, as a cat does when she plays with a mouse, although I often shifted place to avoid him, he at length seized the lappet of my coat (which, being made of that country silk, was very thick and strong), and dragged me out. He took me out in his right fore-foot, and held me as a nurse does a child, just as I have seen the same sort of creature do with a kitten in Europe: and, when I offered to struggle, he squeezed me so hard that I thought it more prudent to submit. I have good reason to believe that he took me for a young one of his own species, by his often stroking my face very gently with his other paw.

In these diversions he was interrupted by a noise at the closet door, as if somebody were opening it; whereupon he suddenly leaped up to the window, at which he had come in, and thence upon the leads and gutters walking upon three legs, and holding me in the fourth, till he clambered up to a roof that was next to ours. I heard Glumdalclitch give a shriek at the moment he was carrying me out. The poor girl was almost distracted. That quarter of the palace was all in an uproar; the servants ran for ladders; the monkey was seen by hundreds in the court, sitting upon the ridge of a building, holding me like a baby in one of his fore-paws: whereat many of the rabble below could not forbear laughing; neither do I think they justly ought to be blamed, for without question, the sight was ridiculous enough to everybody but myself. Some of the people threw up stones, hoping to drive the monkey down; but this was strictly forbidden, or else very probably my brains had been dashed out.

The ladders were now applied, and mounted by several men, which the monkey observing, and finding himself almost encompassed, not being able to make speed enough with his three legs, let me drop on a ridge tile, and made his escape. Here I sat for some time, five hundred yards from the ground, expecting every moment to be blown down by the wind, or to fall by my own giddiness, and come tumbling over and over from the ridge to the eaves; but an honest lad, one of my nurse's footmen, climbed up, and putting me into his breeches-pocket, brought me down safe.

I was so weak and bruised in the sides with the squeezes given me by this odious animal, that I was forced to keep my bed a fortnight. The king, queen, and all the court, sent every day to inquire after my health, and her majesty made me several visits during my sickness. The monkey was killed, and an order made that no such animal should be kept about the palace.

When I attended the king, after my recovery, to return him thanks for his favors, he was pleased to rally me a good deal upon this adventure. He asked me what my thoughts and speculations were while I lay in the monkey's paw. He desired to know what I would have done upon such an occasion in my own country. I told his majesty that in Europe we had no monkeys, except such as were brought for curiosities from other places, and so small, that I could deal with a dozen of them together if they presumed to attack me. And as for that monstrous animal with whom I was so lately engaged (it was, indeed, as large as an elephant) if my fears had suffered me to think so far as to make use of my hanger (looking fiercely, and clapping my hand upon the hilt, as I spoke) when he poked his paw into my chamber, perhaps I should have given him such a wound as would have made him glad to withdraw it with more haste than he put it in. This I delivered in a firm tone, like a person who was jealous lest his courage should be called in question.

However, my speech produced nothing else besides a loud laughter, which all the respect due to his majesty from those about him could not make them contain. This made me reflect how vain an attempt it is for a man to endeavor to do himself honor among those who are out of all degree of equality or comparison with him. And yet I have seen the moral of my own behavior very frequent in England since my return, where a little contemptible varlet,[73] without the least title to birth, person, wit, or common-sense, shall presume to look with importance, and put himself upon a foot with the greatest persons of the kingdom.

I was every day furnishing the court with some ridiculous story; and Glumdalclitch, although she loved me to excess, yet was arch enough to inform the queen whenever I committed any folly that she thought would be diverting to her majesty. The girl, who had been out of order, was carried by her governess to take the air about an hour's distance, or thirty miles from town. They alighted out of the coach near a small footpath in a field, and, Glumdalclitch setting down my travelling-box, I went out of it to walk. There was a pool of mud in the path, and I must needs try my activity by attempting to leap over it. I took a run, but unfortunately jumped short, and found myself just in the middle up to my knees. I waded through with some difficulty, and one of the footmen wiped me as clean as he could with his handkerchief, for I was filthily bemired; and my nurse confined me to my box till we returned home, when the queen was soon informed of what had passed, and the footman spread it about the court; so that all the mirth for some days was at my expense.

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CHAPTER VI.

SEVERAL CONTRIVANCES OF THE AUTHOR TO PLEASE THE KING AND QUEEN. HE SHOWS HIS SKILL IN MUSIC. THE KING INQUIRES INTO THE STATE OF ENGLAND, WHICH THE AUTHOR RELATES TO HIM. THE KING'S OBSERVATIONS THEREON.

I used to attend the king's levee[74] once or twice a week, and had often seen him under the barber's hand, which indeed was at first very terrible to behold; for the razor was almost twice as long as an ordinary scythe. His majesty, according to the custom of the country, was only shaved twice a week. I once prevailed on the barber to give me some of the suds or lather, out of which I picked forty or fifty of the strongest stumps of hair, I then took a piece of fine wood and cut it like the back of a comb, making several holes in it at equal distance with as small a needle as I could get from Glumdalclitch. I fixed in the stumps so artificially, scraping and sloping them with my knife towards the points, that I made a very tolerable comb; which was a seasonable supply, my own being so much broken in the teeth that it was almost useless: neither did I know any artist in that country so nice and exact as would undertake to make me another.

And this puts me in mind of an amusement wherein I spent many of my leisure hours. I desired the queen's woman to save for me the combings of her majesty's hair, whereof in time I got a good quantity; and consulting with my friend the cabinet-maker, who had received general orders to do little jobs for me, I directed him to make two chair-frames, no larger than those I had in my box, and then to bore little holes with a fine awl round those parts where I designed the backs and seats; through these holes I wove the strongest hairs I could pick out, just after the manner of cane chairs in England. When they were finished I made a present of them to her majesty, who kept them in her cabinet, and used to shew them for curiosities, as indeed they were the wonder of every one that beheld them. Of these hairs (as I had always a mechanical genius) I likewise made a neat little purse, about five feet long, with her majesty's name deciphered in gold letters, which I gave to Glumdalclitch, by the queen's consent. To say the truth, it was more for show than use, being not of strength to bear the weight of the larger coins, and therefore she kept nothing in it, but some little coins that girls are fond of.

The king, who delighted in music, had frequent concerts at court, to which I was sometimes carried, and set in my box on a table to hear them; but the noise was so great that I could hardly distinguish the tunes. I am confident that all the drums and trumpets of a royal army beating and sounding together just at your ears, could not equal it. My practice was to have my box removed from the place where the performers sat, as far as I could, then to shut the doors and windows of it, and draw the window-curtains, after which I found their music not disagreeable.

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I had learnt in my youth to play a little upon the spinet.[75] Glumdalclitch kept one in her chamber, and a master attended twice a week to teach her. I called it a spinet, because it somewhat resembled that instrument, and was played upon in the same manner.

A fancy came into my head that I would entertain the king and queen with an English tune upon this instrument. But this appeared extremely difficult; for the spinet was nearly sixty feet long, each key being almost a foot wide, so that with my arms extended I could not reach to above five keys, and to press them down required a good smart stroke with my fist, which would be too great a labor, and to no purpose. The method I contrived was this: I prepared two round sticks, about the bigness of common cudgels; they were thicker at one end than the other, and I covered the thicker ends with a piece of mouse's skin, that by rapping on them I might neither damage the tops of the keys nor interrupt the sound. Before the spinet a bench was placed about four feet below the keys, and I was put upon the bench. I ran sideling upon it that way and this as fast as I could, banging the proper keys with my two sticks, and made a shift to play a jig to the great satisfaction of both their majesties; but it was the most violent exercise I ever underwent, and yet I could not strike above sixteen keys, nor consequently play the bass and treble together as other artists do, which was a great disadvantage to my performance.

The king, who, as I before observed, was a prince of excellent understanding, would frequently order that I should be brought in my box, and set upon the table in his closet.[76] He would then command me to bring one of my chairs out of the box, and sit down within three yards distance upon the top of the cabinet, which brought me almost to a level with his face. In this manner I had several conversations with him. I one day took the freedom to tell his majesty that the contempt he discovered towards Europe and the rest of the world did not seem answerable to those excellent qualities of mind that he was master of; that reason did not extend itself with the bulk of the body; on the contrary, we observed in our country that the tallest persons were usually least provided with it. That, among other animals, bees and ants had the reputation of more industry, art, and sagacity than many of the larger kinds; and that, as inconsiderable as he took me to be, I hoped I might live to do his majesty some signal[77] service. The king heard me with attention, and began to conceive a much better opinion of me than he had ever before. He desired I would give him as exact an account of the government of England as I possibly could because, as fond as princes commonly are of their own customs (for he conjectured of other monarchs by my former discourses), he should be glad to hear of anything that might deserve imitation.

Imagine with thyself, courteous reader, how often I then wished for the tongue of Demosthenes or Cicero, that might have enabled me to celebrate the praise of my own dear native country, in a style equal to its merits and felicity.

THE MOST VIOLENT EXERCISE I EVER UNDERWENT.

"THE MOST VIOLENT EXERCISE I EVER UNDERWENT."

I began my discourse by informing his majesty that our dominions consisted of two islands, which composed three mighty kingdoms, under one sovereign, besides our plantations in America. I dwelt long upon the fertility of our soil and the temperature of our climate. I then spoke at large upon the constitution of an English parliament, partly made up of an illustrious body, called the House of Peers, persons of the noblest blood and of the most ancient and ample patrimonies. I described that extraordinary care always taken of their education in arts and arms, to qualify them for being counsellors both to the king and kingdom; to have a share in the legislature; to be members of the highest court of judicature, from whence there could be no appeal; and to be champions always ready for the defence of their prince and country, by their valor, conduct, and fidelity. That these were the ornament and bulwark of the kingdom, worthy followers of their most renowned ancestors, whose honor had been the reward of their virtue, from which their posterity were never once known to degenerate. To these were joined several holy persons, as part of that assembly, under the title of bishops, whose peculiar business it is to take care of religion, and those who instruct the people therein. These were searched and sought out through the whole nation, by the prince and his wisest counsellors, among such of the priesthood as were most deservedly distinguished by the sanctity of their lives and the depth of their erudition, who were indeed the spiritual fathers of the clergy and the people.

That the other part of the parliament consisted of an assembly, called the House of Commons, who were all principal gentlemen, freely picked and culled out by the people themselves, for their great abilities and love of their country, to represent the wisdom of the whole nation. And that these two bodies made up the most august assembly in Europe, to whom, in conjunction with the prince, the whole legislature is committed.

I then descended to the courts of justice, over which the judges, those venerable sages and interpreters of the law, presided, for determining the disputed rights and properties of men, as well as for the punishment of vice and protection of innocence. I mentioned the prudent management of our treasury, the valor and achievements of our forces by sea and land. I computed the number of our people, by reckoning how many millions there might be of each religious sect or political party among us. I did not omit even our sports and pastimes, or any other particular, which I thought might redound to the honor of my country. And I finished all with a brief historical account of affairs and events in England for about a hundred years past.

This conversation was not ended under five audiences, each of several hours; and the king heard the whole with great attention, frequently taking notes of what I spoke, as well as memorandums of what questions he intended to ask me.

When I had put an end to these long discourses, his majesty, in a sixth audience, consulting his notes, proposed many doubts, queries, and objections, upon every article. He asked what methods were used to cultivate the minds and bodies of our young nobility, and in what kind of business they commonly spent the first and teachable part of their lives? What course was taken to supply that assembly when any noble family became extinct? What qualifications were necessary in those who are to be created new lords; whether the humor of the prince, a sum of money to a court lady as a prime minister, or a design of strengthening a party opposite to the public interest, ever happened to be motives in those advancements? What share of knowledge these lords had in the laws of their country, and how they came by it, so as to enable them to decide the properties of their fellow-subjects in the last resort? Whether they were always so free from avarice, partialities, or want, that a bribe or some other sinister view could have no place among them? Whether those holy lords I spoke of were always promoted to that rank upon account of their knowledge in religious matters and the sanctity of their lives; had never been compilers with the times while they were common priests, or slavish prostitute chaplains to some noblemen, whose opinions they continued servilely to follow, after they were admitted into that assembly?

He then desired to know what arts were practised in electing those whom I called commoners; whether a stranger, with a strong purse, might not influence the vulgar voters to choose him before their own landlord, or the most considerable gentleman in the neighborhood? How it came to pass that people were so violently bent upon getting into this assembly, which I allowed to be a great trouble and expense, often to the ruin of their families, without any salary or pension: because this appeared such an exalted strain of virtue and public spirit, that his majesty seemed to doubt it might possibly not be always sincere; and he desired to know whether such zealous gentlemen could have any views of refunding themselves for the charges and trouble they were at, by sacrificing the public good to the designs of a weak and vicious prince, in conjunction with a corrupted ministry? He multiplied his questions, and sifted me thoroughly upon every part of this head, proposing numberless inquiries and objections, which I think it not prudent or convenient to repeat.

Upon what I said in relation to our courts of justice, his majesty desired to be satisfied in several points; and this I was the better able to do, having been formerly almost ruined by a long suit in chancery,[78] which was decreed for me with costs. He asked what time was usually spent in determining between right and wrong, and what degree of expense? Whether advocates and orators had liberty to plead in causes, manifestly known to be unjust, vexatious, or oppressive? Whether party in religion or politics was observed to be of any weight in the scale of justice? Whether those pleading orators were persons educated in the general knowledge of equity, or only in provincial, national, and other local customs? Whether they, or their judges, had any part in penning those laws which they assumed the liberty of interpreting and glossing[79] upon at their pleasure? Whether they had ever, at different times, pleaded for or against the same cause, and cited precedents to prove contrary opinions? Whether they were a rich or a poor corporation? Whether they received any pecuniary reward for pleading or delivering their opinions? And, particularly, whether they were admitted as members in the lower senate?

He fell next upon the management of our treasury, and said he thought my memory had failed me, because I computed our taxes at about five or six millions a year, and, when I came to mention the issues, he found they sometimes amounted to more than double; for the notes he had taken were very particular in this point, because he hoped, as he told me, that the knowledge of our conduct might be useful to him, and he could not be deceived in his calculations. But if what I told him were true, he was still at a loss how a kingdom could run out of its estate like a private person. He asked me who were our creditors, and where we found to pay them. He wondered to hear me talk of such chargeable and expensive wars; that certainly we must be a quarrelsome people, or live among very bad neighbors and that our generals must needs be richer than our kings. He asked what business we had out of our own islands, unless upon the score of trade or treaty, or to defend the coasts with our fleet. Above all, he was amazed to hear me talk of a mercenary standing army in the midst of peace and among a free people. He said if we were governed by our own consent, in the persons of our representatives, he could not imagine of whom we were afraid, or against whom we were to fight; and would hear my opinion, whether a private man's house might not better be defended by himself, his children, and family, than by half-a-dozen rascals, picked up at a venture in the streets for small wages, who might get a hundred times more by cutting their throats?

He laughed at my odd kind of arithmetic (as he was pleased to call it), in reckoning the numbers of our people by a computation drawn from the several sects among us, in religion and politics. He said, he knew no reason why those who entertain opinions prejudicial to the public should be obliged to change, or should not be obliged to conceal them. And as it was tyranny in any government to require the first, so it was weakness not to enforce the second: for a man may be allowed to keep poisons in his closet, but not to vend them about for cordials.

He observed, that among the diversions of our nobility and gentry, I had mentioned gaming: he desired to know at what age this entertainment was usually taken up, and when it was laid down; how much of their time it employed: whether it ever went so high as to affect their fortunes: whether mean, vicious people, by their dexterity in that art, might not arrive at great riches, and sometimes keep our very nobles in dependence, as well as habituate them to vile companions, wholly take them from the improvement of their minds, and force them, by the losses they received, to learn and practise that infamous dexterity upon others?

He was perfectly astonished with the historical account I gave him of our affairs during the last century, protesting it was only a heap of conspiracies, rebellions, murders, massacres, revolutions, banishments, the very worst effects that avarice, faction, hypocrisy, perfidiousness, cruelty, rage, madness, hatred, envy, lust, malice, and ambition, could produce.

His majesty, in another audience, was at the pains to recapitulate the sum of all I had spoken; compared the questions he made with the answers I had given; then taking me into his hands, and stroking me gently, delivered himself in these words which I shall never forget, nor the manner he spoke them in: "My little friend Grildrig, you have made a most admirable panegyric upon your country; you have clearly proved that ignorance, idleness, and vice are the proper ingredients for qualifying a legislator; that laws are best explained, interpreted, and applied by those whose interest and abilities lie in perverting, confounding, and eluding them. I observe among you some lines of an institution, which in its original might have been tolerable, but these half erased, and the rest wholly blurred and blotted by corruptions. It doth not appear, from all you have said, how any one perfection is required towards the procurement of any one station among you; much less that men are ennobled on account of their virtue, that priests are advanced for their piety or learning, soldiers for their conduct or valor, judges for their integrity, senators for the love of their country, or counsellors for their wisdom. As for yourself, continued the king, who have spent the greatest part of your life in travelling, I am well disposed to hope you may hitherto have escaped many vices of your country. But by what I have gathered from your own relation, and the answers I have with much pains wrung and extorted from you, I cannot but conclude the bulk of your natives to be the most pernicious race of little odious vermin that nature ever suffered to crawl upon the surface of the earth."

YOU HAVE MADE A MOST ADMIRABLE PANEGYRIC.

"YOU HAVE MADE A MOST ADMIRABLE PANEGYRIC."

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CHAPTER VII

THE AUTHOR'S LOVE OF HIS COUNTRY. HE MAKES A PROPOSAL OF MUCH ADVANTAGE TO THE KING, WHICH IS REJECTED. THE KING'S GREAT IGNORANCE IN POLITICS. THE LEARNING OF THAT COUNTRY VERY IMPERFECT AND CONFINED. THE LAWS, AND MILITARY AFFAIRS, AND PARTIES IN THE STATE.

Nothing but an extreme love of truth could have hindered me from concealing this part of my story. It was in vain to discover my resentments, which were always turned into ridicule; and I was forced to rest with patience, while my noble and beloved country was so injuriously treated. I am as heartily sorry as any of my readers can possibly be, that such an occasion was given: but this prince happened to be so curious and inquisitive upon every particular, that it could not consist either with gratitude or good manners, to refuse giving him what satisfaction I was able. Yet this much I may be allowed to say, in my own vindication, that I artfully eluded many of his questions, and gave to every point a more favorable turn, by many degrees, than the strictness of truth would allow. For I have always borne that laudable partiality to my own country, which Dionysius Halicarnassensis[80] with so much justice, recommends to an historian: I would hide the frailties and deformities of my political mother, and place her virtues and beauties in the most advantageous light. This was my sincere endeavor, in those many discourses I had with that monarch, although it unfortunately failed of success.

But great allowances should be given to a king who lives wholly secluded from the rest of the world, and must therefore be altogether unacquainted with the manners and customs that most prevail in other nations: the want of which knowledge will ever produce many prejudices, and a certain narrowness of thinking, from which we and the politer countries of Europe are wholly exempted. And it would be hard indeed, if so remote a prince's notions of virtue and vice were to be offered as a standard for all mankind.

To confirm what I have now said, and farther to show the miserable effects of a confined education, I shall here insert a passage which will hardly obtain belief. In hopes to ingratiate myself farther into his majesty's favor, I told him of an invention discovered between three and four hundred years ago, to make a certain powder into a heap, on which the smallest spark of fire falling would kindle the whole in a moment, although it were as big as a mountain, and make it all fly up in the air together with a noise and agitation greater than thunder. That a proper quantity of this powder rammed into a hollow tube of brass or iron, according to its bigness, would drive a ball of iron or lead with such violence and speed as nothing was able to sustain its force. That the largest balls thus discharged would not only destroy whole ranks of an army at once, but batter the strongest walls to the ground, sink down ships with a thousand men in each to the bottom of the sea; and, when linked together by a chain, would cut through masts and rigging, divide hundreds of bodies in the middle, and lay all waste before them. That we often put this powder into large hollow balls of iron, and discharged them by an engine into some city we were besieging, which would rip up the pavements, tear the houses to pieces, burst and throw splinters on every side, dashing out the brains of all who came near. That I knew the ingredients very well, which were cheap and common; I understood the manner of compounding them, and could direct his workman how to make those tubes of a size proportionable to all other things in his majesty's kingdom, and the largest need not to be above a hundred feet long; twenty or thirty of which tubes, charged with the proper quantity of powder and balls, would batter down the walls of the strongest town in his dominions in a few hours, or destroy the whole metropolis if ever it should pretend to dispute his absolute commands. This I humbly offered to his majesty as a small tribute of acknowledgment, in return for so many marks that I had received of his royal favor and protection.

The king was struck with horror at the description I had given him of those terrible engines, and the proposal I had made. He was amazed, how so impotent and grovelling an insect as I (these were his expressions), could entertain such inhuman ideas, and in so familiar a manner, as to appear wholly unmoved at all the scenes of blood and desolation, which I had painted, as the common effects of those destructive machines, whereof, he said, some evil genius, enemy to mankind, must have been the first contriver. As for himself, he protested, that although few things delighted him so much as new discoveries in art or in nature, yet he would rather lose half his kingdom than be privy to such a secret, which he commanded me, as I valued my life, never to mention any more.

A strange effect of narrow principles and short views! that a prince possessed of every quality which procures veneration, love, and esteem; of strong parts, great wisdom, and profound learning, endowed with admirable talents for government, and almost adored by his subjects, should, from a nice unnecessary scruple, whereof in Europe we can have no conception, let slip an opportunity put into his hands, that would have made him absolute master of the lives, the liberties, and the fortunes of his people. Neither do I say this with the least intention to detract from the many virtues of that excellent king, whose character I am sensible will on this account be very much lessened in the opinion of an English reader; but I take this defect among them to have arisen from their ignorance, by not having hitherto reduced politics into a science, as the more acute wits of Europe have done. For I remember very well, in a discourse one day with the king, when I happened to say there were several thousand books among us, written upon the art of government, it gave him (directly contrary to my intention) a very mean opinion of our understandings. He professed both to abominate and despise all mystery, refinement, and intrigue, either in a prince or a minister. He could not tell what I meant by secrets of state, where an enemy or some rival nation were not in the case. He confined the knowledge of governing within very narrow bounds, to common sense and reason, to justice and lenity, to the speedy determination of civil and criminal causes, with some other obvious topics, which are not worth considering. And he gave it for his opinion, that whoever could make two ears of corn, or two blades of grass to grow upon a spot of ground, where only one grew before, would deserve better of mankind, and do more essential service to his country, than the whole race of politicians put together.

The learning of this people is very defective, consisting only in morality, history, poetry, and mathematics, wherein they must be allowed to excel. But the last of these is wholly applied to what may be useful in life, to the improvement of agriculture, and all mechanical arts; so that among us it would be little esteemed. And as to ideas, entities, abstractions, and transcendentals,[81] I could never drive the least conception into their heads.

No law of that country must exceed in words the number of letters in their alphabet, which consists only in two-and-twenty. But indeed few of them extend even to that length. They are expressed in the most plain and simple terms, wherein those people are not mercurial[82] enough to discover above one interpretation; and to write a comment upon any law is a capital crime. As to the decision of civil causes, or proceedings against criminals, their precedents are so few, that they have little reason to boast of any extraordinary skill in either.

They have had the art of printing, as well as the Chinese, time out of mind: but their libraries are not very large; for that of the king, which is reckoned the largest, doth not amount to above a thousand volumes, placed in a gallery of twelve hundred feet long, from whence I had liberty to borrow what books I pleased. The queen's joiner had contrived in one of Glumdalclitch's rooms, a kind of wooden machine, five-and-twenty feet high, formed like a standing ladder; the steps were each fifty feet long: it was indeed a movable pair of stairs, the lowest end placed at ten feet distance from the wall of the chamber. The book I had a mind to read was put up leaning against the wall: I first mounted to the upper step of the ladder, and turning my face towards the book began at the top of the page, and so walking to the right and left about eight or ten paces, according to the length of the lines, till I had gotten a little below the level of mine eyes, and then descending gradually, till I came to the bottom: after which I mounted again, and began the other page in the same manner, and so turned over the leaf, which I could easily do with both my hands, for it was as thick and stiff as a paste-board, and in the largest folios not above eighteen or twenty feet long.

Their style is clear, masculine, and smooth, but not florid; for they avoid nothing more than multiplying unnecessary words, or using various expressions. I have perused many of their books, especially those in history and morality. Among the rest, I was much diverted with a little old treatise, which always lay in Glumdalclitch's bed-chamber, and belonged to her governess, a grave elderly gentlewoman, who dealt in writings of morality and devotion. The book treats of the weakness of human kind, and is in little esteem, except among the women and the vulgar. However, I was curious to see what an author of that country could say upon such a subject.

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This writer went through all the usual topics of European moralists, showing how diminutive, contemptible, and helpless an animal was man in his own nature; how unable to defend himself from inclemencies of the air, or the fury of wild beasts; how much he was excelled by one creature in strength, by another in speed, by a third in foresight, by a fourth in industry. He added, that nature was degenerated in these latter declining ages of the world, and could now produce only small births, in comparison to those in ancient times. He said, it was very reasonable to think, not only that the species of men were originally much larger, but also, that there must have been giants in former ages; which as it is asserted by history and tradition, so it hath been confirmed by huge bones and skulls, casually dug up in several parts of the kingdom, far exceeding the common dwindled race of man in our days. He argued, that the very laws of nature absolutely required we should have been made in the beginning of a size more large and robust, not so liable to destruction, from every little accident, of a tile falling from a house, or a stone cast from the hand of a boy, or being drowned in a little brook. From this way of reasoning the author drew several moral applications, useful in the conduct of life, but needless here to repeat. For my own part, I could not avoid reflecting, how universally this talent was spread, of drawing lectures in morality, or, indeed, rather matter of discontent and repining, from the quarrels we raise with nature. And I believe, upon a strict inquiry, those quarrels might be shown as ill-grounded among us as they are among that people.

As to their military affairs, they boast that the king's army consists of a hundred and seventy-six thousand foot, and thirty-two thousand horse: if that may be called an army which is made up of tradesmen in the several cities, and farmers in the country, whose commanders are only the nobility and gentry, without pay or reward. They are indeed perfect enough in their exercises, and under very good discipline, wherein I saw no great merit; for how should it be otherwise, where every farmer is under the command of his own landlord, and every citizen under that of the principal men in his own city, chosen after the manner of Venice, by ballot?

I have often seen the militia of Lorbrulgrud drawn out to exercise in a great field, near the city, of twenty miles square. They were in all not above twenty-five thousand foot, and six thousand horse: but it was impossible for me to compute their number, considering the space of ground they took up. A cavalier, mounted on a large steed, might be about ninety feet high. I have seen this whole body of horse, upon a word of command, draw their swords at once, and brandish them in the air. Imagination can figure nothing so grand, so surprising, and so astonishing! it looked as if ten thousand flashes of lightning were darting at the same time from every quarter of the sky.

I was curious to know how this prince, to whose dominions there is no access from any other country, came to think of armies, or to teach his people the practice of military discipline. But I was soon informed, both by conversation and reading their histories: for in the course of many ages, they have been troubled with the same disease to which the whole race of mankind is subject; the nobility often contending for power, the people for liberty, and the king for absolute dominion. All which, however, happily tempered by the laws of that kingdom, have been sometimes violated by each of the three parties, and have more than once occasioned civil wars, the last whereof was happily put an end to by this prince's grandfather, in a general composition;[83] and the militia, then settled with common consent, hath been ever since kept in the strictest duty.

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CHAPTER VIII

THE KING AND QUEEN MAKE A PROGRESS[84] TO THE FRONTIERS. THE AUTHOR ATTENDS THEM. THE MANNER IN WHICH HE LEAVES THE COUNTRY VERY PARTICULARLY RELATED. HE RETURNS TO ENGLAND.

I had always a strong impulse that I should sometime recover my liberty, though it was impossible to conjecture by what means, or to form any project with the least hope of succeeding. The ship in which I sailed was the first ever known to be driven within sight of the coast; and the king had given strict orders, that if at any time another appeared, it should be taken ashore, and with all its crew and passengers brought in a tumbrel[85] to Lorbrulgrud. I was treated with much kindness: I was the favorite of a great king and queen, and the delight of the whole court; but it was upon such a footing as ill became the dignity of human kind. I could never forget those domestic pledges I had left behind me. I wanted to be among people with whom I could converse upon even terms, and walk about the streets and fields, without being afraid of being trod to death like a frog or a young puppy. But my deliverance came sooner than I expected, and in a manner not very common: the whole story and circumstances of which I shall faithfully relate.

SHE HAD SOME FOREBODING.

"SHE HAD SOME FOREBODING."

I had now been two years in this country; and about the beginning of the third, Glumdalclitch and I attended the king and queen in a progress to the south coast of the kingdom. I was carried, as usual, in my travelling-box, which, as I have already described, was a very convenient closet of twelve feet wide. And I had ordered a hammock to be fixed by silken ropes from the four corners at the top, to break the jolts, when a servant carried me before him on horseback, as I sometimes desired, and would often sleep in my hammock while we were upon the road. On the roof of my closet, not directly over the middle of the hammock, I ordered the joiner to cut out a hole of a foot square, to give me air in hot weather as I slept, which hole I shut at pleasure with a board that drew backwards and forwards through a groove.

When we came to our journey's end, the king thought proper to pass a few days at a palace he hath near Flanflasnic, a city within eighteen English of the sea-side Glumdalclitch and I were much fatigued, I had gotten a small cold, but the poor girl was so ill as to be confined to her chamber. I longed to see the ocean, which must be the only scene of my escape, if ever it should happen I pretended to be worse than I really was, and desired leave to take the fresh air of the sea with a page, whom I was very fond of, and who had sometimes been trusted with me. I shall never forget with what unwillingness Glumdalclitch consented, nor the strict charge she gave the page[86] to be careful of me, bursting at the same time into a flood of tears, as if she had some foreboding of what was to happen.

The boy took me out in my box about half-an-hour's walk from the palace towards the rocks on the sea-shore. I ordered him to set me down, and lifting up one of my sashes, cast many a wistful melancholy look towards the sea. I found myself not very well, and told the page that I had a mind to take a nap in my hammock, which I hoped would do me good. I got in, and the boy shut the window close down to keep out the cold. I soon fell asleep, and all I can conjecture is, that while I slept, the page, thinking no danger could happen, went among the rocks to look for birds' eggs, having before observed him from my windows searching about, and picking up one or two in the clefts. Be that as it will, I found myself suddenly awaked with a violent pull upon the ring, which was fastened at the top of my box for the conveniency of carriage. I felt my box raised very high in the air, and then borne forward with prodigious speed. The first jolt had like to have shaken me out of my hammock, but afterwards the motion was easy enough. I called out several times, as loud as I could raise my voice, but all to no purpose. I looked towards my windows, and could see nothing but the clouds and sky. I heard a noise just over my head like the clapping of wings, and then began to perceive the woful condition I was in, that some eagle had got the ring of my box in his beak, with an intent to let it fall on a rock like a tortoise in a shell, and then pick out my body and devour it; for the sagacity and smell of this bird enabled him to discover his quarry[87] at a great distance, though better concealed than I could be within a two-inch board.

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In a little time I observed the noise and flutter of wings to increase very fast, and my box was tossed up and down like a sign in a windy day. I heard several bangs or buffets, as I thought, given to the eagle (for such I am certain it must have been, that held the ring of my box in his beak), and then all on a sudden felt myself falling perpendicularly down for above a minute, but with such incredible swiftness, that I almost lost my breath. My fall was stopped by a terrible squash,[88] that sounded louder to my ears than the cataract of Niagara; after which I was quite in the dark for another minute, and then my box began to rise so high that I could see light from the tops of the windows. I now perceived I was fallen into the sea. My box, by the weight of my body, the goods that were in, and the broad plates of iron fixed for strength at the four corners of the top and bottom, floated about five feet deep in the water. I did then, and do now suppose, that the eagle which flew away with my box was pursued by two or three others, and forced to let me drop while he defended himself against the rest, who hoped to share in the prey. The plates of iron fastened at the bottom of the box (for those were the strongest) preserved the balance while it fell, and hindered it from being broken on the surface of the water. Every joint of it was well grooved, and the door did not move on hinges, but up and down like a sash, which kept my closet so tight that very little water came in. I got with much difficulty out of my hammock, having first ventured to draw back my slip-board on the roof already mentioned, contrived on purpose to let in air, for want of which I found myself almost stifled.

How often did I then wish myself with my dear Glumdalchtch, from whom one single hour had so far divided me. And I may say with truth that in the midst of my own misfortunes I could not forbear lamenting my poor nurse, the grief she would suffer for my loss, the displeasure of the queen, and the ruin of her fortune. Perhaps many travellers have not been under greater difficulties and distress than I was at juncture, expecting every moment to see my box dashed to pieces, or at least overset by the first violent blast or rising wave. A breach in one single pane of glass would have been immediate death; nor could anything have preserved the windows but the strong lattice-wires placed on the outside against accidents in travelling. I saw the water ooze in at several crannies, although the leaks were not considerable, and I endeavored to stop them as well as I could, I was not able to lift up the roof of my closet, which otherwise I certainly should have done, and sat on the top of it, where I might at least preserve myself some hours longer, than by being shut up (as I may call it) in the hold. Or, if I escaped these dangers for a day or two, what could I expect but a miserable death of cold and hunger? I was four hours under these circumstances, expecting, and indeed wishing, every moment to be my last.

I have already told the reader that there were two strong staples fixed upon that side of my box which had no window, and into which the servant who used to carry me on horseback would put a leathern belt, and buckle it about his waist. Being in this disconsolate state, I heard, or at least thought I heard, some kind of grating noise on that side of my box where the staples were fixed, and soon after I began to fancy that the box was pulled or towed along in the sea, for I now and then felt a sort of tugging which made the waves rise near the tops of my windows, leaving me almost in the dark. This gave me some faint hopes of relief, although I was not able to imagine how it could be brought about. I ventured to unscrew one of my chairs, which were always fastened to the floor, and having made a hard shift to screw it down again directly under the slipping board that I had lately opened, I mounted on the chair, and putting my mouth as near as I could to the hole, I called for help in a loud voice and in all the languages I understood. I then fastened my handkerchief to a stick I usually carried, and thrusting it up the hole, waved it several times in the air, that if any boat or ship were near, the seamen might conjecture some unhappy mortal to be shut up in the box.

I found no effect from all I could do, but plainly perceived my closet to be moved along; and in the space of an hour or better, that side of the box where the staples were and had no window struck against something that was hard. I apprehended it to be a rock, and found myself tossed more than ever. I plainly heard a noise upon the cover of my closet like that of a cable, and the grating of it as it passed through the ring. I then found myself hoisted up by degrees, at least three feet higher than I was before. Whereupon I again thrust up my stick and handkerchief, calling for help till I was almost hoarse. In return to which I heard a great shout repeated three times, giving me such transports of joy as are not to be conceived but by those who feel them. I now heard a trampling over my head, and somebody calling through the hole with a loud voice in the English tongue. "If there be anybody below, let them speak." I answered I was an Englishman, drawn by ill fortune into the greatest calamity that ever any creature underwent, and begged by all that was moving to be delivered out of the dungeon I was in. The voice replied I was safe, for my box was fastened to their ship; and the carpenter should immediately come and saw a hole in the cover, large enough to pull me out. I answered that was needless, and would take up too much time, for there was no more to be done, but let one of the crew put his finger into the ring, and take the box out of the sea into the ship, and so into the captain's cabin. Some of them upon hearing me talk so wildly thought I was mad; others laughed; for indeed it never came into my head that I was now got among people of my own stature and strength. The carpenter came, and in a few minutes sawed a passage about four feet square, then let down a small ladder upon which I mounted, and from thence was taken into the ship in a very weak condition.

SOMEBODY CALLING ... IN THE ENGLISH TONGUE.

"SOMEBODY CALLING ... IN THE ENGLISH TONGUE."

The sailors were all in amazement, and asked me a thousand questions, which I had no inclination to answer. I was equally confounded at the sight of so many pygmies, for such I took them to be, after having so long accustomed mine eyes to the monstrous objects I had left. But the captain, Mr. Thomas Wilcocks, an honest, worthy Shropshire man, observing I was ready to faint, took me into his cabin, gave me a cordial to comfort me, and made me turn in upon his own bed, advising me to take a little rest, of which I had great need. Before I went to sleep, I gave him to understand that I had some valuable furniture in my box, too good to be lost; a fine hammock, a handsome two chairs, a table, and a cabinet. That my closet was hung on all sides, or rather quilted, with silk and cotton: that if he would let one of the crew bring my closet into his cabin, I would open it there before him, and show him my goods. The captain, hearing me utter these absurdities, concluded I was raving: however (I suppose to pacify me), he promised to give orders as I desired, and going upon deck, sent some of his men down into my closet, from whence (as I afterwards found) they drew up all my goods, and stripped off the quilting; but the chairs, cabinet, and bedstead, being screwed to the floor, were much damaged by the ignorance of the seamen, who tore them up by force. Then they knocked off some of the boards for the use of the ship, and when they had got all they had a mind for, let the hull drop into the sea, which, by reason of so many breaches made in the bottom and sides, sunk to rights.[89] And indeed I was glad not to have been a spectator of the havoc they made; because I am confident it would have sensibly touched me, by bringing former passages into my mind, which I had rather forgotten.

I slept some hours, but was perpetually disturbed with dreams of the place I had left, and the dangers I had escaped. However, upon waking, I found myself much recovered. It was now about eight o'clock at night, and the captain ordered supper immediately, thinking I had already fasted too long. He entertained me with great kindness, observing me not to look wildly, or talk inconsistently; and when we were left alone, desired I would give him a relation of my travels, and by what accident I came to be set adrift in that monstrous wooden chest.

He said that about twelve o'clock at noon, as he was looking through his glass, he spied it at a distance, and thought it was a sail, which he had a mind to make[90], being not much out of his course, in hopes of buying some biscuit, his own beginning to fall short. That upon coming nearer and finding his error, he sent out his long-boat to discover what it was; that his men came back in a fright, swearing they had seen a swimming-house. That he laughed at their folly, and went himself in the boat, ordering his men to take a strong cable along with them. That the weather being calm, he rowed round me several times, observed my windows and wire-lattices that defenced them. That he discovered two staples upon one side, which was all of boards, without any passage for light. He then commanded his men to row up to that side, and fastening a cable to one of the staples, ordered them to tow my chest (as they called it) towards the ship. When it was there, he gave directions to fasten another cable to the ring fixed in the cover, and to raise up my chest with pulleys, which all the sailors were not able to do above two or three feet. He said they saw my stick and handkerchief thrust out of the hole, and concluded that some unhappy man must be shut up in the cavity. I asked whether he or the crew had seen any prodigious birds in the air about the time he first discovered me? to which he answered, that, discoursing this matter with the sailors while I was asleep, one of them said he had observed three eagles flying towards the north, but remarked nothing of their being larger than the usual size, which I suppose must be imputed to the great height they were at; and he could not guess the reason of my question. I then asked the captain how far he reckoned we might be from land?

He said, by the best computation he could make, we were at least a hundred leagues. I assured him that he must be mistaken by almost half, for I had not left the country from whence I came above two hours before I dropt into the sea. Whereupon he began again to think that my brain was disturbed, of which he gave me a hint, and advised me to go to bed in a cabin he had provided. I assured him I was well refreshed with his good entertainment and company, and as much in my senses as ever I was in my life.

He then grew serious, and desired to ask me freely whether I were not troubled in mind by the consciousness of some enormous crime, for which I was punished by the command of some prince, by exposing me in that chest, as great criminals in other countries have been forced to sea in a leaky vessel without provisions; for although he should be sorry to have taken so ill a man into his ship, yet he would engage his word to set me safe ashore in the first port where we arrived. He added that his suspicions were much increased by some very absurd speeches I had delivered, at first to his sailors, and afterwards to himself, in relation to my closet chest, as well as by my odd looks and behavior while I was at supper.

I begged his patience to hear me tell my story, which I faithfully did, from the last time I left England to the moment he first discovered me. And as truth always forceth its way into rational minds, so this honest worthy gentleman, who had some tincture of learning and very good sense, was immediately convinced of my candor and veracity. But, farther to confirm all I had said, I entreated him to give order that my cabinet should be brought, of which I had the key in my pocket (for he had already informed me how seamen disposed of my closet). I opened it in his own presence, and showed him the small collection of rarities I made in the country from whence I had been so strangely delivered. There was the comb I had contrived out of the stumps of the king's beard. There was a collection of needles and pins, from a foot to half a yard long; four wasps' stings, like joiners' tacks; some combings of the queen's hair; a gold ring, which one day she made me a present of in a most obliging manner, taking it from her little finger and throwing it over my head like a collar. I desired the captain would please to accept this ring in return of his civilities, which he absolutely refused. Lastly I desired him to see the breeches I had then on, which were made of a mouse's skin.

I could force nothing upon him but a footman's tooth, which I observed him to examine with great curiosity, and found he had a fancy for it. He received it with abundance of thanks, more than such a trifle could deserve. It was drawn by an unskilful surgeon, in a mistake, from one of Glumdalclitch's men, who was affected with the toothache, but it was as sound as any in his head. I got it cleaned, and put it in my cabinet. It was about a foot long, and four inches in diameter.

The captain was very well satisfied with this plain relation I had given him, and said he hoped when we returned to England I would oblige the world by putting it on paper, and making it public. My answer was, that I thought we were already overstocked with books of travels; that nothing could now pass which was not extraordinary; wherein I doubted some authors less consulted truth than their own vanity, or interest, or the diversion of ignorant readers, that my story could contain little besides common events, without those ornamental descriptions of strange plants, trees, birds, and other animals; or of the barbarous customs and idolatry of savage people, with which most writers abound. However, I thanked him for his good opinion, and promised to take the matter into my thoughts.

He said he wondered at one thing very much, which was, to hear me speak so loud, asking me whether the king or queen of that country were thick of hearing. I told him it was what I had been used to for above two years past, and that I wondered as much at the voices of him and his men, who seemed to me only to whisper, and yet I could hear them well enough. But when I spoke in that country, it was like a man talking in the street to another looking out from the top of a steeple, unless when I was placed on a table, or held in any person's hand. I told him I had likewise observed another thing, that when I first got into the ship, and the sailors stood all about me, I thought they were the most contemptible little creatures I had ever beheld. For indeed, while I was in that prince's country, I could never endure to look in a glass, after my eyes had been accustomed to such prodigious objects, because the comparison gave me so despicable a conceit of myself. The captain said that while we were at supper he observed me to look at everything with a sort of wonder, and that I often seemed hardly able to contain my laughter, which he knew not well how to take, but imputed it to some disorder in my brain. I answered, it was very true, and I wondered how I could forbear, when I saw his dishes of the size of a silver threepence, a leg of pork hardly a mouthful, a cup not so big as a nut-shell, and so I went on, describing the rest of his household stuff and provisions after the same manner. For although the queen had ordered a little equipage of all things necessary for me, while I was in her service, yet my ideas were wholly taken up with what I saw on every side of me, and I winked at my own littleness, as people do at their own faults. The captain understood my raillery very well, and merrily replied that he did not observe my stomach so good, although I had fasted all day; and, continuing in his mirth, protested he would have gladly given a hundred pounds to have seen my closet in the eagle's bill, and afterwards in its fall from so great a height into the sea; which would certainly have been a most astonishing object, worthy to have the description of it transmitted to future ages: and the comparison of Phaeton[91] was so obvious, that he could not forbear applying it, although I did not much admire the conceit.

MY DAUGHTER KNEELED BUT I COULD NOT SEE HER.

"MY DAUGHTER KNEELED BUT I COULD NOT SEE HER."

The captain having been at Tonquin, was, in his return to England, driven northeastward, to the latitude of 44 degrees, and of longitude 143. But meeting a trade-wind two days after I came on board him, we sailed southward a long time, and, coasting New Holland, kept our course west-south-west, and then south-south-west, till we doubled the Cape of Good Hope. Our voyage was very prosperous, but I shall not trouble the reader with a journal of it. The captain called in at one or two ports, and sent in his long-boat for provisions and fresh water, but I never went out of the ship till we came into the Downs, which was on the third day of June, 1706, about nine months after my escape. I offered to leave pay goods in security for payment of my freight, but the captain protested he would not receive one farthing. We took a kind leave of each other, and I made him promise he would come to see me at my house in Redriff. I hired a horse and guide for five shillings, which I borrowed of the captain.

As I was on the road, observing the littleness of the houses—the trees, the cattle, and the people, I began to think myself in Lilliput. I was afraid of trampling on every traveller I met, and often called aloud to have them stand out of the way, so that I had like to have gotten one or two broken heads for my impertinence.

When I came to my own house, for which I was forced to inquire, one of the servants opened the door, I bent down to go in (like a goose under a gate), for fear of striking my head. My wife ran out to embrace me, but I stooped lower than her knees, thinking she could otherwise never be able to reach my mouth. My daughter kneeled to ask my blessing, but I could not see her till she arose, having been so long used to stand with my head and eyes erect to above sixty feet; and then I went to take her up with one hand by the waist. I looked down upon the servants, and one or two friends who were in the house, as if they had been pygmies, and I a giant. I told my wife she had been too thrifty, for I found she had starved herself and her daughter to nothing. In short, I behaved myself so unaccountably, that they were all of the captain's opinion when he first saw me, and concluded I had lost my wits. This I mention as an instance of the great power of habit and prejudice.

In a little time, I and my family and friends came to a right understanding: but my wife protested I should never go to sea any more; although my evil destiny so ordered, that she had not power to hinder me, as the reader may know hereafter. In the meantime I here conclude the second part of my unfortunate voyages.

Illustration
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<![CDATA[AA Milne   winnie the pooh]]>Sun, 17 Jul 2022 20:23:26 GMThttp://daydreaminstudios.org/children-library/aa-milne-winnie-the-pooh
 
 
To Her
HAND IN HAND WE COME
CHRISTOPHER ROBIN AND I
TO LAY THIS BOOK IN YOUR LAP.
SAY YOU'RE SURPRISED?
SAY YOU LIKE IT?
SAY IT'S JUST WHAT YOU WANTED?
BECAUSE IT'S YOURS——
BECAUSE WE LOVE YOU.


INTRODUCTION

If you happen to have read another book about Christopher Robin, you may remember that he once had a swan (or the swan had Christopher Robin, I don't know which) and that he used to call this swan Pooh. That was a long time ago, and when we said good-bye, we took the name with us, as we didn't think the swan would want it any more. Well, when Edward Bear said that he would like an exciting name all to himself, Christopher Robin said at once, without stopping to think, that he was Winnie-the-Pooh. And he was. So, as I have explained the Pooh part, I will now explain the rest of it.

You can't be in London for long without going to the Zoo. There are some people who begin the Zoo at the beginning, called WAYIN, and walk as quickly as they can past every cage until they get to the one called WAYOUT, but the nicest people go straight to the animal they love the most, and stay there. So when Christopher Robin goes to the Zoo, he goes to where the Polar Bears are, and he whispers something to the third keeper from the left, and doors are unlocked, and we wander through dark passages and up steep stairs, until at last we come to the special cage, and the cage is opened, and out trots something brown and furry, and with a happy cry of "Oh, Bear!" Christopher Robin rushes into its arms. Now this bear's name is Winnie, which shows what a good name for bears it is, but the funny thing is that we can't remember whether Winnie is called after Pooh, or Pooh after Winnie. We did know once, but we have forgotten....

I had written as far as this when Piglet looked up and said in his squeaky voice, "What about Me?" "My dear Piglet," I said, "the whole book is about you." "So it is about Pooh," he squeaked. You see what it is. He is jealous because he thinks Pooh is having a Grand Introduction all to himself. Pooh is the favourite, of course, there's no denying it, but Piglet comes in for a good many things which Pooh misses; because you can't take Pooh to school without everybody knowing it, but Piglet is so small that he slips into a pocket, where it is very comforting to feel him when you are not quite sure whether twice seven is twelve or twenty-two. Sometimes he slips out and has a good look in the ink-pot, and in this way he has got more education than Pooh, but Pooh doesn't mind. Some have brains, and some haven't, he says, and there it is.

And now all the others are saying, "What about Us?" So perhaps the best thing to do is to stop writing Introductions and get on with the book.

A. A. M.

 
 
 

WINNIE-THE-POOH



CHAPTER I

IN WHICH WE ARE INTRODUCED TO WINNIE-THE-POOH AND SOME BEES, AND THE STORIES BEGIN

Here is Edward Bear, coming downstairs now, bump, bump, bump, on the back of his head, behind Christopher Robin. It is, as far as he knows, the only way of coming downstairs, but sometimes he feels that there really is another way, if only he could stop bumping for a moment and think of it. And then he feels that perhaps there isn't. Anyhow, here he is at the bottom, and ready to be introduced to you. Winnie-the-Pooh.

When I first heard his name, I said, just as you are going to say, "But I thought he was a boy?"

"So did I," said Christopher Robin.

"Then you can't call him Winnie?"

"I don't."

"But you said——"

"He's Winnie-ther-Pooh. Don't you know what 'ther' means?"

"Ah, yes, now I do," I said quickly; and I hope you do too, because it is all the explanation you are going to get.

Sometimes Winnie-the-Pooh likes a game of some sort when he comes downstairs, and sometimes he likes to sit quietly in front of the fire and listen to a story. This evening——

"What about a story?" said Christopher Robin.

"What about a story?" I said.

"Could you very sweetly tell Winnie-the-Pooh one?"

"I suppose I could," I said. "What sort of stories does he like?"

"About himself. Because he's that sort of Bear."

"Oh, I see."

"So could you very sweetly?"

"I'll try," I said.

So I tried.


Once upon a time, a very long time ago now, about last Friday, Winnie-the-Pooh lived in a forest all by himself under the name of Sanders.



("What does 'under the name' mean?" asked Christopher Robin.

"It means he had the name over the door in gold letters, and lived under it."

"Winnie-the-Pooh wasn't quite sure," said Christopher Robin.

"Now I am," said a growly voice.

"Then I will go on," said I.)

One day when he was out walking, he came to an open place in the middle of the forest, and in the middle of this place was a large oak-tree, and, from the top of the tree, there came a loud buzzing-noise.



Winnie-the-Pooh sat down at the foot of the tree, put his head between his paws and began to think.

First of all he said to himself: "That buzzing-noise means something. You don't get a buzzing-noise like that, just buzzing and buzzing, without its meaning something. If there's a buzzing-noise, somebody's making a buzzing-noise, and the only reason for making a buzzing-noise that I know of is because you're a bee."

Then he thought another long time, and said: "And the only reason for being a bee that I know of is making honey."

And then he got up, and said: "And the only reason for making honey is so as I can eat it." So he began to climb the tree.



He climbed and he climbed and he climbed, and as he climbed he sang a little song to himself. It went like this:

Isn't it funny
How a bear likes honey?
Buzz! Buzz! Buzz!
I wonder why he does?

Then he climbed a little further ... and a little further ... and then just a little further. By that time he had thought of another song.

It's a very funny thought that, if Bears were Bees,
They'd build their nests at the bottom of trees.
And that being so (if the Bees were Bears),
We shouldn't have to climb up all these stairs.

He was getting rather tired by this time, so that is why he sang a Complaining Song. He was nearly there now, and if he just stood on that branch ...

Crack!

"Oh, help!" said Pooh, as he dropped ten feet on the branch below him.



"If only I hadn't——" he said, as he bounced twenty feet on to the next branch.

"You see, what I meant to do," he explained, as he turned head-over-heels, and crashed on to another branch thirty feet below, "what I meant to do——"

"Of course, it was rather——" he admitted, as he slithered very quickly through the next six branches.

"It all comes, I suppose," he decided, as he said good-bye to the last branch, spun round three times, and flew gracefully into a gorse-bush, "it all comes of liking honey so much. Oh, help!"

He crawled out of the gorse-bush, brushed the prickles from his nose, and began to think again. And the first person he thought of was Christopher Robin.



("Was that me?" said Christopher Robin in an awed voice, hardly daring to believe it.

"That was you."

Christopher Robin said nothing, but his eyes got larger and larger, and his face got pinker and pinker.)

So Winnie-the-Pooh went round to his friend Christopher Robin, who lived behind a green door in another part of the forest.



"Good morning, Christopher Robin," he said.

"Good morning, Winnie-ther-Pooh," said you.

"I wonder if you've got such a thing as a balloon about you?"

"A balloon?"

"Yes, I just said to myself coming along: 'I wonder if Christopher Robin has such a thing as a balloon about him?' I just said it to myself, thinking of balloons, and wondering."

"What do you want a balloon for?" you said.

Winnie-the-Pooh looked round to see that nobody was listening, put his paw to his mouth, and said in a deep whisper: "Honey!"

"But you don't get honey with balloons!"

"I do," said Pooh.

Well, it just happened that you had been to a party the day before at the house of your friend Piglet, and you had balloons at the party. You had had a big green balloon; and one of Rabbit's relations had had a big blue one, and had left it behind, being really too young to go to a party at all; and so you had brought the green one and the blue one home with you.

"Which one would you like?" you asked Pooh.

He put his head between his paws and thought very carefully.

"It's like this," he said. "When you go after honey with a balloon, the great thing is not to let the bees know you're coming. Now, if you have a green balloon, they might think you were only part of the tree, and not notice you, and, if you have a blue balloon, they might think you were only part of the sky, and not notice you, and the question is: Which is most likely?"

"Wouldn't they notice you underneath the balloon?" you asked.

"They might or they might not," said Winnie-the-Pooh. "You never can tell with bees." He thought for a moment and said: "I shall try to look like a small black cloud. That will deceive them."



"Then you had better have the blue balloon," you said; and so it was decided.



Well, you both went out with the blue balloon, and you took your gun with you, just in case, as you always did, and Winnie-the-Pooh went to a very muddy place that he knew of, and rolled and rolled until he was black all over; and then, when the balloon was blown up as big as big, and you and Pooh were both holding on to the string, you let go suddenly, and Pooh Bear floated gracefully up into the sky, and stayed there—level with the top of the tree and about twenty feet away from it.



"Hooray!" you shouted.

"Isn't that fine?" shouted Winnie-the-Pooh down to you. "What do I look like?"

"You look like a Bear holding on to a balloon," you said.

"Not," said Pooh anxiously, "—not like a small black cloud in a blue sky?"

"Not very much."

"Ah, well, perhaps from up here it looks different. And, as I say, you never can tell with bees."

There was no wind to blow him nearer to the tree, so there he stayed. He could see the honey, he could smell the honey, but he couldn't quite reach the honey.

After a little while he called down to you.

"Christopher Robin!" he said in a loud whisper.

"Hallo!"

"I think the bees suspect something!"

"What sort of thing?"

"I don't know. But something tells me that they're suspicious!"



"Perhaps they think that you're after their honey."

"It may be that. You never can tell with bees."

There was another little silence, and then he called down to you again.

"Christopher Robin!"

"Yes?"

"Have you an umbrella in your house?"

"I think so."

"I wish you would bring it out here, and walk up and down with it, and look up at me every now and then, and say 'Tut-tut, it looks like rain.' I think, if you did that, it would help the deception which we are practising on these bees."

Well, you laughed to yourself, "Silly old Bear!" but you didn't say it aloud because you were so fond of him, and you went home for your umbrella.



"Oh, there you are!" called down Winnie-the-Pooh, as soon as you got back to the tree. "I was beginning to get anxious. I have discovered that the bees are now definitely Suspicious."

"Shall I put my umbrella up?" you said.

"Yes, but wait a moment. We must be practical. The important bee to deceive is the Queen Bee. Can you see which is the Queen Bee from down there?"

"No."

"A pity. Well, now, if you walk up and down with your umbrella, saying, 'Tut-tut, it looks like rain,' I shall do what I can by singing a little Cloud Song, such as a cloud might sing.... Go!"

So, while you walked up and down and wondered if it would rain, Winnie-the-Pooh sang this song:

How sweet to be a Cloud
Floating in the Blue!
Every little cloud
Always sings aloud.
"How sweet to be a Cloud
Floating in the Blue!"
It makes him very proud
To be a little cloud.

The bees were still buzzing as suspiciously as ever. Some of them, indeed, left their nests and flew all round the cloud as it began the second verse of this song, and one bee sat down on the nose of the cloud for a moment, and then got up again.



"Christopher—ow!—Robin," called out the cloud.

"Yes?"

"I have just been thinking, and I have come to a very important decision. These are the wrong sort of bees."

"Are they?"

"Quite the wrong sort. So I should think they would make the wrong sort of honey, shouldn't you?"



"Would they?"

"Yes. So I think I shall come down."

"How?" asked you.

Winnie-the-Pooh hadn't thought about this. If he let go of the string, he would fall—bump—and he didn't like the idea of that. So he thought for a long time, and then he said:

"Christopher Robin, you must shoot the balloon with your gun. Have you got your gun?"

"Of course I have," you said. "But if I do that, it will spoil the balloon," you said.

"But if you don't," said Pooh, "I shall have to let go, and that would spoil me."

When he put it like this, you saw how it was, and you aimed very carefully at the balloon, and fired.

"Ow!" said Pooh.

"Did I miss?" you asked.

"You didn't exactly miss," said Pooh, "but you missed the balloon."

"I'm so sorry," you said, and you fired again, and this time you hit the balloon, and the air came slowly out, and Winnie-the-Pooh floated down to the ground.

But his arms were so stiff from holding on to the string of the balloon all that time that they stayed up straight in the air for more than a week, and whenever a fly came and settled on his nose he had to blow it off. And I think—but I am not sure—that that is why he was always called Pooh.



"Is that the end of the story?" asked Christopher Robin.

"That's the end of that one. There are others."

"About Pooh and Me?"

"And Piglet and Rabbit and all of you. Don't you remember?"

"I do remember, and then when I try to remember, I forget."

"That day when Pooh and Piglet tried to catch the Heffalump——"

"They didn't catch it, did they?"

"No."

"Pooh couldn't, because he hasn't any brain. Did I catch it?"

"Well, that comes into the story."

Christopher Robin nodded.

"I do remember," he said, "only Pooh doesn't very well, so that's why he likes having it told to him again. Because then it's a real story and not just a remembering."

"That's just how I feel," I said.

Christopher Robin gave a deep sigh, picked his Bear up by the leg, and walked off to the door, trailing Pooh behind him. At the door he turned and said, "Coming to see me have my bath?"

"I might," I said.

"I didn't hurt him when I shot him, did I?"

"Not a bit."

He nodded and went out, and in a moment I heard Winnie-the-Pooh—bump, bump, bump—going up the stairs behind him.



CHAPTER II

IN WHICH POOH GOES VISITING AND GETS INTO A TIGHT PLACE


Edward Bear, known to his friends as Winnie-the-Pooh, or Pooh for short, was walking through the forest one day, humming proudly to himself. He had made up a little hum that very morning, as he was doing his Stoutness Exercises in front of the glass: Tra-la-la, tra-la-la, as he stretched up as high as he could go, and then Tra-la-la, tra-la—oh, help!—la, as he tried to reach his toes. After breakfast he had said it over and over to himself until he had learnt it off by heart, and now he was humming it right through, properly. It went like this:

Tra-la-la, tra-la-la,
Tra-la-la, tra-la-la,
Rum-tum-tiddle-um-tum.
Tiddle-iddle, tiddle-iddle,
Tiddle-iddle, tiddle-iddle,
Rum-tum-tum-tiddle-um.


Well, he was humming this hum to himself, and walking along gaily, wondering what everybody else was doing, and what it felt like, being somebody else, when suddenly he came to a sandy bank, and in the bank was a large hole.

"Aha!" said Pooh. (Rum-tum-tiddle-um-tum.) "If I know anything about anything, that hole means Rabbit," he said, "and Rabbit means Company," he said, "and Company means Food and Listening-to-Me-Humming and such like. Rum-tum-tum-tiddle-um."

So he bent down, put his head into the hole, and called out:

"Is anybody at home?"

There was a sudden scuffling noise from inside the hole, and then silence.

"What I said was, 'Is anybody at home?'" called out Pooh very loudly.

"No!" said a voice; and then added, "You needn't shout so loud. I heard you quite well the first time."

"Bother!" said Pooh. "Isn't there anybody here at all?"

"Nobody."

Winnie-the-Pooh took his head out of the hole, and thought for a little, and he thought to himself, "There must be somebody there, because somebody must have said 'Nobody.'" So he put his head back in the hole, and said:

"Hallo, Rabbit, isn't that you?"

"No," said Rabbit, in a different sort of voice this time.

"But isn't that Rabbit's voice?"

"I don't think so," said Rabbit. "It isn't meant to be."

"Oh!" said Pooh.

He took his head out of the hole, and had another think, and then he put it back, and said:

"Well, could you very kindly tell me where Rabbit is?"

"He has gone to see his friend Pooh Bear, who is a great friend of his."

"But this is Me!" said Bear, very much surprised.

"What sort of Me?"

"Pooh Bear."

"Are you sure?" said Rabbit, still more surprised.

"Quite, quite sure," said Pooh.

"Oh, well, then, come in."



So Pooh pushed and pushed and pushed his way through the hole, and at last he got in.

"You were quite right," said Rabbit, looking at him all over. "It is you. Glad to see you."

"Who did you think it was?"

"Well, I wasn't sure. You know how it is in the Forest. One can't have anybody coming into one's house. One has to be careful. What about a mouthful of something?"

Pooh always liked a little something at eleven o'clock in the morning, and he was very glad to see Rabbit getting out the plates and mugs; and when Rabbit said, "Honey or condensed milk with your bread?" he was so excited that he said, "Both," and then, so as not to seem greedy, he added, "But don't bother about the bread, please." And for a long time after that he said nothing ... until at last, humming to himself in a rather sticky voice, he got up, shook Rabbit lovingly by the paw, and said that he must be going on.

"Must you?" said Rabbit politely.

"Well," said Pooh, "I could stay a little longer if it—if you——" and he tried very hard to look in the direction of the larder.

"As a matter of fact," said Rabbit, "I was going out myself directly."

"Oh, well, then, I'll be going on. Good-bye."

"Well, good-bye, if you're sure you won't have any more."

"Is there any more?" asked Pooh quickly.

Rabbit took the covers off the dishes, and said, "No, there wasn't."

"I thought not," said Pooh, nodding to himself. "Well, good-bye. I must be going on."



So he started to climb out of the hole. He pulled with his front paws, and pushed with his back paws, and in a little while his nose was out in the open again ... and then his ears ... and then his front paws ... and then his shoulders ... and then——

"Oh, help!" said Pooh. "I'd better go back."

"Oh, bother!" said Pooh. "I shall have to go on."

"I can't do either!" said Pooh. "Oh, help and bother!"

Now by this time Rabbit wanted to go for a walk too, and finding the front door full, he went out by the back door, and came round to Pooh, and looked at him.



"Hallo, are you stuck?" he asked.

"N-no," said Pooh carelessly. "Just resting and thinking and humming to myself."

"Here, give us a paw."

Pooh Bear stretched out a paw, and Rabbit pulled and pulled and pulled....

"Ow!" cried Pooh. "You're hurting!"

"The fact is," said Rabbit, "you're stuck."

"It all comes," said Pooh crossly, "of not having front doors big enough."

"It all comes," said Rabbit sternly, "of eating too much. I thought at the time," said Rabbit, "only I didn't like to say anything," said Rabbit, "that one of us was eating too much," said Rabbit, "and I knew if wasn't me," he said. "Well, well, I shall go and fetch Christopher Robin."

Christopher Robin lived at the other end of the Forest, and when he came back with Rabbit, and saw the front half of Pooh, he said, "Silly old Bear," in such a loving voice that everybody felt quite hopeful again.

"I was just beginning to think," said Bear, sniffing slightly, "that Rabbit might never be able to use his front door again. And I should hate that," he said.

"So should I," said Rabbit.

"Use his front door again?" said Christopher Robin. "Of course he'll use his front door again."

"Good," said Rabbit.

"If we can't pull you out, Pooh, we might push you back."

Rabbit scratched his whiskers thoughtfully, and pointed out that, when once Pooh was pushed back, he was back, and of course nobody was more glad to see Pooh than he was, still there it was, some lived in trees and some lived underground, and——

"You mean I'd never get out?" said Pooh.

"I mean," said Rabbit, "that having got so far, it seems a pity to waste it."

Christopher Robin nodded.

"Then there's only one thing to be done," he said. "We shall have to wait for you to get thin again."

"How long does getting thin take?" asked Pooh anxiously.

"About a week, I should think."

"But I can't stay here for a week!"

"You can stay here all right, silly old Bear. It's getting you out which is so difficult."

"We'll read to you," said Rabbit cheerfully. "And I hope it won't snow," he added. "And I say, old fellow, you're taking up a good deal of room in my house—do you mind if I use your back legs as a towel-horse? Because, I mean, there they are—doing nothing—and it would be very convenient just to hang the towels on them."

"A week!" said Pooh gloomily. "What about meals?"

"I'm afraid no meals," said Christopher Robin, "because of getting thin quicker. But we will read to you."

Bear began to sigh, and then found he couldn't because he was so tightly stuck; and a tear rolled down his eye, as he said:

"Then would you read a Sustaining Book, such as would help and comfort a Wedged Bear in Great Tightness?"



So for a week Christopher Robin read that sort of book at the North end of Pooh, and Rabbit hung his washing on the South end ... and in between Bear felt himself getting slenderer and slenderer. And at the end of the week Christopher Robin said, "Now!"



So he took hold of Pooh's front paws and Rabbit took hold of Christopher Robin, and all Rabbit's friends and relations took hold of Rabbit, and they all pulled together....

And for a long time Pooh only said "Ow!" ...

And "Oh!" ...



And then, all of a sudden, he said "Pop!" just as if a cork were coming out of a bottle.

And Christopher Robin and Rabbit and all Rabbit's friends and relations went head-over-heels backwards ... and on the top of them came Winnie-the-Pooh—free!

So, with a nod of thanks to his friends, he went on with his walk through the forest, humming proudly to himself. But, Christopher Robin looked after him lovingly, and said to himself, "Silly old Bear!"


CHAPTER III

IN WHICH POOH AND PIGLET GO HUNTING AND NEARLY CATCH A WOOZLE

The Piglet lived in a very grand house in the middle of a beech-tree, and the beech-tree was in the middle of the forest, and the Piglet lived in the middle of the house. Next to his house was a piece of broken board which had: "TRESPASSERS W" on it. When Christopher Robin asked the Piglet what it meant, he said it was his grandfather's name, and had been in the family for a long time, Christopher Robin said you couldn't be called Trespassers W, and Piglet said yes, you could, because his grandfather was, and it was short for Trespassers Will, which was short for Trespassers William. And his grandfather had had two names in case he lost one—Trespassers after an uncle, and William after Trespassers.



"I've got two names," said Christopher Robin carelessly.

"Well, there you are, that proves it," said Piglet.

One fine winter's day when Piglet was brushing away the snow in front of his house, he happened to look up, and there was Winnie-the-Pooh. Pooh was walking round and round in a circle, thinking of something else, and when Piglet called to him, he just went on walking.

"Hallo!" said Piglet, "what are you doing?"

"Hunting," said Pooh.

"Hunting what?"

"Tracking something," said Winnie-the-Pooh very mysteriously.

"Tracking what?" said Piglet, coming closer.

"That's just what I ask myself. I ask myself, What?"

"What do you think you'll answer?"

"I shall have to wait until I catch up with it," said Winnie-the-Pooh. "Now, look there." He pointed to the ground in front of him. "What do you see there?"



"Tracks," said Piglet. "Paw-marks." He gave a little squeak of excitement. "Oh, Pooh! Do you think it's a—a—a Woozle?"

"It may be," said Pooh. "Sometimes it is, and sometimes it isn't. You never can tell with paw-marks."

With these few words he went on tracking, and Piglet, after watching him for a minute or two, ran after him. Winnie-the-Pooh had come to a sudden stop, and was bending over the tracks in a puzzled sort of way.

"What's the matter?" asked Piglet.

"It's a very funny thing," said Bear, "but there seem to be two animals now. This—whatever-it-was—has been joined by another—whatever-it-is—and the two of them are now proceeding in company. Would you mind coming with me, Piglet, in case they turn out to be Hostile Animals?"

Piglet scratched his ear in a nice sort of way, and said that he had nothing to do until Friday, and would be delighted to come, in case it really was a Woozle.

"You mean, in case it really is two Woozles," said Winnie-the-Pooh, and Piglet said that anyhow he had nothing to do until Friday. So off they went together.



There was a small spinney of larch trees just here, and it seemed as if the two Woozles, if that is what they were, had been going round this spinney; so round this spinney went Pooh and Piglet after them; Piglet passing the time by telling Pooh what his Grandfather Trespassers W had done to Remove Stiffness after Tracking, and how his Grandfather Trespassers W had suffered in his later years from Shortness of Breath, and other matters of interest, and Pooh wondering what a Grandfather was like, and if perhaps this was Two Grandfathers they were after now, and, if so, whether he would be allowed to take one home and keep it, and what Christopher Robin would say. And still the tracks went on in front of them....

Suddenly Winnie-the-Pooh stopped, and pointed excitedly in front of him. "Look!"

"What?" said Piglet, with a jump. And then, to show that he hadn't been frightened, he jumped up and down once or twice more in an exercising sort of way.



"The tracks!" said Pooh. "A third animal has joined the other two!"

"Pooh!" cried Piglet. "Do you think it is another Woozle?"

"No," said Pooh, "because it makes different marks. It is either Two Woozles and one, as it might be, Wizzle, or Two, as it might be, Wizzles and one, if so it is, Woozle. Let us continue to follow them."

So they went on, feeling just a little anxious now, in case the three animals in front of them were of Hostile Intent. And Piglet wished very much that his Grandfather T. W. were there, instead of elsewhere, and Pooh thought how nice it would be if they met Christopher Robin suddenly but quite accidentally, and only because he liked Christopher Robin so much. And then, all of a sudden, Winnie-the-Pooh stopped again, and licked the tip of his nose in a cooling manner, for he was feeling more hot and anxious than ever in his life before. There were four animals in front of them!

"Do you see, Piglet? Look at their tracks! Three, as it were, Woozles, and one, as it was, Wizzle. Another Woozle has joined them!"

And so it seemed to be. There were the tracks; crossing over each other here, getting muddled up with each other there; but, quite plainly every now and then, the tracks of four sets of paws.



"I think," said Piglet, when he had licked the tip of his nose too, and found that it brought very little comfort, "I think that I have just remembered something. I have just remembered something that I forgot to do yesterday and shan't be able to do to-morrow. So I suppose I really ought to go back and do it now."

"We'll do it this afternoon, and I'll come with you," said Pooh.

"It isn't the sort of thing you can do in the afternoon," said Piglet quickly. "It's a very particular morning thing, that has to be done in the morning, and, if possible, between the hours of——What would you say the time was?"

"About twelve," said Winnie-the-Pooh, looking at the sun.

"Between, as I was saying, the hours of twelve and twelve five. So, really, dear old Pooh, if you'll excuse me——What's that?"

Pooh looked up at the sky, and then, as he heard the whistle again, he looked up into the branches of a big oak-tree, and then he saw a friend of his.



"It's Christopher Robin," he said.

"Ah, then you'll be all right," said Piglet. "You'll be quite safe with him. Good-bye," and he trotted off home as quickly as he could, very glad to be Out of All Danger again.



Christopher Robin came slowly down his tree.

"Silly old Bear," he said, "what were you doing? First you went round the spinney twice by yourself, and then Piglet ran after you and you went round again together, and then you were just going round a fourth time——"

"Wait a moment," said Winnie-the-Pooh, holding up his paw.

He sat down and thought, in the most thoughtful way he could think. Then he fitted his paw into one of the Tracks ... and then he scratched his nose twice, and stood up.

"Yes," said Winnie-the-Pooh.

"I see now," said Winnie-the-Pooh.

"I have been Foolish and Deluded," said he, "and I am a Bear of No Brain at All."

"You're the Best Bear in All the World," said Christopher Robin soothingly.

"Am I?" said Pooh hopefully. And then he brightened up suddenly.

"Anyhow," he said, "it is nearly Luncheon Time."

So he went home for it.


CHAPTER IV

IN WHICH EEYORE LOSES A TAIL AND POOH FINDS ONE

The Old Grey Donkey, Eeyore, stood by himself in a thistly corner of the forest, his front feet well apart, his head on one side, and thought about things. Sometimes he thought sadly to himself, "Why?" and sometimes he thought, "Wherefore?" and sometimes he thought, "Inasmuch as which?"—and sometimes he didn't quite know what he was thinking about. So when Winnie-the-Pooh came stumping along, Eeyore was very glad to be able to stop thinking for a little, in order to say "How do you do?" in a gloomy manner to him.



"And how are you?" said Winnie-the-Pooh.

Eeyore shook his head from side to side.

"Not very how," he said. "I don't seem to have felt at all how for a long time."

"Dear, dear," said Pooh, "I'm sorry about that. Let's have a look at you."

So Eeyore stood there, gazing sadly at the ground, and Winnie-the-Pooh walked all round him once.



"Why, what's happened to your tail?" he said in surprise.

"What has happened to it?" said Eeyore.

"It isn't there!"

"Are you sure?"

"Well, either a tail is there or it isn't there. You can't make a mistake about it. And yours isn't there!"

"Then what is?"

"Nothing."



"Let's have a look," said Eeyore, and he turned slowly round to the place where his tail had been a little while ago, and then, finding that he couldn't catch it up, he turned round the other way, until he came back to where he was at first, and then he put his head down and looked between his front legs, and at last he said, with a long, sad sigh, "I believe you're right."

"Of course I'm right," said Pooh.

"That Accounts for a Good Deal," said Eeyore gloomily. "It Explains Everything. No Wonder."

"You must have left it somewhere," said Winnie-the-Pooh.

"Somebody must have taken it," said Eeyore. "How Like Them," he added, after a long silence.



Pooh felt that he ought to say something helpful about it, but didn't quite know what. So he decided to do something helpful instead.

"Eeyore," he said solemnly, "I, Winnie-the-Pooh, will find your tail for you."

"Thank you, Pooh," answered Eeyore. "You're a real friend," said he. "Not like Some," he said.

So Winnie-the-Pooh went off to find Eeyore's tail.

It was a fine spring morning in the forest as he started out. Little soft clouds played happily in a blue sky, skipping from time to time in front of the sun as if they had come to put it out, and then sliding away suddenly so that the next might have his turn. Through them and between them the sun shone bravely; and a copse which had worn its firs all the year round seemed old and dowdy now beside the new green lace which the beeches had put on so prettily. Through copse and spinney marched Bear; down open slopes of gorse and heather, over rocky beds of streams, up steep banks of sandstone into the heather again; and so at last, tired and hungry, to the Hundred Acre Wood. For it was in the Hundred Acre Wood that Owl lived.

"And if anyone knows anything about anything," said Bear to himself, "it's Owl who knows something about something," he said, "or my name's not Winnie-the-Pooh," he said. "Which it is," he added. "So there you are."

Owl lived at The Chestnuts, an old-world residence of great charm, which was grander than anybody else's, or seemed so to Bear, because it had both a knocker and a bell-pull. Underneath the knocker there was a notice which said:

PLES RING IF AN RNSER IS REQIRD.

Underneath the bell-pull there was a notice which said:

PLEZ CNOKE IF AN RNSR IS NOT REQID.



These notices had been written by Christopher Robin, who was the only one in the forest who could spell; for Owl, wise though he was in many ways, able to read and write and spell his own name WOL, yet somehow went all to pieces over delicate words like MEASLES and BUTTEREDTOAST.

Winnie-the-Pooh read the two notices very carefully, first from left to right, and afterwards, in case he had missed some of it, from right to left. Then, to make quite sure, he knocked and pulled the knocker, and he pulled and knocked the bell-rope, and he called out in a very loud voice, "Owl! I require an answer! It's Bear speaking." And the door opened, and Owl looked out.

"Hallo, Pooh," he said. "How's things?"

"Terrible and Sad," said Pooh, "because Eeyore, who is a friend of mine, has lost his tail. And he's Moping about it. So could you very kindly tell me how to find it for him?"

"Well," said Owl, "the customary procedure in such cases is as follows."

"What does Crustimoney Proseedcake mean?" said Pooh. "For I am a Bear of Very Little Brain, and long words Bother me."

"It means the Thing to Do."

"As long as it means that, I don't mind," said Pooh humbly.

"The thing to do is as follows. First, Issue a Reward. Then——"

"Just a moment," said Pooh, holding up his paw. "What do we do to this—what you were saying? You sneezed just as you were going to tell me."

"I didn't sneeze."

"Yes, you did, Owl."

"Excuse me, Pooh, I didn't. You can't sneeze without knowing it."

"Well, you can't know it without something having been sneezed."

"What I said was, 'First Issue a Reward'."

"You're doing it again," said Pooh sadly.

"A Reward!" said Owl very loudly. "We write a notice to say that we will give a large something to anybody who finds Eeyore's tail."



"I see, I see," said Pooh, nodding his head. "Talking about large somethings," he went on dreamily, "I generally have a small something about now—about this time in the morning," and he looked wistfully at the cupboard in the corner of Owl's parlour; "just a mouthful of condensed milk or whatnot, with perhaps a lick of honey——"

"Well, then," said Owl, "we write out this notice, and we put it up all over the forest."

"A lick of honey," murmured Bear to himself, "or—or not, as the case may be." And he gave a deep sigh, and tried very hard to listen to what Owl was saying.

But Owl went on and on, using longer and longer words, until at last he came back to where he started, and he explained that the person to write out this notice was Christopher Robin.

"It was he who wrote the ones on my front door for me. Did you see them, Pooh?"

For some time now Pooh had been saying "Yes" and "No" in turn, with his eyes shut, to all that Owl was saying, and having said, "Yes, yes," last time, he said "No, not at all," now, without really knowing what Owl was talking about.

"Didn't you see them?" said Owl, a little surprised. "Come and look at them now."

So they went outside. And Pooh looked at the knocker and the notice below it, and he looked at the bell-rope and the notice below it, and the more he looked at the bell-rope, the more he felt that he had seen something like it, somewhere else, sometime before.

"Handsome bell-rope, isn't it?" said Owl.

Pooh nodded.

"It reminds me of something," he said, "but I can't think what. Where did you get it?"



"I just came across it in the Forest. It was hanging over a bush, and I thought at first somebody lived there, so I rang it, and nothing happened, and then I rang it again very loudly, and it came off in my hand, and as nobody seemed to want it, I took it home, and——"

"Owl," said Pooh solemnly, "you made a mistake. Somebody did want it."

"Who?"

"Eeyore. My dear friend Eeyore. He was—he was fond of it."

"Fond of it?"

"Attached to it," said Winnie-the-Pooh sadly.



So with these words he unhooked it, and carried it back to Eeyore; and when Christopher Robin had nailed it on in its right place again, Eeyore frisked about the forest, waving his tail so happily that Winnie-the-Pooh came over all funny, and had to hurry home for a little snack of something to sustain him. And, wiping his mouth half an hour afterwards, he sang to himself proudly:

Who found the Tail?
"I," said Pooh,
"At a quarter to two
(Only it was quarter to eleven really),
I found the Tail!"


CHAPTER V

IN WHICH PIGLET MEETS A HEFFALUMP

One day, when Christopher Robin and Winnie-the-Pooh and Piglet were all talking together, Christopher Robin finished the mouthful he was eating and said carelessly: "I saw a Heffalump to-day, Piglet."

"What was it doing?" asked Piglet.

"Just lumping along," said Christopher Robin. "I don't think it saw me."

"I saw one once," said Piglet. "At least, I think I did," he said. "Only perhaps it wasn't."

"So did I," said Pooh, wondering what a Heffalump was like.

"You don't often see them," said Christopher Robin carelessly.

"Not now," said Piglet.

"Not at this time of year," said Pooh.



Then they all talked about something else, until it was time for Pooh and Piglet to go home together. At first as they stumped along the path which edged the Hundred Acre Wood, they didn't say much to each other; but when they came to the stream and had helped each other across the stepping stones, and were able to walk side by side again over the heather, they began to talk in a friendly way about this and that, and Piglet said, "If you see what I mean, Pooh," and Pooh said, "It's just what I think myself, Piglet," and Piglet said, "But, on the other hand, Pooh, we must remember," and Pooh said, "Quite true, Piglet, although I had forgotten it for the moment." And then, just as they came to the Six Pine Trees, Pooh looked round to see that nobody else was listening, and said in a very solemn voice:

"Piglet, I have decided something."

"What have you decided, Pooh?"

"I have decided to catch a Heffalump."

Pooh nodded his head several times as he said this, and waited for Piglet to say "How?" or "Pooh, you couldn't!" or something helpful of that sort, but Piglet said nothing. The fact was Piglet was wishing that he had thought about it first.

"I shall do it," said Pooh, after waiting a little longer, "by means of a trap. And it must be a Cunning Trap, so you will have to help me, Piglet."

"Pooh," said Piglet, feeling quite happy again now, "I will." And then he said, "How shall we do it?" and Pooh said, "That's just it. How?" And then they sat down together to think it out.

Pooh's first idea was that they should dig a Very Deep Pit, and then the Heffalump would come along and fall into the Pit, and——

"Why?" said Piglet.

"Why what?" said Pooh.

"Why would he fall in?"

Pooh rubbed his nose with his paw, and said that the Heffalump might be walking along, humming a little song, and looking up at the sky, wondering if it would rain, and so he wouldn't see the Very Deep Pit until he was half-way down, when it would be too late.

Piglet said that this was a very good Trap, but supposing it were raining already?

Pooh rubbed his nose again, and said that he hadn't thought of that. And then he brightened up, and said that, if it were raining already, the Heffalump would be looking at the sky wondering if it would clear up, and so he wouldn't see the Very Deep Pit until he was half-way down.... When it would be too late.

Piglet said that, now that this point had been explained, he thought it was a Cunning Trap.

Pooh was very proud when he heard this, and he felt that the Heffalump was as good as caught already, but there was just one other thing which had to be thought about, and it was this. Where should they dig the Very Deep Pit?

Piglet said that the best place would be somewhere where a Heffalump was, just before he fell into it, only about a foot farther on.

"But then he would see us digging it," said Pooh.

"Not if he was looking at the sky."

"He would Suspect," said Pooh, "if he happened to look down." He thought for a long time and then added sadly, "It isn't as easy as I thought. I suppose that's why Heffalumps hardly ever get caught."

"That must be it," said Piglet.

They sighed and got up; and when they had taken a few gorse prickles out of themselves they sat down again; and all the time Pooh was saying to himself, "If only I could think of something!" For he felt sure that a Very Clever Brain could catch a Heffalump if only he knew the right way to go about it.

"Suppose," he said to Piglet, "you wanted to catch me, how would you do it?"

"Well," said Piglet, "I should do it like this. I should make a Trap, and I should put a Jar of Honey in the Trap, and you would smell it, and you would go in after it, and——"

"And I would go in after it," said Pooh excitedly, "only very carefully so as not to hurt myself, and I would get to the Jar of Honey, and I should lick round the edges first of all, pretending that there wasn't any more, you know, and then I should walk away and think about it a little, and then I should come back and start licking in the middle of the jar, and then——"

"Yes, well never mind about that. There you would be, and there I should catch you. Now the first thing to think of is, What do Heffalumps like? I should think acorns, shouldn't you? We'll get a lot of——I say, wake up, Pooh!"

Pooh, who had gone into a happy dream, woke up with a start, and said that Honey was a much more trappy thing than Haycorns. Piglet didn't think so; and they were just going to argue about it, when Piglet remembered that, if they put acorns in the Trap, he would have to find the acorns, but if they put honey, then Pooh would have to give up some of his own honey, so he said, "All right, honey then," just as Pooh remembered it too, and was going to say, "All right, haycorns."

"Honey," said Piglet to himself in a thoughtful way, as if it were now settled. "I'll dig the pit, while you go and get the honey."

"Very well," said Pooh, and he stumped off.



As soon as he got home, he went to the larder; and he stood on a chair, and took down a very large jar of honey from the top shelf. It had HUNNY written on it, but, just to make sure, he took off the paper cover and looked at it, and it looked just like honey. "But you never can tell," said Pooh. "I remember my uncle saying once that he had seen cheese just this colour." So he put his tongue in, and took a large lick. "Yes," he said, "it is. No doubt about that. And honey, I should say, right down to the bottom of the jar. Unless, of course," he said, "somebody put cheese in at the bottom just for a joke. Perhaps I had better go a little further ... just in case ... in case Heffalumps don't like cheese ... same as me.... Ah!" And he gave a deep sigh. "I was right. It is honey, right the way down."



Having made certain of this, he took the jar back to Piglet, and Piglet looked up from the bottom of his Very Deep Pit, and said, "Got it?" and Pooh said, "Yes, but it isn't quite a full jar," and he threw it down to Piglet, and Piglet said, "No, it isn't! Is that all you've got left?" and Pooh said "Yes." Because it was. So Piglet put the jar at the bottom of the Pit, and climbed out, and they went off home together.



"Well, good night, Pooh," said Piglet, when they had got to Pooh's house. "And we meet at six o'clock to-morrow morning by the Pine Trees, and see how many Heffalumps we've got in our Trap."

"Six o'clock, Piglet. And have you got any string?"

"No. Why do you want string?"

"To lead them home with."

"Oh! ... I think Heffalumps come if you whistle."

"Some do and some don't. You never can tell with Heffalumps. Well, good night!"

"Good night!"

And off Piglet trotted to his house TRESPASSERS W, while Pooh made his preparations for bed.

Some hours later, just as the night was beginning to steal away, Pooh woke up suddenly with a sinking feeling. He had had that sinking feeling before, and he knew what it meant. He was hungry. So he went to the larder, and he stood on a chair and reached up to the top shelf, and found—nothing.

"That's funny," he thought. "I know I had a jar of honey there. A full jar, full of honey right up to the top, and it had HUNNY written on it, so that I should know it was honey. That's very funny." And then he began to wander up and down, wondering where it was and murmuring a murmur to himself. Like this:

It's very, very funny,
'Cos I know I had some honey;
'Cos it had a label on,
Saying HUNNY.
A goloptious full-up pot too,
And I don't know where it's got to,
No, I don't know where it's gone—
Well, it's funny.

He had murmured this to himself three times in a singing sort of way, when suddenly he remembered. He had put it into the Cunning Trap to catch the Heffalump.

"Bother!" said Pooh. "It all comes of trying to be kind to Heffalumps." And he got back into bed.

But he couldn't sleep. The more he tried to sleep, the more he couldn't. He tried Counting Sheep, which is sometimes a good way of getting to sleep, and, as that was no good, he tried counting Heffalumps. And that was worse. Because every Heffalump that he counted was making straight for a pot of Pooh's honey, and eating it all. For some minutes he lay there miserably, but when the five hundred and eighty-seventh Heffalump was licking its jaws, and saying to itself, "Very good honey this, I don't know when I've tasted better," Pooh could bear it no longer. He jumped out of bed, he ran out of the house, and he ran straight to the Six Pine Trees.



The Sun was still in bed, but there was a lightness in the sky over the Hundred Acre Wood which seemed to show that it was waking up and would soon be kicking off the clothes. In the half-light the Pine Trees looked cold and lonely, and the Very Deep Pit seemed deeper than it was, and Pooh's jar of honey at the bottom was something mysterious, a shape and no more. But as he got nearer to it his nose told him that it was indeed honey, and his tongue came out and began to polish up his mouth, ready for it.



"Bother!" said Pooh, as he got his nose inside the jar. "A Heffalump has been eating it!" And then he thought a little and said, "Oh, no, I did. I forgot."

Indeed, he had eaten most of it. But there was a little left at the very bottom of the jar, and he pushed his head right in, and began to lick....



By and by Piglet woke up. As soon as he woke he said to himself, "Oh!" Then he said bravely, "Yes," and then, still more bravely, "Quite so." But he didn't feel very brave, for the word which was really jiggeting about in his brain was "Heffalumps."

What was a Heffalump like?

Was it Fierce?

Did it come when you whistled? And how did it come?

Was it Fond of Pigs at all?

If it was Fond of Pigs, did it make any difference what sort of Pig?

Supposing it was Fierce with Pigs, would it make any difference if the Pig had a grandfather called TRESPASSERS WILLIAM?



He didn't know the answer to any of these questions ... and he was going to see his first Heffalump in about an hour from now!

Of course Pooh would be with him, and it was much more Friendly with two. But suppose Heffalumps were Very Fierce with Pigs and Bears? Wouldn't it be better to pretend that he had a headache, and couldn't go up to the Six Pine Trees this morning? But then suppose that it was a very fine day, and there was no Heffalump in the trap, here he would be, in bed all the morning, simply wasting his time for nothing. What should he do?

And then he had a Clever Idea. He would go up very quietly to the Six Pine Trees now, peep very cautiously into the Trap, and see if there was a Heffalump there. And if there was, he would go back to bed, and if there wasn't, he wouldn't.

So off he went. At first he thought that there wouldn't be a Heffalump in the Trap, and then he thought that there would, and as he got nearer he was sure that there would, because he could hear it heffalumping about it like anything.

"Oh, dear, oh, dear, oh, dear!" said Piglet to himself. And he wanted to run away. But somehow, having got so near, he felt that he must just see what a Heffalump was like. So he crept to the side of the Trap and looked in....



And all the time Winnie-the-Pooh had been trying to get the honey-jar off his head. The more he shook it, the more tightly it stuck.

"Bother!" he said, inside the jar, and "Oh, help!" and, mostly, "Ow!" And he tried bumping it against things, but as he couldn't see what he was bumping it against, it didn't help him; and he tried to climb out of the Trap, but as he could see nothing but jar, and not much of that, he couldn't find his way. So at last he lifted up his head, jar and all, and made a loud, roaring noise of Sadness and Despair ... and it was at that moment that Piglet looked down.



"Help, help!" cried Piglet, "a Heffalump, a Horrible Heffalump!" and he scampered off as hard as he could, still crying out, "Help, help, a Herrible Hoffalump! Hoff, Hoff, a Hellible Horralump! Holl, Holl, a Hoffable Hellerump!" And he didn't stop crying and scampering until he got to Christopher Robin's house.

"Whatever's the matter, Piglet?" said Christopher Robin, who was just getting up.

"Heff," said Piglet, breathing so hard that he could hardly speak, "a Heff—a Heff—a Heffalump."

"Where?"

"Up there," said Piglet, waving his paw.

"What did it look like?"

"Like—like——It had the biggest head you ever saw, Christopher Robin. A great enormous thing, like—like nothing. A huge big—well, like a—I don't know—like an enormous big nothing. Like a jar."

"Well," said Christopher Robin, putting on his shoes, "I shall go and look at it. Come on."



Piglet wasn't afraid if he had Christopher Robin with him, so off they went....

"I can hear it, can't you?" said Piglet anxiously, as they got near.

"I can hear something," said Christopher Robin.

It was Pooh bumping his head against a tree-root he had found.

"There!" said Piglet. "Isn't it awful?" And he held on tight to Christopher Robin's hand.

Suddenly Christopher Robin began to laugh ... and he laughed ... and he laughed ... and he laughed. And while he was still laughing—Crash went the Heffalump's head against the tree-root, Smash went the jar, and out came Pooh's head again....



Then Piglet saw what a Foolish Piglet he had been, and he was so ashamed of himself that he ran straight off home and went to bed with a headache. But Christopher Robin and Pooh went home to breakfast together.

"Oh, Bear!" said Christopher Robin. "How I do love you!"

"So do I," said Pooh.


CHAPTER VI

IN WHICH EEYORE HAS A BIRTHDAY AND GETS TWO PRESENTS

Eeyore, the old grey Donkey, stood by the side of the stream, and looked at himself in the water.

"Pathetic," he said. "That's what it is. Pathetic."

He turned and walked slowly down the stream for twenty yards, splashed across it, and walked slowly back on the other side. Then he looked at himself in the water again.

"As I thought," he said. "No better from this side. But nobody minds. Nobody cares. Pathetic, that's what it is."



There was a crackling noise in the bracken behind him, and out came Pooh.

"Good morning, Eeyore," said Pooh.

"Good morning, Pooh Bear," said Eeyore gloomily. "If it is a good morning," he said. "Which I doubt," said he.

"Why, what's the matter?"

"Nothing, Pooh Bear, nothing. We can't all, and some of us don't. That's all there is to it."

"Can't all what?" said Pooh, rubbing his nose.

"Gaiety. Song-and-dance. Here we go round the mulberry bush."

"Oh!" said Pooh. He thought for a long time, and then asked, "What mulberry bush is that?"

"Bon-hommy," went on Eeyore gloomily. "French word meaning bonhommy," he explained. "I'm not complaining, but There It Is."



Pooh sat down on a large stone, and tried to think this out. It sounded to him like a riddle, and he was never much good at riddles, being a Bear of Very Little Brain. So he sang Cottleston Pie instead:

Cottleston, Cottleston, Cottleston Pie,
A fly can't bird, but a bird can fly.
Ask me a riddle and I reply:
"Cottleston, Cottleston, Cottleston Pie."

That was the first verse. When he had finished it, Eeyore didn't actually say that he didn't like it, so Pooh very kindly sang the second verse to him:

Cottleston, Cottleston, Cottleston Pie,
A fish can't whistle and neither can I.
Ask me a riddle and I reply:
"Cottleston, Cottleston, Cottleston Pie."

Eeyore still said nothing at all, so Pooh hummed the third verse quietly to himself:

Cottleston, Cottleston, Cottleston Pie,
Why does a chicken, I don't know why.
Ask me a riddle and I reply:
"Cottleston, Cottleston, Cottleston Pie."


"That's right," said Eeyore. "Sing. Umty-tiddly, umty-too. Here we go gathering Nuts and May. Enjoy yourself."

"I am," said Pooh.

"Some can," said Eeyore.

"Why, what's the matter?"

"Is anything the matter?"

"You seem so sad, Eeyore."

"Sad? Why should I be sad? It's my birthday. The happiest day of the year."

"Your birthday?" said Pooh in great surprise.

"Of course it is. Can't you see? Look at all the presents I have had." He waved a foot from side to side. "Look at the birthday cake. Candles and pink sugar."

Pooh looked—first to the right and then to the left.

"Presents?" said Pooh. "Birthday cake?" said Pooh. "Where?"

"Can't you see them?"

"No," said Pooh.

"Neither can I," said Eeyore. "Joke," he explained. "Ha ha!"

Pooh scratched his head, being a little puzzled by all this.

"But is it really your birthday?" he asked.

"It is."

"Oh! Well, Many happy returns of the day, Eeyore."

"And many happy returns to you, Pooh Bear."

"But it isn't my birthday."

"No, it's mine."

"But you said 'Many happy returns'——"

"Well, why not? You don't always want to be miserable on my birthday, do you?"

"Oh, I see," said Pooh.

"It's bad enough," said Eeyore, almost breaking down, "being miserable myself, what with no presents and no cake and no candles, and no proper notice taken of me at all, but if everybody else is going to be miserable too——"

This was too much for Pooh. "Stay there!" he called to Eeyore, as he turned and hurried back home as quick as he could; for he felt that he must get poor Eeyore a present of some sort at once, and he could always think of a proper one afterwards.



Outside his house he found Piglet, jumping up and down trying to reach the knocker.

"Hallo, Piglet," he said.

"Hallo, Pooh," said Piglet.

"What are you trying to do?"

"I was trying to reach the knocker," said Piglet. "I just came round——"

"Let me do it for you," said Pooh kindly. So he reached up and knocked at the door. "I have just seen Eeyore," he began, "and poor Eeyore is in a Very Sad Condition, because it's his birthday, and nobody has taken any notice of it, and he's very Gloomy—you know what Eeyore is—and there he was, and——What a long time whoever lives here is answering this door." And he knocked again.

"But Pooh," said Piglet, "it's your own house!"

"Oh!" said Pooh. "So it is," he said. "Well, let's go in."

So in they went. The first thing Pooh did was to go to the cupboard to see if he had quite a small jar of honey left; and he had, so he took it down.



"I'm giving this to Eeyore," he explained, "as a present. What are you going to give?"

"Couldn't I give it too?" said Piglet. "From both of us?"

"No," said Pooh. "That would not be a good plan."

"All right, then, I'll give him a balloon. I've got one left from my party. I'll go and get it now, shall I?"

"That, Piglet, is a very good idea. It is just what Eeyore wants to cheer him up. Nobody can be uncheered with a balloon."

So off Piglet trotted; and in the other direction went Pooh, with his jar of honey.



It was a warm day, and he had a long way to go. He hadn't gone more than half-way when a sort of funny feeling began to creep all over him. It began at the tip of his nose and trickled all through him and out at the soles of his feet. It was just as if somebody inside him were saying, "Now then, Pooh, time for a little something."

"Dear, dear," said Pooh, "I didn't know it was as late as that." So he sat down and took the top off his jar of honey. "Lucky I brought this with me," he thought. "Many a bear going out on a warm day like this would never have thought of bringing a little something with him." And he began to eat.



"Now let me see," he thought, as he took his last lick of the inside of the jar, "where was I going? Ah, yes, Eeyore." He got up slowly.

And then, suddenly, he remembered. He had eaten Eeyore's birthday present!

"Bother!" said Pooh. "What shall I do? I must give him something."



For a little while he couldn't think of anything. Then he thought: "Well, it's a very nice pot, even if there's no honey in it, and if I washed it clean, and got somebody to write 'A Happy Birthday' on it, Eeyore could keep things in it, which might be Useful." So, as he was just passing the Hundred Acre Wood, he went inside to call on Owl, who lived there.

"Good morning, Owl," he said.

"Good morning, Pooh," said Owl.

"Many happy returns of Eeyore's birthday," said Pooh.

"Oh, is that what it is?"

"What are you giving him, Owl?"

"What are you giving him, Pooh?"

"I'm giving him a Useful Pot to Keep Things In, and I wanted to ask you——"

"Is this it?" said Owl, taking it out of Pooh's paw.

"Yes, and I wanted to ask you——"

"Somebody has been keeping honey in it," said Owl.

"You can keep anything in it," said Pooh earnestly. "It's Very Useful like that. And I wanted to ask you——"

"You ought to write 'A Happy Birthday' on it."

"That was what I wanted to ask you," said Pooh. "Because my spelling is Wobbly. It's good spelling but it Wobbles, and the letters get in the wrong places. Would you write 'A Happy Birthday' on it for me?"

"It's a nice pot," said Owl, looking at it all round. "Couldn't I give it too? From both of us?"

"No," said Pooh. "That would not be a good plan. Now I'll just wash it first, and then you can write on it."

Well, he washed the pot out, and dried it, while Owl licked the end of his pencil, and wondered how to spell "birthday."

"Can you read, Pooh?" he asked a little anxiously. "There's a notice about knocking and ringing outside my door, which Christopher Robin wrote. Could you read it?"

"Christopher Robin told me what it said, and then I could."

"Well, I'll tell you what this says, and then you'll be able to."

So Owl wrote ... and this is what he wrote:



HIPY PAPY BTHUTHDTH THUTHDA BTHUTHDY.

Pooh looked on admiringly.

"I'm just saying 'A Happy Birthday'," said Owl carelessly.

"It's a nice long one," said Pooh, very much impressed by it.

"Well, actually, of course, I'm saying 'A Very Happy Birthday with love from Pooh.' Naturally it takes a good deal of pencil to say a long thing like that."

"Oh, I see," said Pooh.

While all this was happening, Piglet had gone back to his own house to get Eeyore's balloon. He held it very tightly against himself, so that it shouldn't blow away, and he ran as fast as he could so as to get to Eeyore before Pooh did; for he thought that he would like to be the first one to give a present, just as if he had thought of it without being told by anybody. And running along, and thinking how pleased Eeyore would be, he didn't look where he was going ... and suddenly he put his foot in a rabbit hole, and fell down flat on his face.



BANG!!!???***!!!

Piglet lay there, wondering what had happened. At first he thought that the whole world had blown up; and then he thought that perhaps only the Forest part of it had; and then he thought that perhaps only he had, and he was now alone in the moon or somewhere, and would never see Christopher Robin or Pooh or Eeyore again. And then he thought, "Well, even if I'm in the moon, I needn't be face downwards all the time," so he got cautiously up and looked about him.

He was still in the Forest!

"Well, that's funny," he thought. "I wonder what that bang was. I couldn't have made such a noise just falling down. And where's my balloon? And what's that small piece of damp rag doing?"

It was the balloon!

"Oh, dear!" said Piglet "Oh, dear, oh, dearie, dearie, dear! Well, it's too late now. I can't go back, and I haven't another balloon, and perhaps Eeyore doesn't like balloons so very much."

So he trotted on, rather sadly now, and down he came to the side of the stream where Eeyore was, and called out to him.

"Good morning, Eeyore," shouted Piglet.

"Good morning, Little Piglet," said Eeyore. "If it is a good morning," he said. "Which I doubt," said he. "Not that it matters," he said.

"Many happy returns of the day," said Piglet, having now got closer.

Eeyore stopped looking at himself in the stream, and turned to stare at Piglet.

"Just say that again," he said.

"Many hap——"

"Wait a moment."

Balancing on three legs, he began to bring his fourth leg very cautiously up to his ear. "I did this yesterday," he explained, as he fell down for the third time. "It's quite easy. It's so as I can hear better.... There, that's done it! Now then, what were you saying?" He pushed his ear forward with his hoof.



"Many happy returns of the day," said Piglet again.

"Meaning me?"

"Of course, Eeyore."

"My birthday?"

"Yes."

"Me having a real birthday?"

"Yes, Eeyore, and I've brought you a present."

Eeyore took down his right hoof from his right ear, turned round, and with great difficulty put up his left hoof.

"I must have that in the other ear," he said. "Now then."

"A present," said Piglet very loudly.

"Meaning me again?"

"Yes."

"My birthday still?"

"Of course, Eeyore."

"Me going on having a real birthday?"

"Yes, Eeyore, and I brought you a balloon."



"Balloon?" said Eeyore. "You did say balloon? One of those big coloured things you blow up? Gaiety, song-and-dance, here we are and there we are?"

"Yes, but I'm afraid—I'm very sorry, Eeyore—but when I was running along to bring it you, I fell down."

"Dear, dear, how unlucky! You ran too fast, I expect. You didn't hurt yourself, Little Piglet?"

"No, but I—I—oh, Eeyore, I burst the balloon!"

There was a very long silence.

"My balloon?" said Eeyore at last.

Piglet nodded.

"My birthday balloon?"

"Yes, Eeyore," said Piglet sniffing a little. "Here it is. With—with many happy returns of the day." And he gave Eeyore the small piece of damp rag.

"Is this it?" said Eeyore, a little surprised.

Piglet nodded.

"My present?"

Piglet nodded again.

"The balloon?"

"Yes."

"Thank you, Piglet," said Eeyore. "You don't mind my asking," he went on, "but what colour was this balloon when it—when it was a balloon?"

"Red."

"I just wondered.... Red," he murmured to himself. "My favourite colour.... How big was it?"

"About as big as me."

"I just wondered.... About as big as Piglet," he said to himself sadly. "My favourite size. Well, well."

Piglet felt very miserable, and didn't know what to say. He was still opening his mouth to begin something, and then deciding that it wasn't any good saying that, when he heard a shout from the other side of the river, and there was Pooh.

"Many happy returns of the day," called out Pooh, forgetting that he had said it already.

"Thank you, Pooh, I'm having them," said Eeyore gloomily.

"I've brought you a little present," said Pooh excitedly.

"I've had it," said Eeyore.

Pooh had now splashed across the stream to Eeyore, and Piglet was sitting a little way off, his head in his paws, snuffling to himself.

"It's a Useful Pot," said Pooh. "Here it is. And it's got 'A Very Happy Birthday with love from Pooh' written on it. That's what all that writing is. And it's for putting things in. There!"

When Eeyore saw the pot, he became quite excited.

"Why!" he said. "I believe my Balloon will just go into that Pot!"

"Oh, no, Eeyore," said Pooh. "Balloons are much too big to go into Pots. What you do with a balloon is, you hold the ballon——"

"Not mine," said Eeyore proudly. "Look, Piglet!" And as Piglet looked sorrowfully round, Eeyore picked the balloon up with his teeth, and placed it carefully in the pot; picked it out and put it on the ground; and then picked it up again and put it carefully back.

"So it does!" said Pooh. "It goes in!"

"So it does!" said Piglet. "And it comes out!"

"Doesn't it?" said Eeyore. "It goes in and out like anything."

"I'm very glad," said Pooh happily, "that I thought of giving you a Useful Pot to put things in."

"I'm very glad," said Piglet happily, "that I thought of giving you Something to put in a Useful Pot."

But Eeyore wasn't listening. He was taking the balloon out, and putting it back again, as happy as could be....



"And didn't I give him anything?" asked Christopher Robin sadly.

"Of course you did," I said. "You gave him—don't you remember—a little—a little——"

"I gave him a box of paints to paint things with."

"That was it."

"Why didn't I give it to him in the morning?"

"You were so busy getting his party ready for him. He had a cake with icing on the top, and three candles, and his name in pink sugar, and——"

"Yes, I remember," said Christopher Robin.


CHAPTER VII

IN WHICH KANGA AND BABY ROO COME TO THE FOREST, AND PIGLET HAS A BATH

Nobody seemed to know where they came from, but there they were in the Forest: Kanga and Baby Roo. When Pooh asked Christopher Robin, "How did they come here?" Christopher Robin said, "In the Usual Way, if you know what I mean, Pooh," and Pooh, who didn't, said "Oh!" Then he nodded his head twice and said, "In the Usual Way. Ah!" Then he went to call upon his friend Piglet to see what he thought about it. And at Piglet's house he found Rabbit. So they all talked about it together.



"What I don't like about it is this," said Rabbit. "Here are we—you, Pooh, and you, Piglet, and Me—and suddenly——"

"And Eeyore," said Pooh.

"And Eeyore—and then suddenly——"

"And Owl," said Pooh.

"And Owl—and then all of a sudden——"

"Oh, and Eeyore," said Pooh. "I was forgetting him."

"Here—we—are," said Rabbit very slowly and carefully, "all—of—us, and then, suddenly, we wake up one morning and, what do we find? We find a Strange Animal among us. An animal of whom we have never even heard before! An animal who carries her family about with her in her pocket! Suppose I carried my family about with me in my pocket, how many pockets should I want?"

"Sixteen," said Piglet.

"Seventeen, isn't it?" said Rabbit. "And one more for a handkerchief—that's eighteen. Eighteen pockets in one suit! I haven't time."

There was a long and thoughtful silence ... and then Pooh, who had been frowning very hard for some minutes, said: "I make it fifteen."

"What?" said Rabbit.

"Fifteen."

"Fifteen what?"

"Your family."

"What about them?"

Pooh rubbed his nose and said that he thought Rabbit had been talking about his family.

"Did I?" said Rabbit carelessly.

"Yes, you said——"

"Never mind, Pooh," said Piglet impatiently.

"The question is, What are we to do about Kanga?"

"Oh, I see," said Pooh.

"The best way," said Rabbit, "would be this. The best way would be to steal Baby Roo and hide him, and then when Kanga says, 'Where's Baby Roo?' we say, 'Aha!'"

"Aha!" said Pooh, practising. "Aha! Aha! ... Of course," he went on, "we could say 'Aha!' even if we hadn't stolen Baby Roo."

"Pooh," said Rabbit kindly, "you haven't any brain."

"I know," said Pooh humbly.

"We say 'Aha!' so that Kanga knows that we know where Baby Roo is. 'Aha!' means 'We'll tell you where Baby Roo is, if you promise to go away from the Forest and never come back.' Now don't talk while I think."

Pooh went into a corner and tried saying 'Aha!' in that sort of voice. Sometimes it seemed to him that it did mean what Rabbit said, and sometimes it seemed to him that it didn't. "I suppose it's just practice," he thought. "I wonder if Kanga will have to practise too so as to understand it."

"There's just one thing," said Piglet, fidgeting a bit. "I was talking to Christopher Robin, and he said that a Kanga was Generally Regarded as One of the Fiercer Animals. I am not frightened of Fierce Animals in the ordinary way, but it is well known that, if One of the Fiercer Animals is Deprived of Its Young, it becomes as fierce as Two of the Fiercer Animals. In which case 'Aha!' is perhaps a foolish thing to say."

"Piglet," said Rabbit, taking out a pencil, and licking the end of it, "you haven't any pluck."

"It is hard to be brave," said Piglet, sniffing slightly, "when you're only a Very Small Animal."



Rabbit, who had begun to write very busily, looked up and said:

"It is because you are a very small animal that you will be Useful in the adventure before us."

Piglet was so excited at the idea of being Useful, that he forgot to be frightened any more, and when Rabbit went on to say that Kangas were only Fierce during the winter months, being at other times of an Affectionate Disposition, he could hardly sit still, he was so eager to begin being useful at once.

"What about me?" said Pooh sadly. "I suppose I shan't be useful?"

"Never mind, Pooh," said Piglet comfortingly. "Another time perhaps."

"Without Pooh," said Rabbit solemnly as he sharpened his pencil, "the adventure would be impossible."

"Oh!" said Piglet, and tried not to look disappointed. But Pooh went into a corner of the room and said proudly to himself, "Impossible without Me! That sort of Bear."

"Now listen all of you," said Rabbit when he had finished writing, and Pooh and Piglet sat listening very eagerly with their mouths open. This was what Rabbit read out:

PLAN TO CAPTURE BABY ROO

1.General Remarks. Kanga runs faster than any of Us, even Me.
2.More General Remarks. Kanga never takes her eye off Baby Roo, except when he's safely buttoned up in her pocket.
3.Therefore. If we are to capture Baby Roo, we must get a Long Start, because Kanga runs faster than any of Us, even Me. (See 1.)
4.A Thought. If Roo had jumped out of Kanga's pocket and Piglet had jumped in, Kanga wouldn't know the difference, because Piglet is a Very Small Animal.
5.Like Roo.
6.But Kanga would have to be looking the other way first, so as not to see Piglet jumping in.
7.See 2.
8.Another Thought. But if Pooh was talking to her very excitedly, she might look the other way for a moment.
9.And then I could run away with Roo.
10.Quickly.
11.And Kanga wouldn't discover the difference until Afterwards.


Well, Rabbit read this out proudly, and for a little while after he had read it nobody said anything. And then Piglet, who had been opening and shutting his mouth without making any noise, managed to say very huskily:

"And—Afterwards?"

"How do you mean?"

"When Kanga does Discover the Difference?"

"Then we all say 'Aha!'"

"All three of us?"

"Yes."

"Oh!"

"Why, what's the trouble, Piglet?"

"Nothing," said Piglet, "as long as we all three say it. As long as we all three say it," said Piglet, "I don't mind," he said, "but I shouldn't care to say 'Aha!' by myself. It wouldn't sound nearly so well. By the way," he said, "you are quite sure about what you said about the winter months?"

"The winter months?"

"Yes, only being Fierce in the Winter Months."

"Oh, yes, yes, that's all right. Well, Pooh? You see what you have to do?"

"No," said Pooh Bear. "Not yet," he said. "What do I do?"

"Well, you just have to talk very hard to Kanga so as she doesn't notice anything."

"Oh! What about?"

"Anything you like."

"You mean like telling her a little bit of poetry or something?"

"That's it," said Rabbit. "Splendid. Now come along."

So they all went out to look for Kanga.

Kanga and Roo were spending a quiet afternoon in a sandy part of the Forest. Baby Roo was practising very small jumps in the sand, and falling down mouse-holes and climbing out of them, and Kanga was fidgeting about and saying "Just one more jump, dear, and then we must go home." And at that moment who should come stumping up the hill but Pooh.



"Good afternoon, Kanga."

"Good afternoon, Pooh."

"Look at me jumping," squeaked Roo, and fell into another mouse-hole.

"Hallo, Roo, my little fellow!"

"We were just going home," said Kanga. "Good afternoon, Rabbit. Good afternoon, Piglet."

Rabbit and Piglet, who had now come up from the other side of the hill, said "Good afternoon," and "Hallo, Roo," and Roo asked them to look at him jumping, so they stayed and looked.

And Kanga looked too....

"Oh, Kanga," said Pooh, after Rabbit had winked at him twice, "I don't know if you are interested in Poetry at all?"

"Hardly at all," said Kanga.

"Oh!" said Pooh.

"Roo, dear, just one more jump and then we must go home."

There was a short silence while Roo fell down another mouse-hole.

"Go on," said Rabbit in a loud whisper behind his paw.

"Talking of Poetry," said Pooh, "I made up a little piece as I was coming along. It went like this. Er—now let me see——"

"Fancy!" said Kanga. "Now Roo, dear——"

"You'll like this piece of poetry," said Rabbit.

"You'll love it," said Piglet.

"You must listen very carefully," said Rabbit.

"So as not to miss any of it," said Piglet.

"Oh, yes," said Kanga, but she still looked at Baby Roo.

"How did it go, Pooh?" said Rabbit.

Pooh gave a little cough and began.

LINES WRITTEN BY A BEAR OF VERY LITTLE BRAIN
On Monday, when the sun is hot
I wonder to myself a lot:
"Now is it true, or is it not,
"That what is which and which is what?"
On Tuesday, when it hails and snows,
The feeling on me grows and grows
That hardly anybody knows
If those are these or these are those.
On Wednesday, when the sky is blue,
And I have nothing else to do,
I sometimes wonder if it's true
That who is what and what is who.
On Thursday, when it starts to freeze
And hoar-frost twinkles on the trees,
How very readily one sees
That these are whose—but whose are these?
On Friday——

"Yes, it is, isn't it?" said Kanga, not waiting to hear what happened on Friday. "Just one more jump, Roo, dear, and then we really must be going."



Rabbit gave Pooh a hurrying-up sort of nudge.

"Talking of Poetry," said Pooh quickly, "have you ever noticed that tree right over there?"

"Where?" said Kanga. "Now, Roo——"

"Right over there," said Pooh, pointing behind Kanga's back.

"No," said Kanga. "Now jump in, Roo, dear, and we'll go home."

"You ought to look at that tree right over there," said Rabbit. "Shall I lift you in, Roo?" And he picked up Roo in his paws.

"I can see a bird in it from here," said Pooh. "Or is it a fish?"

"You ought to see that bird from here," said Rabbit. "Unless it's a fish."

"It isn't a fish, it's a bird," said Piglet.

"So it is," said Rabbit.

"Is it a starling or a blackbird?" said Pooh.

"That's the whole question," said Rabbit. "Is it a blackbird or a starling?"

And then at last Kanga did turn her head to look. And the moment that her head was turned, Rabbit said in a loud voice "In you go, Roo!" and in jumped Piglet into Kanga's pocket, and off scampered Rabbit, with Roo in his paws, as fast as he could.

"Why, where's Rabbit?" said Kanga, turning round again. "Are you all right, Roo, dear?"

Piglet made a squeaky Roo-noise from the bottom of Kanga's pocket.

"Rabbit had to go away," said Pooh. "I think he thought of something he had to go and see about suddenly."

"And Piglet?"

"I think Piglet thought of something at the same time. Suddenly."



"Well, we must be getting home," said Kanga. "Good-bye, Pooh." And in three large jumps she was gone.

Pooh looked after her as she went.

"I wish I could jump like that," he thought. "Some can and some can't. That's how it is."

But there were moments when Piglet wished that Kanga couldn't. Often, when he had had a long walk home through the Forest, he had wished that he were a bird; but now he thought jerkily to himself at the bottom of Kanga's pocket,

this                              take

"If      is          shall      really    to

flying I      never              it."

And as he went up in the air he said, "Ooooooo!" and as he came down he said, "Ow!" And he was saying, "Ooooooo-ow, Ooooooo-ow, Ooooooo-ow" all the way to Kanga's house.

Of course as soon as Kanga unbuttoned her pocket, she saw what had happened. Just for a moment, she thought she was frightened, and then she knew she wasn't; for she felt quite sure that Christopher Robin would never let any harm happen to Roo. So she said to herself, "If they are having a joke with me, I will have a joke with them."



"Now then, Roo, dear," she said, as she took Piglet out of her pocket. "Bed-time."

"Aha!" said Piglet, as well as he could after his Terrifying Journey. But it wasn't a very good "Aha!" and Kanga didn't seem to understand what it meant.

"Bath first," said Kanga in a cheerful voice.

"Aha!" said Piglet again, looking round anxiously for the others. But the others weren't there. Rabbit was playing with Baby Roo in his own house, and feeling more fond of him every minute, and Pooh, who had decided to be a Kanga, was still at the sandy place on the top of the Forest, practising jumps.



"I am not at all sure," said Kanga in a thoughtful voice, "that it wouldn't be a good idea to have a cold bath this evening. Would you like that, Roo, dear?"

Piglet, who had never been really fond of baths, shuddered a long indignant shudder, and said in as brave a voice as he could:

"Kanga, I see that the time has come to spleak painly."

"Funny little Roo," said Kanga, as she got the bath-water ready.

"I am not Roo," said Piglet loudly. "I am Piglet!"

"Yes, dear, yes," said Kanga soothingly. "And imitating Piglet's voice too! So clever of him," she went on, as she took a large bar of yellow soap out of the cupboard. "What will he be doing next?"

"Can't you see?" shouted Piglet. "Haven't you got eyesLook at me!"

"I am looking, Roo, dear," said Kanga rather severely. "And you know what I told you yesterday about making faces. If you go on making faces like Piglet's, you will grow up to look like Piglet—and then think how sorry you will be. Now then, into the bath, and don't let me have to speak to you about it again."

Before he knew where he was, Piglet was in the bath, and Kanga was scrubbing him firmly with a large lathery flannel.



"Ow!" cried Piglet. "Let me out! I'm Piglet!"

"Don't open the mouth, dear, or the soap goes in," said Kanga. "There! What did I tell you?"

"You—you—you did it on purpose," spluttered Piglet, as soon as he could speak again ... and then accidentally had another mouthful of lathery flannel.

"That's right, dear, don't say anything," said Kanga, and in another minute Piglet was out of the bath, and being rubbed dry with a towel.

"Now," said Kanga, "there's your medicine, and then bed."

"W-w-what medicine?" said Piglet.

"To make you grow big and strong, dear. You don't want to grow up small and weak like Piglet, do you? Well, then!"

At that moment there was a knock at the door.

"Come in," said Kanga, and in came Christopher Robin.



"Christopher Robin, Christopher Robin!" cried Piglet. "Tell Kanga who I am! She keeps saying I'm Roo. I'm not Roo, am I?"

Christopher Robin looked at him very carefully, and shook his head.

"You can't be Roo," he said, "because I've just seen Roo playing in Rabbit's house."

"Well!" said Kanga. "Fancy that! Fancy my making a mistake like that."

"There you are!" said Piglet. "I told you so. I'm Piglet."

Christopher Robin shook his head again.

"Oh, you're not Piglet," he said. "I know Piglet well, and he's quite a different colour."

Piglet began to say that this was because he had just had a bath, and then he thought that perhaps he wouldn't say that, and as he opened his mouth to say something else, Kanga slipped the medicine spoon in, and then patted him on the back and told him that it was really quite a nice taste when you got used to it.

"I knew it wasn't Piglet," said Kanga. "I wonder who it can be."

"Perhaps it's some relation of Pooh's," said Christopher Robin. "What about a nephew or an uncle or something?"

Kanga agreed that this was probably what it was, and said that they would have to call it by some name.

"I shall call it Pootel," said Christopher Robin. "Henry Pootel for short."

And just when it was decided, Henry Pootel wriggled out of Kanga's arms and jumped to the ground. To his great joy Christopher Robin had left the door open. Never had Henry Pootel Piglet run so fast as he ran then, and he didn't stop running until he had got quite close to his house. But when he was a hundred yards away he stopped running, and rolled the rest of the way home, so as to get his own nice comfortable colour again....



So Kanga and Roo stayed in the Forest. And every Tuesday Roo spent the day with his great friend Rabbit, and every Tuesday Kanga spent the day with her great friend Pooh, teaching him to jump, and every Tuesday Piglet spent the day with his great friend Christopher Robin. So they were all happy again.


CHAPTER VIII

IN WHICH CHRISTOPHER ROBIN LEADS AN EXPOTITION TO THE NORTH POLE

One fine day Pooh had stumped up to the top of the Forest to see if his friend Christopher Robin was interested in Bears at all. At breakfast that morning (a simple meal of marmalade spread lightly over a honeycomb or two) he had suddenly thought of a new song. It began like this:

"Sing Ho! for the life of a Bear."

When he had got as far as this, he scratched his head, and thought to himself "That's a very good start for a song, but what about the second line?" He tried singing "Ho," two or three times, but it didn't seem to help. "Perhaps it would be better," he thought, "if I sang Hi for the life of a Bear." So he sang it ... but it wasn't. "Very well, then," he said, "I shall sing that first line twice, and perhaps if I sing it very quickly, I shall find myself singing the third and fourth lines before I have time to think of them, and that will be a Good Song. Now then:"

Sing Ho! for the life of a Bear!
Sing Ho! for the life of a Bear!
I don't much mind if it rains or snows,
'Cos I've got a lot of honey on my nice new nose,
I don't much care if it snows or thaws,
'Cos I've got a lot of honey on my nice clean paws!
Sing Ho! for a Bear!
Sing Ho! for a Pooh!
And I'll have a little something in an hour or two!

He was so pleased with this song that he sang it all the way to the top of the Forest, "and if I go on singing it much longer," he thought, "it will be time for the little something, and then the last line won't be true." So he turned it into a hum instead.

Christopher Robin was sitting outside his door, putting on his Big Boots. As soon as he saw the Big Boots, Pooh knew that an Adventure was going to happen, and he brushed the honey off his nose with the back of his paw, and spruced himself up as well as he could, so as to look Ready for Anything.

"Good-morning, Christopher Robin," he called out.

"Hallo, Pooh Bear. I can't get this boot on."

"That's bad," said Pooh.

"Do you think you could very kindly lean against me, 'cos I keep pulling so hard that I fall over backwards."



Pooh sat down, dug his feet into the ground, and pushed hard against Christopher Robin's back, and Christopher Robin pushed hard against his, and pulled and pulled at his boot until he had got it on.

"And that's that," said Pooh. "What do we do next?"

"We are all going on an Expedition," said Christopher Robin, as he got up and brushed himself. "Thank you, Pooh."

"Going on an Expotition?" said Pooh eagerly. "I don't think I've ever been on one of those. Where are we going to on this Expotition?"

"Expedition, silly old Bear. It's got an 'x' in it."

"Oh!" said Pooh. "I know." But he didn't really.

"We're going to discover the North Pole."

"Oh!" said Pooh again. "What is the North Pole?" he asked.

"It's just a thing you discover," said Christopher Robin carelessly, not being quite sure himself.

"Oh! I see," said Pooh. "Are bears any good at discovering it?"

"Of course they are. And Rabbit and Kanga and all of you. It's an Expedition. That's what an Expedition means. A long line of everybody. You'd better tell the others to get ready, while I see if my gun's all right. And we must all bring Provisions."

"Bring what?"

"Things to eat."

"Oh!" said Pooh happily. "I thought you said Provisions. I'll go and tell them." And he stumped off.

The first person he met was Rabbit.



"Hallo, Rabbit," he said, "is that you?"

"Let's pretend it isn't," said Rabbit, "and see what happens."

"I've got a message for you."

"I'll give it to him."

"We're all going on an Expotition with Christopher Robin!"

"What is it when we're on it?"

"A sort of boat, I think," said Pooh.

"Oh! that sort."

"Yes. And we're going to discover a Pole or something. Or was it a Mole? Anyhow we're going to discover it."

"We are, are we?" said Rabbit.

"Yes. And we've got to bring Pro—things to eat with us. In case we want to eat them. Now I'm going down to Piglet's. Tell Kanga, will you?"

He left Rabbit and hurried down to Piglet's house. The Piglet was sitting on the ground at the door of his house blowing happily at a dandelion, and wondering whether it would be this year, next year, sometime or never. He had just discovered that it would be never, and was trying to remember what "it" was, and hoping it wasn't anything nice, when Pooh came up.



"Oh! Piglet," said Pooh excitedly, "we're going on an Expotition, all of us, with things to eat. To discover something."

"To discover what?" said Piglet anxiously.

"Oh! just something."

"Nothing fierce?"

"Christopher Robin didn't say anything about fierce. He just said it had an 'x'."

"It isn't their necks I mind," said Piglet earnestly. "It's their teeth. But if Christopher Robin is coming I don't mind anything."

In a little while they were all ready at the top of the Forest, and the Expotition started. First came Christopher Robin and Rabbit, then Piglet and Pooh; then Kanga, with Roo in her pocket, and Owl; then Eeyore; and, at the end, in a long line, all Rabbit's friends-and-relations.



"I didn't ask them," explained Rabbit carelessly. "They just came. They always do. They can march at the end, after Eeyore."

"What I say," said Eeyore, "is that it's unsettling. I didn't want to come on this Expo—what Pooh said. I only came to oblige. But here I am; and if I am the end of the Expo—what we're talking about—then let me be the end. But if, every time I want to sit down for a little rest, I have to brush away half a dozen of Rabbit's smaller friends-and-relations first, then this isn't an Expo—whatever it is—at all, it's simply a Confused Noise. That's what I say."



"I see what Eeyore means," said Owl. "If you ask me——"

"I'm not asking anybody," said Eeyore. "I'm just telling everybody. We can look for the North Pole, or we can play 'Here we go gathering Nuts and May' with the end part of an ant's nest. It's all the same to me."

There was a shout from the top of the line.

"Come on!" called Christopher Robin.

"Come on!" called Pooh and Piglet

"Come on!" called Owl.

"We're starting," said Rabbit. "I must go." And he hurried off to the front of the Expotition with Christopher Robin.

"All right," said Eeyore. "We're going. Only Don't Blame Me."

So off they all went to discover the Pole. And as they walked, they chattered to each other of this and that, all except Pooh, who was making up a song.

"This is the first verse," he said to Piglet, when he was ready with it.

"First verse of what?"

"My song."

"What song?"

"This one."

"Which one?"

"Well, if you listen, Piglet, you'll hear it."

"How do you know I'm not listening?"

Pooh couldn't answer that one, so he began to sing.

They all went off to discover the Pole,
Owl and Piglet and Rabbit and all;
It's a Thing you Discover, as I've been tole
By Owl and Piglet and Rabbit and all.
Eeyore, Christopher Robin and Pooh
And Rabbit's relations all went too—
And where the Pole was none of them knew....
Sing Hey! for Owl and Rabbit and all!

"Hush!" said Christopher Robin turning round to Pooh, "we're just coming to a Dangerous Place."



"Hush!" said Pooh turning round quickly to Piglet.

"Hush!" said Piglet to Kanga.

"Hush!" said Kanga to Owl, while Roo said "Hush!" several times to himself very quietly.

"Hush!" said Owl to Eeyore.

"Hush!" said Eeyore in a terrible voice to all Rabbit's friends-and-relations, and "Hush!" they said hastily to each other all down the line, until it got to the last one of all. And the last and smallest friend-and-relation was so upset to find that the whole Expotition was saying "Hush!" to him, that he buried himself head downwards in a crack in the ground, and stayed there for two days until the danger was over, and then went home in a great hurry, and lived quietly with his Aunt ever-afterwards. His name was Alexander Beetle.



They had come to a stream which twisted and tumbled between high rocky banks, and Christopher Robin saw at once how dangerous it was.

"It's just the place," he explained, "for an Ambush."

"What sort of bush?" whispered Pooh to Piglet. "A gorse-bush?"

"My dear Pooh," said Owl in his superior way, "don't you know what an Ambush is?"

"Owl," said Piglet, looking round at him severely, "Pooh's whisper was a perfectly private whisper, and there was no need——"

"An Ambush," said Owl, "is a sort of Surprise."

"So is a gorse-bush sometimes," said Pooh.

"An Ambush, as I was about to explain to Pooh," said Piglet, "is a sort of Surprise."

"If people jump out at you suddenly, that's an Ambush," said Owl.

"It's an Ambush, Pooh, when people jump at you suddenly," explained Piglet.

Pooh, who now knew what an Ambush was, said that a gorse-bush had sprung at him suddenly one day when he fell off a tree, and he had taken six days to get all the prickles out of himself.

"We are not talking about gorse-bushes," said Owl a little crossly.

"I am," said Pooh.

They were climbing very cautiously up the stream now, going from rock to rock, and after they had gone a little way they came to a place where the banks widened out at each side, so that on each side of the water there was a level strip of grass on which they could sit down and rest. As soon as he saw this, Christopher Robin called "Halt!" and they all sat down and rested.

"I think," said Christopher Robin, "that we ought to eat all our Provisions now, so that we shan't have so much to carry."

"Eat all our what?" said Pooh.

"All that we've brought," said Piglet, getting to work.

"That's a good idea," said Pooh, and he got to work too.

"Have you all got something?" asked Christopher Robin with his mouth full.

"All except me," said Eeyore. "As Usual." He looked round at them in his melancholy way. "I suppose none of you are sitting on a thistle by any chance?"

"I believe I am," said Pooh. "Ow!" He got up, and looked behind him. "Yes, I was. I thought so."

"Thank you, Pooh. If you've quite finished with it." He moved across to Pooh's place, and began to eat.



"It don't do them any Good, you know, sitting on them," he went on, as he looked up munching. "Takes all the Life out of them. Remember that another time, all of you. A little Consideration, a little Thought for Others, makes all the difference."

As soon as he had finished his lunch Christopher Robin whispered to Rabbit, and Rabbit said "Yes, yes, of course," and they walked a little way up the stream together.

"I didn't want the others to hear," said Christopher Robin.

"Quite so," said Rabbit, looking important.

"It's—I wondered—It's only—Rabbit, I suppose you don't know, What does the North Pole look like?"

"Well," said Rabbit, stroking his whiskers. "Now you're asking me."

"I did know once, only I've sort of forgotten," said Christopher Robin carelessly.

"It's a funny thing," said Rabbit, "but I've sort of forgotten too, although I did know once."

"I suppose it's just a pole stuck in the ground?"

"Sure to be a pole," said Rabbit, "because of calling it a pole, and if it's a pole, well, I should think it would be sticking in the ground, shouldn't you, because there'd be nowhere else to stick it."

"Yes, that's what I thought."

"The only thing," said Rabbit, "is, where is it sticking?"

"That's what we're looking for," said Christopher Robin.

They went back to the others. Piglet was lying on his back, sleeping peacefully. Roo was washing his face and paws in the stream, while Kanga explained to everybody proudly that this was the first time he had ever washed his face himself, and Owl was telling Kanga an Interesting Anecdote full of long words like Encyclopædia and Rhododendron to which Kanga wasn't listening.

"I don't hold with all this washing," grumbled Eeyore. "This modern Behind-the-ears nonsense. What do you think, Pooh?"

"Well," said Pooh, "I think——"

But we shall never know what Pooh thought, for there came a sudden squeak from Roo, a splash, and a loud cry of alarm from Kanga.

"So much for washing," said Eeyore.

"Roo's fallen in!" cried Rabbit, and he and Christopher Robin came rushing down to the rescue.



"Look at me swimming!" squeaked Roo from the middle of his pool, and was hurried down a waterfall into the next pool.

"Are you all right, Roo dear?" called Kanga anxiously.

"Yes!" said Roo. "Look at me sw——" and down he went over the next waterfall into another pool.

Everybody was doing something to help. Piglet, wide awake suddenly, was jumping up and down and making "Oo, I say" noises; Owl was explaining that in a case of Sudden and Temporary Immersion the Important Thing was to keep the Head Above Water; Kanga was jumping along the bank, saying "Are you sure you're all right, Roo dear?" to which Roo, from whatever pool he was in at the moment, was answering "Look at me swimming!" Eeyore had turned round and hung his tail over the first pool into which Roo fell, and with his back to the accident was grumbling quietly to himself, and saying, "All this washing; but catch on to my tail, little Roo, and you'll be all right"; and, Christopher Robin and Rabbit came hurrying past Eeyore, and were calling out to the others in front of them.

"All right, Roo, I'm coming," called Christopher Robin.

"Get something across the stream lower down, some of you fellows," called Rabbit.

But Pooh was getting something. Two pools below Roo he was standing with a long pole in his paws, and Kanga came up and took one end of it, and between them they held it across the lower part of the pool; and Roo, still bubbling proudly, "Look at me swimming," drifted up against it, and climbed out.



"Did you see me swimming?" squeaked Roo excitedly, while Kanga scolded him and rubbed him down. "Pooh, did you see me swimming? That's called swimming, what I was doing. Rabbit, did you see what I was doing? Swimming. Hallo, Piglet! I say, Piglet! What do you think I was doing! Swimming! Christopher Robin, did you see me——"

But Christopher Robin wasn't listening. He was looking at Pooh.

"Pooh," he said, "where did you find that pole?"

Pooh looked at the pole in his hands.

"I just found it," he said. "I thought it ought to be useful. I just picked it up."

"Pooh," said Christopher Robin solemnly, "the Expedition is over. You have found the North Pole!"

"Oh!" said Pooh.

Eeyore was sitting with his tail in the water when they all got back to him.



"Tell Roo to be quick, somebody," he said. "My tail's getting cold. I don't want to mention it, but I just mention it. I don't want to complain but there it is. My tail's cold."

"Here I am!" squeaked Roo.

"Oh, there you are."

"Did you see me swimming?"

Eeyore took his tail out of the water, and swished it from side to side.

"As I expected," he said. "Lost all feeling. Numbed it. That's what it's done. Numbed it. Well, as long as nobody minds, I suppose it's all right."

"Poor old Eeyore. I'll dry it for you," said Christopher Robin, and he took out his handkerchief and rubbed it up.

"Thank you, Christopher Robin. You're the only one who seems to understand about tails. They don't think—that's what the matter with some of these others. They've no imagination. A tail isn't a tail to them, it's just a Little Bit Extra at the back."

"Never mind, Eeyore," said Christopher Robin, rubbing his hardest. "Is that better?"

"It's feeling more like a tail perhaps. It Belongs again, if you know what I mean."

"Hullo, Eeyore," said Pooh, coming up to them with his pole.

"Hullo, Pooh. Thank you for asking, but I shall be able to use it again in a day or two."

"Use what?" said Pooh.

"What we are talking about."

"I wasn't talking about anything," said Pooh, looking puzzled.

"My mistake again. I thought you were saying how sorry you were about my tail, being all numb, and could you do anything to help?"

"No," said Pooh. "That wasn't me," he said. He thought for a little and then suggested helpfully, "Perhaps it was somebody else."

"Well, thank him for me when you see him."

Pooh looked anxiously at Christopher Robin.

"Pooh's found the North Pole," said Christopher Robin. "Isn't that lovely?"

Pooh looked modestly down.

"Is that it?" said Eeyore.

"Yes," said Christopher Robin.

"Is that what we were looking for?"

"Yes," said Pooh.

"Oh!" said Eeyore. "Well, anyhow—it didn't rain," he said.

They stuck the pole in the ground, and Christopher Robin tied a message on to it.

NORTH POLE

DISCOVERED BY POOH

POOH FOUND IT.



Then they all went home again. And I think, but I am not quite sure, that Roo had a hot bath and went straight to bed. But Pooh went back to his own house, and feeling very proud of what he had done, had a little something to revive himself.


CHAPTER IX

IN WHICH PIGLET IS ENTIRELY SURROUNDED BY WATER

It rained and it rained and it rained. Piglet told himself that never in all his life, and he was goodness knows how old—three, was it, or four?—never had he seen so much rain. Days and days and days.

"If only," he thought, as he looked out of the window, "I had been in Pooh's house, or Christopher Robin's house, or Rabbit's house when it began to rain, then I should have had Company all this time, instead of being here all alone, with nothing to do except wonder when it will stop." And he imagined himself with Pooh, saying, "Did you ever see such rain, Pooh?" and Pooh saying, "Isn't it awful, Piglet?" and Piglet saying, "I wonder how it is over Christopher Robin's way" and Pooh saying, "I should think poor old Rabbit is about flooded out by this time." It would have been jolly to talk like this, and really, it wasn't much good having anything exciting like floods, if you couldn't share them with somebody.

For it was rather exciting. The little dry ditches in which Piglet had nosed about so often had become streams, the little streams across which he had splashed were rivers, and the river, between whose steep banks they had played so happily, had sprawled out of its own bed and was taking up so much room everywhere, that Piglet was beginning to wonder whether it would be coming into his bed soon.

"It's a little Anxious," he said to himself, "to be a Very Small Animal Entirely Surrounded by Water. Christopher Robin and Pooh could escape by Climbing Trees, and Kanga could escape by Jumping, and Rabbit could escape by Burrowing, and Owl could escape by Flying, and Eeyore could escape by—by Making a Loud Noise Until Rescued, and here am I, surrounded by water and I can't do anything."

It went on raining, and every day the water got a little higher, until now it was nearly up to Piglet's window ... and still he hadn't done anything.



"There's Pooh," he thought to himself. "Pooh hasn't much Brain, but he never comes to any harm. He does silly things and they turn out right. There's Owl. Owl hasn't exactly got Brain, but he Knows Things. He would know the Right Thing to Do when Surrounded by Water. There's Rabbit. He hasn't Learnt in Books, but he can always Think of a Clever Plan. There's Kanga. She isn't Clever, Kanga isn't, but she would be so anxious about Roo that she would do a Good Thing to Do without thinking about It. And then there's Eeyore. And Eeyore is so miserable anyhow that he wouldn't mind about this. But I wonder what Christopher Robin would do?"

Then suddenly he remembered a story which Christopher Robin had told him about a man on a desert island who had written something in a bottle and thrown it in the sea; and Piglet thought that if he wrote something in a bottle and threw it in the water, perhaps somebody would come and rescue him!

He left the window and began to search his house, all of it that wasn't under water, and at last he found a pencil and a small piece of dry paper, and a bottle with a cork to it. And he wrote on one side of the paper:

HELP!
PIGLET (ME)

and on the other side:

IT'S ME PIGLET, HELP HELP.

Then he put the paper in the bottle, and he corked the bottle up as tightly as he could, and he leant out of his window as far as he could lean without falling in, and he threw the bottle as far as he could throw—splash!—and in a little while it bobbed up again on the water; and he watched it floating slowly away in the distance, until his eyes ached with looking, and sometimes he thought it was the bottle, and sometimes he thought it was just a ripple on the water which he was following, and then suddenly he knew that he would never see it again and that he had done all that he could do to save himself.



"So now," he thought, "somebody else will have to do something, and I hope they will do it soon, because if they don't I shall have to swim, which I can't, so I hope they do it soon." And then he gave a very long sigh and said, "I wish Pooh were here. It's so much more friendly with two."


When the rain began Pooh was asleep. It rained, and it rained, and it rained, and he slept and he slept and he slept. He had had a tiring day. You remember how he discovered the North Pole; well, he was so proud of this that he asked Christopher Robin if there were any other Poles such as a Bear of Little Brain might discover.

"There's a South Pole," said Christopher Robin, "and I expect there's an East Pole and a West Pole, though people don't like talking about them."

Pooh was very excited when he heard this, and suggested that they should have an Expotition to discover the East Pole, but Christopher Robin had thought of something else to do with Kanga; so Pooh went out to discover the East Pole by himself. Whether he discovered it or not, I forget; but he was so tired when he got home that, in the very middle of his supper, after he had been eating for little more than half-an-hour, he fell fast asleep in his chair, and slept and slept and slept.

Then suddenly he was dreaming. He was at the East Pole, and it was a very cold pole with the coldest sort of snow and ice all over it. He had found a bee-hive to sleep in, but there wasn't room for his legs, so he had left them outside. And Wild Woozles, such as inhabit the East Pole, came and nibbled all the fur off his legs to make nests for their Young. And the more they nibbled, the colder his legs got, until suddenly he woke up with an Ow!—and there he was, sitting in his chair with his feet in the water, and water all round him!

He splashed to his door and looked out.. .

"This is Serious," said Pooh. "I must have an Escape."

So he took his largest pot of honey and escaped with it to a broad branch of his tree, well above the water, and then he climbed down again and escaped with another pot ... and when the whole Escape was finished, there was Pooh sitting on his branch, dangling his legs, and there, beside him, were ten pots of honey....



Two days later, there was Pooh, sitting on his branch, dangling his legs, and there, beside him, were four pots of honey....

Three days later, there was Pooh, sitting on his branch, dangling his legs, and there beside him, was one pot of honey.

Four days later, there was Pooh ...



And it was on the morning of the fourth day that Piglet's bottle came floating past him, and with one loud cry of "Honey!" Pooh plunged into the water, seized the bottle, and struggled back to his tree again.

"Bother!" said Pooh, as he opened it. "All that wet for nothing. What's that bit of paper doing?"

He took it out and looked at it.

"It's a Missage," he said to himself, "that's what it is. And that letter is a 'P,' and so is that, and so is that, and 'P' means 'Pooh,' so it's a very important Missage to me, and I can't read it. I must find Christopher Robin or Owl or Piglet, one of those Clever Readers who can read things, and they will tell me what this missage means. Only I can't swim. Bother!"

Then he had an idea, and I think that for a Bear of Very Little Brain, it was a good idea. He said to himself:

"If a bottle can float, then a jar can float, and if a jar floats, I can sit on the top of it, if it's a very big jar."



So he took his biggest jar, and corked it up. "All boats have to have a name," he said, "so I shall call mine The Floating Bear." And with these words he dropped his boat into the water and jumped in after it.



For a little while Pooh and The Floating Bear were uncertain as to which of them was meant to be on the top, but after trying one or two different positions, they settled down with The Floating Bear underneath and Pooh triumphantly astride it, paddling vigorously with his feet.



Christopher Robin lived at the very top of the Forest. It rained, and it rained, and it rained, but the water couldn't come up to his house. It was rather jolly to look down into the valleys and see the water all round him, but it rained so hard that he stayed indoors most of the time, and thought about things. Every morning he went out with his umbrella and put a stick in the place where the water came up to, and every next morning he went out and couldn't see his stick any more, so he put another stick in the place where the water came up to, and then he walked home again, and each morning he had a shorter way to walk than he had had the morning before. On the morning of the fifth day he saw the water all round him, and knew that for the first time in his life he was on a real island. Which was very exciting.



It was on this morning that Owl came flying over the water to say "How do you do," to his friend Christopher Robin.

"I say, Owl," said Christopher Robin, "isn't this fun? I'm on an island!"

"The atmospheric conditions have been very unfavourable lately," said Owl.

"The what?"

"It has been raining," explained Owl.

"Yes," said Christopher Robin. "It has."

"The flood-level has reached an unprecedented height."

"The who?"

"There's a lot of water about," explained Owl.

"Yes," said Christopher Robin, "there is."

"However, the prospects are rapidly becoming more favourable. At any moment——"

"Have you seen Pooh?"

"No. At any moment——"

"I hope he's all right," said Christopher Robin. "I've been wondering about him. I expect Piglet's with him. Do you think they're all right, Owl?"

"I expect so. You see, at any moment——"

"Do go and see, Owl. Because Pooh hasn't got very much brain, and he might do something silly, and I do love him so, Owl. Do you see, Owl?"

"That's all right," said Owl. "I'll go. Back directly." And he flew off.

In a little while he was back again.

"Pooh isn't there," he said.

"Not there?"

"Has been there. He's been sitting on a branch of his tree outside his house with nine pots of honey. But he isn't there now."

"Oh, Pooh!" cried Christopher Robin. "Where are you?"



"Here I am," said a growly voice behind him.

"Pooh!"

They rushed into each other's arms.

"How did you get here, Pooh?" asked Christopher Robin, when he was ready to talk again.

"On my boat," said Pooh proudly. "I had a Very Important Missage sent me in a bottle, and owing to having got some water in my eyes, I couldn't read it, so I brought it to you. On my boat."



With these proud words he gave Christopher Robin the missage.

"But it's from Piglet!" cried Christopher Robin when he had read it.

"Isn't there anything about Pooh in it?" asked Bear, looking over his shoulder.

Christopher Robin read the message aloud.

"Oh, are those 'P's' piglets? I thought they were poohs."

"We must rescue him at once! I thought he was with you, Pooh. Owl, could you rescue him on your back?"

"I don't think so," said Owl, after grave thought. "It is doubtful if the necessary dorsal muscles——"

"Then would you fly to him at once and say that Rescue is Coming? And Pooh and I will think of a Rescue and come as quick as ever we can. Oh, don't talk, Owl, go on quick!" And, still thinking of something to say, Owl flew off.

"Now then, Pooh," said Christopher Robin, "where's your boat?"

"I ought to say," explained Pooh as they walked down to the shore of the island, "that it isn't just an ordinary sort of boat. Sometimes it's a Boat, and sometimes it's more of an Accident. It all depends."

"Depends on what?"

"On whether I'm on the top of it or underneath it."

"Oh! Well, where is it?"

"There!" said Pooh, pointing proudly to The Floating Bear.

It wasn't what Christopher Robin expected, and the more he looked at it, the more he thought what a Brave and Clever Bear Pooh was, and the more Christopher Robin thought this, the more Pooh looked modestly down his nose and tried to pretend he wasn't.

"But it's too small for two of us," said Christopher Robin sadly.

"Three of us with Piglet."

"That makes it smaller still. Oh, Pooh Bear, what shall we do?"

And then this Bear, Pooh Bear, Winnie-the-Pooh, F.O.P. (Friend of Piglet's), R.C. (Rabbit's Companion), P.D. (Pole Discoverer), E.C. and T.F. (Eeyore's Comforter and Tail-finder)—in fact, Pooh himself—said something so clever that Christopher Robin could only look at him with mouth open and eyes staring, wondering if this was really the Bear of Very Little Brain whom he had known and loved so long.

"We might go in your umbrella," said Pooh.

"?"

"We might go in your umbrella," said Pooh.

"? ?"

"We might go in your umbrella," said Pooh.

"!!!!!!"

For suddenly Christopher Robin saw that they might. He opened his umbrella and put it point downwards in the water. It floated but wobbled. Pooh got in. He was just beginning to say that it was all right now, when he found that it wasn't, so after a short drink which he didn't really want he waded back to Christopher Robin. Then they both got in together, and it wobbled no longer.



"I shall call this boat The Brain of Pooh," said Christopher Robin, and The Brain of Pooh set sail forthwith in a south-westerly direction, revolving gracefully.



You can imagine Piglet's joy when at last the ship came in sight of him. In after-years he liked to think that he had been in Very Great Danger during the Terrible Flood, but the only danger he had really been in was in the last half-hour of his imprisonment, when Owl, who had just flown up, sat on a branch of his tree to comfort him, and told him a very long story about an aunt who had once laid a seagull's egg by mistake, and the story went on and on, rather like this sentence, until Piglet who was listening out of his window without much hope, went to sleep quietly and naturally, slipping slowly out of the window towards the water until he was only hanging on by his toes, at which moment luckily, a sudden loud squawk from Owl, which was really part of the story, being what his aunt said, woke the Piglet up and just gave him time to jerk himself back into safety and say, "How interesting, and did she?" when—well, you can imagine his joy when at last he saw the good ship, Brain of Pooh (Captain, C. Robin; 1st Mate, P. Bear) coming over the sea to rescue him. Christopher Robin and Pooh again....



And that is really the end of the story, and I am very tired after that last sentence, I think I shall stop there.


CHAPTER X

IN WHICH CHRISTOPHER ROBIN GIVES POOH A PARTY, AND WE SAY GOOD-BYE

One day when the sun had come back over the Forest, bringing with it the scent of may, and all the streams of the Forest were tinkling happily to find themselves their own pretty shape again, and the little pools lay dreaming of the life they had seen and the big things they had done, and in the warmth and quiet of the Forest the cuckoo was trying over his voice carefully and listening to see if he liked it, and wood-pigeons were complaining gently to themselves in their lazy comfortable way that it was the other fellow's fault, but it didn't matter very much; on such a day as this Christopher Robin whistled in a special way he had, and Owl came flying out of the Hundred Acre Wood to see what was wanted.



"Owl," said Christopher Robin, "I am going to give a party."

"You are, are you?" said Owl.

"And it's to be a special sort of party, because it's because of what Pooh did when he did what he did to save Piglet from the flood."

"Oh, that's what it's for, is it?" said Owl.

"Yes, so will you tell Pooh as quickly as you can, and all the others, because it will be to-morrow."

"Oh, it will, will it?" said Owl, still being as helpful as possible.

"So will you go and tell them, Owl?"

Owl tried to think of something very wise to say, but couldn't, so he flew off to tell the others. And the first person he told was Pooh.

"Pooh," he said, "Christopher Robin is giving a party."

"Oh!" said Pooh. And then seeing that Owl expected him to say something else, he said "Will there be those little cake things with pink sugar icing?"

Owl felt that it was rather beneath him to talk about little cake things with pink sugar icing, so he told Pooh exactly what Christopher Robin had said, and flew off to Eeyore.



"A party for Me?" thought Pooh to himself. "How grand!" And he began to wonder if all the other animals would know that it was a special Pooh Party, and if Christopher Robin had told them about The Floating Bear and the Brain of Pooh and all the wonderful ships he had invented and sailed on, and he began to think how awful it would be if everybody had forgotten about it, and nobody quite knew what the party was for; and the more he thought like this, the more the party got muddled in his mind, like a dream when nothing goes right. And the dream began to sing itself over in his head until it became a sort of song. It was an

ANXIOUS POOH SONG.
3 Cheers for Pooh!
(For Who?)
For Pooh—
(Why what did he do?)
I thought you knew;
He saved his friend from a wetting!
3 Cheers for Bear!
(For where?)
For Bear—
He couldn't swim,
But he rescued him!
(He rescued who?)
Oh, listen, do!
I am talking of Pooh—
(Of who?)
Of Pooh!
(I'm sorry I keep forgetting).
Well, Pooh was a Bear of Enormous Brain
(Just say it again!)
Of enormous brain—
(Of enormous what?)
Well, he ate a lot,
And I don't know if he could swim or not,
But he managed to float
On a sort of boat
(On a sort of what?)
Well, a sort of pot—
So now let's give him three hearty cheers
(So now let's give him three hearty whiches?)
And hope he'll be with us for years and years,
And grow in health and wisdom and riches!
3 Cheers for Pooh!
(For who?)
For Pooh—
3 Cheers for Bear!
(For where?)
For Bear—
3 Cheers for the wonderful Winnie-the-Pooh!
(Just tell me, somebody—WHAT DID HE DO?)

While this was going on inside him, Owl was talking to Eeyore.

"Eeyore," said Owl, "Christopher Robin is giving a party."

"Very interesting," said Eeyore. "I suppose they will be sending me down the odd bits which got trodden on. Kind and Thoughtful. Not at all, don't mention it."



"There is an Invitation for you."

"What's that like?"

"An Invitation!"



"Yes, I heard you. Who dropped it?"

"This isn't anything to eat, it's asking you to the party. To-morrow."

Eeyore shook his head slowly.

"You mean Piglet. The little fellow with the excited ears. That's Piglet. I'll tell him."



"No, no!" said Owl, getting quite fussy. "It's you!"

"Are you sure?"

"Of course I'm sure. Christopher Robin said 'All of them! Tell all of them.'"

"All of them, except Eeyore?"

"All of them," said Owl sulkily.

"Ah!" said Eeyore. "A mistake, no doubt, but still, I shall come. Only don't blame me if it rains."

But it didn't rain. Christopher Robin had made a long table out of some long pieces of wood, and they all sat round it. Christopher Robin sat at one end, and Pooh sat at the other, and between them on one side were Owl and Eeyore and Piglet, and between them on the other side were Rabbit, and Roo and Kanga. And all Rabbit's friends and relations spread themselves about on the grass, and waited hopefully in case anybody spoke to them, or dropped anything, or asked them the time.

It was the first party to which Roo had ever been, and he was very excited. As soon as ever they had sat down he began to talk.

"Hallo, Pooh!" he squeaked.

"Hallo, Roo!" said Pooh.

Roo jumped up and down in his seat for a little while and then began again.

"Hallo, Piglet!" he squeaked.

Piglet waved a paw at him, being too busy to say anything.

"Hallo, Eeyore!" said Roo.

Eeyore nodded gloomily at him. "It will rain soon, you see if it doesn't," he said.

Roo looked to see if it didn't, and it didn't, so he said "Hallo, Owl!"—and Owl said "Hallo, my little fellow," in a kindly way, and went on telling Christopher Robin about an accident which had nearly happened to a friend of his whom Christopher Robin didn't know, and Kanga said to Roo, "Drink up your milk first, dear, and talk afterwards." So Roo, who was drinking his milk, tried to say that he could do both at once ... and had to be patted on the back and dried for quite a long time afterwards.



When they had all nearly eaten enough, Christopher Robin banged on the table with his spoon, and everybody stopped talking and was very silent, except Roo who was just finishing a loud attack of hiccups and trying to look as if it was one of Rabbit's relations.



"This party," said Christopher Robin, "is a party because of what someone did, and we all know who it was, and it's his party, because of what he did, and I've got a present for him and here it is." Then he felt about a little and whispered, "Where is it?"

While he was looking, Eeyore coughed in an impressive way and began to speak.

"Friends," he said, "including oddments, it is a great pleasure, or perhaps I had better say it has been a pleasure so far, to see you at my party. What I did was nothing. Any of you—except Rabbit and Owl and Kanga—would have done the same. Oh, and Pooh. My remarks do not, of course, apply to Piglet and Roo, because they are too small. Any of you would have done the same. But it just happened to be Me. It was not, I need hardly say, with an idea of getting what Christopher Robin is looking for now"—and he put his front leg to his mouth and said in a loud whisper, "Try under the table"—"that I did what I did—but because I feel that we should all do what we can to help. I feel that we should all——"

"H—hup!" said Roo accidentally.

"Roo, dear!" said Kanga reproachfully.

"Was it me?" asked Roo, a little surprised.

"What's Eeyore talking about?" Piglet whispered to Pooh.

"I don't know," said Pooh rather dolefully.

"I thought this was your party."

"I thought it was once. But I suppose it isn't."

"I'd sooner it was yours than Eeyore's," said Piglet.

"So would I," said Pooh.

"H—hup!" said Roo again.

"AS—I—WAS—SAYING," said Eeyore loudly and sternly, "as I was saying when I was interrupted by various Loud Sounds, I feel that——"

"Here it is!" cried Christopher Robin excitedly. "Pass it down to silly old Pooh. It's for Pooh."

"For Pooh?" said Eeyore.

"Of course it is. The best bear in all the world."

"I might have known," said Eeyore. "After all, one can't complain. I have my friends. Somebody spoke to me only yesterday. And was it last week or the week before that Rabbit bumped into me and said 'Bother!' The Social Round. Always something going on."



Nobody was listening, for they were all saying "Open it, Pooh," "What is it, Pooh?" "I know what it is," "No, you don't" and other helpful remarks of this sort. And of course Pooh was opening it as quickly as ever he could, but without cutting the string, because you never know when a bit of string might be Useful. At last it was undone.

When Pooh saw what it was, he nearly fell down, he was so pleased. It was a Special Pencil Case. There were pencils in it marked "B" for Bear, and pencils marked "HB" for Helping Bear, and pencils marked "BB" for Brave Bear. There was a knife for sharpening the pencils, and india-rubber for rubbing out anything which you had spelt wrong, and a ruler for ruling lines for the words to walk on, and inches marked on the ruler in case you wanted to know how many inches anything was, and Blue Pencils and Red Pencils and Green Pencils for saying special things in blue and red and green. And all these lovely things were in little pockets of their own in a Special Case which shut with a click when you clicked it. And they were all for Pooh.

"Oh!" said Pooh.

"Oh, Pooh!" said everybody else except Eeyore.

"Thank-you," growled Pooh.

But Eeyore was saying to himself, "This writing business. Pencils and what-not. Over-rated, if you ask me. Silly stuff. Nothing in it."

Later on, when they had all said "Good-bye" and "Thank-you" to Christopher Robin, Pooh and Piglet walked home thoughtfully together in the golden evening, and for a long time they were silent.



"When you wake up in the morning, Pooh," said Piglet at last, "what's the first thing you say to yourself?"

"What's for breakfast?" said Pooh. "What do you say, Piglet?"

"I say, I wonder what's going to happen exciting to-day?" said Piglet.

Pooh nodded thoughtfully.

"It's the same thing," he said.


"And what did happen?" asked Christopher Robin.

"When?"

"Next morning."

"I don't know."

"Could you think and tell me and Pooh some time?"

"If you wanted it very much."

"Pooh does," said Christopher Robin.

He gave a deep sigh, picked his bear up by the leg and walked off to the door, trailing Winnie-the-Pooh behind him. At the door he turned and said "Coming to see me have my bath?"

"I might," I said.

"Was Pooh's pencil case any better than mine?"

"It was just the same," I said.

He nodded and went out ... and in a moment I heard Winnie-the-Pooh—bump, bump, bump—going up the stairs behind him.



Printed in Canada
by Warwick Bros. & Rutter, Limited
Printers and Bookbinders
Toronto

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<![CDATA[The Princess Bride]]>Sun, 17 Jul 2022 18:39:30 GMThttp://daydreaminstudios.org/children-library/july-17th-2022
Picture






William Goldman's modern fantasy classic is a simple, exceptional story about quests—for riches, revenge, power, and, of course, true love— that's thrilling and timeless.

 

Anyone who lived through the 1980s may find it impossible— inconceivable, even—to equate The Princess Bride with anything other than the sweet, celluloid romance of Westley and Buttercup, but the film is only a fraction of the ingenious storytelling you'll find in these pages. Rich in character and satire, the novel is set in 1941 and framed cleverly as an “abridged” retelling of a centuries-old tale set in the fabled country of Florin that's home to “Beasts of all natures and descriptions. Pain. Death. Brave men. Coward men. Strongest men. Chases. Escapes. Lies. Truths. Passions.”



The Princess Bride

Introduction to the 30th Anniversary Edition Introduction to the 25th Anniversary Edition

 

THE PRINCESS BRIDE

One Two Three Four Five Six Seven Eight

BUTTERCUP'S BABY BUTTERCUP'S BABY

One

Reading Group Guide notes

1



 

 

 



UNTIL A COUPLE of weeks ago, this introduction would have been real short: "Why are you buying this book?" is what I would have said. Or more accurately, this edition of this book?

Buy the 25th anniversary version, I would have told you. It's got a long intro by yours truly where I explain a lot about the Morgenstern estate and the horrible legal problems I've had with them. That version is still out there and what you are interested in is the same thing that I am interested in—namely, at last, getting Buttercup's Baby published.

I would also have gone on to tell you that there is nothing to report on that front. Same old same old. Well, that was then, as they say.

Something new has very much happened.

 

LET ME TELL you how I first heard of the existence of the Morgenstern Museum.

Back we go to 1986, Sheffield, England, and we are shooting the movie of The Princess Bride. It was such a happy time for me, at last Morgenstern coming to life on film. I had written the screenplay for it first over a decade before—but it had never been "picked up," as they say Out There, till then.

I ordinarily do not not not like being on movie sets. I once wrote that the best day of your life is your first day on a set and the worst days are all the ones that follow. They are tedious and horrible for several reasons: (1) they are tedious and horrible (but you won't believe that, I know), and (2) if you are the writer, essentially, your work is done.

I make the actors nervous, but more than that, and if I have written this before, skip this part, I have an amazing ability to screw up shots. I hide on the sets out of the way when the camera rolls, but I cannot tell you how often the director, just as he is about to start, sees where I am and asks me to please move, because I am standing in the exact spot where the shot will end.

A few days before the day I am about to tell you about, we were shooting the Fire Swamp. And there is a moment in the movie where Cary Elwes (Westley) starts to lead Robin Wright (Buttercup) through it.

Now I know what is going to happen—there is a flame spurt and her dress

catches on fire. Why am I so smart? Because Morgenstern wrote it, I adapted it for the novel, and used it in every draft of the screenplay, of which, believe me, there were many.

OK, I am standing there on the set of the Fire Swamp and Rob Reiner goes "action, Cary" and here they come into view, those two wonderful actors, and I am watching from a corner of the set, and he leads her forward, one step, another step—

—at which point there is a flame spurt and her dress catches on fire.

At which point (so humiliating) I start to shout, "Her dress is on fire, her dress is on fire" totally destroying the shot.

Rob yells "Cut," turns to me and in a voice I can still hear, he says with all the patience he can muster, "Bill, it's supposed to catch on fire."

I think I came up with something real smart like "I knew that, sorry" and

hid.

OK, now you can start reading again.

The next night we were shooting outside, the attack on the castle, and it

was cold. Bitter, British cold. The whole crew is bundled up, but the wind cut in on us anyway. I remember it was as cold as any time I ever had on a movie set. Everyone was freezing.

Except Andre.

I have no way to explain this, but Andre never got cold. Maybe it's a giant thing, I never asked him. But he was sitting there that night in the tights he wore and all he had on top was a very thin towel across his shoulders. (Of course, it never made it all the way across his shoulders, being a normal sized towel.) And as we talked, and I mean this now, dozens of people would walk up to him, say hello, and then ask if they could get him a coat or a blanket or anything else to keep him warm and he would say always, "No, Boss, thank you Boss, I'm fine" and go back to talking to me.

I just loved being around him. I am starting my fifth decade of movie madness and he was by far the most popular figure on any film set I ever knew. A bunch of us—Billy Crystal I think was one—used to spitball about doing a TV series for Andre, so he could cut down the three hundred plus days a year of travel wrestling required. I think it was going to be called something like Here Comes Andre and it was going to be about a wrestler who decided he'd had enough and got a job as a baby-sitter.

Kids went nuts over him. Whenever I'd walk into the Fire Swamp set, there he'd be, one kid on his head, a couple on each shoulder, one in each hand.

They were the children of people who worked on the movie and they would all sit there in silence, watching the shoot.

"Beeeel?" It is now that freezing night and I could tell from his tone, we were entering into difficult terrain. He took a long pause before continuing. "Ow doo yoo theenk, so far eees my Feh-zeeeek?"

I told him the truth, which was that I had written the part for him. Back in '41 when my father first read the Morgenstern to me, I naturally had no idea movies were written. They were just these things I loved going to at the Alcyon. Later, when I got in the business and adapted this for the Silver Screen, I had no idea who should play Fezzik if the movie ever actually happened. Then one night on the tube there Andre was wrestling. He was young then, I don't think much over twenty-five.

Helen (my wife then, the world-famous shrink) and I are watching the tube in bed. Or rather, I am watching the tube, Helen is translating one of her books into French. I screamed—"Helen, my God, look, Fezzik."

She knew what I was talking about, knew how important a movie of the Morgenstern was to me, understood how many times it had come close, how upset I was that it never seemingly would happen. She had tried on occasion to get me to deal with the reality, which was that the movie might not get made. I think she started to make that pitch again, then saw the look in my eyes as I watched Andre slaughter a bunch of bad guys.

"He'll be great," she said, trying very hard to assure me.

 

AND HERE I was, a decade-plus later, chatting with this amazing Frenchman, who I will envision now and forever with little kids climbing all over him. "Your Fezzik is wonderful," I said. And it was. Yes, his French accent was a trifle thick, but once you got used to it, no problem.

"I 'ave work vairy 'aard to be so. Thees is much more deeper par' than Beeg-fooooot." (One of his only other non-wrestling roles was when he had played Bigfoot years before on I think a Six Million Dollar Man.) "I doo vair' much resear. For my char."

I realized right off that "char" was Andre for "character." "What research, exactly?" I figured he was going to tell me he'd read the French edition several times.

"Eye clime thee cleefs."

"The Cliffs of Insanity?" I was stunned. You cannot imagine how steep they are.

"Oh, oui, many times, up an down, up an down." "But Andre, what if you had fallen?"

"Eye was vair scair thee firss time, but then eye know thees: Feh-zeeek would nevair sleep."

Suddenly it was like I was engaged in conversation with Lee Strasberg. "An' I fight zee groops too. Fezzik fight zee groops, Eye fight zee groups.

Wuz goooood."

And then he said the crucial thing—"'ave you veezeet the Museum? Miee besss re-sair was zairrr."

I said I didn't know which museum he was talking about. For the next little while, Andre told me....

But did I go? Did not. Never went to Florin, never thought much about it. No, not true, I did think about it but I didn't visit for one reason: I was afraid the place would disappoint me.

My first trip was when Stephen King more or less sent me there when I was researching the first chapter of Buttercup's Baby. (For an explanation, take a look at the intro to the 25 th Anniversary edition, you'll understand a lot more when you've read that—it's included here—along with the actual chapter of Buttercup's Baby, which you'll find at the end of the reprinting of The Princess Bride.

That first trip, I spent several days both in Florin City and the surrounding countryside, ran around like mad, saw an amazing amount of stuff—but the Museum was closed for renovations during my stay.

Figured I'd catch it the next time. Whenever that might turn out to be. It turned out to be a lot sooner than I thought.

 

PROBABLY YOU KNOW this, since my name was in the papers all over the world recently. I won the Grandfather of the Year award again. I was so far in front they decided to retire the cup. Some old guy in India claimed I spoiled Willy, but sour grapes as they say.

His tenth biggie was coming up on the outside, a great opportunity for me to go overboard on a present, and I was visiting my son, Jason, and his wife, Peggy, the other night for dinner so I asked for hints. Usually they have lists of stuff. Not this time. They both got weird, muttered, "You'll come up with something," changed the subject.

I knocked on the kid's door, asked to come in. He quietly opened the door, odd, usually he just hollers for me to enter. "Wanted to talk about your

birthday," I told him. Here's what you've got to know—Willy's a great receiver. He gets so excited. Even if it's something he picked out himself, when I hand it over, he is so damn great about it.

Now he just said I had been so terrific over the years whatever I wanted was fine. "Don't you have any ideas at all?" I pressed. He didn't, he said. Plus he had this frantic amount of homework to do so did I mind?

I got up to go, sat back down again, because I realized something—he knew exactly what he wanted but for some reason was embarrassed to tell me.

I waited.

Willy sat at his desk in silence. Then he took a breath. Then another. At which point I knew it was coming, so I threw in "Whatever it is, the answer is you're not going to get it."

"Well," my Willy began, the words whizzing out, "ten is a big deal in our family, because ten is what you were when you got sick and your pop read to you and when my pop was ten you gave him the book which is when you realized you had better get to work abridging and well, ten is what I'm gonna be and I'm only gonna be that this one time and ... and..." and he was so embarrassed to go on I pointed to my ear and whispered, "Whisper."

Which is just what he did.

 

I DON'T WANT to oversell here, but our first morning in Florin City, that miraculous postdawn blink with me wide awake, Willy the Kid snoring in the next bed, was no question a highlight of my life. Me and my one and only grandchild together on the start of his tenth birthday adventure in Morgenstern's hometown. Can't top that.

Willy was wiped out from the trip—Florin Air scored again—so I had to shake him awhile before his eyes opened, he blinked, went "whuh?" several times, then joined the human race.

"Where we off to?" he started, then answered himself. "One Tree Island, right?" I had promised him a helicopter ride there so he could see where Fezzik was invaded, made the incision with the sword, saved Waverly's life. (You should have listened to me earlier when I told you to flip to the back and read the chapter of Buttercup's Baby.)

I shook my head.

"I know I know, don't tell me—the room in the castle where Inigo killed the Count!" He bounded out of bed, started his fencing moves as he said, "Hello, my name is Inigo Montoya, you killed my father, prepare to—" and he

plunged his sword forward "—DIE."

He loved doing that—he and his friends have contests to see who does it best—and I love that he loves it. But again, I shook my head. "We're definitely taking the tour, just not today."

He gestured for me to continue.

"The Morgenstern Museum opens in a little while, better get ready."

He groaned, climbed back into bed. "Oh Grandpa, please please please, do we have to start with a museum, I hate museums, you know I hate museums."

"You liked the Hall of Fame." I took him up to Cooperstown last summer. "That's baseball."

"I have to go," I said. "Fair is fair. You knew this trip was planned."

The truth? I was about to tell him to go back to sleep. There was no real reason I couldn't get the introduction to the Museum done alone.

But I said nothing, and thank You up there for that.

 

THE MORGENSTERN MUSEUM is just left off Florin Square. It's a lovely old mansion, dating from who knows how far back, and by the time we got there Willy was excited again, his usual state, bopping ahead of me on the sidewalk. He held the door open for me, bowed me through—

—then he went "omigod" and stopped dead. Because in front of him, in the center of the stately old room, in a large and beautifully lit glass case, there it was—

—the six-fingered sword.

I knew it was there, Andre had told me about it, he had told me in detail that freezing night in Sheffield—

—but I still was not close to being ready for the impact it had on me. I'd heard of it for so long, asked my father all those decades ago when I was ten, what made it so special, so magical, what could it have looked like?—

—and now there it was. Inigo's father had died for it, Inigo's whole life had been changed because of it, this magical blade, the greatest sword since Excalibur.

Willy took my hand and together we walked toward it and I know it makes no sense, but right then, as I saw it for the very first time, it seemed to be dancing.

"Is it moving?" Willy whispered. "It sure looks like it is." "I think it's the way they've got it lit. But you're right."

There were a bunch of others surrounding the case, kids, old folks, all

kinds, and what was weird was when we looked at it, no one went away, we just kind of went to the next side, looked at the sword from there, then the third, finally the last.

A kid way smaller than Willy whispered in a French accent to a lady who I assume was his mother, "Allo, mon nom est Eenigo Mawn-taw-ya..."

"Sounds way better in English," Willy whispered and I realized something: All around the glass cage I could see children miming the sword, mouthing Morgenstern's words, and I'm not sure when the Museum put up its various exhibits—

—but what a thing it would have been if the great man himself could have seen what I was seeing now.

The next exhibit that took the Kid's head off was a mold of Fezzik's fingers. (Andre went on and on about it—he thought his were the biggest, he told me, till he saw the real thing.) Willy measured with great care. "His thumb is bigger than my whole hand," he announced. I nodded. It was.

Then a whole wall lined with Fezzik's clothes, beautifully pressed. Willy just stared up at where the giant's head would have been, shook his own head in wonder.

Buttercup's wedding dress was next, but it was hard to get up to because of all the girls who were surrounding it.

There was so much to see—an arrow pointed to another room where Count Rugen's life-sucking machine was off by itself—but I was anxious to get to the Curator—Stephen King had written him a letter about my arrival.

The Curator would let me into the place I most needed to get—the Sanctuary, it was called, and it was where Morgenstern's letters and notes were kept. It was not open to the public, scholars only, but that's what I was on this day of days.

I asked a few questions, was directed here, there, then finally we found the Curator—younger than you might think, obviously bright, and behind his eyes there was a genuine sweetness.

He was seated at his desk on the third-floor corner. Book-lined office, no surprise, and as we entered he glanced up, smiled.

"Probably you want the little boys' room," he began. "It's just one door down. Most of my visitors are interested in that."

I smiled, said who I was and that I had come all the way from America to study in the Sanctuary for a while.

"But that's not possible," the Curator replied. "It is open only for work of

scholarship."

"William Goldman," I said again. "Stephen King wrote a letter about my coming."

"Mister King is a famous descendent of my country, of that there can be no question, but there is no letter."

(You must know this about me—I can be very paranoid at moments like this. This next is true—when I was a judge at the Cannes Film Festival I was invited to a formal dinner party. It was a big deal for me, my marriage was collapsing, I was going to be alone in the world for the first time since forever, and I got to the party where everyone spoke all kinds of languages, few of them English. There were three round tables set up, fortunately with place cards and when we were told it was time to sit down, I left my place alone in the corner and went whizzing around the first table.

No place card with my name on it.

I zoom to the second table, make my circuit. No me.

Now as I began the third and last table, my paranoia set in, because I knew there would be no place card with my name on it. I can still see myself breaking into a light sweat as I realized my name would not be there.

Can you imagine anyone so nuts?

Guess what—there was no place card with my name on it at the third table either. Turned out to be a hostess screwup. That is a true story.)

OK, I started to go to pieces. Had I imagined that King would write the letter? No, I had not imagined it, he told me he wanted a really authentic Buttercup's Baby. It was why I had come all this way.

But then I thought, why didn't he just give me the damn note and let me present it personally? (I am now into madness thinking that if I did have the damn note from King and if I had handed it over, the Curator would have handed it back and said that he was not an expert on Stephen King's handwriting, so no, I could not be allowed into the Sanctuary, thank you very much.)

I felt so helpless standing there in front of my beloved I actually started to turn and leave.

Which was when he said it: "Grandpa, it's a mistake, call him up"

I hate cell phones but I'd gotten an international job for the trip, we had called Jason and Peggy on it last night when we got to the hotel.

So I dialed King in Maine, got through, explained the situation. He was

great. "Jesus, Bill, I am so sorry, I should have given you the damn note— Florin has the worst mail service in Europe, it'll probably get there next week." (It actually arrived the week after that.) "Is Vonya working today? Let me speak to him."

I think the curator heard his name because he nodded, reached out for the phone. I handed it over and he got up from his desk, walked to the hallway, paced a little where I could hear him saying, "Of course, Mister King" and "I'll do anything to help, Mister King, you may rest assured."

Willy glanced up at me during this, circled his thumb and finger (discreetly, I might add) and in a moment Vonya was back.

He indicated for us to follow him, muttering, "What can I tell you? The mails, you know."

I told him I was just happy it was straightened out.

"It's so embarrassing to me, Mister Goldman. Stephen King told me who you were."

I should have been braced for what was coming, the "were" should have gotten me ready.

Then the killer sentence: "You know, I've read several of your books, I used to be something of a fan, you were a wonderful writer...once."

It shouldn't have hit me so hard. But I know why it did. Because I was afraid it was true. I had done some decent stuff. But that was in the long ago, another country. It's one of the reasons I was so looking forward to immersing myself in Buttercup's Baby. The Princess Bride had made me want to be a novelist. I was hoping that this Morgenstern would help me become a novelist again.

Then Willy was shouting: "He's still wonderful."

"Shh, it's OK," I told him. "It really is." He looked at me and I tried to hide but I know he saw what was behind my eyes.

The evil Vonya led us a few more steps, swung open a door, gestured inside, left us,

Then we were alone in the Sanctuary. Willy was still steaming. "I hate that guy."

You think I didn't want to hug him for that? But I restrained myself, just muttered, "Time for a little work," started studying the room.

Not particularly big. Thousands of letters, all categorized, family photo albums, each picture with writing beneath, explaining the meaning behind the shots.

The notebooks were what I had hoped for. Morgenstern was known for his meticulous nature but while I was getting my bearings, I studied the photo albums, trying to get a sense of what his life was like while he was in his writing prime.

Then I heard Willy say the most remarkable thing: "Did you know Count Rugen killed Inigo?"

I turned to him. "What are you talking about?"

He pointed to the notebook he had pulled down from a shelf and started reading. "'This morning I woke with the thought that Rugen should indeed kill Inigo. I realize that I lose the "Hello, my name is Inigo Montoya" and I would miss that, but if Inigo did die here, then Westley would have to conquer both Humperdinck and Rugen, all this while so recently murdered, and remember please that Westley is your main hero.'"

By this time we were seated at a table, looking at The Princess Bride

diary.

Who knew such a thing existed?

What a miracle—I sat there, in Morgenstern's Sanctuary, with my grandson, while memories of my father flooded back, reading to me with his limited English, changing my life forever.

Willy turned the page, started reading again. "'I have decided Inigo must not die. I was up half the night and finally I tried to write the scene where he kills Rugen, saying that line over and over until finally he cries "I want my father back you son of a bitch"—

—and when I wrote those words I realized what I wanted most on earth that I cannot have is my own father back—

—so Inigo will triumph and live and Westley will have to be content in just besting Humperdinck."'

Willy looked up from the diary. "Wow—he almost screwed up his own book."

I nodded, thinking back, wondering if I had ever had those kinds of thoughts. I remember I hated killing Butch and Sundance, but I had to, because in real life they had gone the way I wrote it, and I couldn't change history, just for a happy ending.

But now here he was, Morgenstern, the man who had so much to do with my life, doing the first thing I ever disapproved of—he was contemplating changing history—and that bothered me.

Look, it has been hundreds of years since Florin was a European power.

But it mattered once, as all truth matters. If you read books on their history, as I have, you know that yes, there was a Vizzini, though it has never been proved to most academicians' satisfaction that he was a hunchback. One leg shorter, yes, that we know. Sicilian, yes, that we know.

And yes, he hired Fezzik and Inigo. And Fezzik set records, some of them still remarkable, in the world of Turkish wrestling. And Inigo Montoya is still thought of as being the greatest fencer in history. Read any book on the art of the steel.

  1. Vizzini hired them, you know why, they didn't succeed, the man in black stopped them, Buttercup lived. Now to the crucial point—Inigo killed Count Rugen. That is Florinese history. I was in the room where the evil noble died. (There is, again, dispute among experts, on just where in the room the death took place. I don't care personally if he was near the billiard table in a distant corner.)

But you cannot reverse history for the sake of your story and have Inigo die like that, die a failure, after all he had gone through to revenge his father.

"Skip around," I said to my companion. "What's the next main thing he talks about?"

Willy went on another couple of pages, stopped, groaned. "Shakespeare," he said. "Do I have to?"

I gestured for him to continue with Morgenstern.

"'I was pacing most of the night. Thinking of when I was a child and my father took me to Denmark, to Elsinore Castle. And told me that right here, within these walls, was where the greatest drama of all took place. Hamlet. (In the Icelandic saga, his name was Amleth.) And went on to explain how his uncle murdered his father by poison, later married his mother, and how I would love to read that when I was a bit more wise.

"And Shakespeare used that bit of history, made it great, but he did not basically alter it for his needs. He did not, for example, have Hamlet die a failure.

"As I almost did having Inigo lose to the evil Rugen.

"'Shame on me for almost doing that. Inigo deserves his place in our history. Westley is the greatest hero we have. I must not cheapen his triumphs.

"'I pledge to take greater care in the future.'"

YOU WILL NEVER know how much better I felt at that moment.

 

THEN SUDDENLY, AMAZINGLY, it was lunchtime. We'd been sitting there for over two hours, slowly turning the pages of the journal, didn't get even a tenth of the way through.

"I wish we could take it to the hotel," Willy said. But he knew that was impossible—there were signs on the walls saying sternly in any number of languages that nothing could be removed from the room, and there were no exceptions.

"You didn't see a Buttercup's Baby journal?" I asked. "I didn't."

He shook his head. "There weren't that many journals. Maybe he didn't write one." He went to the Journal shelf, put The Princess Bride back.

"Maybe I'll ask Vonya, he could have it in his desk or something." "Grandpa, I don't think that's very smart."

"One little question, how can that hurt?" Now he gave me a look, Willy the Kid did. "What?"

"Don't talk to that guy, don't give him a chance to say anything else to you."

He was right. We left the Sanctuary, left the Museum, started to find a place to eat but it was chilly and Willy had worn a jacket, but he'd left his heaviest coat back in the room and he wanted to go there, so we did.

I lay down on my bed while Willy, still with his jacket on, went to the bathroom, came out after a long while, went into the living room part of the suite, puttered around a minute, then called out to me.

"Grandpa?"

"Whoever could you be referring to?" He never liked it when I was childish.

"Hyuk hyuk hyuk." "Grandpa what?"

"What would you think of a giant bird?" Then he was in the doorway. "Remember at the end of that chapter in Buttercup's Baby when Fezzik is falling to his doom holding Waverly? Well, what would you think if a giant talking bird flew underneath and saved them?"

"A talking bird? Oh please. Maybe historians aren't sure how Fezzik survived, but I know Morgenstern would never stoop to something that idiotic. I mean, why don't the rocks at the bottom turn out to be rubber so Fezzik could

just bounce around awhile and save them that way? That would make just as much sense."

"Yeah, Mister Smart Guy?" He darted out of sight for a moment, then was back, reading. "'I wish I had thought about how I was going to save Fezzik before he dove off the cliff. He could have just reached out and grabbed Waverly at the last minute. Why do I get myself in these situations? It's my Hamlet problem all over again. How much can the truth be manipulated in the name of art?'" Now Willy turned the page. "'I think my basic problem with Fezzik's rescue is I personally have trouble dealing with the existence of the giant bird. Even though I have seen the skeleton, even though our greatest scientists assure me that it did patrol our skies, still I feel the legendary rescue smacks of coincidence. Who knows how I will eventually solve the problem.'"

I was out of bed before he finished, stared at what he was reading from. I knew at that moment what he had done, tucked it inside his jacket, and I knew why he had done it, so I could have this gift and not get insulted again, and I knew we would return it in a few hours and no one would know it had been gone.

I carefully took it from him, glanced through, saw I would learn about Westley's childhood before he became the Farm Boy, and Fezzik's great love affair, and Inigo's heartbreak and Buttercup's nightmares that started coming true and Miracle Max's memory problems, and the hungriest monster in the sea who discovers that humans, tasty humans are living on One Tree Island.

I held Buttercup's Journal in my hands. What a thing. Now all I had to do was turn the page....





you?

AND IF YOU, dear reader, as we used to say, turn the page, what befalls

 

Only the introduction to the 25 th Anniversary edition, which you've

hopefully glanced at already. Followed by my "good parts" version of The Princess Bride and the one and only finished, abridged chapter of Buttercup's Baby. But do not, please, despair.

I have never worked harder than I have these past days, sometimes alone, sometimes with the wonder child who is nuttier for me to complete my

research and finish the book than you are.

I don't make promises anymore. But I make this promise to you (the same one I made to Willy when I took him to Fezzik's grave. Andre had gone years before. More work on his char, he told me): before the (ugh) 50th Anniversary edition comes into existence, Buttercup's Baby will be yours.

Hoping, in advance, that you like it ... and if you don't, don't tell me....



IT'S STILL MY favorite book in all the world.

And more than ever, I wish I had written it. Sometimes I like to fantasize that I did, that I came up with Fezzik (my favorite character), that my imagination summoned the iocane sequence, the ensuing battle of wits to the death.

Alas, Morgenstern invented it all, and I must be contented with the fact that my abridgement (though killed by all Florinese experts back in '73—the reviews in the learned journals brutalized me; in my book-writing career, only Boys and Girls Together got a worse savaging) at least brought Morgenstern to a wider American audience.

What is stronger than childhood memory? Nothing, at least for me. I still have a recurring dream of my poor, sad father reading the book out loud—only in the dream he wasn't poor and sad; he'd had a wonderful life, a life equal to his decency, and as he read, his English, so painful in truth, was splendid. And he was happy. And my mother so proud....

But the movie is the reason we're back together. I doubt that my publishers would have sprung for this edition if the movie hadn't happened. If you're reading this, dollars to donuts you've seen the movie. It was a mild success when it first hit theaters, but word of mouth caught up with it when the videocassette came out. It was a big hit in video stores then, still is. If you have kids, you've probably watched it with them. Robin Wright in the title role began her film career as Buttercup, and I'm sure we all fell in love with her again in Forrest Gump. (Personally, I think she was the reason for that phenomenon. She was so lovely and warm, you just ached for poor dopey Tom Hanks to live happily with someone like that.)

Most of us love movie stories. Maybe back when Broadway held sway, people loved theater stories, but I don't think anymore. And I'll bet no one begs Julia Louis-Dreyfus to talk about what it was like shooting Seinfeld episode number 89. And novelist stories? Can you imagine cornering Dostoyevsky and begging him for funny stuff about The Idiot?

Anyway, these are some movie memories pertaining to The Princess Bride I thought you might not know.

I had taken time off from writing The Stepford Wives screenplay to abridge the Morgenstern. And then someone at Fox heard about it, got hold of a manuscript copy of the book, liked it, was interested in making a movie out of it. This is early '73 we're talking about. The "someone" at Fox was their Greenlight Guy. (Referred to hereinafter as the GG.)

You will read, in such magazines as Premiere and Entertainment Weekly and Vanity Fair, endless lists about the "100 most powerful" studio figures. These various idiots all have titles: Vice President in charge of this, Chief Executive in charge of that, etc.

The truth: they are all oil slicks.

Only one person per studio has anything resembling power, and that is the GG. The GG, you see, can make a picture happen. He (or she) is the one who releases the fifty million bucks—if your movie is aimed for Sundance. Triple that if it's a special effects job.

Anyway, the GG at Fox liked The Princess Bride.

Problem: he wasn't sure it was a movie. So we struck a peculiar arrangement—they would buy the book, but they would not buy the screenplay unless they decided to move forward. In other words, we both owned half the pie. So even though I was tired from finishing the abridgement, I went on nervous energy and did the screenplay immediately after.

My very great agent, Evarts Ziegler, came to town. Ziegler was the one who orchestrated the Butch Cassidy deal, which, along with The Temple of Gold, my first novel, changed my life as much as anything. We went to lunch at Lutéce, chatted, enjoyed each other, parted, me to my office on the Upper East Side in a building that had a swimming pool. I used to swim every day because I had a very bad back then, and the swimming eased things. I was heading for the pool when I realized this: I didn't want to swim.

I didn't want to do anything but get home fast. Because I was shivering terribly now. I made it home, got to bed, the shivering replaced by fire. Helen, my superstar-shrink wife, came in from work, took one look at me, got me to New York Hospital.

All kinds of doctors came in—everybody knew something was seriously wrong, nobody had a guess as to what it might be.

I woke at four in the morning. And I knew what was wrong. Somehow, the awful pneumonia that almost killed me when I was ten—the reason my father read The Princess Bride to me in the first place was to get me through those first woeful posthospital days—well, that pneumonia had come back to finish

the job.

And right then, in that hospital (and, yes, I expect this will sound nutty to you) as I woke in pain and delirium, somehow I knew that if I was to live, I had to get back to that place where I was as a child. I started yelling for the night nurse—

—because somehow my life and The Princess Bride were forever joined. The night nurse came in and I told her to read me the Morgenstern.

"The what, Mr. Goldman?" she said.

"Start with the Zoo of Death," I told her. Then I said, "No, no, forget that, start with the Cliffs of Insanity."

She took one close look at me, nodded, said, "Oh, right, that's exactly where I'll start, but I left my Morgenstern at the desk, I'll just go get it."

The next thing I knew, here came Helen. And several other doctors. "I went to your office, I think I picked up the right pages. Now what is it you want me to read?"

"I don't want you to read anything, Helen, you never liked the book, you don't want to read to me, you're just humoring me, and besides there's no part for you—"

"I could be Buttercup—"

"Oh, come on, she's twenty-one—"

"Is that a screenplay?" this handsome doctor said then. "I always wanted to be a movie star."

"You be the man in black," I told him. Then I pointed to the big doctor in the doorway. "Give Fezzik a shot."

That was how I first heard the screenplay. These medicos and my genius wife struggling with it in the middle of the night while I froze and sweated and the fever raged inside me.

I passed out after a little while. And I remember thinking at the last that the big doctor wasn't bad and Helen, miscast and all, was an OK Buttercup, and so what if the handsome doctor was a stiff, I was going to live.

Well, that was the beginning of the life of the screenplay.

The GG at Fox sent it to Richard Lester in London—Lester directed, among others, A Hard Day's Night, the first wonderful Beatles film—and we met, worked, solved problems. The GG was thrilled, we were a go—

—then he got fired, and a new GG came in to replace him.

Here is what happens Out There when that happens: the old GG is stripped of his epaulets and his ability to get into Morton's on Monday nights

and off he goes, very rich—he had a deal in place for this inevitability—but disgraced.

And the new GG takes the throne with but one rule firmly writ in stone: nothing his predecessor had in motion must ever get made. Why? Say it gets made. Say it's a hit. Who gets the credit? The old GG. And when the new GG, who can now get into Morton's on Mondays, has to run the gauntlet there, he knows all his peers are sniggering: "That asshole, it wasn't his picture."

Death.

So The Princess Bride was buried, conceivably forever.

And I realized that I had let control of it go. Fox had the book. So what if I had the screenplay; they could commission another. They could change anything they wanted. So I did something of which I am genuinely proud. I bought the book back from the studio, with my own money. I think they were suspicious I had some deal or plan, but I didn't. I just didn't want some idiot destroying what I had come to realize was the most important thing I would ever be involved with.

After a good bit of negotiating, it was again mine. I was the only idiot who could destroy it now.

 

I READ RECENTLY that the fine Jack Finney novel Time and Again has taken close to twenty years and still hasn't made it to the screen. The Princess Bride didn't take that long, but not a lot less either. I didn't keep notes, so this is from memory. Understand, in order for someone to make a movie, they need two things: passion and money. A lot of people, it turned out, loved The Princess Bride. I know of at least two different GGs who were mad about it. Who shook hands with me on the deal. Who wanted to make it more than any other movie.

Who both got fired the weekend before they were going to set things in motion. One studio (a small one) even closed the weekend before they were going to set things in motion. The screenplay began to get a certain reputation

—one magazine article listed it among the best that had never been shot.

The truth is, after a decade and more, I thought it would never happen. Every time there was interest, I kept waiting for the other shoe to come clunking down—and it always did. But, without my knowledge, events had been put in motion a decade before that eventually would be my salvation.

When Butch Cassidy and the Sundance Kid was done, I took myself out of the movie business for a while. (We are back in the late '60s now.) I wanted

to try something I had never done, non-fiction.

I wrote a book about Broadway called The Season. In the course of a year I went to the theater hundreds of times, both in New York and out of town, saw everything at least once. But the show I saw most was a terrific comedy called Something Different, written by Carl Reiner.

Reiner was terribly helpful to me, and I liked him a lot. When The Season was done I sent him a copy. A few years later, when The Princess Bride was finished, I sent him the novel. And one day he gave it to his eldest son. "Here's something," he said to his boy Robert. "I think you'll like this."

Rob was a decade away from starting his directing career then, but in '85 we met, and Norman Lear (bless him) gave us the money to go forward with the movie.

Keep hope alive.

 

WE HAD OUR first script reading in a hotel in London in the spring of '86. Rob was there, as was his producer Andy Scheinman. Cary Elwes and Robin Wright, Westley and Buttercup, were there. So, too, were Chris Sarandon and Chris Guest, the villains Prince Humperdinck and Count Rugen, and Wally Shawn, the evil genius Vizzini. Mandy Patinkin, who played Inigo, was very much there. And sitting by himself, quietly—he always tried to sit quietly—was Andre the Giant who was Fezzik.

Not your ordinary Hadassah group.

Sitting suavely in a corner was moi. Two of the major figures of my years in the entertainment business—Elia Kazan and George Roy Hill—said the same thing to me in interviews: that by the time of the first cast reading, the crucial work was done. If you had gotten the script to work and cast it properly, then you had a chance for something of quality. But if you had not, it didn't matter how skillful the rest of the process was; you were dead in the water.

This probably sounds like madness to the uninitiated, and it should, but it is very much true. The reason it sounds like madness is this: Premiere magazine isn't around when the script is being prepared. Entertainment Tonight isn't around for casting. They are only around during the shooting of a flick, which is the least important part of the making of any movie. Remember this: shooting is just the factory putting together the car.




  1. R. ROUSSIMOFF was our biggest gamble that rehearsal morning. Under the name of Andre the Giant, he was the most famous wrestler in the world. I had become convinced that if there ever was to be a movie, he should be Fezzik, the strongest man.

Rob thought Andre might be good for the part, too. The problem was, no one could find him. He wrestled 330 plus days a year, always on the move.

So we went ahead trying to find someone else. Strangest casting calls I ever saw. These big guys came in—we are talking immense here—but they weren't giants. Occasionally we would find a giant—but either he couldn't act or he was skinny, and a skinny giant was not at all what we needed.

Still, no Andre.

One day Rob and Andy were in Florin doing final location scouting when a call came—Andre would be in Paris the next afternoon. They flew over to meet him. Not easy, since Florin City has zero nonstops to any of the major capitals of Europe. Not to mention that their scheduling depends on load—all Florin Air's flights are jammed because they wait until they are before they'll take off. They even allow people to stand in the aisles. (I had only seen that myself once, in Russia, on a nightmare jaunt from Tblisi to Saint Petersburg.) Eventually, Rob and Andy had to charter a tiny propeller plane to make the meeting. They got to the Ritz, where the doorman said, in a weird voice, "There is a man waiting for you in the bar."

Andre, for me, was like the Pentagon—no matter how big you're told it's going to be, when you get close, it's bigger.

Andre was bigger.

His listed size was 550 pounds, seven-and-a-half-feet tall. But he wasn't really sure and he didn't spend a lot of time fretting on the scale each morning. He was sick once, he told me, and lost 100 pounds in three weeks. But other than that he never talked about his dimensions.

They chatted in the bar, then went up to Rob's room where they went over the script. A couple of things were clear: Andre had a clock-stopping French accent and, worse, his voice came from the subbasement.

Rob gambled, gave him the role. He also recorded Andre's part on tape for him—line for line, inflections hopefully included—so Andre could take it with him on the road and study it in the months before rehearsal began.

Rehearsal that London morning was intentionally light: a couple of readings of the script, few comments. It was a beautiful afternoon when we broke for lunch, and we found a nearby bistro with outside tables. It was

perfect except the chair was far too small for Andre—the width was for normal people, the arms way too close. There was a table inside that had a bench, and someone suggested we eat there. But Andre wouldn't hear of it. So we sat outside. I can still see him pulling the metal arms of the chair wide apart, squeezing in, then watching the arms all but snapping back into place where they pinioned him for the remainder of the meal. He ate very little. And the utensils were like baby toys, dwarfed by his hands.

After lunch we rehearsed again, doing scenes now, and Andre was working with our Inigo, Mandy Patinkin. Andre had clearly studied Rob's tapes

—but it was undeniable that his readings were slow, with more than a little rote quality.

They were doing one of their scenes after they have been reunited. Mandy was trying to get some information out of Andre and Andre was giving one of his slow, memorized readings. Mandy as Inigo tried to get Fezzik to go faster. Andre gave back another of his slow, rote responses. They went back and tried it again and again. Mandy as Inigo asked Andre as Fezzik to go faster—and Andre came back at the same speed as before—

—which was when Mandy said, "Faster, Fezzik!" And with no warning he slapped the Giant hard in the face.

I can still see Andre's eyes go wide. I don't think he had been slapped outside the ring since he was a little boy. He looked at Mandy ... and there was a brief pause. A very dead silence filled the room.

And then Andre started speaking faster. He just rose to the occasion, gave it more pace and energy. You could almost see his mind: "Oh, this is how you do it outside the ring, let's try it for a while." In truth, that slap was the beginning of the happiest period of his life.

It was a wonderful time for me, too. After the decade plus of waiting, the most important book of my youth was coming to life in front of me. When it was finished and I saw it finally, I realized that, in my entire career, I only really loved two of the movies I've been involved with: Butch Cassidy and the Sundance Kid and The Princess Bride.

But the movie did so much more than just please me. It brought the book back to life. I began getting these wonderful letters again. Got one today— Scout's honor—from a guy in L.A. who had been dumped by his Buttercup and, after a decade of separation, heard she was in trouble. So he sent her a copy of the novel and, well, obviously they are together now. You think that isn't wonderful—especially for someone like me who spends his life in his pit,

writing—touching another human? Can't get better.

Of course, along with the good, I have regrets. I'm sorry about the legal troubles with the Morgenstern estate, about which more later. I'm sorry Helen and I went pffft. (Not that we both didn't know it was coming—but did she have to leave the very day the movie opened in New York?) And I'm sorry the Cliffs of Insanity have now become the biggest tourist attraction in Florin, making life hell for their forest rangers.

But this is life on earth, you can't have everything.



THIS IS MY favorite book in all the world, though I have never read it.

How is such a thing possible? I'll do my best to explain. As a child, I had simply no interest in books. I hated reading, I was very bad at it, and besides, how could you take the time to read when there were games that shrieked for playing? Basketball, baseball, marbles—I could never get enough. I wasn't even good at them, but give me a football and an empty playground and I could invent last-second triumphs that would bring tears to your eyes. School was torture. Miss Roginski, who was my teacher for the third through fifth grades, would have meeting after meeting with my mother. "I don't feel Billy is perhaps extending himself quite as much as he might." Or, "When we test him, Billy does really exceptionally well, considering his class standing." Or, most often, "I don't know, Mrs. Goldman: what are we going to do about Billy?"

What are we going to do about Billy? That was the phrase that haunted me those first ten years. I pretended not to care, but secretly I was petrified. Everyone and everything was passing me by. I had no real friends, no single person who shared an equal interest in all games. I seemed busy, busy, busy, but I suppose, if pressed, I might have admitted that, for all my frenzy, I was very much alone.

"What are we going to do about you, Billy?" "I don't know, Miss Roginski."

"How could you have failed this reading test? I've heard you use every word with my own ears."

"I'm sorry, Miss Roginski. I must not have been thinking."

"You're always thinking, Billy. You just weren't thinking about the reading test."

I could only nod.

"What was it this time?"

"I don't know. I can't remember."

"Was it Stanley Hack again?" (Stan Hack was the Cubs' third baseman for these and many other years. I saw him play once from a bleacher seat, and even at that distance he had the sweetest smile I had ever seen and to this day I swear he smiled at me several times. I just worshipped him. He could also hit a ton.)

"Bronko Nagurski. He's a football player. A great football player, and the paper last night said he might come back and play for the Bears again. He retired when I was little but if he came back and I could get someone to take me to a game, I could see him play and maybe if whoever took me also knew him, I could meet him after and maybe if he was hungry, I might let him have a sandwich I might have brought with me. I was trying to figure out what kind of sandwich Bronko Nagurski would like."

She just sagged at her desk. "You've got a wonderful imagination, Billy." I don't know what I said. Probably "thank you" or something.

"I can't harness it, though," she went on. "Why is that?"

"I think it's that probably I need glasses and I don't read because the words are so fuzzy. That would explain why I'm all the time squinting. Maybe if I went to an eye doctor who could give me glasses I'd be the best reader in class and you wouldn't have to keep me after school so much."

She just pointed behind her. "Get to work cleaning the blackboards, Billy."

"Yes, ma'am." I was the best at cleaning blackboards. "Do they look fuzzy?" Miss Roginski said after a while.

"Oh, no, I just made that up." I never squinted either. But she just seemed so whipped about it. She always did. This had been going on for three grades now.

"I'm just not getting through to you somehow."

"It's not your fault, Miss Roginski." (It wasn't. I just worshipped her too. She was all dumpy and fat but I used to wish she'd been my mother. I could never make that really come out right, unless she had been married to my father first, and then they'd gotten divorced and my father had married my mother, which was okay, because Miss Roginski had to work, so my father got custody of me—that all made sense. Only they never seemed to know each other, my dad and Miss Roginski. Whenever they'd meet, each year during the Christmas pageant when all the parents came, I'd watch the two of them like crazy, hoping for some kind of secret glimmer or look that could only mean, "Well, how are you, how's your life been going since our divorce?" but no soap. She wasn't my mother, she was just my teacher, and I was her own personal and growing disaster area.)

"You're going to be all right, Billy." "I sure hope so, Miss Roginski."

"You're a late bloomer, that's all. Winston Churchill was a late bloomer

and so are you."

I was about to ask her who he played for but there was something in her tone that made me know enough not to.

"And Einstein."

Him I also didn't know. Or what a late bloomer was either. But boy, did I ever want to be one.

 

WHEN I WAS twenty-six, my first novel, The Temple of Gold, was published by Alfred A. Knopf. (Which is now part of Random House which is now part of R.C.A. which is just part of what's wrong with publishing in America today which is not part of this story.) Anyway, before publication, the publicity people at Knopf were talking to me, trying to figure what they could do to justify their salaries, and they asked who did I want to send advance copies to that might be an opinion maker, and I said I didn't know anybody like that and they said, "Think, everybody knows somebody," and so I got all excited because the idea just came to me and I said, "Okay, send a copy to Miss Roginski," which I figure was logical and terrific because if anybody made my opinions, she did. (She's all through The Temple of Gold, by the way, only I called her "Miss Patulski"—even then I was creative.)

"Who?" this publicity lady said.

"This old teacher of mine, you send her a copy and I'll sign it and maybe write a little—" I was really excited until this publicity guy interrupted with, "We were thinking of someone more on the national scene."

Very soft I said, "Miss Roginski, you just send her a copy, please, okay?" "Yes," he said, "yes, by all means."

You remember how I didn't ask who Churchill played for because of her tone? I must have hit that same tone too just then. Anyway, something must have happened because he right away wrote her name down asking was it ski or sky. "With the i," I told him, already hiking through the years, trying to get the inscription fantastic for her. You know, clever and modest and brilliant and

perfect, like that.

"First name?"

That brought me back fast. I didn't know her first name. "Miss" was all I ever called her. I didn't know her address either. I didn't even know if she was alive or not. I hadn't been back to Chicago in ten years; I was an only child, both folks gone, who needed Chicago?

"Send it to Highland Park Grammar School," I said, and first what I

thought I'd write was "For Miss Roginski, a rose from your late bloomer," but then I thought that was too conceited, so I decided "For Miss Roginski, a weed from your late bloomer" would be more humble. Too humble, I decided next, and that was it for bright ideas that day. I couldn't think of anything. Then I thought, What if she doesn't even remember me? Hundreds of students over the years, why should she? So finally in desperation I put, "For Miss Roginski from William Goldman—Billy you called me and you said I would be a late bloomer and this book is for you and I hope you like it. I was in your class for third, fourth and fifth grades, thank you very much. William Goldman."

The book came out and got bombed; I stayed in and did the same, adjusting. Not only did it not establish me as the freshest thing since Kit Marlowe, it also didn't get read by anybody. Not true. It got read by any number of people, all of whom I knew. I think it is safe to say, however, no strangers savored it. It was a grinding experience and I reacted as indicated above. So when Miss Roginski's note came—late—it got sent to Knopf and they took their time relaying it—I was really ready for a lift.

"Dear Mr. Goldman: Thank you for the book. I have not had time yet to read it, but I am sure it is a fine endeavor. I of course remember you. I remember all my students. Yours sincerely, Antonia Roginski."

What a crusher. She didn't remember me at all. I sat there holding the note, rocked. People don't remember me. Really. It's not any paranoid thing; I just have this habit of slipping through memories. It doesn't bother me all that much, except I guess that's a lie; it does. For some reason, I test very high on forgettability.

So when Miss Roginski sent me that note making her just like everyone else, I was glad she'd never gotten married, I'd never liked her anyway, she'd always been a rotten teacher, and it served her right her first name was Antonia.

"I didn't mean it," I said out loud right then. I was alone in my one-room job on Manhattan's glamorous West Side and talking to myself. "I'm sorry, I'm sorry," I went on. "You got to believe that, Miss Roginski."

What had happened, of course, was that I'd finally seen the postscript. It was on the back of the thank-you note and what it said was, "Idiot. Not even the immortal S. Morgenstern could feel more parental than I."

  1. Morgenstern! The Princess Bride. She remembered! Flashback.
  2. Autumn. I'm a little cranky because my radio won't get the football

games. Northwestern is playing Notre Dame, it starts at one, and by one-thirty I can't get the game. Music, news, soap operas, everything, but not the biggie. I call for my mother. She comes. I tell her my radio's busted, I can't find Northwestern—Notre Dame. She says, you mean the football? Yes yes yes, I say. It's Friday, she says; I thought they played on Saturday.

Am I an idiot!

I lie back, listening to the soaps, and after a little I try finding it again, and my stupid radio will pick up every Chicago station except the one carrying the football game. I really holler now, and again my mother tears in. I'm gonna heave this radio right out the window, I say; it won't get it, it won't get it, I cannot make it get it. Get what? she says. The football game, I say; how dumb are you, the gaaaaame. Saturday, and watch your tongue, young man, she says

—I already told you, it's Friday. She goes again.

Was there ever so ample a dunce?

Humiliated, I flick around on my trusty Zenith, trying to find the football game. It was so frustrating I was lying there sweating and my stomach felt crazy and I was pounding the top of the radio to make it work right and that was how they discovered I was delirious with pneumonia.

Pneumonia today is not what it once was, especially when I had it. Ten days or so in the hospital and then home for the long recuperating period. I guess it was three more weeks in bed, a month maybe. No energy, no games even. I just was this lump going through a strength-gathering time, period.

Which is how you have to think of me when I came upon The Princess Bride.

It was my first night home. Drained; still one sick cookie. My father came in, I thought to say good night. He sat on the end of my bed. "Chapter One. The Bride," he said.

It was then only I kind of looked up and saw he was holding a book. That alone was surprising. My father was next to illiterate. In English. He came from Florin (the setting of The Princess Bride) and there he had been no fool. He said once he would have ended up a lawyer, and maybe so. The facts are when he was sixteen he got a shot at coming to America, gambled on the land of opportunity and lost. There was never much here for him. He was not attractive to look upon, very short and from an early age bald, and he was ponderous at learning. Once he got a fact, it stayed, but the hours it took to pass into his cranium were not to be believed. His English always stayed ridiculously immigranty, and that didn't help him either. He met my mother on

the boat over, got married later and, when he thought they could afford it, had me. He worked forever as the number-two chair in the least successful barbershop in Highland Park, Illinois. Toward the end, he used to doze all day in his chair. He went that way. He was gone an hour before the number-one guy realized it; until then he just thought my father was having a good doze. Maybe he was. Maybe that's all any of this is. When they told me I was terribly upset, but I thought at the same time it was an almost Existence-Proving way for him to go.

Anyway, I said, "Huh? What? I didn't hear." I was so weak, so terribly tired.

"Chapter One. The Bride." He held up the book then. "I'm reading it to you for relax." He practically shoved the book in my face. "By S. Morgenstern. Great Florinese writer. The Princess Bride. He too came to America. S. Morgenstern. Dead now in New York. The English is his own. He spoke eight tongues." Here my father put down the book and held up all his fingers. "Eight. Once, in Florin City, I was in his café." He shook his head now; he was always doing that, my father, shaking his head when he'd said it wrong. "Not his café. He was in it, me too, the same time. I saw him. S. Morgenstern. He had head like this, that big," and he shaped his hands like a big balloon. "Great man in Florin City. Not so much in America."

"Has it got any sports in it?"

"Fencing. Fighting. Torture. Poison. True love. Hate. Revenge. Giants. Hunters. Bad men. Good men. Beautifulest ladies. Snakes. Spiders. Beasts of all natures and descriptions. Pain. Death. Brave men. Coward men. Strongest men. Chases. Escapes. Lies. Truths. Passion. Miracles."

"Sounds okay," I said, and I kind of closed my eyes. "I'll do my best to stay awake ... but I'm awful sleepy, Daddy "

Who can know when his world is going to change? Who can tell before it happens, that every prior experience, all the years, were a preparation for ...

nothing. Picture this now: an all-but-illiterate old man struggling with an enemy tongue, an all-but-exhausted young boy fighting against sleep. And nothing between them but the words of another alien, painfully translated from native sounds to foreign. Who could suspect that in the morning a different child would wake? I remember, for myself, only trying to beat back fatigue. Even a week later I was not aware of what had begun that night, the doors that were slamming shut while others slid into the clear. Perhaps I should have at least known something, but maybe not; who can sense revelation in the wind?

What happened was just this: I got hooked on the story.

For the first time in my life, I became actively interested in a book. Me the sports fanatic, me the game freak, me the only ten-year-old in Illinois with a hate on for the alphabet wanted to know what happened next.

What became of beautiful Buttercup and poor Westley and Inigo, the greatest swordsman in the history of the world? And how really strong was Fezzik and were there limits to the cruelty of Vizzini, the devil Sicilian?

Each night my father read to me, chapter by chapter, always fighting to sound the words properly, to nail down the sense. And I lay there, eyes kind of closed, my body slowly beginning the long flow back to strength. It took, as I said, probably a month, and in that time he read The Princess Bride twice to me. Even when I was able to read myself, this book remained his. I would never have dreamed of opening it. I wanted his voice, his sounds. Later, years later even, sometimes I might say, "How about the duel on the cliff with Inigo and the man in black?" and my father would gruff and grumble and get the book and lick his thumb, turning pages till the mighty battle began. I loved that. Even today, that's how I summon back my father when the need arises. Slumped and squinting and halting over words, giving me Morgenstern's masterpiece as best he could. The Princess Bride belonged to my father.

Everything else was mine.

There wasn't an adventure story anywhere that was safe from me. "Come on," I would say to Miss Roginski when I was well again. "Stevenson, you keep saying Stevenson, I've finished Stevenson, who now?" and she would say, "Well, try Scott, see how you like him," so I tried old Sir Walter and I liked him well enough to butt through a half-dozen books in December (a lot of that was Christmas vacation when I didn't have to interrupt my reading for anything but now and then a little food). "Who else, who else?" "Cooper maybe," she'd say, so off I went into The Deerslayer and all the Leatherstocking stuff, and then on my own one day I stumbled onto Dumas and D'Artagnan and that got me through most of February, those guys. "You have become, before my very eyes, a novel-holic," Miss Roginski said. "Do you realize you are spending more time now reading than you used to spend on games? Do you know that your arithmetic grades are actually getting worse?" I never minded when she knocked me. We were alone in the schoolroom, and I was after her for somebody good to devour. She shook her head. "You're certainly blooming, Billy. Before my very eyes. I just don't know into what."

I just stood there and waited for her to tell me to read somebody.

"You're impossible, standing there waiting." She thought a second. "All right. Try Hugo. The Hunchback of Notre Dame."

"Hugo," I said. "Hunchback. Thank you," and I turned, ready to begin my sprint to the library. I heard her words sighed behind me as I moved.

"This can't last. It just can't last." But it did.

And it has. I am as devoted to adventure now as then, and that's never going to stop. That first book of mine I mentioned, The Temple of Gold—do you know where the title comes from? From the movie Gunga Din, which I've seen sixteen times and I still think is the greatest adventure movie ever ever ever made. (True story about Gunga Din: when I got discharged from the Army, I made a vow never to go back on an Army post. No big deal, just a simple lifelong vow. Okay, now I'm home the day after I get out and I've got a buddy at Fort Sheridan nearby and I call to check in and he says, "Hey, guess what's on post tonight? Gunga Din." "We'll go," I said. "It's tricky," he said; "you're a civilian." Upshot: I got back into uniform the first night I was out and snuck onto an Army post to see that movie. Snuck back. A thief in the night. Heart pounding, the sweats, everything.) I'm addicted to action/adventure/call- it-what-you-will, in any way, shape, etc. I never missed an Alan Ladd picture, an Errol Flynn picture. I still don't miss John Wayne pictures.

My whole life really began with my father reading me the Morgenstern when I was ten. Fact: Butch Cassidy and the Sundance Kid is, no question, the most popular thing I've ever been connected with. When I die, if the Times gives me an obit, it's going to be because of Butch. Okay, now what's the scene everybody talks about, the single moment that stays fresh for you and me and the masses? Answer: the jump off the cliff. Well, when I wrote that, I remember thinking that those cliffs they were jumping off, those were the Cliffs of Insanity that everybody tries to climb in The Princess Bride. In my mind, when I wrote Butch, I was thinking back further into my mind, remembering my father reading the rope climb up the Cliffs of Insanity and the death that was lurking right behind.

That book was the single best thing that happened to me (sorry about that, Helen; Helen is my wife, the hot-shot child psychiatrist), and long before I was even married, I knew I was going to share it with my son. I knew I was going to have a son too. So when Jason was born (if he'd been a girl, he would have been Pamby; can you believe that, a woman child psychiatrist who would give her kids such names?)—anyway, when Jason was born, I made a mental note to

buy him a copy of The Princess Bride for his tenth birthday.

After which I promptly forgot all about it.

Flash forward: the Beverly Hills Hotel last December. I am going mad having meetings on Ira Levin's The Stepford Wives, which I am adapting for the Silver Screen. I call my wife in New York at dinnertime, which I always do— it makes her feel wanted—and we're talking and at the close she says, "Oh. We're giving Jason a ten-speed bike. I bought it today. I thought that was fitting, don't you?"

"Why fitting?"

"Oh come on, Willy, ten years, ten speeds."

"Is he ten tomorrow? It went clean outta my head."

"Call us at suppertime tomorrow and you can wish him a happy." "Helen?" I said then. "Listen, do me something. Buzz the Nine-nine-nine

bookshop and have them send over The Princess Bride."

"Lemme get a pencil," and she's gone a while. "Okay. Shoot. The what bride?"

"Princess. By S. Morgenstern. It's a kids' classic. Tell him I'll quiz him on it when I'm back next week and that he doesn't have to like it or anything, but if he doesn't, tell him I'll kill myself. Give him that message exactly please; I wouldn't want to apply any extra pressure or anything."

"Kiss me, my fool." "Mmmm-wah."

"No starlets now." This was always her sign-off line when I was alone and on the loose in sunny California.

"They're extinct, dummy." That was mine. We hung up.

Now the next afternoon, it so happened, from somewhere, there actually appeared a living, sun-tanned, breathing-deeply starlet. I'm lolling by the pool and she moves by in a bikini and she is gorgeous. I'm free for the afternoon, I don't know a soul, so I start playing a game about how can I approach this girl so she won't laugh out loud. I never do anything, but ogling is great exercise and I am a major-league girl watcher. I can't come up with any approach that connects with reality, so I start to swim my laps. I swim a quarter-mile a day because I have a bad disc at the base of my spine.

Up and back, up and back, eighteen laps, and when I'm done, I'm hanging on in the deep end, panting away, and over swims this starlet. She hangs on the ledge in the deep end too, maybe all of six inches away, hair all wet and glistening and the body's under water but you know it's there and she says (this

happened now), "Pardon me, but aren't you the William Goldman who wrote

Boys and Girls Together? That's, like, my favorite book in all the world."

I clutch the ledge and nod; I don't remember what I said exactly. (Lie: I remember exactly what I said, except it's too goon-like to put it down; ye gods, I'm forty years old. "Goldman, yes Goldman, I'm Goldman." It came out like all in one word, so there's no telling what language she thought I was responding in.)

"I'm Sandy Sterling," she said. "Hi."

"Hi, Sandy Sterling," I got out, which was pretty suave, suave for me anyway; I'd say it again if the same situation came up.

Then my name was paged. "The Zanucks won't leave me alone," I say, and she breaks out laughing and I hurry to the phone thinking was it really all that clever, and by the time I get there I decide yes it was, and into the receiver I say that, "Clever." Not "hello." Not "Bill Goldman." "Clever" is what I say.

"Did you say 'clever,' Willy?" It's Helen.

"I'm in a story conference, Helen, and we're speaking tonight at suppertime. Why are you calling at lunch for?"

"Hostile, hostile."

Never argue with your wife about hostility when she's a certified Freudian. "It's just they're driving me crazy with stupid notions in this story conference. What's up?"

"Nothing, probably, except the Morgenstern's out of print. I've checked with Doubleday's too. You sounded kind of like it might be important so I'm just letting you know Jason will have to be satisfied with his very fitting ten- speed machine."

"Not important," I said. Sandy Sterling was smiling. From the deep end. Straight at me. "Thanks though anyway." I was about to hang up, then I said, "Well, as long as you've gone this far, call Argosy on Fifty-ninth Street. They specialize in out-of-print stuff."

"Argosy. Fifty-ninth. Got it. Talk to you at supper." She hung up.

Without saying "No starlets now." Every call she ends with that and now she doesn't. Could I have given it away by something in my tone? Helen's very spooky about that, being a shrink and all. Guilt, like pudding, began bubbling on the back burner.

I went back to my lounge chair. Alone.

Sandy Sterling swam a few laps. I picked up my New York Times. A certain amount of sexual tension in the vicinity. "Done swimming?" she asks. I

put my paper down. She was by the edge of the pool now, nearest my chair.

I nod, staring at her.

"Which Zanuck, Dick or Darryl?"

"It was my wife," I said. Emphasis on the last word.

Didn't faze her. She got out and lay down in the next chair. Top heavy but golden. If you like them that way, you had to like Sandy Sterling. I like them that way.

"You're out here on the Levin, aren't you? Stepford Wives?" "I'm doing the screenplay."

"I really loved that book. That's, like, my favorite book in all the world. I'd really love to be in a picture like that. Written by you. I'd do anything for a shot at that."

So there it was. She was putting it right out there, on the line.

Naturally I set her straight fast. "Listen," I said, "I don't do things like that. If I did, I would, because you're gorgeous, that goes without saying, and I wish you joy, but life's too complicated without that kind of thing going on."

That's what I thought I was going to say. But then I figured, Hey wait a minute, what law is there that says you have to be the token puritan of the movie business? I've worked with people who keep card files on this kind of thing. (True; ask Joyce Haber.) "Have you acted a lot in features?" I heard myself asking. Now you know I was really passionate to know the answer to that one.

"Nothing that really enlarged my boundaries, y' know what I mean?" "Mr. Goldman?"

I looked up. It was the assistant lifeguard. "For you again." He handed me the phone.

"Willy?" Just the sound of my wife's voice sent sheer blind misgivings through each and every bit of me.

"Yes, Helen?" "You sound funny."

"What is it, Helen?" "Nothing, but—"

"It can't be nothing or you wouldn't have called me." "What's the matter, Willy?"

"Nothing is the matter. I was trying to be logical. You did, after all, place the call. I was merely trying to ascertain why." I can be pretty distant when I put my mind to it.

"You're hiding something."

Nothing drives me crazier than when Helen does that. Because, see, with this horrible psychiatrist background of hers, she only accuses me of hiding things from her when I'm hiding things from her. "Helen, I'm in the middle of a story conference now; just get on with it."

So there it was again. I was lying to my wife about another woman, and the other woman knew it.

Sandy Sterling, in the next chair, smiled dead into my eyes.

"Argosy doesn't have the book, nobody has the book, good-by, Willy." She hung up.

"Wife again?"

I nodded, put the phone on the table by my lounge chair. "You sure talk to each other a lot."

"I know," I told her. "It's murder trying to get any writing done." I guess she smiled.

There was no way I could stop my heart from pounding. "Chapter One. The Bride," my father said.

I must have jerked around or something because she said, "Huh?" "My fa—" I began. "I thou—" I began. "Nothing," I said finally.

"Easy," she said, and she gave me a really sweet smile. She dropped her hand over mine for just a second, very gentle and reassuring. I wondered was it possible she was understanding too. Gorgeous and understanding? Was that legal? Helen wasn't ever understanding. She was always saying she was—"I understand why you're saying that, Willy"—but secretly she was ferreting out my neuroses. No, I guess she was understanding; what she wasn't was sympathetic. And, of course, she wasn't gorgeous too. Skinny, yes. Brilliant, yes.

"I met my wife in graduate school," I said to Sandy Sterling. "She was getting her Ph.D."

Sandy Sterling was having a little trouble with my train of thought. "We were just kids. How old are you?"

"You want my real age or my baseball age?"

I really laughed then. Gorgeous and understanding and funny?

"Fencing. Fighting. Torture," my father said. "Love. Hate. Revenge.

Giants. Beasts of all natures and descriptions. Truths. Passion. Miracles." It was 12:35 and I said, "One phone call, okay?"

"Okay."

"New York City information," I said into the receiver, and when I was through I said, "Could you give me the names of some Fourth Avenue bookshops, please. There must be twenty of them." Fourth Avenue is the used and out-of-print book center of the English-speaking chapter of the civilized world. While the operator looked, I turned to the creature on the next lounge and said, "My kid's ten today, I'd kind of like for him to have this book from me, a present, won't take a sec."

"Swing," Sandy Sterling said.

"I list one bookstore called the Fourth Avenue Bookshop," the operator said, and she gave me the number.

"Can't you give me any of the others? They're all down there in a clump." "If yew we-ill give mee they-re names, I can help you," the operator said,

speaking Bell talk.

"This one'll do," I said, and I got the hotel operator to ring through for me. "Listen, I'm calling from Los Angeles," I said, "and I need The Princess Bride by S. Morgenstern."

"Nope. Sorry," the guy said, and before I could say, "Well, could you give me the names of the other stores down there," he hung up. "Get me that number back, please," I said to the hotel operator, and when the guy was on the line again, I said, "This is your Los Angeles correspondent; don't hang up so fast this time."

"I ain't got it, mister."

"I understand that. What I'd like is, since I'm in California, could you give me the names and numbers of some of the other stores down there. They might have it and there aren't exactly an abundance of New York Yellow Pages drifting around out here."

"They don't help me, I don't help them." He hung up again. I sat there with the receiver in my hand.

"What's this special book?" Sandy Sterling asked.

"Not important," I said, and hung up. Then I said, "Yes it is" and picked up the receiver again, eventually got my publishing house in New York, Harcourt Brace Jovanovich, and, after a few more eventuallys, my editor's secretary read me off the names and numbers of every bookstore in the Fourth Avenue area.

"Hunters," my father was saying now. "Bad men. Good men. Beautifulest ladies." He was camped in my cranium, hunched over, bald and squinting, trying to read, trying to please, trying to keep his son alive and the wolves

away.

It was 1:10 before I had the list completed and rang off from the secretary.

Then I started with the bookstores. "Listen, I'm calling from Los Angeles on the Morgenstern book, The Princess Bride, and..."

"...sorry..."

"...sorry..." Busy signal.

"...not for years..." Another busy.

1:35.

Sandy swimming. Getting a little angry too. She must have thought I was putting her on. I wasn't, but it sure looked that way.

"...sorry, had a copy in December..." "...no soap, sorry..."

"This is a recorded announcement. The number you have dialed is not in working order. Please hang up and..."

"...nope..."

Sandy really upset now. Glaring, gathering debris. "...who reads Morgenstern today?..."

Sandy going, going, gorgeous, gone. Bye, Sandy. Sorry, Sandy.

"...sorry, we're closing..." 1:55 now. 4:55 in New York. Panic in Los Angeles.

Busy.

No answer. No answer.

"Florinese I got I think. Somewhere in the back."

I sat up in my lounge chair. His accent was thick. "I need the English translation."

"You don't get much call for Morgenstern nowadays. I don't know anymore what I got back there. You come in tomorrow, you look around."

"I'm in California," I said. "Mashuganuh," he said.

"It would mean just a great deal to me if you'd look."

"You gonna hold on while I do it? I'm not gonna pay for this call." "Take your time," I said.

He took seventeen minutes. I just hung on, listening. Every so often I'd hear a footstep or a crash of books or a grunt—"uch—uch."

Finally: "Well, I got the Florinese like I thought." So close. "But not the English," I said.

And suddenly he's yelling at me: "What, are you crazy? I break my back and he says I haven't got it, yes I got it, I got it right here, and, believe me, it's gonna cost a pretty penny."

"Great—really, no kidding, now listen, here's what you do, get yourself a cab and tell him to take the books straight up to Park and—"

"Mister California Mashuganuh, you listen now—it's coming up a blizzard and I'm going no place and neither are these books without money— six fifty, on the barrel each, you want the English, you got to take the Florinese, and I close at 6:00. These books don't leave my premises without thirteen dollars changing hands."

"Don't move," I said, hanging up, and who do you call when it's after hours and Christmas on the horizon? Only your lawyer. "Charley," I said when I got him. "Please do me this. Go to Fourth Avenue, Abromowitz's, give him thirteen dollars for two books, taxi up to my house and tell the doorman to take them to my apartment, and yes, I know it's snowing, what do you say?"

"That is such a bizarre request I have to agree to do it."

I called Abromowitz yet again. "My lawyer is hot on the trail." "No checks," Abromowitz said.

"You're all heart." I hung up, and started figuring. More or less 120 minutes long distance at $1.35 per first three minutes plus thirteen for the books plus probably ten for Charley's taxi plus probably sixty for his time came to...? Two hundred fifty maybe. All for my Jason to have the Morgenstern. I leaned back and closed my eyes. Two hundred fifty not to mention two solid hours of torment and anguish and let's not forget Sandy Sterling.

A steal.

They called me at half past seven. I was in my suite. "He loves the bike," Helen said. "He's practically out of control."

"Fabbo," I said.

"And your books came."

"What books?" I said; Chevalier was never more casual.

"The Princess Bride. In various languages, one of them, fortunately, English."

"Well, that's nice," I said, still loose. "I practically forgot I asked to have 'em sent."

"How'd they get here?"

"I called my editor's secretary and had her scrounge up a couple copies. Maybe they had them at Harcourt, who knows?" (They did have copies at Harcourt; can you buy that? I'll get to why in the next pages, probably.) "Gimme the kid."

"Hi," he said a second later.

"Listen, Jason," I told him. "We thought about giving you a bike for your birthday but we decided against it."

"Boy, are you wrong, I got one already."

Jason has inherited his mother's total lack of humor. I don't know; maybe he's funny and I'm not. We just don't laugh much together is all I can say for sure. My son Jason is this incredible-looking kid—paint him yellow, he'd mop up for the school sumo team. A blimp. All the time stuffing his face. I watch my weight and old Helen is only visible full front plus on top of which she is this leading child shrink in Manhattan and our kid can roll faster than he can walk. "He's expressing himself through food," Helen always says. "His anxieties. When he feels ready to cope, he'll slim down."

"Hey, Jason? Mom tells me this book arrived today. The Princess thing? I'd sure like it if maybe you'd give it a read while I'm gone. I loved it when I was a kid and I'm kind of interested in your reaction."

"Do I have to love it too?" He was his mother's son all right.

"Jason, no. Just the truth, exactly what you think. I miss you, big shot. And I'll talk to you on your birthday."

"Boy, are you wrong. Today is my birthday."

We bantered a bit more, long past when there was much to say. Then I did the same with my spouse, and hung up, promising a return by the end of one week.

It took two.

Conferences dragged, producers got inspirations that had to carefully get shot down, directors needed their egos soothed. Anyway, I was longer than anticipated in sunny Cal. Finally, though, I was allowed to return to the care and safety of the family, so I quick buzzed to L.A. airport before anybody's mind changed. I got there early, which I always do when I come back, because I had to load up my pockets with doodads and such for Jason. Every time I get home from a trip he runs (waddles) to me hollering, "Lemmesee, lemmesee the

pockets," and then he goes through all my pockets taking out his graft, and once the loot is totaled, he gives me a nice hug. Isn't it awful what we'll do in this world to feel wanted?

"Lemmesee the pockets," Jason shouted, moving to me across the foyer. It was a suppertime Thursday and, while he went through his ritual, Helen emerged from the library and kissed my cheek, going "what a dashing-looking fellow I have," which is also ritual, and, laden with gifts, Jason kind of hugged me and belted off (waddled off) to his room. "Angelica's just getting dinner on," Helen said; "you couldn't have timed it better."

"Angelica?"

Helen put her finger to her lips and whispered, "It's her third day on but I think she may be a treasure."

I whispered back, "What was wrong with the treasure we had when I left?

She'd only been with us a week then."

"She proved a disappointment," Helen said. That was all. (Helen is this brilliant lady—junior Phi Bete in college, every academic honor conceivable, really an intellect of startling breadth and accomplishment—only she can't keep a maid. First, I guess she feels guilty having anybody, since most of the anybodys available nowadays are black or Spanish and Helen is ultra-super liberal. Second, she's so efficient, she scares them. She can do everything better than they can and she knows it and she knows they know it. Third, once she's got them panicked, she tries to explain, being an analyst, why they shouldn't be frightened, and after a good solid half-hour ego search with Helen, they're really frightened. Anyway, we have had an average of four "treasures" a year for the last few years.)

"We've been running in bad luck but it'll change," I said, just as reassuringly as I knew how. I used to heckle her about the help problem, but I learned that was not necessarily wise.

Dinner was ready a little later, and with an arm around my wife and an arm around my son, I advanced toward the dining room. I felt, at that moment, safe, secure, all the nice things. Supper was on the table: creamed spinach, mashed potatoes, gravy and pot roast; terrific, except I don't like pot roast, since I'm a rare-meat man, but creamed spinach I have a lech for, so, all in all, a more than edible spread was set across the tablecloth. We sat. Helen served the meat: the rest we passed. My pot-roast slice was not terribly moist but the gravy could compensate. Helen rang. Angelica appeared. Maybe twenty or eighteen, swarthy, slow-moving. "Angelica," Helen began, "this is Mr.

Goldman."

I smiled and said "Hi" and waved a fork. She nodded back.

"Angelica, this is not meant to be construed as criticism, since what happened is all my fault, but in the future we must both try very hard to remember that Mr. Goldman likes his roast beef rare—"

"This was roast beef?" I said.

Helen shot me a look. "Now, Angelica, there is no problem, and I should have told you more than once about Mr. Goldman's preferences, but next time we have boned rib roast, let's all do our best to make the middle pink, shall we?"

Angelica backed into the kitchen. Another "treasure" down the tubes.

Remember now, we all three started this meal happy. Two of us are left in that state, Helen clearly being distraught.

Jason was piling the mashed potatoes on his plate with a practiced and steady motion.

I smiled at my kid. "Hey," I tried, "let's go a little easy, huh, fella?" He splatted another fat spoonful onto his plate.

"Jason, they're just loaded," I said then.

"I'm really hungry, Dad," he said, not looking at me.

"Fill up on the meat then, why don't you," I said. "Eat all the meat you want, I won't say a word."

"I'm not eatin' nothin'!" Jason said, and he shoved his plate away and folded his arms and stared off into space.

"If I were a furniture salesperson," Helen said to me, "or perhaps a teller in a bank, I could understand; but how can you have spent all these years married to a psychiatrist and talk like that? You're out of the Dark Ages, Willy."

"Helen, the boy is overweight. All I suggested was he might leave a few potatoes for the rest of the world and stuff on this lovely prime pot roast your treasure has whipped up for my triumphant return."

"Willy, I don't want to shock you, but Jason happens to have not only a very fine mind but also exceptionally keen eyesight. When he looks at himself in the mirror, I assure you he knows he is not slender. That is because he does not choose, at this stage, to be slender."

"He's not that far from dating, Helen; what then?"

"Jason is ten, darling, and not interested, at this stage, in girls. At this stage, he is interested in rocketry. What difference does a slight case of

overweight make to a rocket lover? When he chooses to be slender, I assure you, he has both the intelligence and the willpower to become slender. Until that time, please, in my presence, do not frustrate the child."

Sandy Sterling in her bikini was dancing behind my eyes. "I'm not eatin' and that's it," Jason said then.

"Sweet child," Helen said to the kid, in that tone she reserves on this earth only for such moments, "be logical. If you do not eat your potatoes, you will be upset, and I will be upset; your father, clearly, is already upset. If you do eat your potatoes, I shall be pleased, you will be pleased, your tummy will be pleased. We can do nothing about your father. You have it in your power to upset all or one, about whom, as I have already said, we can do nothing. Therefore, the conclusion should be clear, but I have faith in your ability to reach it yourself. Do what you will, Jason."

He began to stuff it in.

"You're making a poof out of that kid," I said, only not loud enough for anybody but me and Sandy to hear. Then I took a deep, deep breath, because whenever I come home there's always trouble, which is because, Helen says, I bring tension with me, I always need inhuman proof that I've been missed, that I'm still needed, loved, etc. All I know is, I hate being away but coming home is the worst. There's never really much chance to go into "well, what's new since I'm gone" chitchat, seeing that Helen and I talk every night anyway.

"I'll bet you're a whiz on that bike," I said then. "Maybe we'll go for a ride this weekend."

Jason looked up from his potatoes. "I really loved the book, Dad. It was great."

I was surprised that he said it, because, naturally, I was just starting to work my way into that subject matter. But then, as Helen's always saying, Jason ain't no dummy. "Well, I'm glad," I said. And was I ever.

Jason nodded. "Maybe it's even the best I read in all my life." I nibbled away at my spinach. "What was your favorite part?" "Chapter One. The Bride," Jason said.

That really surprised me. Not that Chapter One stinks or anything, but there's not that much that goes on compared with the incredible stuff later. Buttercup grows up mostly is all. "How about the climb up the Cliffs of Insanity?" I said then. That's in Chapter Five.

"Oh, great," Jason said.

"And that description of Prince Humperdinck's Zoo of Death?" That's in

the second chapter.

"Even greater," Jason said.

"What knocked me out about it," I said, "was that it's this very short little passage on the Zoo of Death but yet somehow you just know it's going to figure in later. Did you get that same feeling?"

"Umm-humm." Jason nodded. "Great." By then I knew he hadn't read it.

"He tried to read it," Helen cut in. "He did read the first chapter. Chapter Two was impossible for him, so when he'd made a sufficient and reasonable attempt, I told him to stop. Different people have different tastes. I told him you'd understand, Willy."

Of course I understood. I felt just so deserted though. "I didn't like it, Dad. I wanted to."

I smiled at him. How could he not like it? Passion. Duels. Miracles.

Giants. True love.

"You're not eating the spinach either?" Helen said.

I got up. "Time change; I'm not hungry." She didn't say anything until she heard me open the front door. "Where are you going?" she called then. If I'd known, I would have answered.

I wandered through December. No topcoat. I wasn't aware of being cold though. All I knew was I was forty years old and I didn't mean to be here when I was forty, locked with this genius shrink wife and this balloon son. It must have been 9:00 when I was sitting in the middle of Central Park, alone, no one near me, no other bench occupied.

That was when I heard the rustling in the bushes. It stopped. Then again.

Verrry soft. Nearer.

I whirled, screaming "Don't you bug me!" and whatever it was—friend, foe, imagination—fled. I could hear the running and I realized something: right then, at that moment, I was dangerous.

Then it got cold. I went home. Helen was going over some notes in bed. Ordinarily, she would come out with something about me being a bit elderly for acts of juvenile behavior. But there must have been danger clinging to me still. I could see it in her smart eyes. "He did try," she said finally.

"I never thought he didn't," I answered. "Where's the book?" "The library, I think."

I turned, started out. "Can I get you anything?"

I said no. Then I went to the library, closed myself in, hunted out The Princess Bride. It was in pretty good shape, I realized as I checked the binding, which is when I saw it was published by my publishing house, Harcourt Brace Jovanovich. This was before that; they weren't even Harcourt, Brace & World yet. Just plain old Harcourt, Brace period. I flicked to the title page, which was funny, since I'd never done that before; it was always my father who'd done the handling. I had to laugh when I saw the real title, because right there it said:













You had to admire a guy who called his own new book a classic before it was published and anyone else had a chance to read it. Maybe he figured if he didn't do it, nobody would, or maybe he was just trying to give the reviewers a helping hand; I don't know. I skimmed the first chapter, and it was pretty much exactly as I remembered. Then I turned to the second chapter, the one about Prince Humperdinck and the little kind of tantalizing description of the Zoo of Death.

And that's when I began to realize the problem.

Not that the description wasn't there. It was, and again pretty much as I remembered it. But before you got to it, there were maybe sixty pages of text dealing with Prince Humperdinck's ancestry and how his family got control of Florin and this wedding and that child begatting this one over here who then married somebody else, and then I skipped to the third chapter, The Courtship, and that was all about the history of Guilder and how that country reached its place in the world. The more I flipped on, the more I knew: Morgenstern wasn't writing any children's book; he was writing a kind of satiric history of

his country and the decline of the monarchy in Western civilization.

But my father only read me the action stuff, the good parts. He never bothered with the serious side at all.

About two in the morning I called Hiram in Martha's Vineyard. Hiram Haydn's been my editor for a dozen years, ever since Soldier in the Rain, and we've been through a lot together, but never any phone calls at two in the morning. To this day I know he doesn't understand why I couldn't wait till maybe breakfast. "You're sure you're all right, Bill," he kept saying.

"Hey, Hiram," I began after about six rings. "Listen, you guys published a book just after World War I. Do you think it might be a good idea for me to abridge it and we'd republish it now?"

"You're sure you're all right, Bill?"

"Fine, absolutely, and see, I'd just use the good parts. I'd kind of bridge where there were skips in the narrative and leave the good parts alone. What do you think?"

"Bill, it's two in the morning up here. Are you still in California?"

I acted like I was all shocked and surprised. So he wouldn't think I was a nut. "I'm sorry, Hiram. My God, what an idiot; it's only 11:00 in Beverly Hills. Do you think you could ask Mr. Jovanovich, though?"

"You mean now?"

"Tomorrow or the next day, no big deal."

"I'll ask him anything, only I'm not quite sure I'm getting an accurate reading on exactly what you want. You're sure you're all right, Bill?"

"I'll be in New York tomorrow. Call you then about the specifics, okay?" "Could you make it a little earlier in the business day, Bill?"

I laughed and we hung up and I called Zig in California. Evarts Ziegler has been my movie agent for maybe eight years. He did the Butch Cassidy deal for me, and I woke him up too. "Hey, Zig, could you get me a postponement on the Stepford Wives? There's this other thing that's come up."

"You're contracted to start now; how long a postponement?"

"I can't say for sure; I've never done an abridgement before. Just tell me what you think they'd do?"

"I think if it's a long postponement they'd threaten to sue and you'd end up losing the job."

It came out pretty much as he said; they threatened to sue and I almost lost the job and some money and didn't make any friends in "the industry," as those of us in show biz call movies.

But the abridgement got done, and you hold it in your hands. The "good parts" version.

 

WHY DID I go through all that?

Helen pressured me greatly to think about an answer. She felt it was important, not that she know necessarily, but that I know. "Because you acted crackers, Willy boy," she said. "You had me truly scared."

So why?

I never was worth beans at self-scrutiny. Everything I write is impulse. This feels right, that sounds wrong—like that. I can't analyze—not my own actions anyway.

I know I don't expect this to change anybody else's life the way it altered mine.

But take the title words—"true love and high adventure"—I believed in that once. I thought my life was going to follow that path. Prayed that it would. Obviously it didn't, but I don't think there's high adventure left anymore. Nobody takes out a sword nowadays and cries, "Hello. My name is Inigo Montoya. You killed my father; prepare to die!"

And true love you can forget about too. I don't know if I love anything truly anymore beyond the porterhouse at Peter Luger's and the cheese enchilada at El Parador's. (Sorry about that, Helen.)

Anyway, here's the "good parts" version. S. Morgenstern wrote it. And my father read it to me. And now I give it to you. What you do with it will be of more than passing interest to us all.

 

New York City December, 1972





THE YEAR that Buttercup was born, the most beautiful woman in the world was a French scullery maid named Annette. Annette worked in Paris for the Duke and Duchess de Guiche, and it did not escape the Duke's notice that someone extraordinary was polishing the pewter. The Duke's notice did not escape the notice of the Duchess either, who was not very beautiful and not very rich, but plenty smart. The Duchess set about studying Annette and shortly found her adversary's tragic flaw.

Chocolate.

Armed now, the Duchess set to work. The Palace de Guiche turned into a candy castle. Everywhere you looked, bonbons. There were piles of chocolate-covered mints in the drawing rooms, baskets of chocolate-covered nougats in the parlors.

Annette never had a chance. Inside a season, she went from delicate to whopping, and the Duke never glanced in her direction without sad bewilderment clouding his eyes. (Annette, it might be noted, seemed only cheerier throughout her enlargement. She eventually married the pastry chef and they both ate a lot until old age claimed them. Things, it might also be noted, did not fare so cheerily for the Duchess. The Duke, for reasons passing understanding, next became smitten with his very own mother-in-law, which caused the Duchess ulcers, only they didn't have ulcers yet. More precisely, ulcers existed, people had them, but they weren't called "ulcers." The medical profession at that time called them "stomach pains" and felt the best cure was coffee dolloped with brandy twice a day until the pains subsided. The Duchess took her mixture faithfully, watching through the years as her husband and her mother blew kisses at each other behind her back. Not surprisingly, the Duchess's grumpiness became legendary, as Voltaire has so ably chronicled. Except this was before Voltaire.)

The year Buttercup turned ten, the most beautiful woman lived in Bengal, the daughter of a successful tea merchant. This girl's name was Aluthra, and her skin was of a dusky perfection unseen in India for eighty years. (There have

only been eleven perfect complexions in all of India since accurate accounting began.) Aluthra was nineteen the year the pox plague hit Bengal. The girl survived, even if her skin did not.

When Buttercup was fifteen, Adela Terrell, of Sussex on the Thames, was easily the most beautiful creature. Adela was twenty, and so far did she outdistance the world that it seemed certain she would be the most beautiful for many, many years. But then one day, one of her suitors (she had 104 of them) exclaimed that without question Adela must be the most ideal item yet spawned. Adela, flattered, began to ponder on the truth of the statement. That night, alone in her room, she examined herself pore by pore in her mirror. (This was after mirrors.) It took her until close to dawn to finish her inspection, but by that time it was clear to her that the young man had been quite correct in his assessment: she was, through no real faults of her own, perfect.

As she strolled through the family rose gardens watching the sun rise, she felt happier than she had ever been. "Not only am I perfect," she said to herself, "I am probably the first perfect person in the whole long history of the universe. Not a part of me could stand improving, how lucky I am to be perfect and rich and sought after and sensitive and young and..."

Young?

The mist was rising around her as Adela began to think. Well of course I'll always be sensitive, she thought, and I'll always be rich, but I don't quite see how I'm going to manage to always be young. And when I'm not young, how am I going to stay perfect? And if I'm not perfect, well, what else is there? What indeed? Adela furrowed her brow in desperate thought. It was the first time in her life her brow had ever had to furrow, and Adela gasped when she realized what she had done, horrified that she had somehow damaged it, perhaps permanently. She rushed back to her mirror and spent the morning, and although she managed to convince herself that she was still quite as perfect as ever, there was no question that she was not quite as happy as she had been.

She had begun to fret.

The first worry lines appeared within a fortnight; the first wrinkles within a month, and before the year was out, creases abounded. She married soon thereafter, the selfsame man who accused her of sublimity, and gave him merry hell for many years.

Buttercup, of course, at fifteen, knew none of this. And if she had, would have found it totally unfathomable. How could someone care if she were the

most beautiful woman in the world or not. What difference could it have made if you were only the third most beautiful. Or the sixth. (Buttercup at this time was nowhere near that high, being barely in the top twenty, and that primarily on potential, certainly not on any particular care she took of herself. She hated to wash her face, she loathed the area behind her ears, she was sick of combing her hair and did so as little as possible.) What she liked to do, preferred above all else really, was to ride her horse and taunt the farm boy.

The horse's name was "Horse" (Buttercup was never long on imagination) and it came when she called it, went where she steered it, did what she told it. The farm boy did what she told him too. Actually, he was more a young man now, but he had been a farm boy when, orphaned, he had come to work for her father, and Buttercup referred to him that way still. "Farm Boy, fetch me this"; "Get me that, Farm Boy—quickly, lazy thing, trot now or I'll tell Father."

"As you wish."

That was all he ever answered. "As you wish." Fetch that, Farm Boy. "As you wish." Dry this, Farm Boy. "As you wish." He lived in a hovel out near the animals and, according to Buttercup's mother, he kept it clean. He even read when he had candles.

"I'll leave the lad an acre in my will," Buttercup's father was fond of saying. (They had acres then.)

"You'll spoil him," Buttercup's mother always answered.

"He's slaved for many years; hard work should be rewarded." Then, rather than continue the argument (they had arguments then too), they would both turn on their daughter.

"You didn't bathe," her father said. "I did, I did" from Buttercup.

"Not with water," her father continued. "You reek like a stallion." "I've been riding all day," Buttercup explained.

"You must bathe, Buttercup," her mother joined in. "The boys don't like their girls to smell of stables."

"Oh, the boys!" Buttercup fairly exploded. "I do not care about 'the boys.' Horse loves me and that is quite sufficient, thank you.

She said that speech loud, and she said it often. But, like it or not, things were beginning to happen.

Shortly before her sixteenth birthday, Buttercup realized that it had now been more than a month since any girl in the village had spoken to her. She had never much been close to girls, so the change was nothing sharp, but at least

before there were head nods exchanged when she rode through the village or along the cart tracks. But now, for no reason, there was nothing. A quick glance away as she approached, that was all. Buttercup cornered Cornelia one morning at the blacksmith's and asked about the silence. "I should think, after what you've done, you'd have the courtesy not to pretend to ask" came from Cornelia. "And what have I done?" "What? What?...You've stolen them." With that, Cornelia fled, but Buttercup understood; she knew who "them" was.

The boys.

The village boys.

The beef-witted featherbrained rattleskulled clodpated dim-domed noodle-noggined sapheaded lunk-knobbed boys.

How could anybody accuse her of stealing them? Why would anybody want them anyway? What good were they? All they did was pester and vex and annoy. "Can I brush your horse, Buttercup?" "Thank you, but the farm boy does that." "Can I go riding with you, Buttercup?" "Thank you, but I really do enjoy myself alone." "You think you're too good for anybody, don't you, Buttercup?" "No; no I don't. I just like riding by myself, that's all."

But throughout her sixteenth year, even this kind of talk gave way to stammering and flushing and, at the very best, questions about the weather. "Do you think it's going to rain, Buttercup?" "I don't think so; the sky is blue." "Well, it might rain." "Yes, I suppose it might." "You think you're too good for anybody, don't you, Buttercup?" "No, I just don't think it's going to rain, that's all."

At night, more often than not, they would congregate in the dark beyond her window and laugh about her. She ignored them. Usually the laughter would give way to insult. She paid them no mind. If they grew too damaging, the farm boy handled things, emerging silently from his hovel, thrashing a few of them, sending them flying. She never failed to thank him when he did this. "As you wish" was all he ever answered.

When she was almost seventeen, a man in a carriage came to town and watched as she rode for provisions. He was still there on her return, peering out. She paid him no mind and, indeed, by himself he was not important. But he marked a turning point. Other men had gone out of their way to catch sight of her; other men had even ridden twenty miles for the privilege, as this man had. The importance here is that this was the first rich man who had bothered to do so, the first noble. And it was this man, whose name is lost to antiquity, who mentioned Buttercup to the Count.

 

THE LAND OF Florin was set between where Sweden and Germany would eventually settle. (This was before Europe.) In theory, it was ruled by King Lotharon and his second wife, the Queen. But in fact, the King was barely hanging on, could only rarely tell day from night, and basically spent his time in muttering. He was very old, every organ in his body had long since betrayed him, and most of his important decisions regarding Florin had a certain arbitrary quality that bothered many of the leading citizens.

Prince Humperdinck actually ran things. If there had been a Europe, he would have been the most powerful man in it. Even as it was, nobody within a thousand miles wanted to mess with him.

The Count was Prince Humperdinck's only confidant. His last name was Rugen, but no one needed to use it—he was the only Count in the country, the title having been bestowed by the Prince as a birthday present some years before, the happening taking place, naturally, at one of the Countess's parties.

The Countess was considerably younger than her husband. All of her clothes came from Paris (this was after Paris) and she had superb taste. (This was after taste too, but only just. And since it was such a new thing, and since the Countess was the only lady in all Florin to possess it, is it any wonder she was the leading hostess of the land?) Eventually, her passion for fabric and face paint caused her to settle permanently in Paris, where she ran the only salon of international consequence.

For now, she busied herself with simply sleeping on silk, eating on gold and being the single most feared and admired woman in Florinese history. If she had figure faults, her clothes concealed them; if her face was less than divine, it was hard to tell once she got done applying substances. (This was before glamour, but if it hadn't been for ladies like the Countess, there would never have been a need for its invention.)

In sum, the Rugens were Couple of the Week in Florin, and had been for many years....




This is me. All abridging remarks and other comments will be in this fancy italic type so you'll know. When I said at the start that I'd never read this book, that's true. My father read it to me, and I just quick skimmed

along, crossing out whole sections when I did the abridging, leaving everything just as it was in the original Morgenstern.

This chapter is totally intact. My intrusion here is because of the way Morgenstern uses parentheses. The copy editor at Harcourt kept filling the margins of the galley proofs with questions: 'How can it be before Europe but after Paris?' And 'How is it possible this happens before glamour when glamour is an ancient concept? See "glamer" in the Oxford English Dictionary.' And eventually: I am going crazy. What am I to make of these parentheses? When does this book take place? I don't understand anything. Hellllppppp!!!' Denise, the copy editor, has done all my books since Boys and Girls Together and she had never been as emotional in the margins with me before.

I couldn't help her.

Either Morgenstern meant them seriously or he didn't. Or maybe he meant some of them seriously and some others he didn't. But he never said which were the seriously ones. Or maybe it was just the author's way of telling the reader stylistically that 'this isn't real; it never happened.' That's what I think, in spite of the fact that if you read back into Florinese history, it did happen. The facts, anyway; no one can say about the actual motivations. All I can suggest to you is, if the parentheses bug you, don't read them.




"QUICK—QUICK—COME—" Buttercup's father stood in his farmhouse, staring out the window.

"Why?" This from the mother. She gave away nothing when it came to obedience.

The father made a quick finger point. "Look—"

"You look; you know how." Buttercup's parents did not have exactly what you might call a happy marriage. All they ever dreamed of was leaving each other.

Buttercup's father shrugged and went back to the window. "Ahhhh," he said after a while. And a little later, again, "Ahhhh."

Buttercup's mother glanced up briefly from her cooking. "Such riches," Buttercup's father said. "Glorious."

Buttercup's mother hesitated, then put her stew spoon down. (This was after stew, but so is everything. When the first man first clambered from the slime and made his first home on land, what he had for supper that first night was stew.)

"The heart swells at the magnificence," Buttercup's father muttered very loudly.

"What exactly is it, dumpling?" Buttercup's mother wanted to know.

"You look; you know how" was all he replied. (This was their thirty-third spat of the day—this was long after spats—and he was behind, thirteen to twenty, but he had made up a lot of distance since lunch, when it was seventeen to two against him.)

"Donkey," the mother said, and came over to the window. A moment later she was going "Ahhhh" right along with him.

They stood there, the two of them, tiny and awed. From setting the dinner table, Buttercup watched them.

"They must be going to meet Prince Humperdinck someplace," Buttercup's mother said.

The father nodded. "Hunting. That's what the Prince does."

"How lucky we are to have seen them pass by," Buttercup's mother said, and she took her husband's hand.

The old man nodded. "Now I can die."

She glanced at him. "Don't." Her tone was surprisingly tender, and probably she sensed how important he really was to her, because when he did die, two years further on, she went right after, and most of the people who knew her well agreed it was the sudden lack of opposition that undid her.

Buttercup came close and stood behind them, staring over them, and soon she was gasping too, because the Count and Countess and all their pages and soldiers and servants and courtiers and champions and carriages were passing by the cart track at the front of the farm.

The three stood in silence as the procession moved forward. Buttercup's father was a tiny mutt of a man who had always dreamed of living like the Count. He had once been two miles from where the Count and Prince had been hunting, and until this moment that had been the high point of his life. He was a terrible farmer, and not much of a husband either. There wasn't really much in this world he excelled at, and he could never quite figure out how he happened to sire his daughter, but he knew, deep down, that it must have been some kind of wonderful mistake, the nature of which he had no intention of investigating.

Buttercup's mother was a gnarled shrimp of a woman, thorny and worrying, who had always dreamed of somehow just once being popular, like the Countess was said to be. She was a terrible cook, an even more limited housekeeper. How Buttercup slid from her womb was, of course, beyond her. But she had been there when it happened; that was enough for her.

Buttercup herself, standing half a head over her parents, still holding the dinner dishes, still smelling of Horse, only wished that the great procession wasn't quite so far away, so she could see if the Countess's clothes really were all that lovely.

As if in answer to her request, the procession turned and began entering the farm.

"Here?" Buttercup's father managed. "My God, why?"

Buttercup's mother whirled on him. "Did you forget to pay your taxes?" (This was after taxes. But everything is after taxes. Taxes were here even before stew.)

"Even if I did, they wouldn't need all that to collect them," and he gestured toward the front of his farm, where now the Count and Countess and all their pages and soldiers and servants and courtiers and champions and carriages were coming closer and closer. "What could they want to ask me about?" he said.

"Go see, go see," Buttercup's mother told him. "You go. Please."

"No. You. Please." "We'll both go."

They both went. Trembling...

"Cows," the Count said, when they reached his golden carriage. "I would like to talk about your cows." He spoke from inside, his dark face darkened by shadow.

"My cows?" Buttercup's father said.

"Yes. You see, I'm thinking of starting a little dairy of my own, and since your cows are known throughout the land as being Florin's finest, I thought I might pry your secrets from you."

"My cows," Buttercup's father managed to repeat, hoping he was not going mad. Because the truth was, and he knew it well, he had terrible cows. For years, nothing but complaints from the people in the village. If anyone else had had milk to sell, he would have been out of business in a minute. Now granted, things had improved since the farm boy had come to slave for him—

no question, the farm boy had certain skills, and the complaints were quite nonexistent now—but that didn't make his the finest cows in Florin. Still, you didn't argue with the Count. Buttercup's father turned to his wife. "What would you say my secret is, my dear?" he asked.

"Oh, there are so many," she said—she was no dummy, not when it came to the quality of their livestock.

"You two are childless, are you?" the Count asked then. "No, sir," the mother answered.

"Then let me see her," the Count went on—"perhaps she will be quicker with her answers than her parents."

"Buttercup," the father called, turning. "Come out, please."

"How did you know we had a daughter?" Buttercup's mother wondered. "A guess. I assumed it had to be one or the other. Some days I'm luckier

than—" He simply stopped talking then.

Because Buttercup moved into view, hurrying from the house to her parents.

The Count left the carriage. Gracefully, he moved to the ground and stood very still. He was a big man, with black hair and black eyes and great shoulders and a black cape and gloves.

"Curtsy, dear," Buttercup's mother whispered. Buttercup did her best.

And the Count could not stop looking at her.

Understand now, she was barely rated in the top twenty; her hair was uncombed, unclean; her age was just seventeen, so there was still, in occasional places, the remains of baby fat. Nothing had been done to the child. Nothing was really there but potential.

But the Count still could not rip his eyes away.

"The Count would like to know the secrets behind our cows' greatness, is that not correct, sir?" Buttercup's father said.

The Count only nodded, staring.

Even Buttercup's mother noted a certain tension in the air. "Ask the farm boy; he tends them," Buttercup said.

"And is that the farm boy?" came a new voice from inside the carriage.

Then the Countess's face was framed in the carriage doorway.

Her lips were painted a perfect red; her green eyes lined in black. All the colors of the world were muted in her gown. Buttercup wanted to shield her eyes from the brilliance.

Buttercup's father glanced back toward the lone figure peering around the corner of the house. "It is."

"Bring him to me."

"He is not dressed properly for such an occasion," Buttercup's mother

said.

"I have seen bare chests before," the Countess replied. Then she called

out: "You!" and pointed at the farm boy. "Come here." Her fingers snapped on "here."

The farm boy did as he was told.

And when he was close, the Countess left the carriage.

When he was a few paces behind Buttercup, he stopped, head properly bowed. He was ashamed of his attire, worn boots and torn blue jeans (blue jeans were invented considerably before most people suppose), and his hands were tight together in almost a gesture of supplication.

"Have you a name, farm boy?" "Westley, Countess."

"Well, Westley, perhaps you can help us with our problem." She crossed to him. The fabric of her gown grazed his skin. "We are all of us here passionately interested in the subject of cows. We are practically reaching the point of frenzy, such is our curiosity. Why, do you suppose, Westley, that the cows of this particular farm are the finest in all Florin? What do you do to them?"

"I just feed them, Countess."

"Well then, there it is, the mystery is solved, the secret; we can all rest. Clearly, the magic is in Westley's feeding. Show me how you do it, would you, Westley?"

"Feed the cows for you, Countess?" "Bright lad."

"When?"

"Now will be soon enough," and she held out her arm to him. "Lead me, Westley."

Westley had no choice but to take her arm. Gently. "It's behind the house, madam; it's terrible muddy back there. Your gown will be ruined."

"I wear them only once, Westley, and I burn to see you in action." So off they went to the cowshed.

Throughout all this, the Count kept watching Buttercup. "I'll help you," Buttercup called after Westley.

"Perhaps I'd best see just how he does it," the Count decided.

"Strange things are happening," Buttercup's parents said, and off they went too, bringing up the rear of the cow-feeding trip, watching the Count, who was watching their daughter, who was watching the Countess.

Who was watching Westley.

 

"I COULDN'T SEE what he did that was so special," Buttercup's father said. "He just fed them." This was after dinner now, and the family was alone again.

"They must like him personally. I had a cat once that only bloomed when I fed him. Maybe it's the same kind of thing." Buttercup's mother scraped the stew leavings into a bowl. "Here," she said to her daughter. "Westley's waiting by the back door; take him his dinner."

Buttercup carried the bowl, opened the back door. "Take it," she said.

He nodded, accepted, started off to his tree stump to eat.

"I didn't excuse you, Farm Boy," Buttercup began. He stopped, turned back to her. "I don't like what you're doing with Horse. What you're not doing with Horse is more to the point. I want him cleaned. Tonight. I want his hoofs varnished. Tonight. I want his tail plaited and his ears massaged. This very evening. I want his stables spotless. Now. I want him glistening, and if it takes you all night, it takes you all night."

"As you wish."

She slammed the door and let him eat in darkness.

"I thought Horse had been looking very well, actually," her father said. Buttercup said nothing.

"You yourself said so yesterday," her mother reminded her.

"I must be overtired," Buttercup managed. "The excitement and all." "Rest, then," her mother cautioned. "Terrible things can happen when

you're overtired. I was overtired the night your father proposed." Thirty-four to twenty-two and pulling away.

Buttercup went to her room. She lay on her bed. She closed her eyes. And the Countess was staring at Westley.

Buttercup got up from bed. She took off her clothes. She washed a little. She got into her nightgown. She slipped between the sheets, snuggled down, closed her eyes.

The Countess was still staring at Westley!

Buttercup threw back the sheets, opened her door. She went to the sink by the stove and poured herself a cup of water. She drank it down. She poured another cup and rolled its coolness across her forehead. The feverish feeling was still there.

How feverish? She felt fine. She was seventeen, and not even a cavity. She dumped the water firmly into the sink, turned, marched back to her room, shut the door tight, went back to bed. She closed her eyes.

The Countess would not stop staring at Westley!

Why? Why in the world would the woman in all the history of Florin who was in all ways perfect be interested in the farm boy? Buttercup rolled around in bed. And there simply was no other way of explaining that look—she was interested. Buttercup shut her eyes tight and studied the memory of the Countess. Clearly, something about the farm boy interested her. Facts were facts. But what? The farm boy had eyes like the sea before a storm, but who cared about eyes? And he had pale blond hair, if you liked that sort of thing. And he was broad enough in the shoulders, but not all that much broader than the Count. And certainly he was muscular, but anybody would be muscular who slaved all day. And his skin was perfect and tan, but that came again from slaving; in the sun all day, who wouldn't be tan? And he wasn't that much taller than the Count either, although his stomach was flatter, but that was because the farm boy was younger.

Buttercup sat up in bed. It must be his teeth. The farm boy did have good teeth, give credit where credit was due. White and perfect, particularly set against the sun-tanned face.

Could it have been anything else? Buttercup concentrated. The girls in the village followed the farm boy around a lot, whenever he was making deliveries, but they were idiots, they followed anything. And he always ignored them, because if he'd ever opened his mouth, they would have realized that was all he had, just good teeth; he was, after all, exceptionally stupid.

It was really very strange that a woman as beautiful and slender and willowy and graceful, a creature as perfectly packaged, as supremely dressed as the Countess should be hung up on teeth that way. Buttercup shrugged. People were surprisingly complicated. But now she had it all diagnosed, deduced, clear. She closed her eyes and snuggled down and got all nice and comfortable, and people don't look at other people the way the Countess looked at the farm boy because of their teeth.

"Oh," Buttercup gasped. "Oh, oh dear."

Now the farm boy was staring back at the Countess. He was feeding the cows and his muscles were rippling the way they always did under his tanned skin and Buttercup was standing there watching as the farm boy looked, for the first time, deep into the Countess's eyes.

Buttercup jumped out of bed and began to pace her room. How could he? Oh, it was all right if he looked at her, but he wasn't looking at her, he was looking at her.

"She's so old," Buttercup muttered, starting to storm a bit now. The Countess would never see thirty again and that was fact. And her dress looked ridiculous out in the cowshed and that was fact too.

Buttercup fell onto her bed and clutched her pillow across her breasts. The dress was ridiculous before it ever got to the cowshed. The Countess looked rotten the minute she left the carriage, with her too big painted mouth and her little piggy painted eyes and her powdered skin and ... and ... and...

Flailing and thrashing, Buttercup wept and tossed and paced and wept some more, and there have been three great cases of jealousy since David of Galilee was first afflicted with the emotion when he could no longer stand the fact that his neighbor Saul's cactus outshone his own. (Originally, jealousy pertained solely to plants, other people's cactus or ginkgoes, or, later, when there was grass, grass, which is why, even to this day, we say that someone is green with jealousy.) Buttercup's case rated a close fourth on the all-time list.

It was a very long and very green night.

She was outside his hovel before dawn. Inside, she could hear him already awake. She knocked. He appeared, stood in the doorway. Behind him she could see a tiny candle, open books. He waited. She looked at him. Then she looked away.

He was too beautiful.

"I love you," Buttercup said. "I know this must come as something of a surprise, since all I've ever done is scorn you and degrade you and taunt you, but I have loved you for several hours now, and every second, more. I thought an hour ago that I loved you more than any woman has ever loved a man, but a half hour after that I knew that what I felt before was nothing compared to what I felt then. But ten minutes after that, I understood that my previous love was a puddle compared to the high seas before a storm. Your eyes are like that, did you know? Well they are. How many minutes ago was I? Twenty? Had I brought my feelings up to then? It doesn't matter." Buttercup still could not look at him. The sun was rising behind her now; she could feel the heat on her back,

and it gave her courage. "I love you so much more now than twenty minutes ago that there cannot be comparison. I love you so much more now than when you opened your hovel door, there cannot be comparison. There is no room in my body for anything but you. My arms love you, my ears adore you, my knees shake with blind affection. My mind begs you to ask it something so it can obey. Do you want me to follow you for the rest of your days? I will do that. Do you want me to crawl? I will crawl. I will be quiet for you or sing for you, or if you are hungry, let me bring you food, or if you have thirst and nothing will quench it but Arabian wine, I will go to Araby, even though it is across the world, and bring a bottle back for your lunch. Anything there is that I can do for you, I will do for you; anything there is that I cannot do, I will learn to do. I know I cannot compete with the Countess in skills or wisdom or appeal, and I saw the way she looked at you. And I saw the way you looked at her. But remember, please, that she is old and has other interests, while I am seventeen and for me there is only you. Dearest Westley—I've never called you that before, have I?—Westley, Westley, Westley, Westley, Westley,—darling Westley, adored Westley, sweet perfect Westley, whisper that I have a chance to win your love." And with that, she dared the bravest thing she'd ever done: she looked right into his eyes.

He closed the door in her face. Without a word.

Without a word.

Buttercup ran. She whirled and burst away and the tears came bitterly; she could not see, she stumbled, she slammed into a tree trunk, fell, rose, ran on; her shoulder throbbed from where the tree trunk hit her, and the pain was strong, but not enough to ease her shattered heart. Back to her room she fled, back to her pillow. Safe behind the locked door, she drenched the world with tears.

Not even one word. He hadn't had the decency for that. "Sorry," he could have said. Would it have ruined him to say "sorry"? "Too late," he could have said.

Why couldn't he at least have said something?

Buttercup thought very hard about that for a moment. And suddenly she had the answer: he didn't talk because the minute he opened his mouth, that was it. Sure he was handsome, but dumb? The minute he had exercised his tongue, it would have all been over.

"Duhhhhhhh."

That's what he would have said. That was the kind of thing Westley came out with when he was feeling really sharp. "Duhhhhhhh, tanks, Buttercup."

Buttercup dried her tears and began to smile. She took a deep breath, heaved a sigh. It was all part of growing up. You got these little quick passions, you blinked, and they were gone. You forgave faults, found perfection, fell madly; then the next day the sun came up and it was over. Chalk it up to experience, old girl, and get on with the morning. Buttercup stood, made her bed, changed her clothes, combed her hair, smiled, and burst out again in a fit of weeping. Because there was a limit to just how much you could lie to yourself.

Westley wasn't stupid.

Oh, she could pretend he was. She could laugh about his difficulties with the language. She could chide herself for her silly infatuation with a dullard. The truth was simply this: he had a head on his shoulders. With a brain inside every bit as good as his teeth. There was a reason he hadn't spoken and it had nothing to do with gray cells working. He hadn't spoken because, really, there was nothing for him to say.

He didn't love her back and that was that.

The tears that kept Buttercup company the remainder of the day were not at all like those that had blinded her into the tree trunk. Those were noisy and hot; they pulsed. These were silent and steady and all they did was remind her that she wasn't good enough. She was seventeen, and every male she'd ever known had crumbled at her feet and it meant nothing. The one time it mattered, she wasn't good enough. All she knew really was riding, and how was that to interest a man when that man had been looked at by the Countess?

It was dusk when she heard footsteps outside her door. Then a knock. Buttercup dried her eyes. Another knock. "Whoever is that?" Buttercup yawned finally.

"Westley."

Buttercup lounged across the bed. "Westley?" she said. "Do I know any West—oh, Farm Boy, it's you, how droll!" She went to her door, unlocked it, and said, in her fanciest tone, "I'm ever so glad you stopped by, I've been feeling just ever so slummy about the little joke I played on you this morning. Of course you knew I wasn't for a moment serious, or at least I thought you knew, but then, just when you started closing the door I thought for one dreary instant that perhaps I'd done my little jest a bit too convincingly and, poor dear thing, you might have thought I meant what I said when of course we both know

the total impossibility of that ever happening." "I've come to say good-by."

Buttercup's heart bucked, but she still held to fancy. "You're going to sleep, you mean, and you've come to say good night? How thoughtful of you, Farm Boy, showing me that you forgive me for my little morning's tease; I certainly appreciate your thoughtfulness and—"

He cut her off. "I'm leaving."

"Leaving?" The floor began to ripple. She held to the doorframe. "Now?" "Yes."

"Because of what I said this morning?" "Yes."

"I frightened you away, didn't I? I could kill my tongue." She shook her head and shook her head. "Well, it's done; you've made your decision. Just remember this: I won't take you back when she's done with you, I don't care if you beg."

He just looked at her.

Buttercup hurried on. "Just because you're beautiful and perfect, it's made you conceited. You think people can't get tired of you, well you're wrong, they can, and she will, besides you're too poor."

"I'm going to America. To seek my fortune." (This was just after America but long after fortunes.) "A ship sails soon from London. There is great opportunity in America. I'm going to take advantage of it. I've been training myself. In my hovel. I've taught myself not to need sleep. A few hours only. I'll take a ten-hour-a-day job and then I'll take another ten-hour-a-day job and I'll save every penny from both except what I need to eat to keep strong, and when I have enough I'll buy a farm and build a house and make a bed big enough for two."

"You're just crazy if you think she's going to be happy in some run-down farmhouse in America. Not with what she spends on clothes."

"Stop talking about the Countess! As a special favor. Before you drive me

maaaaaaaad."

Buttercup looked at him.

"Don't you understand anything that's going on?" Buttercup shook her head.

Westley shook his too. "You never have been the brightest, I guess." "Do you love me, Westley? Is that it?"

He couldn't believe it. "Do I love you? My God, if your love were a grain

of sand, mine would be a universe of beaches. If your love were—"

"I don't understand that first one yet," Buttercup interrupted. She was starting to get very excited now. "Let me get this straight. Are you saying my love is the size of a grain of sand and yours is this other thing? Images just confuse me so—is this universal business of yours bigger than my sand? Help me, Westley. I have the feeling we're on the verge of something just terribly important."

"I have stayed these years in my hovel because of you. I have taught myself languages because of you. I have made my body strong because I thought you might be pleased by a strong body. I have lived my life with only the prayer that some sudden dawn you might glance in my direction. I have not known a moment in years when the sight of you did not send my heart careening against my rib cage. I have not known a night when your visage did not accompany me to sleep. There has not been a morning when you did not flutter behind my waking eyelids....Is any of this getting through to you, Buttercup, or do you want me to go on for a while?"

"Never stop."

"There has not been—"

"If you're teasing me, Westley, I'm just going to kill you." "How can you even dream I might be teasing?"

"Well, you haven't once said you loved me."

"That's all you need? Easy. I love you. Okay? Want it louder? I love you. Spell it out, should I? I ell-oh-vee-ee why-oh-you. Want it backward? You love I."

"You are teasing now; aren't you?"

"A little maybe; I've been saying it so long to you, you just wouldn't listen. Every time you said 'Farm Boy do this' you thought I was answering 'As you wish' but that's only because you were hearing wrong. 'I love you' was what it was, but you never heard, and you never heard."

"I hear you now, and I promise you this: I will never love anyone else.

Only Westley. Until I die."

He nodded, took a step away. "I'll send for you soon. Believe me." "Would my Westley ever lie?"

He took another step. "I'm late. I must go. I hate it but I must. The ship sails soon and London is far."

"I understand."

He reached out with his right hand.

Buttercup found it very hard to breathe. "Good-by."

She managed to raise her right hand to his. They shook. "Good-by," he said again.

She made a little nod.

He took a third step, not turning. She watched him.

He turned.

And the words ripped out of her: "Without one kiss?"

They fell into each other's arms.




THERE HAVE BEEN five great kisses since 1642 B.C., when Saul and Delilah Korn's inadvertent discovery swept across Western civilization. (Before then couples hooked thumbs.) And the precise rating of kisses is a terribly difficult thing, often leading to great controversy, because although everyone agrees with the formula of affection times purity times intensity times duration, no one has ever been completely satisfied with how much weight each element should receive. But on any system, there are five that everyone agrees deserve full marks.

Well, this one left them all behind.

 

THE FIRST MORNING after Westley's departure, Buttercup thought she was entitled to do nothing more than sit around moping and feeling sorry for herself. After all, the love of her life had fled, life had no meaning, how could you face the future, et cetera, et cetera.

But after about two seconds of that she realized that Westley was out in the world now, getting nearer and nearer to London, and what if a beautiful city girl caught his fancy while she was just back here moldering? Or, worse, what if he got to America and worked his jobs and built his farm and made their bed and sent for her and when she got there he would look at her and say, "I'm sending you back, the moping has destroyed your eyes, the self-pity has taken your skin; you're a slobby-looking creature, I'm marrying an Indian girl who lives in a teepee nearby and is always in the peak of condition."

Buttercup ran to her bedroom mirror. "Oh, Westley," she said, "I must

never disappoint you," and she hurried downstairs to where her parents were squabbling. (Sixteen to thirteen, and not past breakfast yet.) "I need your advice," she interrupted. "What can I do to improve my personal appearance?"

"Start by bathing," her father said.

"And do something with your hair while you're at it," her mother said. "Unearth the territory behind your ears."

"Neglect not your knees."

"That will do nicely for starters," Buttercup said. She shook her head. "Gracious, but it isn't easy being tidy." Undaunted, she set to work.

Every morning she awoke, if possible by dawn, and got the farm chores finished immediately. There was much to be done now, with Westley gone, and more than that, ever since the Count had visited, everyone in the area had increased his milk order. So there was no time for self-improvement until well into the afternoon.

But then she really set to work. First a good cold bath. Then, while her hair was drying, she would slave after fixing her figure faults (one of her elbows was just too bony, the opposite wrist not bony enough). And exercise what remained of her baby fat (little left now; she was nearly eighteen). And brush and brush her hair.

Her hair was the color of autumn, and it had never been cut, so a thousand strokes took time, but she didn't mind, because Westley had never seen it clean like this and wouldn't he be surprised when she stepped off the boat in America. Her skin was the color of wintry cream, and she scrubbed her every inch well past glistening, and that wasn't much fun really, but wouldn't Westley be pleased with how clean she was as she stepped off the boat in America.

And very quickly now, her potential began to be realized. From twentieth, she jumped within two weeks to fifteenth, an unheard-of change in such a time. But three weeks after that she was already ninth and moving. The competition was tremendous now, but the day after she was ninth a three-page letter arrived from Westley in London and just reading it over put her up to eighth. That was really what was doing it for her more than anything—her love for Westley would not stop growing, and people were dazzled when she delivered milk in the morning. Some people were only able to gape at her, but many talked and those that did found her warmer and gentler than she had ever been before. Even the village girls would nod and smile now, and some of them would ask after Westley, which was a mistake unless you happened to have a lot of spare time, because when someone asked Buttercup how Westley was—well, she

told them. He was supreme as usual; he was spectacular; he was singularly fabulous. Oh, she could go on for hours. Sometimes it got a little tough for the listeners to maintain strict attention, but they did their best, since Buttercup loved him so completely.

Which was why Westley's death hit her the way it did.

He had written to her just before he sailed for America. The Queens Pride was his ship, and he loved her. (That was the way his sentences always went: It is raining today and I love you. My cold is better and I love you. Say hello to Horse and I love you. Like that.)

Then there were no letters, but that was natural; he was at sea. Then she heard. She came home from delivering the milk and her parents were wooden. "Off the Carolina coast," her father whispered.

Her mother whispered, "Without warning. At night." "What?" from Buttercup.

"Pirates," said her father.

Buttercup thought she'd better sit down. Quiet in the room.

"He's been taken prisoner then?" Buttercup managed. Her mother made a "no."

"It was Roberts," her father said. "The Dread Pirate Roberts." "Oh," Buttercup said. "The one who never leaves survivors." "Yes," her father said.

Quiet in the room.

Suddenly Buttercup was talking very fast: "Was he stabbed?...Did he drown?...Did they cut his throat asleep?...Did they wake him, do you suppose?...Perhaps they whipped him dead...." She stood up then. "I'm getting silly, forgive me." She shook her head. "As if the way they got him mattered. Excuse me, please." With that she hurried to her room.

She stayed there many days. At first her parents tried to lure her, but she would not have it. They took to leaving food outside her room, and she took bits and shreds, enough to stay alive. There was never noise inside, no wailing, no bitter sounds.

And when she at last came out, her eyes were dry. Her parents stared up from their silent breakfast at her. They both started to rise but she put a hand out, stopped them. "I can care for myself, please," and she set about getting some food. They watched her closely.

In point of fact, she had never looked as well. She had entered her room

as just an impossibly lovely girl. The woman who emerged was a trifle thinner, a great deal wiser, an ocean sadder. This one understood the nature of pain, and beneath the glory of her features, there was character, and a sure knowledge of suffering.

She was eighteen. She was the most beautiful woman in a hundred years.

She didn't seem to care.

"You're all right?" her mother asked. Buttercup sipped her cocoa. "Fine," she said. "You're sure?" her father wondered.

"Yes," Buttercup replied. There was a very long pause. "But I must never love again."

 

She never did.





THIS IS my first major excision. Chapter One, The Bride, is almost in its entirety about the bride. Chapter Two, The Groom, only picks up Prince Humperdinck in the last few pages.

This chapter is where my son Jason stopped reading, and there is simply no way of blaming him. For what Morgenstern has done is open this chapter with sixty-six pages of Florinese history. More accurately, it is the history of the Florinese crown.

Dreary? Not to be believed.

Why would a master of narrative stop his narrative dead before it has much chance to begin generating? No known answer. All I can guess is that for Morgenstern, the real narrative was not Buttercup and the remarkable things she endures, but, rather, the history of the monarchy and other such stuff. When this version comes out, I expect every Florinese scholar alive to slaughter me. (Columbia University has not only the leading Florinese experts in America, but also direct ties to the New York Times Book Review. I can't help that, and I only hope they understand my intentions here are in no way meant to be destructive of Morgenstern's vision.)




PRINCE HUMPERDINCK WAS shaped like a barrel. His chest was a great barrel chest, his thighs mighty barrel thighs. He was not tall but he weighed close to 250 pounds, brick hard. He walked like a crab, side to side, and probably if he had wanted to be a ballet dancer, he would have been doomed to a miserable life of endless frustration. But he didn't want to be a ballet dancer. He wasn't in that much of a hurry to be king either. Even war, at which he excelled, took second place in his affections. Everything took second place in his affections.

Hunting was his love.

He made it a practice never to let a day go by without killing something. It didn't much matter what. When he first grew dedicated, he killed only big things: elephants or pythons. But then, as his skills increased, he began to enjoy the suffering of little beasts too. He could happily spend an afternoon tracking a flying squirrel across forests or a rainbow trout down rivers. Once he was determined, once he had focused on an object, the Prince was relentless. He never tired, never wavered, neither ate nor slept. It was death chess and he was international grand master.

In the beginning, he traversed the world for opposition. But travel consumed time, ships and horses being what they were, and the time away from Florin was worrying. There always had to be a male heir to the throne, and as long as his father was alive, there was no problem. But someday his father would die and then the Prince would be the king and he would have to select a queen to supply an heir for the day of his own death.

So to avoid the problem of absence, Prince Humperdinck built the Zoo of Death. He designed it himself with Count Rugen's help, and he sent his hirelings across the world to stock it for him. It was kept brimming with things that he could hunt, and it really wasn't like any other animal sanctuary anywhere. In the first place, there were never any visitors. Only the albino keeper, to make sure the beasts were properly fed, and that there was never any sickness or weakness inside.

The other thing about the Zoo was that it was underground. The Prince picked the spot himself, in the quietest, remotest corner of the castle grounds. And he decreed there were to be five levels, all with the proper needs for his individual enemies. On the first level, he put enemies of speed: wild dogs, cheetahs, hummingbirds. On the second level belonged the enemies of strength: anacondas and rhinos and crocodiles of over twenty feet. The third level was for poisoners: spitting cobras, jumping spiders, death bats galore. The fourth level was the kingdom of the most dangerous, the enemies of fear: the shrieking tarantula (the only spider capable of sound), the blood eagle (the only bird that thrived on human flesh), plus, in its own black pool, the sucking squid. Even the albino shivered during feeding time on the fourth level.

The fifth level was empty.

The Prince constructed it in the hopes of someday finding something worthy, something as dangerous and fierce and powerful as he was.

Unlikely. Still, he was an eternal optimist, so he kept the great cage of the fifth level always in readiness.

And there was really more than enough that was lethal on the other four levels to keep a man happy. The Prince would sometimes choose his prey by luck—he had a great wheel with a spinner and on the outside of the wheel was a picture of every animal in the Zoo and he would twirl the spinner at breakfast, and wherever it stopped, the albino would ready that breed. Sometimes he would choose by mood: "I feel quick today; fetch me a cheetah" or "I feel strong today, release a rhino." And whatever he requested, of course, was done.

 

HE WAS RINGING down the curtain on an orangutan when the business of the King's health made its ultimate intrusion. It was midafternoon, and the Prince had been grappling with the giant beast since morning, and finally, after all these hours, the hairy thing was weakening. Again and again, the monkey tried to bite, a sure sign of failure of strength in the arms. The Prince warded off the attempted bites with ease, and the ape was heaving at the chest now, desperate for air. The Prince made a crablike step sidewise, then another, then darted forward, spun the great beast into his arms, began applying pressure to the spine. (This was all taking place in the ape pit, where the Prince had his pleasure with many simians.) From up above now, Count Rugen's voice interrupted. "There is news," the Count said.

From battle, the Prince replied, "Cannot it wait?" "For how long?" asked the Count.

 

C

 

R

 

A

 

C

 

K

 

The orangutan fell like a rag doll. "Now, what is all this," the Prince replied, stepping past the dead beast, mounting the ladder out of the pit.

"Your father has had his annual physical," the Count said. "I have the report."

"And?"

"Your father is dying."

"Drat!" said the Prince. "That means I shall have to get married."





FOUR OF them met in the great council room of the castle. Prince Humperdinck, his confidant, Count Rugen, his father, aging King Lotharon, and Queen Bella, his evil stepmother.

Queen Bella was shaped like a gumdrop. And colored like a raspberry. She was easily the most beloved person in the kingdom, and had been married to the King long before he began mumbling. Prince Humperdinck was but a child then, and since the only stepmothers he knew were the evil ones from stories, he always called Bella that or "E. S." for short.

"All right," the Prince began when they were all assembled. "Who do I marry? Let's pick a bride and get it done."

Aging King Lotharon said, "I've been thinking it's really getting to be about time for Humperdinck to pick a bride." He didn't actually so much say that as mumble it: "I've beee mumbbble mumbbble Humpmummmble engamumble."

Queen Bella was the only one who bothered ferreting out his meanings anymore. "You couldn't be righter, dear," she said, and she patted his royal robes.

"What did he say?"

"He said whoever we decided on would be getting a thunderously handsome prince for a lifetime companion."

"Tell him he's looking quite well himself," the Prince returned.

"We've only just changed miracle men," the Queen said. "That accounts for the improvement."

"You mean you fired Miracle Max?" Prince Humperdinck said. "I thought he was the only one left."

"No, we found another one up in the mountains and he's quite extraordinary. Old, of course, but then, who wants a young miracle man?"

"Tell him I've changed miracle men," King Lotharon said. It came out: "Tell mumble mirumble mumble."

"What did he say?" the Prince wondered.

"He said a man of your importance couldn't marry just any princess." "True, true," Prince Humperdinck said. He sighed. Deeply. "I suppose that

means Noreena."

"That would certainly be a perfect match politically," Count Rugen allowed. Princess Noreena was from Guilder, the country that lay just across Florin Channel. (In Guilder, they put it differently; for them, Florin was the country on the other side of the Channel of Guilder.) In any case, the two countries had stayed alive over the centuries mainly by warring on each other. There had been the Olive War, the Tuna Fish Discrepancy, which almost bankrupted both nations, the Roman Rift, which did send them both into insolvency, only to be followed by the Discord of the Emeralds, in which they both got rich again, chiefly by banding together for a brief period and robbing everybody within sailing distance.

"I wonder if she hunts, though," said Humperdinck. "I don't care so much about personality, just so they're good with a knife."

"I saw her several years ago," Queen Bella said. "She seemed lovely, though hardly muscular. I would describe her more as a knitter than a doer. But again, lovely."

"Skin?" asked the Prince. "Marbleish," answered the Queen. "Lips?"

"Number or color?" asked the Queen. "Color, E. S."

"Roseish. Cheeks the same. Eyes largeish, one blue, one green." "Hmmm," said Humperdinck. "And form?"

"Hourglassish. Always clothed divineishly. And, of course, famous throughout Guilder for the largest hat collection in the world."

"Well, let's bring her over here for some state occasions and have a look at her," said the Prince.

"Isn't there a princess in Guilder that would be about the right age?" said the King. It came out "Mumcess Guilble, abumble mumble?"

"Are you never wrong?" said Queen Bella, and she smiled into the weakening eyes of her ruler.

"What did he say?" wondered the Prince.

"That I should leave this very day with an invitation," replied the Queen. So began the great visit of the Princess Noreena.

 

Me again. Of all the cuts in this version, I feel most justified in making this one. Just as the chapters on whaling in Moby-Dick can be omitted by all but the most punishment-loving readers, so the packing scenes that Morgenstern details here are really best left alone. That's what happens for the next fifty-six and a half pages of THE PRINCESS BRIDE: packing. (I include unpacking scenes in the same category.)

What happens is just this: Queen Bella packs most of her wardrobe (1 pages) and travels to Guilder (2 pages). In Guilder she unpacks (5 pages), then tenders the invitation to Princess Noreena (1 page). Princess Noreena accepts (1 page). Then Princess Noreena packs all her clothes and hats (23 pages) and, together, the Princess and the Queen travel back to Florin for the annual celebration of the founding of Florin City (1 page). They reach King Lotharon's castle, where Princess Noreena is shown her quarters (1/2 page) and unpacks all the same clothes and hats we've just seen her pack one and a half pages before (12 pages).

It's a baffling passage. I spoke to Professor Bongiorno, of Columbia University, the head of their Florinese Department, and he said this was the most deliciously satiric chapter in the entire book, Morgenstern's point, apparently, being simply to show that although Florin considered itself vastly more civilized than Guilder, Guilder was, in fact, the far more sophisticated country, as indicated by the superiority in number and quality of the ladies' clothes. I'm not about to argue with a full professor, but if you ever have a really unbreakable case of insomnia, do yourself a favor and start reading Chapter Three of the uncut version.

Anyway, things pick up a bit once the Prince and Princess meet and spend the day. Noreena did have, as advertised, marbleish skin, roseish lips and cheeks, largeish eyes, one blue, one green, hourglassish form, and easily the most extraordinary collection of hats ever assembled. Wide brimmed and narrow, some tall, some not, some fancy, some colorful, some plaid, some plain. She doted on changing hats at every opportunity. When she met the Prince, she was wearing one hat, when he asked her for a stroll, she excused herself, shortly to return wearing another, equally flattering. Things went on like this throughout the day, but it seems to me to be a bit too much court etiquette for modern readers, so it's not till the evening meal that I return to

the original text.




DINNER WAS HELD in the Great Hall of Lotharon's castle. Ordinarily, they would all have supped in the dining room, but, for an event of this importance, that place was simply too small. So tables were placed end to end along the center of the Great Hall, an enormous dr7afty spot that was given to being chilly even in the summertime. There were many doors and giant entranceways, and the wind gusts sometimes reached gale force.

This night was more typical than less; the winds whistled constantly and the candles constantly needed relighting, and some of the more daringly dressed ladies shivered. But Prince Humperdinck didn't seem to mind, and in Florin, if he didn't, you didn't either.

At 8:23 there seemed every chance of a lasting alliance starting between Florin and Guilder.

At 8:24 the two nations were very close to war.

What happened was simply this: at 8:23 and five seconds, the main course of the evening was ready for serving. The main course was essence of brandied pig, and you need a lot of it to serve five hundred people. So in order to hasten the serving, a giant double door that led from the kitchen to the Great Hall was opened. The giant double door was on the north end of the room. The door remained open throughout what followed.

The proper wine for essence of brandied pig was in readiness behind the double door that led eventually to the wine cellar. This double door was opened at 8:23 and ten seconds in order that the dozen wine stewards could get their kegs quickly to the eaters. This double door, it might be noted, was at the south end of the room.

At this point, an unusually strong cross wind was clearly evident. Prince Humperdinck did not notice, because at that moment, he was whispering with the Princess Noreena of Guilder. He was cheek to cheek with her, his head under her wide-brimmed blue-green hat, which brought out the exquisite color in both of her largeish eyes.

At 8:23 and twenty seconds, King Lotharon made his somewhat belated entrance to the dinner. He was always belated now, had been for years, and in the past people had been known to starve before he got there. But of late, meals

just began without him, which was fine with him, since his new miracle man had taken him off meals anyway. The King entered through the King's Door, a huge hinged thing that only he was allowed to use. It took several servants in excellent condition to work it. It should be reported that the King's Door was always in the east side of any room, since the King was, of all people, closest to the sun.

What happened then has been variously described as a norther or a sou'wester, depending on where you were seated in the room when it struck, but all hands agree on one thing: at 8:23 and twenty-five seconds, it was pretty gusty in the Great Hall.

Most of the candles lost their flames and toppled, which was only important because a few of them fell, still burning, into the small kerosene cups that were placed here and there across the banquet table so that the essence of brandied pig could be properly flaming when served. Servants rushed in from all over to put out the flames, and they did a good enough job, considering that everything in the room was flying this way, that way, fans and scarves and hats.

Particularly the hat of Princess Noreena.

It flew off to the wall behind her, where she quickly retrieved it and put it properly on. That was at 8:23 and fifty seconds. It was too late.

At 8:23:55 Prince Humperdinck rose roaring, the veins in his thick neck etched like hemp. There were still flames in some places, and their redness reddened his already blood-filled face. He looked, as he stood there, like a barrel on fire. He then said to Princess Noreena of Guilder the five words that brought the nations to the brink.

"Madam, feel free to flee!"

And with that he stormed from the Great Hall. The time was then 8:24. Prince Humperdinck made his angry way to the balcony above the Great

Hall and stared down at the chaos. The fires were still in places flaming red, guests were pouring out through the doors and Princess Noreena, hatted and faint, was being carried by her servants far from view.

Queen Bella finally caught up with the Prince, who stormed along the balcony clearly not yet in control. "I do wish you hadn't been quite so blunt," Queen Bella said.

The Prince whirled on her. "I'm not marrying any bald princess, and that's that!"

"No one would know," Queen Bella explained. "She has hats even for sleeping."

"I would know," cried the Prince. "Did you see the candlelight reflecting off her skull?"

"But things would have been so good with Guilder," the Queen said, addressing herself half to the Prince, half to Count Rugen, who now joined them.

"Forget about Guilder. I'll conquer it sometime. I've been wanting to ever since I was a kid anyway." He approached the Queen. "People snicker behind your back when you've got a bald wife, and I can do without that, thank you. You'll just have to find someone else."

"Who?"

"Find me somebody, she should just look nice, that's all."

"That Noreena has no hair," King Lotharon said, puffing up to the others. "Nor-umble mumble humble."

"Thank you for pointing that out, dear," said Queen Bella.

"I don't think Humperdinck will like that," said the King. "Dumble Humble Mumble."

Then Count Rugen stepped forward. "You want someone who looks nice; but what if she's a commoner?"

"The commoner the better," Prince Humperdinck replied, pacing again. "What if she can't hunt?" the Count went on.

"I don't care if she can't spell," the Prince said. Suddenly he stopped and faced them all. "I'll tell you what I want," he began then. "I want someone who is so beautiful that when you see her you say, 'Wow, that Humperdinck must be some kind of fella to have a wife like that.' Search the country, search the world, just find her!"

Count Rugen could only smile. "She is already found," he said.

 

IT WAS DAWN when the two horsemen reined in at the hilltop. Count Rugen rode a splendid black horse, large, perfect, powerful. The Prince rode one of his whites. It made Rugen's mount seem like a plow puller.

"She delivers milk in the mornings," Count Rugen said.

"And she is truly-without-question-no-possibility-of-error beautiful?" "She was something of a mess when I saw her," the Count admitted. "But

the potential was overwhelming."

"A milkmaid." The Prince ran the words across his rough tongue. "I don't know that I could wed one of them even under the best of conditions. People might snicker that she was the best I could do."

"True," the Count admitted. "If you prefer, we can ride back to Florin City without waiting."

"We've come this far," the Prince said. "We might as well wai—" His voice quite simply died. "I'll take her," he managed, finally, as Buttercup rode slowly by below them.

"No one will snicker, I think," the Count said.

"I must court her now," said the Prince. "Leave us alone for a minute." He rode the white expertly down the hill.

Buttercup had never seen such a giant beast. Or such a rider. "I am your Prince and you will marry me," Humperdinck said. Buttercup whispered, "I am your servant and I refuse."

"I am your Prince and you cannot refuse." "I am your loyal servant and I just did." "Refusal means death."

"Kill me then."

"I am your Prince and I'm not that bad—how could you rather be dead than married to me?"

"Because," Buttercup said, "marriage involves love, and that is not a pastime at which I excel. I tried once, and it went badly, and I am sworn never to love another."

"Love?" said Prince Humperdinck. "Who mentioned love? Not me, I can tell you. Look: there must always be a male heir to the throne of Florin. That's me. Once my father dies, there won't be an heir, just a king. That's me again. When that happens, I'll marry and have children until there is a son. So you can either marry me and be the richest and most powerful woman in a thousand miles and give turkeys away at Christmas and provide me a son, or you can die in terrible pain in the very near future. Make up your own mind."

"I'll never love you."

"I wouldn't want it if I had it." "Then by all means let us marry."





I DIDN'T EVEN know this chapter existed until I began the 'good parts' version. All my father used to say at this point was, 'What with one thing and another, three years passed,' and then he'd explain how the day came when Buttercup was officially introduced to the world as the coming queen, and how the Great Square of Florin City was filled as never before, awaiting her introduction, and by then, he was into the terrific business dealing with the kidnapping.

Would you believe that in the original Morgenstern this is the longest single chapter in the book?

Fifteen pages about how Humperdinck can't marry a common subject, so they fight and argue with the nobles and finally make Buttercup Princess of Hammersmith, which was this little lump of land attached to the rear of King Lotharon's holdings.

Then the miracle man began improving King Lotharon, and eighteen pages are used up in describing the cures. (Morgenstern hated doctors, and was always bitter when they outlawed miracle men from working in Florin proper.)

And seventy-two—count 'em—seventy-two pages on the training of a princess. He follows Buttercup day to day, month to month, as she learns all the ways of curtsying and tea pouring and how to address visiting nabobs and like that. All this in a satiric vein, naturally, since Morgenstern hated royalty more even than doctors.

But from a narrative point of view, in 105 pages nothing happens. Except this: 'What with one thing and another, three years passed.'





THE Great Square of Florin City was filled as never before, awaiting the introduction of Prince Humperdinck's bride-to-be, Princess Buttercup of Hammersmith. The crowd had begun forming some forty hours earlier, but up to twenty-four hours before, there were still fewer than one thousand. But then, as the moment of introduction grew nearer, from across the country the people came. None had ever seen the Princess, but rumors of her beauty were continual and each was less possible than the one before.

At noontime, Prince Humperdinck appeared at the balcony of his father's castle and raised his arms. The crowd, which by now was at the danger size, slowly quieted. There were stories that the King was dying, that he was already dead, that he had been dead long since, that he was fine.

"My people, my beloveds, from whom we draw our strength, today is a day of greeting. As you must have heard, my honored father's health is not what it once was. He is, of course, ninety-seven, so who can ask more. As you also know, Florin needs a male heir."

The crowd began to stir now—it was to be this lady they had heard so much about.

"In three months, our country celebrates its five hundredth anniversary. To celebrate that celebration, I shall, on that sundown, take for my wife the Princess Buttercup of Hammersmith. You do not know her yet. But you will meet her now," and he made a sweeping gesture and the balcony doors swung open and Buttercup moved out beside him on the balcony.

And the crowd, quite literally, gasped.

The twenty-one-year-old Princess far surpassed the eighteen-year-old mourner. Her figure faults were gone, the too bony elbow having fleshed out nicely; the opposite pudgy wrist could not have been trimmer. Her hair, which was once the color of autumn, was still the color of autumn, except that before, she had tended it herself, whereas now she had five full-time hairdressers who managed things for her. (This was long after hairdressers; in truth, ever since there have been women, there have been hairdressers, Adam being the first,

though the King James scholars do their very best to muddy this point.) Her skin was still wintry cream, but now, with two handmaidens assigned to each appendage and four for the rest of her, it actually, in certain lights, seemed to provide her with a gentle, continually moving as she moved, glow.

Prince Humperdinck took her hand and held it high and the crowd cheered. "That's enough, mustn't risk overexposure," the Prince said, and he started back in toward the castle.

"They have waited, some of them, so long," Buttercup answered. "I would like to walk among them."

"We do not walk among commoners unless it is unavoidable," the Prince

said.

"I have known more than a few commoners in my time," Buttercup told

him. "They will not, I think, harm me."

And with that she left the balcony, reappeared a moment later on the great steps of the castle and, quite alone, walked open-armed down into the crowd.

Wherever she went, the people parted. She crossed and recrossed the Great Square and always, ahead of her, the people swept apart to let her pass. Buttercup continued, moving slowly and smiling, alone, like some land messiah.

Most of the people there would never forget that day. None of them, of course, had ever been so close to perfection, and the great majority adored her instantly. There were, to be sure, some who, while admitting she was pleasing enough, were withholding judgment as to her quality as a queen. And, of course, there were some more who were frankly jealous. Very few of them hated her.

And only three of them were planning to murder her.

Buttercup, naturally, knew none of this. She was smiling, and when people wanted to touch her gown, well, let them, and when they wanted to brush their skin against hers, well, let them do that too. She had studied hard to do things royally, and she wanted very much to succeed, so she kept her posture erect and her smile gentle, and that her death was so close would have only made her laugh, if someone had told her.

But—

—in the farthest corner of the Great Square—

—in the highest building in the land—

—deep in the deepest shadow—

—the man in black stood waiting.

His boots were black and leather. His pants were black and his shirt. His mask was black, blacker than raven. But blackest of all were his flashing eyes.

Flashing and cruel and deadly...

 

BUTTERCUP WAS MORE than a little weary after her triumph. The touching of the crowds had exhausted her, so she rested a bit, and then, toward midafternoon, she changed into her riding clothes and went to fetch Horse. This was the one aspect of her life that had not changed in the years preceding. She still loved to ride, and every afternoon, weather permitting or not, she rode alone for several hours in the wild land beyond the castle.

She did her best thinking then.

Not that her best thinking ever expanded horizons. Still, she told herself, she was not a dummy either, so as long as she kept her thoughts to herself, well, where was the harm?

As she rode through woods and streams and heather, her brain was awhirl. The walk through the crowds had moved her, and in a way most strange. For even though she had done nothing for three years now but train to be a princess and a queen, today was the first day she actually understood that it was all soon to be a reality.

And I just don't like Humperdinck, she thought. It's not that I hate him or anything. I just never see him; he's always off someplace or playing in the Zoo of Death.

To Buttercup's way of thinking, there were two main problems: (1) was it wrong to marry without like, and (2) if it was, was it too late to do anything about it.

The answers, to her way of thinking, as she rode along, were: (1) no and

  1. yes.

It wasn't wrong to marry someone you didn't like, it just wasn't right either. If the whole world did it, that wouldn't be so great, what with everybody kind of grunting at everybody else as the years went by. But, of course, not everybody did it; so forget about that. The answer to (2) was even easier: she had given her word she would marry; that would have to be enough. True, he had told her quite honestly that if she said "no" he would have to have her disposed of, in order to keep respect for the Crown at its proper level; still, she could have, had she so chosen, said "no."

Everyone had told her, since she became a princess-in-training, that she was very likely the most beautiful woman in the world. Now she was going to

be the richest and most powerful as well.

Don't expect too much from life, Buttercup told herself as she rode along.

Learn to be satisfied with what you have.

 

DUSK WAS CLOSING in when Buttercup crested the hill. She was perhaps half an hour from the castle, and her daily ride was three-quarters done. Suddenly she reined Horse, for standing in the dimness beyond was the strangest trio she had ever seen.

The man in front was dark, Sicilian perhaps, with the gentlest face, almost angelic. He had one leg too short, and the makings of a humpback, but he moved forward toward her with surprising speed and nimbleness. The other two remained rooted. The second, also dark, probably Spanish, was as erect and slender as the blade of steel that was attached to his side. The third man, mustachioed, perhaps a Turk, was easily the biggest human being she had ever seen.

"A word?" the Sicilian said, raising his arms. His smile was more angelic than his face.

Buttercup halted. "Speak."

"We are but poor circus performers," the Sicilian explained. "It is dark and we are lost. We were told there was a village nearby that might enjoy our skills."

"You were misinformed," Buttercup told him. "There is no one, not for many miles."

"Then there will be no one to hear you scream," the Sicilian said, and he jumped with frightening agility toward her face.

That was all that Buttercup remembered. Perhaps she did scream, but if she did it was more from terror than anything else, because certainly there was no pain. His hands expertly touched places on her neck, and unconsciousness came.

She awoke to the lapping of water.

She was wrapped in a blanket and the giant Turk was putting her in the bottom of a boat. For a moment she was about to talk, but then when they began talking, she thought it better to listen. And after she had listened for a moment, it got harder and harder to hear. Because of the terrible pounding of her heart.

"I think you should kill her now," the Turk said.

"The less you think, the happier I'll be," the Sicilian answered. There was the sound of ripping cloth.

"What is that?" the Spaniard asked.

"The same as I attached to her saddle," the Sicilian replied. "Fabric from the uniform of an officer of Guilder."

"I still think—" the Turk began.

"She must be found dead on the Guilder frontier or we will not be paid the remainder of our fee. Is that clear enough for you?"

"I just feel better when I know what's going on, that's all," the Turk mumbled. "People are always thinking I'm so stupid because I'm big and strong and sometimes drool a little when I get excited."

"The reason people think you're so stupid," the Sicilian said, "is because you are so stupid. It has nothing to do with your drooling."

There came the sound of a flapping of sail. "Watch your heads," the Spaniard cautioned, and then the boat was moving. "The people of Florin will not take her death well, I shouldn't think. She has become beloved."

"There will be war," the Sicilian agreed. "We have been paid to start it. It's a fine line of work to be expert in. If we do this perfectly, there will be a continual demand for our services."

"Well I don't like it all that much," the Spaniard said. "Frankly, I wish you had refused."

"The offer was too high."

"I don't like killing a girl," the Spaniard said.

"God does it all the time; if it doesn't bother Him, don't let it worry you." Through all this, Buttercup had not moved.

The Spaniard said, "Let's just tell her we're taking her away for ransom." The Turk agreed. "She's so beautiful and she'd go all crazy if she knew." "She knows already," the Sicilian said. "She's been awake for every word

of this."

Buttercup lay under the blanket, not moving. How could he have known that, she wondered.

"How can you be sure?" the Spaniard asked. "The Sicilian senses all," the Sicilian said. Conceited, Buttercup thought.

"Yes, very conceited," the Sicilian said.

He must be a mind reader, Buttercup thought. "Are you giving it full sail?" the Sicilian said.

"As much as is safe," the Spaniard answered from the tiller.

"We have an hour on them, so no risks yet. It will take her horse perhaps

twenty-seven minutes to reach the castle, a few minutes more for them to figure out what happened and, since we left an obvious trail, they should be after us within an hour. We should reach the Cliffs in fifteen minutes more and, with any luck at all, the Guilder frontier at dawn, when she dies. Her body should be quite warm when the Prince reaches her mutilated form. I only wish we could stay for his grief—it should be Homeric."

Why does he let me know his plans, Buttercup wondered.

"You are going back to sleep now, my lady," the Spaniard said, and his fingers suddenly were touching her temple, her shoulder, her neck, and she was unconscious again....

Buttercup did not know how long she was out, but they were still in the boat when she blinked, the blanket shielding her. And this time, without daring to think—the Sicilian would have known it somehow—she threw the blanket aside and dove deep into Florin Channel.

She stayed under for as long as she dared and then surfaced, starting to swim across the moonless water with every ounce of strength remaining to her. Behind her in the darkness there were cries.

"Go in, go in!" from the Sicilian. "I only dog paddle" from the Turk.

"You're better than I am" from the Spaniard.

Buttercup continued to leave them behind her. Her arms ached from effort but she gave them no rest. Her legs kicked and her heart pounded.

"I can hear her kicking," the Sicilian said. "Veer left." Buttercup went into her breast stroke, silently swimming away. "Where is she?" shrieked the Sicilian.

"The sharks will get her, don't worry," cautioned the Spaniard. Oh dear, I wish you hadn't mentioned that, thought Buttercup.

"Princess," the Sicilian called, "do you know what happens to sharks when they smell blood in the water? They go mad. There is no controlling their wildness. They rip and shred and chew and devour, and I'm in a boat, Princess, and there isn't any blood in the water now, so we're both quite safe, but there is a knife in my hand, my lady, and if you don't come back I'll cut my arms and I'll cut my legs and I'll catch the blood in a cup and I'll fling it as far as I can and sharks can smell blood in the water for miles and you won't be beautiful for long."

Buttercup hesitated, silently treading water. Around her now, although it was surely her imagination, she seemed to be hearing the swish of giant tails.

"Come back and come back now. There will be no other warning."

Buttercup thought, If I come back, they'll kill me anyway, so what's the difference?

"The difference is—"

There he goes doing that again, thought Buttercup. He really is a mind reader.

"—if you come back now," the Sicilian went on, "I give you my word as a gentleman and assassin that you will die totally without pain. I assure you, you will get no such promise from the sharks."

The fish sounds in the night were closer now.

Buttercup began to tremble with fear. She was terribly ashamed of herself but there it was. She only wished she could see for a minute if there really were sharks and if he really would cut himself.

The Sicilian winced out loud.

"He just cut his arm, lady," the Turk called out. "He's catching the blood in a cup now. There must be a half-inch of blood on the bottom."

The Sicilian winced again.

"He cut his leg this time," the Turk went on. "The cup's getting full."

I don't believe them, Buttercup thought. There are no sharks in the water and there is no blood in his cup.

"My arm is back to throw," the Sicilian said. "Call out your location or not, the choice is yours."

I'm not making a peep, Buttercup decided. "Farewell," from the Sicilian.

There was the splashing sound of liquid landing on liquid. Then there came a pause.

Then the sharks went mad—




"She does not get eaten by the sharks at this time," my father said. I looked up at him. "What?"

"You looked like you were getting too involved and bothered so I thought I would let you relax."

"Oh, for Pete's sake," I said, "you'd think I was a baby or something. What kind of stuff is that?" I really sounded put out, but I'll tell you the

truth: I was getting a little too involved and I was glad he told me. I mean, when you're a kid, you don't think, Well, since the books's called The Princess Bride and since we're barely into it, obviously, the author's not about to make shark kibble of his leading lady. You get hooked on things when you're a youngster; so to any youngsters reading, I'll simply repeat my father's words since they worked to soothe me: 'She does not get eaten by the sharks at this time.'




THEN THE SHARKS went mad. All around her, Buttercup could hear them beeping and screaming and thrashing their mighty tails. Nothing can save me, Buttercup realized. I'm a dead cookie.

Fortunately for all concerned save the sharks, it was around this time that the moon came out.

"There she is," shouted the Sicilian, and like lightning the Spaniard turned the boat and as the boat drew close the Turk reached out a giant arm and then she was back in the safety of her murderers while all around them the sharks bumped each other in wild frustration.

"Keep her warm," the Spaniard said from the tiller, tossing his cloak to the Turk.

"Don't catch cold," the Turk said, wrapping Buttercup into the cloak's folds.

"It doesn't seem to matter all that much," she answered, "seeing you're killing me at dawn."

"He'll do the actual work," the Turk said, indicating the Sicilian, who was wrapping cloth around his cuts. "We'll just hold you."

"Hold your stupid tongue," the Sicilian commanded. The Turk immediately hushed.

"I don't think he's so stupid," Buttercup said. "And I don't think you're so smart either, with all your throwing blood in the water. That's not what I would call grade-A thinking."

"It worked, didn't it? You're back, aren't you?" The Sicilian crossed toward her. "Once women are sufficiently frightened, they scream."

"But I didn't scream; the moon came out," answered Buttercup somewhat triumphantly.

The Sicilian struck her.

"Enough of that," the Turk said then.

The tiny humpback looked dead at the giant. "Do you want to fight me? I don't think you do."

"No, sir," the Turk mumbled. "No. But don't use force. Please. Force is mine. Strike me if you feel the need. I won't care."

The Sicilian returned to the other side of the boat. "She would have screamed," he said. "She was about to cry out. My plan was ideal as all my plans are ideal. It was the moon's ill timing that robbed me of perfection." He scowled unforgivingly at the yellow wedge above them. Then he stared ahead. "There!" The Sicilian pointed. "The Cliffs of Insanity."

And there they were. Rising straight and sheer from the water, a thousand feet into the night. They provided the most direct route between Florin and Guilder, but no one ever used them, sailing instead the long way, many miles around. Not that the Cliffs were impossible to scale; two men were known to have climbed them in the last century alone.

"Sail straight for the steepest part," the Sicilian commanded. The Spaniard said, "I was."

Buttercup did not understand. Going up the Cliffs could hardly be done, she thought; and no one had ever mentioned secret passages through them. Yet here they were, sailing closer and closer to the mighty rocks, now surely less than a quarter-mile away.

For the first time the Sicilian allowed himself a smile. "All is well. I was afraid your little jaunt in the water was going to cost me too much time. I had allowed an hour of safety. There must still be fifty minutes of it left. We are miles ahead of anybody and safe, safe, safe."

"No one could be following us yet?" the Spaniard asked.

"No one," the Sicilian assured him. "It would be inconceivable." "Absolutely inconceivable?"

"Absolutely, totally, and, in all other ways, inconceivable," the Sicilian reassured him. "Why do you ask?"

"No reason," the Spaniard replied. "It's only that I just happened to look back and something's there."

They all whirled.

Something was indeed there. Less than a mile behind them across the moonlight was another sailing boat, small, painted what looked like black, with a giant sail that billowed black in the night, and a single man at the tiller.

A man in black.

The Spaniard looked at the Sicilian. "It must just be some local fisherman out for a pleasure cruise alone at night through shark-infested waters."

"There is probably a more logical explanation," the Sicilian said. "But since no one in Guilder could know yet what we've done, and no one in Florin could have gotten here so quickly, he is definitely not, however much it may look like it, following us. It is coincidence and nothing more."

"He's gaining on us," the Turk said.

"That is also inconceivable," the Sicilian said. "Before I stole this boat we're in, I made many inquiries as to what was the fastest ship on all of Florin Channel and everyone agreed it was this one."

"You're right," the Turk agreed, staring back. "He isn't gaining on us. He's just getting closer, that's all."

"It is the angle we're looking from and nothing more," said the Sicilian.

Buttercup could not take her eyes from the great black sail. Surely the three men she was with frightened her. But somehow, for reasons she could never begin to explain, the man in black frightened her more.

"All right, look sharp," the Sicilian said then, just a drop of edginess in his voice.

The Cliffs of Insanity were very close now.

The Spaniard maneuvered the craft expertly, which was not easy, and the waves were rolling in toward the rocks now and the spray was blinding. Buttercup shielded her eyes and put her head straight back, staring up into the darkness toward the top, which seemed shrouded and out of reach.

Then the humpback bounded forward, and as the ship reached the cliff face, he jumped up and suddenly there was a rope in his hand.

Buttercup stared in silent astonishment. The rope, thick and strong, seemed to travel all the way up the Cliffs. As she watched, the Sicilian pulled at the rope again and again and it held firm. It was attached to something at the top—a giant rock, a towering tree, something.

"Fast now," the Sicilian ordered. "If he is following us, which of course is not within the realm of human experience, but if he is, we've got to reach the top and cut the rope off before he can climb up after us."

"Climb?" Buttercup said. "I would never be able to—"

"Hush!" the Sicilian ordered her. "Get ready!" he ordered the Spaniard. "Sink it," he ordered the Turk.

And then everyone got busy. The Spaniard took a rope, tied Buttercup's

hands and feet. The Turk raised a great leg and stomped down at the center of the boat, which gave way immediately and began to sink. Then the Turk went to the rope and took it in his hands.

"Load me," the Turk said.

The Spaniard lifted Buttercup and draped her body around the Turk's shoulders. Then he tied himself to the Turk's waist. Then the Sicilian hopped, clung to the Turk's neck.

"All aboard," the Sicilian said. (This was before trains, but the expression comes originally from carpenters loading lumber, and this was well after carpenters.)

With that the Turk began to climb. It was at least a thousand feet and he was carrying the three, but he was not worried. When it came to power, nothing worried him. When it came to reading, he got knots in the middle of his stomach, and when it came to writing, he broke out in a cold sweat, and when addition was mentioned or, worse, long division, he always changed the subject right away.

But strength had never been his enemy. He could take the kick of a horse on his chest and not fall backward. He could take a hundred-pound flour sack between his legs and scissor it open without thinking. He had once held an elephant aloft using only the muscles in his back.

But his real might lay in his arms. There had never, not in a thousand years, been arms to match Fezzik's. (For that was his name.) The arms were not only Gargantuan and totally obedient and surprisingly quick, but they were also, and this is why he never worried, tireless. If you gave him an ax and told him to chop down a forest, his legs might give out from having to support so much weight for so long, or the ax might shatter from the punishment of killing so many trees, but Fezzik's arms would be as fresh tomorrow as today.

And so, even with the Sicilian on his neck and the Princess around his shoulders and the Spaniard at his waist, Fezzik did not feel in the least bit put upon. He was actually quite happy, because it was only when he was requested to use his might that he felt he wasn't a bother to everybody.

Up he climbed, arm over arm, arm over arm, two hundred feet now above the water, eight hundred feet now to go.

More than any of them, the Sicilian was afraid of heights. All of his nightmares, and they were never far from him when he slept, dealt with falling. So this terrifying ascension was most difficult for him, perched as he was on the neck of the giant. Or should have been most difficult.

But he would not allow it.

From the beginning, when as a child he realized his humped body would never conquer worlds, he relied on his mind. He trained it, fought it, brought it to heel. So now, three hundred feet in the night and rising higher, while he should have been trembling, he was not.

Instead he was thinking of the man in black.

There was no way anyone could have been quick enough to follow them. And yet from some devil's world that billowing black sail had appeared. How? How? The Sicilian flogged his mind to find an answer, but he found only failure. In wild frustration he took a deep breath and, in spite of his terrible fears, he looked back down toward the dark water.

The man in black was still there, sailing like lightning toward the Cliffs.

He could not have been more than a quarter-mile from them now. "Faster!" the Sicilian commanded.

"I'm sorry," the Turk answered meekly. "I thought I was going faster." "Lazy, lazy," spurred the Sicilian.

"I'll never improve," the Turk answered, but his arms began to move faster than before. "I cannot see too well because your feet are locked around my face," he went on, "so could you tell me please if we're halfway yet?"

"A little over, I should think," said the Spaniard from his position around the giant's waist. "You're doing wonderfully, Fezzik."

"Thank you," said the giant.

"And he's closing on the Cliffs," added the Spaniard. No one had to ask who "he" was.

Six hundred feet now. The arms continued to pull, over and over. Six hundred and twenty feet. Six hundred and fifty. Now faster than ever. Seven hundred.

"He's left his boat behind," the Spaniard said. "He's jumped onto our rope. He's starting up after us."

"I can feel him," Fezzik said. "His body weight on the rope." "He'll never catch up!" the Sicilian cried. "Inconceivable!"

"You keep using that word!" the Spaniard snapped. "I don't think it means what you think it does."

"How fast is he at climbing?" Fezzik said. "I'm frightened" was the Spaniard's reply.

The Sicilian gathered his courage again and looked down.

The man in black seemed almost to be flying. Already he had cut their

lead a hundred feet. Perhaps more.

"I thought you were supposed to be so strong!" the Sicilian shouted. "I thought you were this great mighty thing and yet he gains."

"I'm carrying three people," Fezzik explained. "He has only himself and

—"

"Excuses are the refuge of cowards," the Sicilian interrupted. He looked

down again. The man in black had gained another hundred feet. He looked up now. The cliff tops were beginning to come into view. Perhaps a hundred and fifty feet more and they were safe.

Tied hand and foot, sick with fear, Buttercup wasn't sure what she wanted to happen. Except this much she knew: she didn't want to go through anything like it again.

"Fly, Fezzik!" the Sicilian screamed. "A hundred feet to go."

Fezzik flew. He cleared his mind of everything but ropes and arms and fingers, and his arms pulled and his fingers gripped and the rope held taut and

"He's over halfway," the Spaniard said.

"Halfway to doom is where he is," the Sicilian said. "We're fifty feet from safety, and once we're there and I untie the rope..." He allowed himself to laugh.

Forty feet. Fezzik pulled. Twenty.

Ten.

It was over. Fezzik had done it. They had reached the top of the Cliffs, and first the Sicilian jumped off and then the Turk removed the Princess, and as the Spaniard untied himself, he looked back over the Cliffs.

The man in black was no more than three hundred feet away.

"It seems a shame," the Turk said, looking down alongside the Spaniard. "Such a climber deserves better than—" He stopped talking then.

The Sicilian had untied the rope from its knots around an oak. The rope seemed almost alive, the greatest of all water serpents heading at last for home. It whipped across the cliff tops, spiraled into the moonlit Channel.

The Sicilian was roaring now, and he kept at it until the Spaniard said, "He did it."

"Did what?" The humpback came scurrying to the cliff edge.

"Released the rope in time," the Spaniard said. "See?" He pointed down.

The man in black was hanging in space, clinging to the sheer rock face, seven hundred feet above the water.

The Sicilian watched, fascinated. "You know," he said, "since I've made a study of death and dying and am a great expert, it might interest you to know that he will be dead long before he hits the water. The fall will do it, not the crash."

The man in black dangled helpless in space, clinging to the Cliffs with both hands.

"Oh, how rude we're being," the Sicilian said then, turning to Buttercup. "I'm sure you'd like to watch." He went to her and brought her, still tied hand and foot, so that she could watch the final pathetic struggle of the man in black three hundred feet below.

Buttercup closed her eyes, turned away.

"Shouldn't we be going?" the Spaniard asked. "I thought you were telling us how important time was."

"It is, it is," the Sicilian nodded. "But I just can't miss a death like this. I could stage one of these every week and sell tickets. I could get out of the assassination business entirely. Look at him—do you think his life is passing before his eyes? That's what the books say."

"He has very strong arms," Fezzik commented. "To hold on so long." "He can't hold on much longer," the Sicilian said. "He has to fall soon."

It was at that moment that the man in black began to climb. Not quickly, of course. And not without great effort. But still, there was no doubt that he was, in spite of the sheerness of the Cliffs, heading in an upward direction.

"Inconceivable!" the Sicilian cried.

The Spaniard whirled on him. "Stop saying that word. It was inconceivable that anyone could follow us, but when we looked behind, there was the man in black. It was inconceivable that anyone could sail as fast as we could sail, and yet he gained on us. Now this too is inconceivable, but look— look—" and the Spaniard pointed down through the night. "See how he rises."

The man in black was, indeed, rising. Somehow, in some almost miraculous way, his fingers were finding holds in the crevices, and he was now perhaps fifteen feet closer to the top, farther from death.

The Sicilian advanced on the Spaniard now, his wild eyes glittering at the insubordination. "I have the keenest mind that has ever been turned to unlawful pursuits," he began, "so when I tell you something, it is not guesswork; it is fact! And the fact is that the man in black is not following us. A more logical

explanation would be that he is simply an ordinary sailor who dabbles in mountain climbing as a hobby who happens to have the same general final destination as we do. That certainly satisfies me and I hope it satisfies you. In any case, we cannot take the risk of his seeing us with the Princess, and therefore one of you must kill him."

"Shall I do it?" the Turk wondered.

The Sicilian shook his head. "No, Fezzik," he said finally. "I need your strength to carry the girl. Pick her up now and let us hurry along." He turned to the Spaniard. "We'll be heading directly for the frontier of Guilder. Catch up as quickly as you can once he's dead."

The Spaniard nodded.

The Sicilian hobbled away.

The Turk hoisted the Princess, began following the humpback. Just before he lost sight of the Spaniard he turned and hollered, "Catch up quickly."

"Don't I always?" The Spaniard waved. "Farewell, Fezzik."

"Farewell, Inigo," the Turk replied. And then he was gone, and the Spaniard was alone.

Inigo moved to the cliff edge and knelt with his customary quick grace. Two hundred and fifty feet below him now, the man in black continued his painful climb. Inigo lay flat, staring down, trying to pierce the moonlight and find the climber's secret. For a long while, Inigo did not move. He was a good learner, but not a particularly fast one, so he had to study. Finally, he realized that somehow, by some mystery, the man in black was making fists and jamming them into the rocks, and using them for support. Then he would reach up with his other hand, until he found a high split in the rock, and make another fist and jam it in. Whenever he could find support for his feet, he would use it, but mostly it was the jammed fists that made the climbing possible.

Inigo marveled. What a truly extraordinary adventurer this man in black must be. He was close enough now for Inigo to realize that the man was masked, a black hood covering all but his features. Another outlaw? Perhaps. Then why should they have to fight and for what? Inigo shook his head. It was a shame that such a fellow must die, but he had his orders, so there it was. Sometimes he did not like the Sicilian's commands, but what could he do? Without the brains of the Sicilian, he, Inigo, would never be able to command jobs of this caliber. The Sicilian was a master planner. Inigo was a creature of the moment. The Sicilian said "kill him," so why waste sympathy on the man in black. Someday someone would kill Inigo, and the world would not stop to

mourn.

He stood now, quickly jumping to his feet, his blade-thin body ready. For action. Only, the man in black was still many feet away. There was nothing to do but wait for him. Inigo hated waiting. So to make the time more pleasant, he pulled from the scabbard his great, his only, love:

The six-fingered sword.

How it danced in the moonlight. How glorious and true. Inigo brought it to his lips and with all the fervor in his great Spanish heart kissed the metal....




IN THE MOUNTAINS of Central Spain, set high in the hills above Toledo, was the village of Arabella. It was very small and the air was always clear. That was all you could say that was good about Arabella: terrific air— you could see for miles.

But there was no work, the dogs overran the streets and there was never enough food. The air, clear enough, was also too hot in daylight, freezing at night. As to Inigo's personal life, he was always just a trifle hungry, he had no brothers or sisters, and his mother had died in childbirth.

He was fantastically happy.

Because of his father. Domingo Montoya was funny-looking and crotchety and impatient and absent-minded and never smiled.

Inigo loved him. Totally. Don't ask why. There really wasn't anyone reason you could put your finger on. Oh, probably Domingo loved him back, but love is many things, none of them logical.

Domingo Montoya made swords. If you wanted a fabulous sword, did you go to Domingo Montoya? If you wanted a great balanced piece of work, did you go to the mountains behind Toledo? If you wanted a masterpiece, a sword for the ages, was it Arabella that your footsteps led you to?

Nope.

You went to Madrid, because Madrid was where lived the famous Yeste, and if you had the money and he had the time, you got your weapon. Yeste was fat and jovial and one of the richest and most honored men in the city. And he should have been. He made wonderful swords, and noblemen bragged to each other when they owned an original Yeste.

But sometimes—not often, mind you, maybe once a year, maybe less—a

request would come in for a weapon that was more than even Yeste could make. When that happened, did Yeste say, "Alas, I am sorry, I cannot do it"?

Nope.

What he said was, "Of course, I'd be delighted, fifty per cent down payment please, the rest before delivery, come back in a year, thank you very much."

The next day he would set out for the hills behind Toledo.

"So, Domingo," Yeste would call out when he reached Inigo's father's hut. "So, Yeste," Domingo Montoya would return from the hut doorway.

Then the two men would embrace and Inigo would come running up and Yeste would rumple his hair and then Inigo would make tea while the two men talked.

"I need you," Yeste would always begin. Domingo would grunt.

"This very week I have accepted a commission to make a sword for a member of the Italian nobility. It is to be jewel encrusted at the handle and the jewels are to spell out the name of his present mistress and—"

"No."

That single word and that alone. But it was enough. When Domingo Montoya said "no" it meant nothing else but.

Inigo, busy with the tea, knew what would happen now: Yeste would use his charm.

"No."

Yeste would use his wealth. "No."

His wit, his wonderful gift for persuasion. "No."

He would beg, entreat, promise, pledge. "No."

Insults. Threats. "No."

Finally, genuine tears. "No. More tea, Yeste?"

"Perhaps another cup, thank you—" Then, big: "why won't You?"

Inigo hurried to refill their cups so as never to miss a word. He knew they had been brought up together, had known each other sixty years, had never not loved one another deeply, and it thrilled him when he could hear them arguing.

That was the strange thing: arguing was all they ever did.

"Why? My fat friend asks me why? He sits there on his world-class ass and has the nerve to ask me why? Yeste. Come to me sometime with a challenge. Once, just once, ride up and say, 'Domingo, I need a sword for an eighty-year-old man to fight a duel,' and I would embrace you and cry 'Yes!' Because to make a sword for an eighty-year-old man to survive a duel, that would be something. Because the sword would have to be strong enough to win, yet light enough not to tire his weary arm. I would have to use my all to perhaps find an unknown metal, strong but very light, or devise a different formula for a known one, mix some bronze with some iron and some air in a way ignored for a thousand years. I would kiss your smelly feet for an opportunity like that, fat Yeste. But to make a stupid sword with stupid jewels in the form of stupid initials so some stupid Italian can thrill his stupid mistress, no. That, I will not do."

"For the last time I ask you. Please."

"For the last time I tell you, I am sorry. No."

"I gave my word the sword would be made," Yeste said. "I cannot make it. In all the world no one can but you, and you say no. Which means I have gone back on a commitment. Which means I have lost my honor. Which means that since honor is the only thing in the world I care about, and since I cannot live without it, I must die. And since you are my dearest friend, I may as well die now, with you, basking in the warmth of your affection." And here Yeste would pull out a knife. It was a magnificent thing, a gift from Domingo on Yeste's wedding day.

"Good-by, little Inigo," Yeste would say then. "God grant you your quota of smiles."

It was forbidden for Inigo to interrupt.

"Good-by, little Domingo," Yeste would say then. "Although I die in your hut, and although it is your own stubborn fault that causes my ceasing, in other words, even though you are killing me, don't think twice about it. I love you as I always have and God forbid your conscience should give you any trouble." He pulled open his coat, brought the knife closer, closer. "The pain is worse than I imagined!" Yeste cried.

"How can it hurt when the point of the weapon is still an inch away from your belly?" Domingo asked.

"I'm anticipating, don't bother me, let me die unpestered." He brought the point to his skin, pushed.

Domingo grabbed the knife away. "Someday I won't stop you," he said. "Inigo, set an extra place for supper."

"I was all set to kill myself, truly." "Enough dramatics."

"What is on the menu for the evening?" "The usual gruel."

"Inigo, go check and see if there's anything by chance in my carriage outside."

There was always a feast waiting in the carriage.

And after the food and the stories would come the departure, and always, before the departure, would come the request. "We would be partners," Yeste would say. "In Madrid. My name before yours on the sign, of course, but equal partners in all things."

"No."

"All right. Your name before mine. You are the greatest sword maker, you deserve to come first."

"Have a good trip back." "WHY WON'T YOU?"

"Because, my friend Yeste, you are very famous and very rich, and so you should be, because you make wonderful weapons. But you must also make them for any fool who happens along. I am poor, and no one knows me in all the world except you and Inigo, but I do not have to suffer fools."

"You are an artist," Yeste said.

"No. Not yet. A craftsman only. But I dream to be an artist. I pray that someday, if I work with enough care, if I am very very lucky, I will make a weapon that is a work of art. Call me an artist then, and I will answer."

Yeste entered his carriage. Domingo approached the window, whispered: "I remind you only of this: when you get this jeweled initialed sword, claim it as your own. Tell no one of my involvement."

"Your secret is safe with me."

Embraces and waves. The carriage would leave. And that was the way of life before the six-fingered sword.

Inigo remembered exactly the moment it began. He was making lunch for them—his father always, from the time he was six, let him do the cooking— when a heavy knocking came on the hut door. "Inside there," a voice boomed. "Be quick about it."

Inigo's father opened the door. "Your servant," he said.

"You are a sword maker," came the booming voice. "Of distinction. I have heard that this is true."

"If only it were," Domingo replied. "But I have no great skills. Mostly I do repair work. Perhaps if you had a dagger blade that was dulling, I might be able to please you. But anything more is beyond me."

Inigo crept up behind his father and peeked out. The booming voice belonged to a powerful man with dark hair and broad shoulders who sat upon an elegant brown horse. A nobleman clearly, but Inigo could not tell the country.

"I desire to have made for me the greatest sword since Excalibur."

"I hope your wishes are granted," Domingo said. "And now, if you please, our lunch is almost ready and—"

"I do not give you permission to move. You stay right exactly where you are or risk my wrath, which, I must tell you in advance, is considerable. My temper is murderous. Now, what were you saying about your lunch?"

"I was saying that it will be hours before it is ready; I have nothing to do and would not dream of budging."

"There are rumors," the nobleman said, "that deep in the hills behind Toledo lives a genius. The greatest sword maker in all the world."

"He visits here sometimes—that must be your mistake. But his name is Yeste and he lives in Madrid."

"I will pay five hundred pieces of gold for my desires," said the big- shouldered noble.

"That is more money than all the men in all this village will earn in all their lives," said Domingo. "Truly, I would love to accept your offer. But I am not the man you seek."

"These rumors lead me to believe that Domingo Montoya would solve my problem."

"What is your problem?"

"I am a great swordsman. But I cannot find a weapon to match my peculiarities, and therefore I am deprived of reaching my highest skills. If I had a weapon to match my peculiarities, there would be no one in all the world to equal me."

"What are these peculiarities you speak of?" The noble held up his right hand.

Domingo began to grow excited. The man had six fingers.

"You see?" the noble began.

"Of course," Domingo interrupted, "the balance of the sword is wrong for you because every balance has been conceived of for five. The grip of every handle cramps you, because it has been built for five. For an ordinary swordsman it would not matter, but a great swordsman, a master, would have eventual discomfort. And the greatest swordsman in the world must always be at ease. The grip of his weapon must be as natural as the blink of his eye, and cause him no more thought."

"Clearly, you understand the difficulties—" the nobleman began again. But Domingo had traveled where others' words could never reach him.

Inigo had never seen his father so frenzied. "The measurements ... of course .. . each finger and the circumference of the wrist, and the distance from the sixth nail to the index pad ... so many measurements ... and your preferences ... Do you prefer to slash or cut? If you slash, do you prefer the right-to-left movement or perhaps the parallel? ... When you cut, do you enjoy an upward thrust, and how much power do you wish to come from the shoulder, how much from the wrist? ... and do you wish your point coated so as to enter more easily or do you enjoy seeing the opponent's wince? ... So much to be done, so much to be done ..." and on and on he went until the noble dismounted and had to almost take him by the shoulders to quiet him.

"You are the man of the rumors." Domingo nodded.

"And you will make me the greatest sword since Excalibur."

"I will beat my body into ruins for you. Perhaps I will fail. But no one will try harder."

"And payment?"

"When you get the sword, then payment. Now let me get to work measuring. Inigo—my instruments."

Inigo scurried into the darkest corner of the hut. "I insist on leaving something on account."

"It is not necessary; I may fail." "I insist."

"All right. One goldpiece. Leave that. But do not bother me with money when there is work that needs beginning."

The noble took out one piece of gold.

Domingo put it in a drawer and left it, without even a glance. "Feel your fingers now," he commanded. "Rub your hands hard, shake your fingers—you

will be excited when you duel and this handle must match your hand in that excitement; if I measured when you were relaxed, there would be a difference, as much as a thousandth of an inch and that would rob us of perfection. And that is what I seek. Perfection. I will not rest for less."

The nobleman had to smile. "And how long will it take to reach it?" "Come back in a year," Domingo said, and with that he set to work. Such a year.

Domingo slept only when he dropped from exhaustion. He ate only when Inigo would force him to. He studied, fretted, complained. He never should have taken the job; it was impossible. The next day he would be flying: he never should have taken the job; it was too simple to be worth his labors. Joy to despair, joy to despair, day to day, hour to hour. Sometimes Inigo would wake to find him weeping: "What is it, Father?" "It is that I cannot do it. I cannot make the sword. I cannot make my hands obey me. I would kill myself except what would you do then?" "Go to sleep, Father." "No, I don't need sleep. Failures don't need sleep. Anyway, I slept yesterday." "Please, Father, a little nap." "All right; a few minutes; to keep you from nagging."

Some nights Inigo would awake to see him dancing. "What is it, Father?" "It is that I have found my mistakes, corrected my mis-judgments." "Then it will be done soon, Father?" "It will be done tomorrow and it will be a miracle." "You are wonderful, Father." "I'm more wonderful than wonderful, how dare you insult me."

But the next night, more tears. "What is it now, Father?" "The sword, the sword, I cannot make the sword." "But last night, Father, you said you had found your mistakes." "I was mistaken; tonight I found new ones, worse ones. I am the most wretched of creatures. Say you wouldn't mind it if I killed myself so I could end this existence." "But I would mind, Father. I love you and I would die if you stopped breathing." "You don't really love me; you're only speaking pity." "Who could pity the greatest sword maker in the history of the world?" "Thank you, Inigo." "You're welcome, Father." "I love you back, Inigo." "Sleep, Father." "Yes. Sleep."

A whole year of that. A year of the handle being right, but the balance being wrong, of the balance being right, but the cutting edge too dull, of the cutting edge sharpened, but that threw the balance off again, of the balance returning, but now the point was fat, of the point regaining sharpness, only now the entire blade was too short and it all had to go, all had to be thrown out, all had to be done again. Again. Again. Domingo's health began to leave him. He

was fevered always now, but he forced his frail shell on, because this had to be the finest since Excalibur. Domingo was battling legend, and it was destroying him.

Such a year.

One night Inigo woke to find his father seated. Staring. Calm. Inigo followed the stare.

The six-fingered sword was done. Even in the hut's darkness, it glistened.

"At last," Domingo whispered. He could not take his eyes from the glory of the sword. "After a lifetime. Inigo. Inigo. I am an artist."

The big-shouldered nobleman did not agree. When he returned to purchase the sword, he merely looked at it a moment. "Not worth waiting for," he said.

Inigo stood in the corner of the hut, watching, holding his breath.

"You are disappointed?" Domingo could scarcely get the words spoken. "I'm not saying it's trash, you understand," the nobleman went on. "But it's

certainly not worth five hundred pieces of gold. I'll give you ten; it's probably worth that."

"Wrong!" Domingo cried. "It is not worth ten. It is not worth even one. Here." And he threw open the drawer where the one goldpiece had lain untouched the year. "The gold is yours. All of it. You have lost nothing." He took back the sword and turned away.

"I'll take the sword," the nobleman said. "I didn't say I wouldn't take it. I only said I would pay what it was worth."

Domingo whirled back, eyes bright. "You quibbled. You haggled. Art was involved and you saw only money. Beauty was here for the taking and you saw only your fat purse. You have lost nothing; there is no more reason for your remaining here. Please go."

"The sword," the noble said.

"The sword belongs to my son," Domingo said. "I give it to him now. It is forever his. Good-by."

"You're a peasant and a fool and I want my sword."

"You're an enemy of art and I pity your ignorance," Domingo said. They were the last words he ever uttered.

The noble killed him then, with no warning; a flash of the nobleman's sword and Domingo's heart was torn to pieces.

Inigo screamed. He could not believe it; it had not happened. He

screamed again. His father was fine; soon they would have tea. He could not stop screaming.

The village heard. Twenty men were at the door. The nobleman pushed his way through them. "That man attacked me. See? He holds a sword. He attacked me and I defended myself. Now move from my way."

It was lies, of course, and everyone knew it. But he was a noble so what was there to do? They parted, and the nobleman mounted his horse.

"Coward!"

The nobleman whirled. "Pig!"

Again the crowd parted.

Inigo stood there, holding the six-fingered sword, repeating his words: "Coward. Pig. Killer."

"Someone tend the babe before he oversteps himself," the noble said to the crowd.

Inigo ran forward then, standing in front of the nobleman's horse, blocking the nobleman's path. He raised the six-fingered sword with both his hands and cried, "I, Inigo Montoya, do challenge you, coward, pig, killer, ass, fool, to battle."

"Get him out of my way. Move the infant." "The infant is ten and he stays," Inigo said.

"Enough of your family is dead for one day; be content," said the noble. "When you beg me for your breath, then I shall be contented. Now

dismount! "

The nobleman dismounted. "Draw your sword."

The nobleman unsheathed his killing weapon.

"I dedicate your death to my father," Inigo said. "Begin." They began.

It was no match, of course. Inigo was disarmed in less than a minute. But for the first fifteen seconds or so, the noble was uneasy. During those fifteen seconds, strange thoughts crossed his mind. For even at the age of ten, Inigo's genius was there.

Disarmed, Inigo stood very straight. He said not a word, begged nothing. "I'm not going to kill you," the nobleman said. "Because you have talent

and you're brave. But you're also lacking in manners, and that's going to get you in trouble if you're not careful. So I shall help you as you go through life, by

leaving you with a reminder that bad manners are to be avoided." And with that his blade flashed. Two times.

And Inigo's face began to bleed. Two rivers of blood poured from his forehead to his chin, one crossing each cheek. Everyone watching knew it then: the boy was scarred for life.

Inigo would not fall. The world went white behind his eyes but he would not go to ground. The blood continued to pour. The nobleman replaced his sword, remounted, rode on.

It was only then that Inigo allowed the darkness to claim him. He awoke to Yeste's face.

"I was beaten," Inigo whispered. "I failed him." Yeste could only say, "Sleep."

Inigo slept. The bleeding stopped after a day and the pain stopped after a week. They buried Domingo, and for the first and last time Inigo left Arabella. His face bandaged, he rode in Yeste's carriage to Madrid, where he lived in Yeste's house, obeyed Yeste's commands. After a month, the bandages were removed, but the scars were still deep red. Eventually, they softened some, but they always remained the chief features of Inigo's face: the giant parallel scars running one on each side, from temple to chin. For two years, Yeste cared for him.

Then one morning, Inigo was gone. In his place were three words: "I must learn" on a note pinned to his pillow.

Learn? Learn what? What existed beyond Madrid that the child had to commit to memory? Yeste shrugged and sighed. It was beyond him. There was no understanding children anymore. Everything was changing too fast and the young were different. Beyond him, beyond him, life was beyond him, the world was beyond him, you name it, it was beyond him. He was a fat man who made swords. That much he knew.

So he made more swords and he grew fatter and the years went by. As his figure spread, so did his fame. From all across the world they came, begging him for weapons, so he doubled his prices because he didn't want to work too hard anymore, he was getting old, but when he doubled his prices, when the news spread from duke to prince to king, they only wanted him the more desperately. Now the wait was two years for a sword and the line-up of royalty was unending and Yeste was growing tired, so he doubled his prices again, and when that didn't stop them, he decided to triple his already doubled and redoubled prices and besides that, all work had to be paid for in jewels in

advance and the wait was up to three years, but nothing would stop them. They had to have swords by Yeste or nothing, and even though the work on the finest was nowhere what it once was (Domingo, after all, no longer could save him) the silly rich men didn't notice. All they wanted was his weapons and they fell over each other with jewels for him.

Yeste grew very rich. And very heavy.

Every part of his body sagged. He had the only fat thumbs in Madrid.

Dressing took an hour, breakfast the same, everything went slowly.

But he could still make swords. And people still craved them. "I'm sorry," he said to the young Spaniard who entered his shop one particular morning. "The wait is up to four years and even I am embarrassed to mention the price. Have your weapon made by another."

"I have my weapon," the Spaniard said.

And he threw the six-fingered sword across Yeste's workbench. Such embraces.

"Never leave again," Yeste said. "I eat too much when I'm lonely."

"I cannot stay," Inigo told him. "I'm only here to ask you one question. As you know, I have spent the last ten years learning. Now I have come for you to tell me if I'm ready."

"Ready? For what? What in the world have you been learning?" "The sword."

"Madness," said Yeste. "You have spent ten entire years just learning to fence?"

"No, not just learning to fence," Inigo answered. "I did many other things as well."

"Tell me."

"Well," Inigo began, "ten years is what? About thirty-six hundred days. And that's about—I figured this out once, so I remember pretty well—about eighty-six thousand hours. Well, I always made it a point to get four hours sleep per night. That's fourteen thousand hours right there, leaving me perhaps seventy-two thousand hours to account for."

"You slept. I'm with you. What else?" "Well, I squeezed rocks."

"I'm sorry, my hearing sometimes fails me; it sounded like you said you squeezed rocks."

"To make my wrists strong. So I could control the sword. Rocks like

apples. That size. I would squeeze them in each hand for perhaps two hours a day. And I would spend another two hours a day in skipping and dodging and moving quickly, so that my feet would be able to get me into position to deliver properly the thrust of the sword. That's another fourteen thousand hours. I'm down to fifty-eight thousand now. Well, I always sprinted two hours each day as fast as I could, so my legs, as well as being quick, would also be strong. And that gets me down to about fifty thousand hours."

Yeste examined the young man before him. Blade thin, six feet in height, straight as a sapling, bright eyed, taut; even motionless he seemed whippet quick. "And these last fifty thousand hours? These have been spent studying the sword?"

Inigo nodded. "Where?"

"Wherever I could find a master. Venice, Bruges, Budapest." "I could have taught you here?"

"True. But you care for me. You would not have been ruthless. You would have said, 'Excellent parry, Inigo, now that's enough for one day; let's have supper.'"

"That does sound like me," Yeste admitted. "But why was it so important?

Why was it worth so much of your life?" "Because I could not fail him again." "Fail who?"

"My father. I have spent all these years preparing to find the six-fingered man and kill him in a duel. But he is a master, Yeste. He said as much and I saw the way his sword flew at Domingo. I must not lose that duel when I find him, so now I have come to you. You know swords and swordsmen. You must not lie. Am I ready? If you say I am, I will seek him through the world. If you say no, I will spend another ten years and another ten after that, if that is needed."

So they went to Yeste's courtyard. It was late morning. Hot. Yeste put his body in a chair and the chair in the shade. Inigo stood waiting in the sunshine. "We need not test desire and we know you have sufficient motive to deliver the death blow," Yeste said. "Therefore we need only probe your knowledge and speed and stamina. We need no enemy for this. The enemy is always in the mind. Visualize him."

Inigo drew his sword.

"The six-fingered man taunts you," Yeste called. "Do what you can."

Inigo began to leap around the courtyard, the great blade flashing. "He uses the Agrippa defense," Yeste shouted.

Immediately, Inigo shifted position, increased the speed of his sword. "Now he surprises you with Bonetti's attack."

But Inigo was not surprised for long. Again his feet shifted; he moved his body a different way. Perspiration was pouring down his thin frame now and the great blade was blinding. Yeste continued to shout. Inigo continued to shift. The blade never stopped.

At three in the afternoon, Yeste said, "Enough. I am exhausted from the watching."

Inigo sheathed the six-fingered sword and waited.

"You wish to know if I feel you are ready to duel to the death a man ruthless enough to kill your father, rich enough to buy protection, older and more experienced, an acknowledged master."

Inigo nodded.

"I'll tell you the truth, and it's up to you to live with it. First, there has never been a master as young as you. Thirty years at least before that rank has yet been reached, and you are barely twenty-two. Well, the truth is you are an impetuous boy driven by madness and you are not now and you will never be a master."

"Thank you for your honesty," Inigo said. "I must tell you I had hoped for better news. I find it very hard to speak just now, so if you'll please excuse me, I'll be on my—"

"I had not finished," Yeste said. "What else is there to say?"

"I loved your father very dearly, that you know, but this you did not know: when we were very young, not yet twenty, we saw, with our own eyes, an exhibition by the Corsican Wizard, Bastia."

"I know of no wizards."

"It is the rank beyond master in swordsmanship," Yeste said. "Bastia was the last man so designated. Long before your birth, he died at sea. There have been no wizards since, and you would never in this world have beaten him. But I tell you this: he would never in this world have beaten you."

Inigo stood silent for a long time. "I am ready then."

"I would not enjoy being the six-fingered man" was all Yeste replied.

The next morning, Inigo began the track-down. He had it all carefully prepared in his mind. He would find the six-fingered man. He would go up to

him. He would say simply, "Hello, my name is Inigo Montoya, you killed my father, prepare to die," and then, oh then, the duel.

It was a lovely plan really. Simple, direct. No frills. In the beginning, Inigo had all kinds of wild vengeance notions, but gradually, simplicity had seemed the better way. Originally, he had all kinds of little plays worked out in his mind—the enemy would weep and beg, the enemy would cringe and cry, the enemy would bribe and slobber and act in every way unmanly. But eventually, these too gave way in his mind to simplicity: the enemy would simply say, "Oh, yes, I remember killing him; I'll be only too delighted to kill you too."

Inigo had only one problem: he could not find the enemy.

It never occurred to him there would be the least difficulty. After all, how many noblemen were there with six fingers on their right hands? Surely, it would be the talk of whatever his vicinity happened to be. A few questions: "Pardon, I'm not crazy, but have you seen any six-fingered noblemen lately?" and surely sooner or later, there would be an answering "yes."

But it didn't come sooner.

And later wasn't the kind of thing you wanted to hold your breath for either.

The first month wasn't all that discouraging. Inigo crisscrossed Spain and Portugal. The second month he moved to France and spent the rest of the year there. The year following that was his Italian year, and then came Germany and the whole of Switzerland.

It was only after five solid years of failure that he began to worry. By then he had seen all of the Balkans and most of Scandinavia and had visited the Florinese and the natives of Guilder and into Mother Russia and down step by step around the entire Mediterranean.

By then he knew what had happened: ten years learning was ten years too long; too much had been allowed to happen. The six-fingered man was probably crusading in Asia. Or getting rich in America. Or a hermit in the East Indies. Or ... or...

Dead?

Inigo, at the age of twenty-seven, began having a few extra glasses of wine at night, to help him get to sleep. At twenty-eight, he was having a few extra glasses to help him digest his lunch. At twenty-nine, the wine was essential to wake him in the morning. His world was collapsing around him. Not only was he living in daily failure, something almost as dreadful was

beginning to happen:

Fencing was beginning to bore him.

He was simply too good. He would make his living during his travels by finding the local champion wherever he happened to be, and they would duel, and Inigo would disarm him and accept whatever they happened to bet. And with his winnings he would pay for his food and his lodging and his wine.

But the local champions were nothing. Even in the big cities, the local experts were nothing. Even in the capital cities, the local masters were nothing. There was no competition, nothing to help him keep an edge. His life began to seem pointless, his quest pointless, everything, everything, without reason.

At thirty he gave up the ghost. He stopped his search, forgot to eat, slept only on occasion. He had his wine for company and that was enough.

He was a shell. The greatest fencing machine since the Cor-sican Wizard was barely even practicing the sword.

He was in that condition when the Sicilian found him.

At first the little hunchback only supplied him with stronger wine. But then, through a combination of praise and nudging, the Sicilian began to get him off the bottle. Because the Sicilian had a dream: with his guile plus the Turk's strength plus the Spaniard's sword, they might become the most effective criminal organization in the civilized world.

Which is precisely what they became.

In dark places, their names whipped sharper than fear; everyone had needs that were hard to fulfill. The Sicilian Crowd (two was company, three a crowd, even then) became more and more famous and more and more rich. Nothing was beyond or beneath them. Inigo's blade was flashing again, more than ever like lightning. The Turk's strength grew more prodigious with the months.

But the hunchback was the leader. There was never doubt. Without him, Inigo knew where he would be: on his back begging wine in some alley entrance. The Sicilian's word was not just law, it was gospel.

So when he said, "Kill the man in black," all other possibilities ceased to exist. The man in black had to die....

 

INIGO PACED THE cliff edge, fingers snapping. Fifty feet below him now, the man in black still climbed. Inigo's impatience was beginning to bubble beyond control. He stared down at the slow progress. Find a crevice, jam in the hand, find another crevice, jam in the other hand; forty-eight feet to

  1. Inigo slapped his sword handle, and his finger snapping began to go faster. He examined the hooded climber, half hoping he would be six-fingered, but no; this one had the proper accompaniment of digits.

Forty-seven feet to go now. Now forty-six.

"Hello there," Inigo hollered when he could wait no more. The man in black glanced up and grunted.

"I've been watching you." The man in black nodded. "Slow going," Inigo said.

"Look, I don't mean to be rude," the man in black said finally, "but I'm rather busy just now, so try not to distract me."

"I'm sorry," Inigo said.

The man in black grunted again.

"I don't suppose you could speed things up," Inigo said.

"If you want to speed things up so much," the man in black said, clearly quite angry now, "you could lower a rope or a tree branch or find some other helpful thing to do."

"I could do that," Inigo agreed. "But I don't think you would accept my help, since I'm only waiting up here so that I can kill you."

"That does put a damper on our relationship," the man in black said then. "I'm afraid you'll just have to wait."

Forty-three feet left. Forty-one.

"I could give you my word as a Spaniard," Inigo said.

"No good," the man in black replied. "I've known too many Spaniards." "I'm going crazy up here," Inigo said.

"Anytime you want to change places, I'd be too happy to accept." Thirty-nine feet.

And resting.

The man in black just hung in space, feet dangling, the entire weight of his body supported by the strength of his hand jammed into the crevice.

"Come along now," Inigo pleaded.

"It's been a bit of a climb," the man in black explained, "and I'm weary.

I'll be fine in a quarter-hour or so."

Another quarter-hour! Inconceivable. "Look, we've got a piece of extra rope up here we didn't need when we made our original climb, I'll just drop it

down to you and you grab hold and I'll pull and—"

"No good," the man in black repeated. "You might pull, but then again, you also just might let go, which, since you're in a hurry to kill me, would certainly do the job quickly."

"But you wouldn't have ever known I was going to kill you if I hadn't been the one to tell you. Doesn't that let you know I can be trusted?"

"Frankly, and I hope you won't be insulted, no." "There's no way you'll trust me?"

"Nothing comes to mind."

Suddenly Inigo raised his right hand high—"I swear on the soul of Domingo Montoya you will reach the top alive!"

The man in black was silent for a long time. Then he looked up. "I do not know this Domingo of yours, but something in your tone says I must believe you. Throw me the rope."

Inigo quickly tied it around a rock, dropped it over. The man in black grabbed hold, hung suspended alone in space. Inigo pulled. In a moment, the man in black was beside him.

"Thank you," the man in black said, and he sank down on the rock. Inigo sat alongside him. "We'll wait until you're ready," he said.

The man in black breathed deeply. "Again, thank you." "Why have you followed us?"

"You carry baggage of much value."

"We have no intention of selling," Inigo said. "That is your business."

"And yours?"

The man in black made no reply.

Inigo stood and walked away, surveying the terrain over which they would battle. It was a splendid plateau, really, filled with trees for dodging around and roots for tripping over and small rocks for losing your balance on and boulders for leaping off if you could climb on them fast enough, and bathing everything, the entire spot, moonlight. One could not ask for a more suitable testing ground for a duel, Inigo decided. It had everything, including the marvelous Cliffs at one end, beyond which was the wonderful thousand- foot drop, always something to bear in mind when one was planning tactics. It was perfect. The place was perfect.

Provided the man in black could fence.

Really fence.

Inigo did then what he always did before a duel: he took the great sword from its scabbard and touched the side of the blade to his face two times, once along one scar, once along the other.

Then he examined the man in black. A fine sailor, yes; a mighty climber, no question; courageous, without a doubt.

But could he fence?

Really fence?

Please, Inigo thought. It has been so long since I have been tested, let this man test me. Let him be a glorious swordsman. Let him be both quick and fast, smart and strong. Give him a matchless mind for tactics, a background the equal of mine. Please, please, it's been so long: let—him—be—a—master!

"I have my breath back now," the man in black said from the rock. "Thank you for allowing me my rest."

"We'd best get on with it then," Inigo replied. The man in black stood.

"You seem a decent fellow," Inigo said. "I hate to kill you."

"You seem a decent fellow," answered the man in black. "I hate to die." "But one of us must," Inigo said. "Begin."

And so saying he took the six-fingered sword. And put it into his left hand.

He had begun all his duels left-handed lately. It was good practice for him, and although he was the only living wizard in the world with his regular hand, the right, still, he was more than worthy with his left. Perhaps thirty men alive were his equal when he used his left. Perhaps as many as fifty; perhaps as few as ten.

The man in black was also left-handed and that warmed Inigo; it made things fairer. His weakness against the other man's strength. All to the good.

They touched swords, and the man in black immediately began the Agrippa defense, which Inigo felt was sound, considering the rocky terrain, for the Agrippa kept the feet stationary at first, and made the chances of slipping minimal. Naturally, he countered with Capo Ferro which surprised the man in black, but he defended well, quickly shifting out of Agrippa and taking the attack himself, using the principles of Thibault.

Inigo had to smile. No one had taken the attack against him in so long and it was thrilling! He let the man in black advance, let him build up courage, retreating gracefully between some trees, letting his Bonetti defense keep him safe from harm.

Then his legs flicked and he was behind the nearest tree, and the man in black had not expected it and was slow reacting. Inigo flashed immediately out from the tree, attacking himself now, and the man in black retreated, stumbled, got his balance, continued moving away.

Inigo was impressed with the quickness of the balance return. Most men the size of the man in black would have gone down or, at the least, fallen to one hand. The man in black did neither; he simply quick-stepped, wrenched his body erect, continued fighting.

They were moving parallel to the Cliffs now, and the trees were behind them, mostly. The man in black was slowly being forced toward a group of large boulders, for Inigo was anxious to see how well he moved when quarters were close, when you could not thrust or parry with total freedom. He continued to force, and then the boulders were surrounding them. Inigo suddenly threw his body against a nearby rock, rebounded off it with stunning force, lunging with incredible speed.

First blood was his.

He had pinked the man in black, grazed him only, along the left wrist. A scratch was all. But it was bleeding.

Immediately the man in black hurried his retreat, getting his position away from the boulders, getting out into the open of the plateau. Inigo followed, not bothering to try to check the other man's flight; there would always be time for that later.

Then the man in black launched his greatest assault. It came with no warning and the speed and strength of it were terrifying. His blade flashed in the light again and again, and at first, Inigo was only too delighted to retreat. He was not entirely familiar with the style of the attack; it was mostly McBone, but there were snatches of Capo Ferro thrown in, and he continued moving backward while he concentrated on the enemy, figuring the best way to stop the assault.

The man in black kept advancing, and Inigo was aware that behind him now he was coming closer and closer to the edge of the Cliffs, but that could not have concerned him less. The important thing was to outthink the enemy, find his weakness, let him have his moment of exultation.

Suddenly, as the Cliffs came ever nearer, Inigo realized the fault in the attack that was flashing at him; a simple Thibault maneuver would destroy it entirely, but he didn't want to give it away so soon. Let the other man have the triumph a moment longer; life allowed so few.

The Cliffs were very close behind him now.

Inigo continued to retreat; the man in black continued advancing. Then Inigo countered with the Thibault.

And the man in black blocked it. He blocked it!

Inigo repeated the Thibault move and again it didn't work. He switched to Capo Ferro, he tried Bonetti, he went to Fabris; in desperation he began a move used only twice, by Sainct.

Nothing worked!

The man in black kept attacking. And the Cliffs were almost there.

Inigo never panicked—never came close. But he decided some things very quickly, because there was no time for long consultations, and what he decided was that although the man in black was slow in reacting to moves behind trees, and not much good at all amidst boulders, when movement was restricted, yet out in the open, where there was space, he was a terror. A left- handed black-masked terror. "You are most excellent," he said. His rear foot was at the cliff edge. He could retreat no more.

"Thank you," the man in black replied. "I have worked very hard to become so."

"You are better than I am," Inigo admitted.

"So it seems. But if that is true, then why are you smiling?" "Because," Inigo answered, "I know something you don't know." "And what is that?" asked the man in black.

"I'm not left-handed," Inigo replied, and with those words, he all but threw the six-fingered sword into his right hand, and the tide of battle turned.

The man in black retreated before the slashing of the great sword. He tried to sidestep, tried to parry, tried to somehow escape the doom that was now inevitable. But there was no way. He could block fifty thrusts; the fifty- first flicked through, and now his left arm was bleeding. He could thwart thirty ripostes, but not the thirty-first, and now his shoulder bled.

The wounds were not yet grave, but they kept on coming as they dodged across the stones, and then the man in black found himself amidst the trees and that was bad for him, so he all but fled before Inigo's onslaught, and then he was in the open again, but Inigo kept coming, nothing could stop him, and then the man in black was back among the boulders, and that was even worse for him than the trees and he shouted out in frustration and practically ran to where

there was open space again.

But there was no dealing with the wizard, and slowly, again, the deadly Cliffs became a factor in the fight, only now it was the man in black who was being forced to doom. He was brave, and he was strong, and the cuts did not make him beg for mercy, and he showed no fear behind his black mask. "You are amazing," he cried, as Inigo increased the already blinding speed of the blade.

"Thank you. It has not come without effort."

The death moment was at hand now. Again and again Inigo thrust forward, and again and again the man in black managed to ward off the attacks, but each time it was harder, and the strength in Inigo's wrists was endless and he only thrust the more fiercely and soon the man in black grew weak. "You cannot tell it," he said then, "because I wear a cape and mask. But I am smiling now."

"Why?"

"Because I'm not left-handed either," said the man in black.

And he too switched hands, and now the battle was finally joined. And Inigo began to retreat.

"Who are you?" he screamed.

"No one of import. Another lover of the blade." "I must know!"

"Get used to disappointment."

They flashed along the open plateau now, and the blades were both invisible, but oh, the earth trembled, and ohhhh, the skies shook, and Inigo was losing. He tried to make for the trees, but the man in black would have none of it. He tried retreating to the boulders, but that was denied him too.

And in the open, unthinkable as it was, the man in black was superior. Not much. But in a multitude of tiny ways, he was of a slightly higher quality. A hair quicker, a fraction stronger, a speck faster. Not really much at all.

But it was enough.

They met in center plateau for the final assault. Neither man conceded anything. The sound of metal clashing metal rose. A final burst of energy flew through Inigo's veins and he made every attempt, tried every trick, used every hour of every day of his years of experience. But he was blocked. By the man in black. He was shackled. By the man in black. He was baffled, thwarted, muzzled.

Beaten.

By the man in black.

A final flick and the great six-fingered sword went flying from his hand. Inigo stood there, helpless. Then he dropped to his knees, bowed his head, closed his eyes. "Do it quickly," he said.

"May my hands fall from my wrists before I kill an artist like yourself," said the man in black. "I would as soon destroy da Vinci. However"—and here he clubbed Inigo's head with the butt of his sword—"since I can't have you following me either, please understand that I hold you in the highest respect." He struck one more time and the Spaniard fell unconscious. The man in black quickly tied Inigo's hands around a tree and left him there, for the moment, sleeping and helpless.

Then he sheathed his sword, picked up the Sicilian's trail, and raced into the night....

 

"HE HAS BEATEN Inigo!" the Turk said, not quite sure he wanted to believe it, but positive that the news was sad; he liked Inigo. Inigo was the only one who wouldn't laugh when Fezzik asked him to play rhymes.

They were hurrying along a mountainous path on the way to the Guilder frontier. The path was narrow and strewn with rocks like cannonballs, so the Sicilian had a terrible time keeping up. Fezzik carried Buttercup lightly on his shoulders; she was still tied hand and foot.

"I didn't hear you, say it again," the Sicilian called out, so Fezzik waited for the hunchback to catch up to him.

"See?" Fezzik pointed then. Far down, at the very bottom of the mountain path, the man in black could be seen running. "Inigo is beaten."

"Inconceivable!" exploded the Sicilian.

Fezzik never dared disagree with the hunchback. "I'm so stupid," Fezzik nodded. "Inigo has not lost to the man in black, he has defeated him. And to prove it he has put on all the man in black's clothes and masks and hoods and boots and gained eighty pounds."

The Sicilian squinted down toward the running figure. "Fool," he hurled at the Turk. "After all these years can't you tell Inigo when you see him? That isn't Inigo."

"I'll never learn," the Turk agreed. "If there's ever a question about anything, you can always count on me to get it wrong."

"Inigo must have slipped or been tricked or otherwise unfairly beaten.

That's the only conceivable explanation."

Conceivable believable, the giant thought. Only he didn't dare say it out

loud. Not to the Sicilian. He might have whispered it to Inigo late at night, but that was before Inigo was dead. He also might have whispered heavable thievable weavable but that was as far as he got before the Sicilian started talking again, and that always meant he had to pay very strict attention. Nothing angered the hunchback as quickly as catching Fezzik thinking. Since he barely imagined someone like Fezzik capable of thought, he never asked what was on his mind, because he couldn't have cared less. If he had found out Fezzik was making rhymes, he would have laughed and then found new ways to make Fezzik suffer.

"Untie her feet," the Sicilian commanded.

Fezzik put the Princess down and ripped the ropes apart that bound her legs. Then he rubbed her ankles so she could walk.

The Sicilian grabbed her immediately and yanked her away. "Catch up with us quickly," the Sicilian said.

"Instructions?" Fezzik called out, almost panicked. He hated being left on his own like this.

"Finish him, finish him." The Sicilian was getting peeved. "Succeed, since Inigo failed us."

"But I can't fence, I don't know how to fence—"

"Your way." The Sicilian could barely control himself now.

"Oh yes, good, my way, thank you, Vizzini," Fezzik said to the hunchback.

Then, summoning all his courage: "I need a hint."

"You're always saying how you understand force, how force belongs to you. Use it, I don't care how. Wait for him behind there"—he pointed to a sharp bend in the mountain path—"and crush his head like an eggshell." He pointed to the cannonball-sized rocks.

"I could do that, yes," Fezzik nodded. He was marvelous at throwing heavy things. "It just seems not very sportsmanlike, doesn't it?"

The Sicilian lost control. It was terrifying when he did it. With most people, they scream and holler and jump around. With Vizzini, it was different: he got very very quiet, and his voice sounded like it came from a dead throat. And his eyes turned to fire. "I tell you this and I tell it once: stop the man in black. Stop him for good and all. If you fail, there will be no excuses; I will find another giant."

"Please don't desert me," Fezzik said.

"Then do as you are told." He grabbed hold of Buttercup again and hobbled up the mountain path and out of sight.

Fezzik glanced down toward the figure racing up the path toward him. Still a good distance away. Time enough to practice. Fezzik picked up a rock the size of a cannonball and aimed at a crack in the mountain thirty yards away.

Swoosh. Dead center.

He picked up a bigger rock and threw it at a shadow line twice as distant. Not quite swoosh.

Two inches to the right.

Fezzik was reasonably satisfied. Two inches off would still crush a head if you aimed for the center. He groped around, found a perfect rock for throwing; it just fit his hand. Then he moved to the sharp turn in the path, backed off into deepest shadow. Unseen, silent, he waited patiently with his killing rock, counting the seconds until the man in black would die....




TURKISH WOMEN ARE famous for the size of their babies. The only happy newborn ever to weigh over twenty-four pounds upon entrance was the product of a southern Turkish union. Turkish hospital records list a total of eleven children who weighed over twenty pounds at birth. And ninety-five more who weighed between fifteen and twenty. Now all of these 106 cherubs did what babies usually do at birth: they lost three or four ounces and it took them the better part of a week before they got it totally back. More accurately, 105 of them lost weight just after they were born.

Not Fezzik.

His first afternoon he gained a pound. (Since he weighed but fifteen and since his mother gave birth two weeks early, the doctors weren't unduly concerned. "It's because you came two weeks too soon," they explained to Fezzik's mother. "That explains it." Actually, of course, it didn't explain anything, but whenever doctors are confused about something, which is really more frequently than any of us would do well to think about, they always snatch at something in the vicinity of the case and add, "That explains it." If Fezzik's mother had come late, they would have said, "Well, you came late, that explains it." Or "Well, it was raining during delivery, this added weight is simply moisture, that explains it.")

A healthy baby doubles his birth weight in about six months and triples it

in a year. When Fezzik was a year old, he weighed eighty-five pounds. He wasn't fat, understand. He looked like a perfectly normal strong eighty-five- pound kid. Not all that normal, actually. He was pretty hairy for a one-year- old.

By the time he reached kindergarten, he was ready to shave. He was the size of a normal man by this time, and all the other children made his life miserable. At first, naturally, they were scared to death (even then, Fezzik looked fierce) but once they found out he was chicken, well, they weren't about to let an opportunity like that get away.

"Bully, bully," they taunted Fezzik during morning yogurt break.

"I'm not," Fezzik would say out loud. (To himself he would go "Woolly, woolly." He would never dare to consider himself a poet, because he wasn't anything like that; he just loved rhymes. Anything you said out loud, he rhymed it inside. Sometimes the rhymes made sense, sometimes they didn't. Fezzik never cared much about sense; all that ever mattered was the sound.)

"Coward." Towered. "I'm not."

"Then fight," one of them would say, and would swing all he had and hit Fezzik in the stomach, confident that all Fezzik would do was go "oof" and stand there, because he never hit back no matter what you did to him.

"Oof."

Another swing. Another. A good stiff punch to the kidneys maybe. Maybe a kick in the knee. It would go on like that until Fezzik would burst into tears and run away.

One day at home, Fezzik's father called, "Come here." Fezzik, as always, obeyed.

"Dry your tears," his mother said.

Two children had beaten him very badly just before. He did what he could to stop crying.

"Fezzik, this can't go on," his mother said. "They must stop picking on you."

Kicking on you. "I don't mind so much," Fezzik said.

"Well you should mind," his father said. He was a carpenter, with big hands. "Come on outside. I'm going to teach you how to fight."

"Please, I don't want—" "Obey your father."

They trooped out to the back yard.

"Make a fist," his father said. Fezzik did his best.

His father looked at his mother, then at the heavens. "He can't even make a fist," his father said.

"He's trying, he's only six; don't be so hard on him."

Fezzik's father cared for his son greatly and he tried to keep his voice soft, so Fezzik wouldn't burst out crying. But it wasn't easy. "Honey," Fezzik's father said, "look: when you make a fist, you don't put your thumb inside your fingers, you keep your thumb outside your fingers, because if you keep your thumb inside your fingers and you hit somebody, what will happen is you'll break your thumb, and that isn't good, because the whole object when you hit somebody is to hurt the other guy, not yourself."

Blurt. "I don't want to hurt anybody, Daddy."

"I don't want you to hurt anybody, Fezzik. But if you know how to take care of yourself, and they know you know, they won't bother you anymore."

Father. "I don't mind so much."

"Well we do," his mother said. "They shouldn't pick on you, Fezzik, just because you need a shave."

"Back to the fist," his father said. "Have we learned how?" Fezzik made a fist again, this time with the thumb outside.

"He's a natural learner," his mother said. She cared for him as greatly as his father did.

"Now hit me," Fezzik's father said. "No, I don't want to do that."

"Hit your father, Fezzik."

"Maybe he doesn't know how to hit," Fezzik's father said. "Maybe not." Fezzik's mother shook her head sadly.

"Watch, honey," Fezzik's father said. "See? Simple. You just make a fist like you already know and then pull back your arm a little and aim for where you want to land and let go."

"Show your father what a natural learner you are," Fezzik's mother said. "Make a punch. Hit him a good one."

Fezzik made a punch toward his father's arm.

Fezzik's father stared at the heavens again in frustration.

"He came close to your arm," Fezzik's mother said quickly, before her son's face could cloud. "That was very good for a start, Fezzik; tell him what a good start he made," she said to her husband.

"It was in the right general direction," Fezzik's father managed. "If only I'd been standing one yard farther west, it would have been perfect."

"I'm very tired," Fezzik said. "When you learn so much so fast, you get so tired. I do anyway. Please may I be excused?"

"Not yet," Fezzik's mother said.

"Honey, please hit me, really hit me, try. You're a smart boy; hit me a good one," Fezzik's father begged.

"Tomorrow, Daddy; I promise." Tears began to form.

"Crying's not going to work, Fezzik," his father exploded. "It's not gonna work on me and it's not gonna work on your mother, you're gonna do what I say and what I say is you're gonna hit me and if it takes all night we're gonna stand right here and if it takes all week we're gonna stand right here and if it—"

 

S

 

P

 

L

 

A

 

T

 

!!!!

 

(This was before emergency wards, and that was too bad, at least for Fezzik's father, because there was no place to take him after Fezzik's punch landed, except to his own bed, where he remained with his eyes shut for a day and a half, except for when the milkman came to fix his broken jaw—this was not before doctors, but in Turkey they hadn't gotten around to claiming the bone business yet; milkmen still were in charge of bones, the logic being that since milk was so good for bones, who would know more about broken bones than a milkman?)

When Fezzik's father was able to open his eyes as much as he wanted, they had a family talk, the three of them.

"You're very strong, Fezzik," his father said. (Actually, that is not strictly true. What his father meant was, "You're very strong, Fezzik." What came out was more like this: "Zzz'zz zzzz zzzzzz, Zzzzzz." Ever since the milkman had

wired his jaws together, all he could manage was the letter z. But he had a very expressive face, and his wife understood him perfectly.)

"He says, 'You're very strong, Fezzik.'"

"I thought I was," Fezzik answered. "Last year I hit a tree once when I was very mad. I knocked it down. It was a small tree, but still, I figured that had to mean something."

"Z's zzzzzz zz zzzzz z zzzzzzzzz, Zzzzzz."

"He says he's giving up being a carpenter, Fezzik."

"Oh, no," Fezzik said. "You'll be all well soon, Daddy; the milkman practically promised me."

"Z zzzz zz zzzz zz zzzzz z zzzzzzzzz, Zzzzzz."

"He wants to give up being a carpenter, Fezzik." "But what will he do?"

Fezzik's mother answered this one herself; she and her husband had been up half the night agreeing on the decision. "He's going to be your manager, Fezzik. Fighting is the national sport of Turkey. We're all going to be rich and famous."

"But Mommy, Daddy, I don't like fighting."

Fezzik's father reached out and gently patted his son's knee. "Zz'z zzzzz zz zz zzzzzzzzz," he said.

"It's going to be wonderful" his mother translated. Fezzik only burst into tears.

They had his first professional match in the village of San-diki, on a steaming-hot Sunday. Fezzik's parents had a terrible time getting him into the ring. They were absolutely confident of victory, because they had worked very hard. They had taught Fezzik for three solid years before they mutually agreed that he was ready. Fezzik's father handled tactics and ring strategy, while his mother was more in charge of diet and training, and they had never been happier.

Fezzik had never been more miserable. He was scared and frightened and terrified, all rolled into one. No matter how they reassured him, he refused to enter the arena. Because he knew something: even though outside he looked twenty, and his mustache was already coming along nicely, inside he was still this nine-year-old who liked rhyming things.

"No," he said. "I won't, I won't, and you can't make me."

"After all we've slaved for these three years," his father said. (His jaw was almost as good as new now.)

"He'll hurt me!" Fezzik said.

"Life is pain," his mother said. "Anybody that says different is selling something."

"Please. I'm not ready. I forget the holds. I'm not graceful and I fall down a lot. It's true."

It was. Their only real fear was, were they rushing him? "When the going gets tough, the tough get going," Fezzik's mother said.

"Get going, Fezzik," his father said. Fezzik stood his ground.

"Listen, we're not going to threaten you," Fezzik's parents said, more or less together. "We all care for each other too much to pull any of that stuff. If you don't want to fight, nobody's going to force you. We'll just leave you alone forever." (Fezzik's picture of hell was being alone forever. He had told them that when he was five.)

They marched into the arena then to face the champion of Sandiki.

Who had been champion for eleven years, since he was twenty-four. He was very graceful and wide and stood six feet in height, only half a foot less than Fezzik.

Fezzik didn't stand a chance.

He was too clumsy; he kept falling down or getting his holds on backward so they weren't holds at all. The champion of Sandiki toyed with him. Fezzik kept getting thrown down or falling down or tumbling down or stumbling down. He always got up and tried again, but the champion of Sandiki was much too fast for him, and too clever, and much, much too experienced. The crowd laughed and ate baklava and enjoyed the whole spectacle.

Until Fezzik got his arms around the champion of Sandiki. The crowd grew very quiet then.

Fezzik lifted him up. No noise.

Fezzik squeezed. And squeezed.

"That's enough now," Fezzik's father said.

Fezzik laid the  other man down. "Thank you," he  said. "You are a wonderful fighter and I was lucky."

The ex-champion of Sandiki kind of grunted.

"Raise your hands, you're the winner," his mother reminded. Fezzik stood there in the middle of the ring with his hands raised.

"Booooo," said the crowd. "Animal."

"Ape!"

"Go-rilla!" "BOOOOOOOOOOOO!!!"

They did not linger long in Sandiki. As a matter of fact, it wasn't very safe from then on to linger long anywhere. They fought the champion of Ispir. "BOOOOOOOOOOO!!!" The champion of Simal. "BOOOOOOOOOOO!!!" They fought in Bolu. They fought in Zile.

"BOOOOOOOOOOO!!!"

"I don't care what anybody says," Fezzik's mother told him one winter afternoon. "You're my son and you're wonderful." It was gray and dark and they were hotfooting it out of Constantinople just as fast as they could because Fezzik had just demolished their champion before most of the crowd was even seated.

"I'm not wonderful," Fezzik said. "They're right to insult me. I'm too big.

Whenever I fight, it looks like I'm picking on somebody."

"Maybe," Fezzik's father began a little hesitantly; "maybe, Fezzik, if you'd just possibly kind of sort of lose a few fights, they might not yell at us so much."

The wife whirled on the husband. "The boy is eleven and already you want him to throw fights?"

"Nothing like that, no, don't get all excited, but maybe if he'd even look like he was suffering a little, they'd let up on us."

"I'm suffering," Fezzik said. (He was, he was.) "Let it show a little more."

"I'll try, Daddy." "That's a good boy."

"I can't help being strong; it's not my fault. I don't even exercise."

"I think it's time to head for Greece," Fezzik's father said then. "We've beaten everyone in Turkey who'll fight us and athletics began in Greece. No one appreciates talent like the Greeks."

"I just hate it when they go 'BOOOOOOOOOOO!!!'" Fezzik said. (He did. Now his private picture of hell was being left alone with everybody going "BOOOOOOOOOOO" at him forever.)

"They'll love you in Greece," Fezzik's mother said. They fought in Greece.

"AARRRGGGGH!!!" (AARRRGGGGH!!! was Greek for BOOOOOO- OOOOO!!!)

Bulgaria. Yugoslavia.

Czechoslovakia. Romania. "BOOOOOOOOOOO!!!"

They tried the Orient. The jujitsu champion of Korea. The karate champion of Siam. The kung fu champion of all India.

"SSSSSSSSSSSSS!!!" (See note on AARRRGGGGH!!!)

In Mongolia his parents died. "We've done everything we can for you, Fezzik, good luck," they said, and they were gone. It was a terrible thing, a plague that swept everything before it. Fezzik would have died too, only naturally he never got sick. Alone, he continued on, across the Gobi Desert, hitching rides sometimes with passing caravans. And it was there that he learned how to make them stop BOOOOOOOOOOO!!!ing.

Fight groups.

It all began in a caravan on the Gobi when the caravan head said, "I'll bet my camel drivers can take you." There were only three of them, so Fezzik said. "Fine," he'd try, and he did, and he won, naturally.

And everybody seemed happy.

Fezzik was thrilled. He never fought just one person again if it was possible. For a while he traveled from place to place battling gangs for local charities, but his business head was never much and, besides, doing things alone was even less appealing to him now that he was into his late teens than it had been before.

He joined a traveling circus. All the other performers grumbled at him because, they said, he was eating more than his share of the food. So he stayed pretty much to himself except when it came to his work.

But then, one night, when Fezzik had just turned twenty, he got the shock of his life: the BOOOOOOOOOOO!!!ing was back again. He could not believe it. He had just squeezed half a dozen men into submission, cracked the heads of half a dozen more. What did they want from him?

The truth was simply this: he had gotten too strong. He would never measure himself, but everybody whispered he must be over seven feet tall, and he would never step on a scale, but people claimed he weighed four hundred. And not only that, he was quick now. All the years of experience had made him almost inhuman. He knew all the tricks, could counter all the holds.

"Animal."

"Ape!"

"Go-rilla!" "BOOOOOOOOOOO!!!"

That night, alone in his tent, Fezzik wept. He was a freak. (Speak—he still loved rhymes.) A two-eyed Cyclops. (Eye drops—like the tears that were dropping now, dropping from his half-closed eyes.) By the next morning, he had gotten control of himself: at least he still had his circus friends around him. That week the circus fired him. The crowds were BOOOOOOOOOOO!!!ing them now too, and the fat lady threatened to walk

out and the midgets were fuming and that was it for Fezzik.

This was in the middle of Greenland, and, as everybody knows, Greenland then as now was the loneliest place on the earth. In Greenland, there is one person for every twenty square miles of real estate. Probably the circus was pretty stupid taking a booking there, but that wasn't the point.

The point was that Fezzik was alone. In the loneliest place in the world.

Just sitting there on a rock watching the circus pull away.

He was still sitting there the next day when Vizzini the Sicilian found him. Vizzini flattered him, promised to keep the BOOOOOOOOOOOS away. Vizzini needed Fezzik. But not half as much as Fezzik needed Vizzini. As long as Vizzini was around, you couldn't be alone. Whatever Vizzini said, Fezzik did. And if that meant crushing the head of the man in black...

So be it.

 

BUT NOT BY ambush. Not the coward's way. Nothing unsportsmanlike. His parents had always taught him to go by the rules. Fezzik stood in shadow, the great rock tight in his great hand. He could hear the footsteps of the man in black coming nearer. Nearer.

Fezzik leaped from hiding and threw the rock with incredible power and perfect accuracy. It smashed into a boulder a foot away from the face of the man in black. "I did that on purpose," Fezzik said then, picking up another rock, holding it ready. "I didn't have to miss."

"I believe you," the man in black said.

They stood facing each other on the narrow mountain path. "Now what happens?" asked the man in black.

"We face each other as God intended," Fezzik said. "No tricks, no

weapons, skill against skill alone."

"You mean you'll put down your rock and I'll put down my sword and we'll try to kill each other like civilized people, is that it?"

"If you'd rather, I can kill you now," Fezzik said gently, and he raised the rock to throw. "I'm giving you a chance."

"So you are and I accept it," said the man in black, and he began to take off his sword and scabbard. "Although, frankly, I think the odds are slightly in your favor at hand fighting."

"I tell you what I tell everybody," Fezzik explained. "I cannot help being the biggest and strongest; it's not my fault."

"I'm not blaming you," said the man in black.

"Let's get to it then," Fezzik said, and he dropped his rock and got into fighting position, watching as the man in black slowly moved toward him. For a moment, Fezzik felt almost wistful. This was clearly a good fellow, even if he had killed Inigo. He didn't complain or try and beg or bribe. He just accepted his fate. No complaining, nothing like that. Obviously a criminal of character. (Was he a criminal, though, Fezzik wondered. Surely the mask would indicate that. Or was it worse than that: was he disfigured? His face burned away by acid perhaps? Or perhaps born hideous?)

"Why do you wear a mask and hood?" Fezzik asked.

"I think everybody will in the near future" was the man in black's reply. "They're terribly comfortable."

They faced each other on the mountain path. There was a moment's pause. Then they engaged. Fezzik let the man in black fiddle around for a bit, tested the man's strength, which was considerable for someone who wasn't a giant. He let the man in black feint and dodge and try a hold here, a hold there. Then, when he was quite sure the man in black would not go to his maker embarrassed, Fezzik locked his arms tight around.

Fezzik lifted. And squeezed. And squeezed.

Then he took the remains of the man in black, snapped him one way, snapped him the other, cracked him with one hand in the neck, with the other at the spine base, locked his legs up, rolled his limp arms around them, and tossed the entire bundle of what had once been human into a nearby crevice.

That was the theory, anyway.

In fact, what happened was this:

Fezzik lifted. And squeezed.

And the man in black slipped free.

Hmmm, thought Fezzik, that certainly was a surprise. I thought for sure I had him. "You're very quick," Fezzik complimented.

"And a good thing too," said the man in black.

Then they engaged again. This time Fezzik did not give the man in black a chance to fiddle. He just grabbed him, swung him around his head once, twice, smashed his skull against the nearest boulder, pounded him, pummeled him, gave him a final squeeze for good measure and tossed the remains of what once had been alive into a nearby crevice.

Those were his intentions, anyway.

In actuality, he never even got through the grabbing part with much success. Because no sooner had Fezzik's great hands reached out than the man in black dropped and spun and twisted and was loose and free and still quite alive.

I don't understand a thing that's happening, Fezzik thought. Could I be losing my strength? Could there be a mountain disease that takes your strength? There was a desert disease that took my parents' strength. That must be it, I must have caught a plague, but if that is it, why isn't he weak? No, I must still be strong, it has to be something else, now what could it be?

Suddenly he knew. He had not fought against one man in so long he had all but forgotten how. He had been fighting groups and gangs and bunches for so many years that the idea of having but a single opponent was slow in making itself known to him. Because you fought them entirely differently. When there were twelve against you, you made certain moves, tried certain holds, acted in certain ways. When there was but one, you had to completely readjust yourself. Quickly now, Fezzik went back through time. How had he fought the champion of Sandiki? He flashed through that fight in his mind, then reminded himself of all the other victories against other champions, the men from Ispir and Simal and Bolu and Zile. He remembered fleeing Constantinople because he had beaten their champion so quickly. So easily. Yes, Fezzik thought. Of course. And suddenly he readjusted his style to what it once had been.

But by that time the man in black had him by the throat!

The man in black was riding him, and his arms were locked across Fezzik's windpipe, one in front, one behind. Fezzik reached back but the man in black was hard to grasp. Fezzik could not get his arms around to his back and

dislodge the enemy. Fezzik ran at a boulder and, at the last moment, spun around so that the man in black received the main force of the charge. It was a terrible jolt; Fezzik knew it was.

But the grip on his windpipe grew ever tighter.

Fezzik charged the boulder again, again spun, and again he knew the power of the blow the man in black had taken. But still the grip remained. Fezzik clawed at the man in black's arms. He pounded his giant fists against them.

By now he had no air.

Fezzik continued to struggle. He could feel a hollowness in his legs now; he could see the world beginning to pale. But he did not give up. He was the mighty Fezzik, lover of rhymes, and you did not give up, no matter what. Now the hollowness was in his arms and the world was snowing.

Fezzik went to his knees.

He pounded still, but feebly. He fought still, but his blows would not have harmed a child. No air. There was no more air. There was no more anything, not for Fezzik, not in this world. I am beaten, I am going to die, he thought just before he fell onto the mountain path.

He was only half wrong.

There is an instant between unconsciousness and death, and as the giant pitched onto the rocky path, that instant happened, and just before it happened, the man in black let go. He staggered to his feet and leaned against a boulder until he could walk. Fezzik lay sprawled, faintly breathing. The man in black looked around for a rope to secure the giant, gave up the search almost as soon as he'd begun. What good were ropes against strength like this. He would simply snap them. The man in black made his way back to where he'd dropped his sword. He put it back on.

Two down and (the hardest) one to go...

 

VIZZINI WAS WAITING for him.

Indeed, he had set out a little picnic spread. From the knapsack that he always carried, he had taken a small handkerchief and on it he had placed two wine goblets. In the center was a small leather wine holder and, beside it, some cheese and some apples. The spot could not have been lovelier: a high point of the mountain path with a splendid view all the way back to Florin Channel. Buttercup lay helpless beside the picnic, gagged and tied and blindfolded. Vizzini held his long knife against her white throat.

"Welcome," Vizzini called when the man in black was almost upon them. The man in black stopped and surveyed the situation.

"You've beaten my Turk," Vizzini said. "It would seem so."

"And now it is down to you. And it is down to me."

"So that would seem too," the man in black said, edging just a half-step closer to the hunchback's long knife.

With a smile the hunchback pushed the knife harder against Buttercup's throat. It was about to bring blood. "If you wish her dead, by all means keep moving," Vizzini said.

The man in black froze. "Better," Vizzini nodded.

No sound now beneath the moonlight.

"I understand completely what you are trying to do," the Sicilian said finally, "and I want it quite clear that I resent your behavior. You are trying to kidnap what I have rightfully stolen, and I think it quite ungentlemanly."

"Let me explain—" the man in black began, starting to edge forward. "You're killing her!" the Sicilian screamed, shoving harder with the knife.

A drop of blood appeared now at Buttercup's throat, red against white.

The man in black retreated. "Let me explain," he said again, but from a distance.

Again the hunchback interrupted. "There is nothing you can tell me I do not already know. I have not had the schooling equal to some, but for knowledge outside of books, there is no one in the world close to me. People say I read minds, but that is not, in all honesty, true. I merely predict the truth using logic and wisdom, and I say you are a kidnapper, admit it."

"I will admit that, as a ransom item, she has value; nothing more."

"I have been instructed to do certain things to her. It is very important that I follow my instructions. If I do this properly, I will be in demand for life. And my instructions do not include ransom, they include death. So your explanations are meaningless; we cannot do business together. You wish to keep her alive for ransom, whereas it is terribly important to me that she stop breathing in the very near future."

"Has it occurred to you that I have gone to great effort and expense, as well as personal sacrifice, to reach this point," the man in black replied. "And that if I fail now, I might get very angry. And if she stops breathing in the very near future, it is entirely possible that you will catch the same fatal illness?"

"I have no doubt you could kill me. Any man who can get by Inigo and Fezzik would have no trouble disposing of me. However, has it occurred to you that if you did that, then neither of us would get what we want—you having lost your ransom item, me my life."

"We are at an impasse then," said the man in black.

"I fear so," said the Sicilian. "I cannot compete with you physically, and you are no match for my brains."

"You are that smart?"

"There are no words to contain all my wisdom. I am so cunning, crafty and clever, so filled with deceit, guile and chicanery, such a knave, so shrewd, cagey as well as calculating, as diabolical as I am vulpine, as tricky as I am untrustworthy ... well, I told you there were not words invented yet to explain how great my brain is, but let me put it this way: the world is several million years old and several billion people have at one time or another trod upon it, but I, Vizzini the Sicilian, am, speaking with pure candor and modesty, the slickest, sleekest, sliest and wiliest fellow who has yet come down the pike."

"In that case," said the man in black, "I challenge you to a battle of wits." Vizzini had to smile. "For the Princess?"

"You read my mind."

"It just seems that way, I told you. It's merely logic and wisdom. To the death?"

"Correct again."

"I accept," cried Vizzini. "Begin the battle!" "Pour the wine," said the man in black.

Vizzini filled the two goblets with deep-red liquid.

The man in black pulled from his dark clothing a small packet and handed it to the hunchback. "Open it and inhale, but be careful not to touch."

Vizzini took the packet and followed instructions. "I smell nothing."

The man in black took the packet again. "What you do not smell is called iocane powder. It is odorless, tasteless and dissolves immediately in any kind of liquid. It also happens to be the deadliest poison known to man."

Vizzini was beginning to get excited.

"I don't suppose you'd hand me the goblets," said the man in black.

Vizzini shook his head. "Take them yourself. My long knife does not leave her throat."

The man in black reached down for the goblets. He took them and turned away.

Vizzini cackled aloud in anticipation.

The man in black busied himself a long moment. Then he turned again with a goblet in each hand. Very carefully, he put the goblet in his right hand in front of Vizzini and put the goblet in his left hand across the kerchief from the hunchback. He sat down in front of the left-hand goblet, and dropped the empty iocane packet by the cheese.

"Your guess," he said. "Where is the poison?"

"Guess?" Vizzini cried. "I don't guess. I think. I ponder. I deduce. Then I decide. But I never guess."

"The battle of wits has begun," said the man in black. "It ends when you decide and we drink the wine and find out who is right and who is dead. We both drink, need I add, and swallow, naturally, at precisely the same time."

"It's all so simple," said the hunchback. "All I have to do is deduce, from what I know of you, the way your mind works. Are you the kind of man who would put the poison into his own glass, or into the glass of his enemy?"

"You're stalling," said the man in black.

"I'm relishing is what I'm doing," answered the Sicilian. "No one has challenged my mind in years and I love it. ... By the way, may I smell both goblets?"

"Be my guest. Just be sure you put them down the same way you found them."

The Sicilian sniffed his own glass; then he reached across the kerchief for the goblet of the man in black and sniffed that. "As you said, odorless."

"As I also said, you're stalling."

The Sicilian smiled and stared at the wine goblets. "Now a great fool," he began, "would place the poison in his own goblet, because he would know that only another great fool would reach first for what he was given. I am clearly not a great fool, so I will clearly not reach for your wine."

"That's your final choice?"

"No. Because you knew I was not a great fool, so you would know that I would never fall for such a trick. You would count on it. So I will clearly not reach for mine either."

"Keep going," said the man in black.

"I intend to." The Sicilian reflected a moment. "We have now decided the poisoned cup is most likely in front of you. But the poison is powder made from iocane and iocane comes only from Australia and Australia, as everyone knows, is peopled with criminals and criminals are used to having people not

trust them, as I don't trust you, which means I can clearly not choose the wine in front of you."

The man in black was starting to get nervous.

"But, again, you must have suspected I knew the origins of iocane, so you would have known I knew about the criminals and criminal behavior, and therefore I can clearly not choose the wine in front of me."

"Truly you have a dizzying intellect," whispered the man in black.

"You have beaten my Turk, which means you are exceptionally strong, and exceptionally strong men are convinced that they are too powerful ever to die, too powerful even for iocane poison, so you could have put it in your cup, trusting on your strength to save you; thus I can clearly not choose the wine in front of you."

The man in black was very nervous now.

"But you also bested my Spaniard, which means you must have studied, because he studied many years for his excellence, and if you can study, you are clearly more than simply strong; you are aware of how mortal we all are, and you do not wish to die, so you would have kept the poison as far from yourself as possible; therefore I can clearly not choose the wine in front of me."

"You're just trying to make me give something away with all this chatter," said the man in black angrily. "Well it won't work. You'll learn nothing from me, that I promise you."

"I have already learned everything from you," said the Sicilian. "I know where the poison is."

"Only a genius could have deduced as much."

"How fortunate for me that I happen to be one," said the hunchback, growing more and more amused now.

"You cannot frighten me," said the man in black, but there was fear all through his voice.

"Shall we drink then?"

"Pick, choose, quit dragging it out, you don't know, you couldn't know."

The Sicilian only smiled at the outburst. Then a strange look crossed his features and he pointed off behind the man in black. "What in the world can that be?" he asked.

The man in black turned around and looked. "I don't see anything."

"Oh, well, I could have sworn I saw something, no matter." The Sicilian began to laugh.

"I don't understand what's so funny," said the man in black.

"Tell you in a minute," said the hunchback. "But first let's drink." And he picked up his own wine goblet.

The man in black picked up the one in front of him. They drank.

"You guessed wrong," said the man in black.

"You only think I guessed wrong," said the Sicilian, his laughter ringing louder. "That's what's so funny. I switched glasses when your back was turned."

There was nothing for the man in black to say.

"Fool!" cried the hunchback. "You fell victim to one of the classic blunders. The most famous is 'Never get involved in a land war in Asia,' but only slightly less well known is this: 'Never go in against a Sicilian when death is on the line.'"

He was quite cheery until the iocane powder took effect.

The man in black stepped quickly over the corpse, then roughly ripped the blindfold from the Princess's eyes.

"I heard everything that happ—" Buttercup began, and then she said "Oh" because she had never been next to a dead man before. "You killed him," she whispered finally.

"I let him die laughing," said the man in black. "Pray I do as much for you." He lifted her, slashed her bonds away, put her on her feet, started to pull her along.

"Please," Buttercup said. "Give me a moment to gather myself." The man in black released his grip.

Buttercup rubbed her wrists, stopped, massaged her ankles. She took a final look at the Sicilian. "To think," she murmured, "all that time it was your cup that was poisoned."

"They were both poisoned," said the man in black. "I've spent the past two years building up immunity to iocane powder."

Buttercup looked up at him. He was terrifying to her, masked and hooded and dangerous; his voice was strained, rough. "Who are you?" she asked.

"I am no one to be trifled with," replied the man in black. "That is all you ever need to know." And with that he yanked her upright. "You've had your moment." Again he pulled her after him, and this time she could do nothing but follow.

They moved along the mountain path. The moonlight was very bright, and there were rocks everywhere, and to Buttercup it all looked dead and yellow,

like the moon. She had just spent several hours with three men who were openly planning to kill her. So why, she wondered, was she more frightened now than then? Who was the horrid hooded figure to strike fear in her so? What could be worse than dying? "I will pay you a great deal of money to release me," she managed to say.

The man in black glanced at her. "You are rich, then?"

"I will be," Buttercup said. "Whatever you want for ransom, I promise I'll get it for you if you'll let me go."

The man in black just laughed. "I was not speaking in jest."

"You promise? You? I should release you on your promise? What is that worth? The vow of a woman? Oh, that is very funny, Highness. Spoken in jest or not." They proceeded along the mountain path to an open space. The man in black stopped then. There were a million stars fighting for prominence and for a moment he seemed to be intent on nothing less than studying them all, as Buttercup watched his eyes flick from constellation to constellation behind his mask.

Then, with no warning, he spun off the path, heading into wild terrain, pulling her behind him.

She stumbled; he pulled her to her feet; again she fell; again he righted

her.

"I cannot move this quickly."

"You can! And you will! Or you will suffer greatly. Do you think I could

make you suffer greatly?" Buttercup nodded.

"Then run!" cried the man in black, and he broke into a run himself, flying across rocks in the moonlight, pulling the Princess behind him.

She did her best to keep up. She was frightened as to what he would do to her, so she dared not fall again.

After five minutes, the man in black stopped dead. "Catch your breath," he commanded.

Buttercup nodded, gasped in air, tried to quiet her heart. But then they were off again, with no warning, dashing across the mountainous terrain, heading...

"Where ... do you take me?" Buttercup gasped, when he again gave her a chance to rest.

"Surely even someone as arrogant as you cannot expect me to give an

answer."

"It does not matter if you tell or not. He will find you." " 'He,' Highness?"

"Prince Humperdinck. There is no greater hunter. He can track a falcon on a cloudy day; he can find you."

"You have confidence that your dearest love will save you, do you?"

"I never said he was my dearest love, and yes, he will save me; that I know."

"You admit you do not love your husband-to-be? Fancy. An honest woman. You're a rare specimen, Highness."

"The Prince and I have never from the beginning lied to each other. He knows I do not love him."

"Are not capable of love is what you mean." "I'm very capable of love," Buttercup said. "Hold your tongue, I think."

"I have loved more deeply than a killer like you can possibly imagine." He slapped her.

"That is the penalty for lying, Highness. Where I come from, when a woman lies, she is reprimanded."

"But I spoke the truth, I did, I—" Buttercup saw his hand rise a second time, so she stopped quickly, fell dead silent.

Then they began to run again.

They did not speak for hours. They just ran, and then, as if he could guess when she was spent, he would stop, release her hand. She would try to catch her breath for the next dash she was sure would come. Without a sound, he would grab her and off they would go.

It was close to dawn when they first saw the Armada.

They were running along the edge of a towering ravine. They seemed almost to be at the top of the world. When they stopped, Buttercup sank down to rest. The man in black stood silently over her. "Your love comes, not alone," he said then.

Buttercup did not understand.

The man in black pointed back the way they had come.

Buttercup stared, and as she did, the waters of Florin Channel seemed as filled with light as the sky was filled with stars.

"He must have ordered every ship in Florin after you," the man in black said. "Such a sight I have never seen." He stared at all the lanterns on all the

ships as they moved.

"You can never escape him," Buttercup said. "If you release me, I promise that you will come to no harm."

"You are much too generous; I could never accept such an offer." "I offered you your life, that was generous enough."

"Highness!" said the man in black, and his hands were suddenly at her throat. "If there is talk of life to be done, let me do it."

"You would not kill me. You did not steal me from murderers to murder me yourself."

"Wise as well as loving," said the man in black. He jerked her to her feet, and they ran along the edge of the great ravine. It was hundreds of feet deep, and filled with rocks and trees and lifting shadows. Abruptly, the man in black stopped, stared back at the Armada. "To be honest," he said, "I had not expected quite so many."

"You can never predict my Prince; that is why he is the greatest hunter."

"I wonder," said the man in black, "will he stay in one group or will he divide, some to search the coastline, some to follow your path on land? What do you think?"

"I only know he will find me. And if you have not given me my freedom first, he will not treat you gently."

"Surely he must have discussed things with you? The thrill of the hunt.

What has he done in the past with many ships?"

"We do not discuss hunting, that I can assure you." "Not hunting, not love, what do you talk about?" "We do not see all that much of each other." "Tender couple."

Buttercup could feel the upset coming. "We are always very honest with each other. Not everyone can say as much."

"May I please tell you something, Highness? You're very cold—" "I'm not—"

"—very cold and very young, and if you live, I think you'll turn to hoarfrost—"

"Why do you pick at me? I have come to terms with my life, and that is my affair—I am not cold, I swear, but I have decided certain things, it is best for me to ignore emotion; I have not been happy dealing with it—" Her heart was a secret garden and the walls were very high. "I loved once," Buttercup said after a moment. "It worked out badly."

"Another rich man? Yes, and he left you for a richer woman." "No. Poor. Poor and it killed him."

"Were you sorry? Did you feel pain? Admit that you felt nothing—" "Do not mock my grief! I died that day."

The Armada began to fire signal cannons. The explosions echoed through the mountains. The man in black stared as the ships began to change formation.

And while he was watching the ships, Buttercup shoved him with all her strength remaining.

For a moment, the man in black teetered at the ravine edge. His arms spun like windmills fighting for balance. They swung and gripped the air and then he began his slide.

Down went the man in black.

Stumbling and torn and reaching out to stop his descent, but the ravine was too steep, and nothing could be done.

Down, down.

Rolling over rocks, spinning, out of all control. Buttercup stared at what she had done.

Finally he rested far below her, silent and without motion. "You can die too for all I care," she said, and then she turned away.

Words followed her. Whispered from far, weak and warm and familiar. "As ... you ... wish..."

Dawn in the mountains. Buttercup turned back to the source of the sound and stared down as, in first light, the man in black struggled to remove his mask.

"Oh, my sweet Westley," Buttercup said. "What have I done to you now?" From the bottom of the ravine, there came only silence.

Buttercup hesitated not a moment. Down she went after him, keeping her feet as best she could, and as she began, she thought she heard him crying out to her over and over, but she could not make sense of his words, because inside her now there was the thunder of walls crumbling, and that was noise enough.

Besides, her balance quickly was gone and the ravine had her. She fell fast and she fell hard, but what did that matter, since she would have gladly dropped a thousand feet onto a bed of nails if Westley had been waiting at the bottom.

Down, down.

Tossed and spinning, crashing, torn, out of all control, she rolled and twisted and plunged, cartwheeling toward what was left of her beloved....

 

FROM HIS POSITION at the point of the Armada, Prince Humperdinck stared up at the Cliffs of Insanity. This was just like any other hunt. He made himself think away the quarry. It did not matter if you were after an antelope or a bride-to-be; the procedures held. You gathered evidence. Then you acted. You studied, then you performed. If you studied too little, the chances were strong that your actions would also be too late. You had to take time. And so, frozen in thought, he continued to stare up the sheer face of the Cliffs.

Obviously, someone had recently climbed them. There were foot scratchings all the way up a straight line, which meant, most certainly, a rope, an arm-over-arm climb up a thousand-foot rope with occasional foot kicks for balance. To make such a climb required both strength and planning, so the Prince made those marks in his brain: my enemy is strong; my enemy is not impulsive.

Now his eyes reached a point perhaps three hundred feet from the top. Here it began to get interesting. Now the foot scratchings were deeper, more frequent, and they followed no direct ascending line. Either someone left the rope three hundred feet from the top intentionally, which made no sense, or the rope was cut while that someone was still three hundred feet from safety. For clearly, this last part of the climb was made up the rock face itself. But who had such talent? And why had he been called to exercise it at such a deadly time, seven hundred feet above disaster?

"I must examine the tops of the Cliffs of Insanity," the Prince said, without bothering to turn.

From behind him, Count Rugen only said, "Done," and awaited further instructions.

"Send half the Armada south along the coastline, the other north. They should meet by twilight near the Fire Swamp. Our ship will sail to the first landing possibility, and you will follow me with your soldiers. Ready the whites."

Count Rugen signaled the cannoneer, and the Prince's instructions boomed along the Cliffs. Within minutes, the Armada had begun to split, with only the Prince's giant ship sailing alone closest to the coastline, looking for a landing possibility.

"There!" the Prince ordered, some time later, and his ship began maneuvering into the cove for a safe place to anchor. That took time, but not much, because the Captain was skilled and, more than that, the Prince was

quick to lose patience and no one dared risk that.

Humperdinck jumped from ship to shore, a plank was lowered, and the whites were led to ground. Of all his accomplishments, none pleased the Prince as did these horses. Someday he would have an army of them, but getting the bloodlines perfect was a slow business. He now had four whites and they were identical. Snowy, tireless giants. Twenty hands high. On flatland, nothing could catch them, and even on hills and rocky terrain, there was nothing short of Araby close to their equal. The Prince, when rushed, rode all four, bareback, the only way he ever rode, riding one, leading three, changing beasts in mid-stride, so that no single animal had to bear his bulk to the tiring point.

Now he mounted and was gone.

It took him considerably less than an hour to reach the edge of the Cliffs of Insanity. He dismounted, went to his knees, commenced his study of the terrain. There had been a rope tied around a giant oak. The bark at the base was broken and scraped, so probably whoever first reached the top untied the rope and whoever was on the rope at that moment was three hundred feet from the peak and somehow survived the climb.

A great jumble of footprints caused him trouble. It was hard to ascertain what had gone on. Perhaps a conference, because two sets of footprints seemed to lead off while one remained pacing the cliff edge. Then there were two on the cliff edge. Humperdinck examined the prints until he was certain of two things: (1) a fencing match had taken place, (2) the combatants were both masters. The stride length, the quickness of the foot feints, all clearly revealed to his unfailing eye, made him reassess his second conclusion. They were at least masters. Probably better.

Then he closed his eyes and concentrated on smelling out the blood. Surely, in a match of such ferocity, blood must have been spilled. Now it was a matter of giving his entire body over to his sense of smell. The Prince had worked at this for many years, ever since a wounded tigress had surprised him from a tree limb while he was tracking her. He had let his eyes follow the blood hunt then, and it had almost killed him. Now he trusted only his olfactories. If there was blood within a hundred yards, he would find it.

He opened his eyes, moved without hesitation toward a group of large boulders until he found the blood drops. There were few of them, and they were dry. But less than three hours old. Humperdinck smiled. When you had the whites under you, three hours was a finger snap.

He retraced the duel then, for it confused him. It seemed to range from cliff edge and back, then return to the cliff edge. And sometimes the left foot seemed to be leading, sometimes the right, which made no logical sense at all. Clearly swordsmen were changing hands, but why would a master do that unless his good arm was wounded to the point of uselessness, and that clearly had not happened, because a wound of that depth would have left blood spoors and there was simply not enough blood in the area to indicate that.

Strange, strange. Humperdinck continued his wanderings. Stranger still, the battle could not have ended in death. He knelt by the outline of a body. Clearly, a man had lain unconscious here. But again, no blood.

"There was a mighty duel," Prince Humperdinck said, directing his comment toward Count Rugen, who had finally caught up, together with a contingent of a hundred mounted men-at-arms. "My guess would be..." And for a moment the Prince paused, following footsteps. "Would be that whoever fell here, ran off there," and he pointed one way, "and that whoever was the victor ran off along the mountain path in almost precisely the opposite direction. It is also my opinion that the victor was following the path taken by the Princess."

"Shall we follow them both?" the Count asked.

"I think not," Prince Humperdinck replied. "Whoever is gone is of minimal importance, since whoever has the Princess is the whoever we're after. And because we don't know the nature of the trap we might be being led into, we need all the arms we have in one band. Clearly, this has been planned by countrymen of Guilder, and nothing must ever be put past them."

"You think this is a trap, then?" the Count asked.

"I always think everything is a trap until proven otherwise," the Prince answered. "Which is why I'm still alive."

And with that, he was back aboard a white and galloping.

When he reached the mountain path where the hand fight happened, the Prince did not even bother dismounting. Everything that could be seen was quite visible from horseback.

"Someone has beaten a giant," he said, when the Count was close enough. "The giant has run away, do you see?"

The Count, of course, saw nothing but rock and mountain path. "I would not think to doubt you."

"And look there!" cried the Prince, because now he saw, for the first time, in the rubble of the mountain path, the footsteps of a woman. "The Princess is alive!"

And again the whites were thundering across the mountain.

When the Count caught up with him again, the Prince was kneeling over the still body of a hunchback. The Count dismounted. "Smell this," the Prince said, and he handed up a goblet.

"Nothing," the Count said. "No odor at all."

"Iocane," the Prince replied. "I would bet my life on it. I know of nothing else that kills so silently." He stood up then. "The Princess was still alive; her footprints follow the path." He shouted at the hundred mounted men: "There will be great suffering in Guilder if she dies!" On foot now, he ran along the mountain path, following the footsteps that he alone could see. And when those footsteps left the path for wilder terrain, he followed still. Strung out behind him, the Count and all the soldiers did their best to keep up. Men stumbled, horses fell, even the Count tripped from time to time. Prince Humperdinck never even broke stride. He ran steadily, mechanically, his barrel legs pumping like a metronome.

It was two hours after dawn when he reached the steep ravine. "Odd," he said to the Count, who was tiring badly.

The Count continued only to breathe deeply.

"Two bodies fell to the bottom, and they did not come back up." "That is odd," the Count managed.

"No, that isn't what's odd," the Prince corrected. "Clearly, the kidnapper did not come back up because the climb was too steep, and our cannons must have let him know that they were closely pursued. His decision, which I applaud, was to make better time running along the ravine floor."

The Count waited for the Prince to continue.

"It's just odd that a man who is a master fencer, a defeater of giants, an expert in the use of iocane powder, would not know what this ravine opens into."

"And what is that?" asked the Count.

"The Fire Swamp," said Prince Humperdinck. "Then we have him," said the Count.

"Precisely so." It was a well-documented trait of his to smile only just before the kill; his smile was very much in evidence now....

 

WESTLEY, INDEED, HAD not the least idea that he was racing dead into the Fire Swamp. He knew only, once Buttercup was down at the ravine bottom beside him, that to climb out would take, as Prince Humperdinck had assumed,

too much time. Westley noted only that the ravine bottom was flat rock and heading in the general direction he wanted to follow. So he and Buttercup fled along, both of them very much aware that gigantic forces were following them, and, undoubtedly, cutting into their lead.

The ravine grew increasingly sheer as they went along, and Westley soon realized that whereas once he probably could have helped her through the climb, now there was simply no way of doing so. He had made his choice and there was no changing possible: wherever the ravine led was their destination, and that, quite simply, was that.

(At this point in the story, my wife wants it known that she feels violently cheated, not being allowed the scene of reconciliation on the ravine floor between the lovers. My reply to her—




This is me, and I'm not trying to be confusing, but the above paragraph that I'm cutting into now is verbatim Morgenstern; he was continually referring to his wife in the unabridged book, saying that she loved the next section or she thought that, all in all, the book was extraordinarily brilliant. Mrs. Morgenstern was rarely anything but supportive to her husband, unlike some wives I could mention (sorry about that, Helen), but here's the thing: I got rid of almost all the intrusions when he told us what she thought. I didn't think the device added a whole lot, and, besides, he was always complimenting himself through her and today we know that hyping something too much does more harm than good, as any defeated political candidate will tell you when he pays his television bills. The thing of it is, I left this particular reference in because, for once, I totally happen to agree with Mrs. Morgenstern. I think it was unfair not to show the reunion. So I wrote one of my own, what I felt Buttercup and Westley might have said, but Hiram, my editor, felt that made me just as unfair as Morgenstern here. If you're going to abridge a book in the author's own words, you can't go around sticking your own in. That was Hiram's point, and we really went round and round, arguing over, I guess, a period of a month, in person, through letters, on the phone. Finally we compromised to this extent: this, what you're reading in the regular type, is strict Morgenstern. Verbatim. Cut, yes; changed, no. But I got Hiram to agree that Harcourt would at least

print up my scene—Ballantine has agreed to do the same, and now that this is back with Harcourt they've taken it up again, too—it's all of three pages; big deal—and if any of you want to see what it came out like, drop a note or a postcard to Jelenka Harvey at Harcourt Trade Publishers, 15 East 26th Street, New York City, and just mention you'd like the reunion scene. Don't forget to include your return address; you'd be stunned at how many people send in for things and don't put their return address down. The publishers agreed to spring for the postage costs, so your total expense is the note or card or whatever. It would really upset me if I turned out to be the only modern American writer who gave the impression that he was with a generous publishing house (they all stink—sorry about that, Mr. Jovanovich), so let me just add here that the reason they are so generous in paying this giant postage bill is because they fully expect nobody to write in. So please, if you have the least interest at all or even if you don't, write in for my reunion scene. You don't have to read it—I'm not asking that—but I would love to cost those publishing geniuses a few dollars, because, let's face it, they're not spending much on advertising my books. Let me just repeat the address for you, ZIP code and all:

 

Jelenka Harvey

Harcourt Trade Publishers 15 East 26th Street

New York, NY 10010[1]

and just ask for your copy of the reunion scene. This has gone longer than I planned, so I'm going to repeat the Morgenstern paragraph I interrupted; it'll read better. Over and out.




(AT THIS POINT in the story, my wife wants it known that she feels violently cheated, not being allowed the scene of reconciliation on the ravine floor between the lovers. My reply to her is simply this: (a) each of God's beings, from the lowliest on up, is entitled to at least a few moments of genuine privacy. (b) What actually was spoken, while moving enough to those involved at the actual time, flattens like toothpaste when transferred to paper for later

reading: "my dove," "my only," "bliss, bliss," et cetera. (c) Nothing of importance in an expository way was related, because every time Buttercup began "Tell me about yourself," Westley quickly cut her off with "Later, beloved; now is not the time." However, it should be noted, in fairness to all, that (1) he did weep; (2) her eyes did not remain precisely dry; (3) there was more than one embrace; and (4) both parties admitted that, without any qualifications whatsoever, they were more than a little glad to see each other. Besides, (5) within a quarter of an hour, they were arguing. It began quite innocently, the two of them kneeling, facing each other, Westley holding her perfect face in his quick hands. "When I left you," he whispered, "you were already more beautiful than anything I dared to dream. In our years apart, my imaginings did their best to improve on your perfection. At night, your face was forever behind my eyes. And now I see that that vision who kept me company in my loneliness was a hag compared to the beauty now before me."

"Enough about my beauty," Buttercup said. "Everybody always talks about how beautiful I am. I've got a mind, Westley. Talk about that."

"Throughout eternity I shall do that very thing," he told her. "But now we haven't time." He made it to his feet. The ravine fall had shaken and battered him, but all his bones survived the trip uncracked. He helped her to her feet.

"Westley?" Buttercup said then. "Just before I started down after you, while I was still up there, I could hear you saying something but the words were indistinct."

"I've forgotten whatever it was." "Terrible liar."

He smiled at her and kissed her cheek. "It's not important, believe me; the past has a way of being past."

"We must not begin with secrets from each other." She meant it. He could tell that. "Trust me," he tried.

"I do. So tell me your words or I shall be given reason not to."

Westley sighed. "What I was trying to get through to you, beloved sweet; what I was, as a matter of accurate fact, shouting with everything I had left, was: 'Whatever you do, stay up there! Don't come down here! Please!'"

"You didn't want to see me."

"Of course I wanted to see you. I just didn't want to see you down here. " "Why ever not?"

"Because now, my precious, we're more or less kind of trapped. I can't climb out of here and bring you with me without it taking all day. I can get out

myself, most likely, without it taking all day, but with the addition of your lovely bulk, it's not about to happen."

"Nonsense; you climbed the Cliffs of Insanity, and this isn't nearly that steep."

"And it took a little out of me too, let me tell you. And after that little effort, I tangled with a fella who knew a little something about fencing. And after that, I spent a few happy moments grappling with a giant. And after that, I had to outfake a Sicilian to death when any mistake meant it was a knife in the throat for you. And after that I've run my lungs out a couple of hours. And after that I was pushed two hundred feet down a rock ravine. I'm tired, Buttercup; do you understand tired? I've put in a night, is what I'm trying to get through to you."

"I'm not stupid, you know." "Quit bragging."

"Stop being rude."

"When was the last time you read a book? The truth now. And picture books don't count—I mean something with print in it."

Buttercup walked away from him. "There're other things to read than print," she said, "and the Princess of Hammersmith is displeased with you and is thinking seriously of going home." With no more words, she whirled into his arms then, saying, "Oh, Westley, I didn't mean that, I didn't, I didn't, not a single syllabub of it."

Now Westley knew that she meant to say "not a single syllable of it," because a syllabub was something you ate, with cream and wine mixed in together to form the base. But he also knew an apology when he heard one. So he held her very close, and shut his loving eyes, and only whispered, "I knew it was false, believe me, every single syllabub."

And that out of the way, they started running as fast as they could along the flat-rock floor of the ravine.)

 

WESTLEY, NATURALLY ENOUGH, was considerably ahead of Buttercup with the realization that they were heading into the Fire Swamp. Whether it was a touch of sulphur riding a breeze or a flick of yellow flame far ahead in the daylight, he could not say for sure. But once he realized what was about to happen, he began as casually as possible to find a way to avoid it. A quick glance up the sheer ravine sides ruled out any possibility of his getting Buttercup past the climb. He dropped to the ground, as he had been doing

every few minutes, to test the speed of their trackers. Now, he guessed them to be less than half an hour behind and gaining.

He rose and ran with her, faster, neither of them spending breath in conversation. It was only a matter of time before she understood what they were about to be into, so he decided to beat back her panic in any way possible. "I think we can slow down a bit now," he told her, slowing down a bit. "They're still well behind."

Buttercup took a deep breath of relief.

Westley made a show of checking their surroundings. Then he gave her his best smile. "With any luck at all," he said, "we should soon be safely in the Fire Swamp."

Buttercup heard his speech, of course. But she did not, she did not, take it well....

 

A FEW WORDS now on two related subjects: (1) fire swamps in general and (2) the Florin/Guilder Fire Swamp in particular.

  1. Fire swamps are, of course, entirely misnamed. As to why this has happened, no one knows, though probably the colorful quality of the two words together is enough. Simply, there are swamps which contain a large percentage of sulphur and other gas bubbles that burst continually into flame. They are covered with lush giant trees that shadow the ground, making the flame bursts seem particularly dramatic. Because they are dark, they are almost always quite moist, thereby attracting the standard insect and alligator community that prefers a moist climate. In other words, a fire swamp is just a swamp, period; the rest is embroidery.
  2. The Florin/Guilder Fire Swamp did and does have some particular odd characteristics: (a) the existence of Snow Sand and (b) the presence of the R.O.U.S., about which, a bit more later. Snow Sand is usually, again incorrectly, identified with lightning sand. Nothing could be less accurate. Lightning sand is moist and basically destroys by drowning. Snow Sand is as powdery as anything short of talcum, and destroys by suffocation.

Most particularly though, the Florin/Guilder Fire Swamp was used to frighten children. There was not a child in either country that at one time or another was not, when misbehaving very badly, threatened with abandonment in the Fire Swamp. "Do that one more time, you're going to the Fire Swamp" is as common as "Clean your plate; people are starving in China." And so, as children grew, so did the danger of the Fire Swamp in their enlarging

imaginations. No one, of course, ever actually went into the Fire Swamp, although, every year or so, a diseased R.O.U.S. might wander out to die, and its discovery would only add to the myth and the horror. The largest known fire swamp is, of course, within a day's drive of Perth. It is impenetrable and over twenty-five miles square. The one between Florin and Guilder was barely a third that size. No one had been able to discover if it was impenetrable or not.

Buttercup stared at the Fire Swamp. As a child, she had once spent an entire nightmared year convinced that she was going to die there. Now she could not move another step. The giant trees blackened the ground ahead of her. From every part came the sudden flames. "You cannot ask it of me," she said.

"I must."

"I once dreamed I would die here."

"So did I, so did we all. Were you eight that year? I was." "Eight. Six. I can't remember."

Westley took her hand.

She could not move. "Must we?" Westley nodded.

"Why?"

"Now is not the time." He pulled her gently. She still could not move.

Westley took her in his arms. "Child; sweet child. I have a knife. I have my sword. I did not come across the world to lose you now."

Buttercup was searching somewhere for a sufficiency of courage.

Evidently, she found it in his eyes.

At any rate, hand in hand, they moved into the shadows of the Fire Swamp.

 

PRINCE HUMPERDINCK JUST stared. He sat astride a white, studying the footsteps down on the floor of the ravine. There was simply no other conclusion: the kidnapper had dragged his Princess into it.

Count Rugen sat alongside. "Did they actually go in?" The Prince nodded.

Praying the answer would be "no," the Count asked, "Do you think we should follow them?"

The Prince shook his head. "They'll either live or die in there. If they die, I have no wish to join them. If they live, I'll greet them on the other side."

"It's too far around," the Count said. "Not for my whites."

"We'll follow as best we can," the Count said. He stared again at the Fire Swamp. "He must be very desperate, or very frightened, or very stupid, or very brave."

"Very all four I should think," the Prince replied....

 

WESTLEY LED THE way. Buttercup stayed just behind, and they made, from the outset, very good time. The main thing, she realized, was to forget your childhood dreams, for the Fire Swamp was bad, but it wasn't that bad. The odor of the escaping gases, which at first seemed almost totally punishing, soon diminished through familiarity. The sudden bursts of flame were easily avoided because, just before they struck, there was a deep kind of popping sound clearly coming from the vicinity where the flames would then appear.

Westley carried his sword in his right hand, his long knife in his left, waiting for the first R.O.U.S., but none appeared. He had cut a very long piece of strong vine and coiled it over one shoulder and was busy working on it as they moved. "What we'll do once I've got this properly done is," he told her, moving steadily on beneath the giant trees, "we'll attach ourselves to each other, so that way, no matter what the darkness, we'll be close. Actually, I think that's more precaution than necessary, because, to tell you the truth, I'm almost disappointed; this place is bad, all right, but it's not that bad. Don't you agree?"

Buttercup wanted to, totally, and she would have too; only by then, the Snow Sand had her.

Westley turned only in time to see her disappear.

Buttercup had simply let her attention wander for a moment, the ground seemed solid enough, and she had no idea what Snow Sand looked like anyway; but once her front foot began to sink in, she could not pull back, and even before she could scream, she was gone. It was like falling through a cloud. The sand was the finest in the world, and there was no bulk to it whatsoever, and, at first, no unpleasantness. She was just falling, gently, through this soft powdery mass, falling farther and farther from anything resembling life, but she could not allow herself to panic. Westley had instructed her on how to behave if this happened, and she followed his words now: she spread her arms and spread her fingers and forced herself into the position resembling that of a dead-man's float in swimming, all this because

Westley had told her to because the more she could spread herself, the slower she would sink. And the slower she sank, the quicker he could dive down after her and catch her. Buttercup's ears were now caked with Snow Sand all the way in, and her nose was filled with Snow Sand, both nostrils, and she knew if she opened her eyes a million tiny fine bits of Snow Sand would seep behind her eyelids, and now she was beginning to panic badly. How long had she been falling? Hours, it seemed, and she was having pain in holding her breath. "You must hold it till I find you," he had said; "you must go into a dead-man's float and you must close your eyes and hold your breath and I'll come get you and we'll both have a wonderful story for our grandchildren." Buttercup continued to sink. The weight of the sand began to brutalize her shoulders. The small of her back began to ache. It was agony keeping her arms outstretched and her fingers spread when it was all so useless. The Snow Sand was heavier and heavier on her now as she sank always down. And was it bottomless, as they thought when they were children? Did you just sink forever until the sand ate away at you and then did your poor bones continue the trip forever down? No, surely there had to somewhere be a resting place. A resting place, Buttercup thought. What a wonderful thing. I'm so tired, so tired, and I want to rest, and, "Westley, come save me!" she screamed. Or started to. Because in order to scream you had to open your mouth, so all she really got out was the first sound of the first word: "Wuh." After that the Snow Sand was down into her throat and she was done.

Westley had made a terrific start. Before she had even entirely disappeared, he had dropped his sword and long knife and had gotten the vine coil from his shoulder. It took him next to no time to knot one end around a giant tree, and, holding tight to the free end, he simply dove headlong into the Snow Sand, kicking his feet as he sank, for greater speed. There was no question in his mind of failure. He knew he would find her and he knew she would be upset and hysterical and possibly even brain tumbled. But alive. And that was, in the end, the only fact of lasting import. The Snow Sand had his ears and nose blocked, and he hoped she had not panicked, had remembered to spread-eagle her body, so that he could catch her quickly with his headlong dive. If she remembered, it wouldn't be that hard—the same, really, as rescuing a drowning swimmer in murky water. They floated slowly down, you dove straight down, you kicked, you pulled with your free arm, you gained on them, you grabbed them, you brought them to the surface, and the only real problem then would be convincing your grandchildren that such a thing had actually

happened and was not just another family fable. He was still concerning his mind with the infants yet unborn when something happened he had not counted on: the vine was not long enough. He hung suspended for a moment, holding to the end of it as it stretched straight up through the Snow Sand to the security of the giant tree. To release the vine was truly madness. There was no possibility of forcing your body all the way back up to the surface. A few feet of ascension was possible if you kicked wildly, but no more. So if he let go of the vine and did not find her within a finger snap, it was all up for both of them. Westley let go of the vine without a qualm, because he had come too far to fail now; failure was not even a problem to be considered. Down he sank then and within a finger snap he had his hand around her wrist. Westley screamed then himself, in horror and surprise, and the Snow Sand gouged at his throat, for what he had grabbed was a skeleton wrist, bone only, no flesh left at all. That happened in Snow Sand. Once the skeleton was picked clean, it would begin, often, to float, like seaweed in a quiet tide, shifting this way and that, sometimes surfacing, more often just journeying through the Snow Sand for eternity. Westley threw the wrist away and reached out blindly with both hands now, scrabbling wildly to touch some part of her, because failure was not a problem; failure is not a problem, he told himself; it is not a problem to be considered, so forget failure; just keep busy and find her, and he found her. Her foot, more precisely, and pulled it to him and then his arm was around her perfect waist and he began to kick, kick with any strength left, needing now to rise the few yards to the end of the vine. The idea that it might be difficult finding a single vine strand in a small sea of Snow Sand never bothered him. Failure was not a problem; he would simply have to kick and when he had kicked hard enough he would rise and when he had risen enough he would reach out for the vine and when he reached out it would be there and when it was there he would tie her to it and with his last breath he would pull them both up to life.

Which is exactly what happened.

She remained unconscious for a very long time. Westley busied himself as best he could, cleansing the Snow Sand from ears and nose and mouth and, most delicate of all, from beneath the lids of her eyes. The length of her quietness disturbed him vaguely; it was almost as if she knew she had died and was afraid to find out for a fact that it was true. He held her in his arms, rocked her slowly. Eventually she was blinking.

For a time she looked around and around. "We lived, then?" she managed finally.

"We're a hardy breed." "What a wonderful surprise."

"No need—" He was going to say "No need for worry," but her panic struck too quickly. It was a normal enough reaction, and he did not try to block it but, rather, held her firmly and let the hysteria run its course. She shuddered for a time as if she fully intended to fly apart. But that was the worst. From there, it was but a few minutes to quiet sobbing. Then she was Buttercup again.

Westley stood, buckled on his sword, replaced his long knife. "Come," he said. "We have far to go."

"Not until you tell me," she replied. "Why must we endure this?" "Now is not the time." Westley held out his hand.

"It is the time." She stayed where she was, on the ground.

Westley sighed. She meant it. "All right," he said finally. "I'll explain. But we must keep moving."

Buttercup waited.

"We must get through the Fire Swamp," Westley began, "for one good and simple reason." Once he had started talking, Buttercup stood, following close behind him as he went on. "I had always intended getting to the far side; I had not, I must admit, expected to go through. Around, was my intention, but the ravine forced me to change."

"The good and simple reason," Buttercup prompted.

"On the far end of the Fire Swamp is the mouth of Giant Eel Bay. And anchored far out in the deepest waters of that bay is the great ship Revenge. The Revenge is the sole property of the Dread Pirate Roberts."

"The man who killed you?" Buttercup said. "That man? The one who broke my heart? The Dread Pirate Roberts took your life, that was the story I was told."

"Quite correct," Westley said. "And that ship is our destination."

"You know the Dread Pirate Roberts? You are friendly with such a man?" "It's a little more than that," Westley said. "I don't expect you to quite grasp this all at once; just believe it's true. You see, I am the Dread Pirate

Roberts."

"I fail to see how that is possible, since he has been marauding for twenty years and you only left me three years ago."

"I myself am often surprised at life's little quirks," Westley admitted. "Did he, in fact, capture you when you were sailing for the Carolinas?"

"He did. His ship Revenge captured the ship I was on, The Queens Pride,

and we were all to be put to death." "But Roberts did not kill you." "Clearly."

"Why?"

"I cannot say for sure, but I think it is because I asked him please not to. The 'please,' I suspect, aroused his interest. I didn't beg or offer bribery, as the others were doing. At any rate, he held off with his sword long enough to ask, 'Why should I make an exception of you?' and I explained my mission, how I had to get to America to get money to reunite me with the most beautiful woman ever reared by man, namely you. 'I doubt that she is as beautiful as you imagine,' he said, and he raised his sword again. 'Hair the color of autumn,' I said, 'and skin like wintry cream.' 'Wintry cream, eh?' he said. He was interested now, at least a bit, so I went on describing the rest of you, and at the end, I knew I had him convinced of the truth of my affection for you. 'I'll tell you, Westley,' he said then, 'I feel genuinely sorry about this, but if I make an exception in your case, news will get out that the Dread Pirate Roberts has gone soft and that will mark the beginning of my downfall, for once they stop fearing you, piracy becomes nothing but work, work, work all the time, and I am far too old for such a life.' 'I swear I will never tell, not even my beloved,' I said; 'and if you will let me live, I will be your personal valet and slave for five full years, and if I ever once complain or cause you anger, you may chop my head off then and there and I will die with praise for your fairness on my lips.' I knew I had him thinking. 'Go below,' he said. 'I'll most likely kill you tomorrow.'" Westley stopped talking for a moment, and pretended to clear his throat, because he had spotted the first R.O.U.S. following behind them. There seemed no need yet to alert her, so he just continued to clear his throat and hurry along between the flame bursts.

"What happened tomorrow?" Buttercup urged. "Go on."

"Well, you know what an industrious fellow I am; you remember how I liked to learn and how I'd already trained myself to work twenty hours a day. I decided to learn what I could about piracy in the time left allotted me, since it would at least keep my mind off my coming slaughter. So I helped the cook and I cleaned the hold and, in general, did whatever was asked of me, hoping that my energies might be favorably noted by the Dread Pirate Roberts himself. 'Well, I've come to kill you,' he said the next morning, and I said, 'Thank you for the extra time; it's been most fascinating; I've learned such a great deal,' and he said, 'Overnight? What could you learn in that time?' and I said, 'That no one

had ever explained to your cook the difference between table salt and cayenne pepper.' 'Things have been a bit fiery this trip,' he admitted. 'Go on, what else?' and I explained that there would have been more room in the hold if boxes had been stacked differently, and then he noticed that I had completely reorganized things down there and, fortunately for me, there was more room, and finally he said, 'Very well, you can be my valet for a day. I've never had a valet before; probably I won't like it, so I'll kill you in the morning.' Every night for the next year he always said something like that to me: 'Thank you for everything, Westley, good night now, I'll probably kill you in the morning.'

"By the end of that year, of course, we were more than valet and master. He was a pudgy little man, not at all fierce, as you would expect the Dread Pirate Roberts to be, and I like to think he was as fond of me as I of him. By then, I had learned really quite a great deal about sailing and hand fighting and fencing and throwing the long knife and had never been in as excellent physical condition. At the end of one year, my captain said to me, 'Enough of this valet business, Westley, from now on you are my second-in-command,' and I said, 'Thank you, sir, but I could never be a pirate,' and he said, 'You want to get back to that autumn-haired creature of yours, don't you?' and I didn't even have to bother answering that. 'A good year or two of piracy and you'll be rich and back you go,' and I said, 'Your men have been with you for years and they aren't rich,' and he said, 'That's because they are not the captain. I am going to retire soon, Westley, and the Revenge will be yours.' I must admit, beloved, I weakened a bit there, but we reached no final decision. Instead, he agreed to let me assist him in the next few captures and see how I liked it. Which I did." There was now another R.O.U.S. following them. Flanking them as they moved.

Buttercup saw them now. "Westley—"

"Shhh. It's all right. I'm watching them. Shall I finish? Will it take your mind off them?"

"You helped him with the next few captures," Buttercup said. "To see if you liked it."

Westley dodged a sudden burst of flame, shielded Buttercup from the heat. "Not only did I like it, but it turned out I was talented, as well. So talented that Roberts said to me one April morning, 'Westley, the next ship is yours; let's see how you do.' That afternoon we spotted a fat Spanish beauty, loaded for Madrid. I sailed up close. They were in a panic. 'Who is it?' their captain cried. 'Westley,' I told him. 'Never heard of you,' he answered, and with that

they opened fire.

"Disaster. They had no fear of me at all. I was so flustered I did everything wrong, and soon they got away. I was, do I have to add, disheartened. Roberts called me to his cabin. I slunk in like a whipped boy. 'Buck up,' he told me, and then he closed the door and we were quite alone. 'What I am about to tell you I have never said before and you must guard it closely.' I of course said I would. 'I am not the Dread Pirate Roberts,' he said, 'my name is Ryan. I inherited this ship from the previous Dread Pirate Roberts just as you will inherit it from me. The man I inherited from was not the real Dread Pirate Roberts either; his name was Cummberbund. The real original Dread Pirate Roberts has been retired fifteen years and has been living like a king in Patagonia.' I confessed my confusion. 'It's really very simple,' Ryan explained. 'After several years, the original Roberts was so rich he wanted to retire. Clooney was his friend and first mate, so he gave the ship to Clooney, who had an identical experience to yours: the first ship he attempted to board nearly blew him out of the water. So Roberts, realizing the name was the thing that inspired the necessary fear, sailed the Revenge to port, changed crews entirely, and Clooney told everyone he was the Dread Pirate Roberts, and who was to know he was not? When Clooney retired rich, he passed the name to Cummberbund, Cummberbund to me, and I, Felix Raymond Ryan, of Boodle, outside Liverpool, now dub thee, Westley, the Dread Pirate Roberts. All we need is to land, take on some new young pirates. I will sail along for a few days as Ryan, your first mate, and will tell everyone about my years with you, the Dread Pirate Roberts. Then you will let me off when they are all believers, and the waters of the world are yours.'" Westley smiled at Buttercup. "So now you know. And you should also realize why it is foolish to be afraid."

"But I am afraid."

"It will all be happy at the end. Consider: a little over three years ago, you were a milkmaid and I was a farm boy. Now you are almost a queen and I rule uncontested on the water. Surely, such individuals were never intended to die in a Fire Swamp."

"How can you be sure?"

"Well, because we're together, hand in hand, in love." "Oh yes," Buttercup said. "I keep forgetting that."

Both her words and her tone were a trifle standoffish, something Westley surely would have noticed had not a R.O.U.S. attacked him from the tree branch, sinking its giant teeth into his unprotected shoulder, forcing him to earth

in a very unexpected spurt of blood. The other two that had been following launched their attack then too, ignoring Buttercup, driving forward with all their hungry strength to Westley's bleeding shoulder.

(Any discussion of the R.O.U.S.—Rodents of Unusual Size—must begin with the South American capybara, which has been known to reach a weight of 150 pounds. They are nothing but water hogs, however, and present very little danger. The largest pure rat is probably the Tasmanian, which has actually been weighed at one hundred pounds. But they have little agility, tending to sloth when they reach full growth, and most Tasmanian herdsmen have learned with ease to avoid them. The Fire Swamp R.O.U.S. were a pure rat strain, weighed usually eighty pounds, and had the speed of wolfhounds. They were also carnivorous, and capable of frenzy.)

The rats struggled with each other to reach Westley's wound. Their enormous front teeth tore at the unprotected flesh of his left shoulder, and he had no idea if Buttercup was already half devoured; he only knew that if he didn't do something desperate right then and right there she soon would be.

So he intentionally rolled his body into a spurt of flame.

His clothes began to burn—that he expected—but, more important, the rats shied away from the heat and the flames for just an instant, but that was enough for him to reach and throw his long knife into the heart of the nearest beast.

The other two turned instantly on their own kind and began eating it while it was still screaming.

Westley had his sword by then, and with two quick thrusts, the trio of rats was disposed of. "Hurry!" he shouted to Buttercup, who stood frozen where she had been when the first rat landed. "Bandages, bandages," Westley cried. "Make me some bandages or we die," and, with that, he rolled onto the ground, tore off his burning clothes and set to work caking mud onto the deep wound in his shoulder. "They're like sharks, blood creatures; it's blood they thrive on." He smeared more and more mud into his wound. "We must stop my bleeding and we must cover the wound so they do not smell it. If they don't smell the blood, we'll survive. If they do, we're for it, so help me, please." Buttercup ripped her clothes into patches and ties, and they worked at the wound, caking the blood with mud from the floor of the Fire Swamp, then bandaging and rebandaging over it.

"We'll know soon enough," Westley said, because two more rats were watching them. Westley stood, sword in hand. "If they charge, they smell it," he

whispered.

The giant rats stood watching. "Come," Westley whispered.

Two more giant rats joined the first pair.

Without warning, Westley's sword flashed, and the nearest rat was bleeding. The other three contented themselves with that for a while.

Westley took Buttercup's hand and again they started to move. "How bad are you?" she said.

"I am in something close to agony but we can talk about that later. Hurry now." They hurried. They had been in the Fire Swamp for one hour, and it turned out to be the easiest one they had of the six it took to cross it. But they crossed it. Alive and together. Hand very much in hand.

It was nearly dusk when they at last saw the great ship Revenge far out in the deepest part of the bay. Westley, still within the confines of the Fire Swamp, sank, beaten, to his knees.

For between him and his ship were more than a few inconveniences. From the north sailed in half the great Armada. From the south now, the other half. A hundred mounted horsemen, armored and armed. In front of them the Count. And out alone in front of all, the four whites with the Prince astride the leader. Westley stood. "We took too long in crossing. The fault is mine."

"I accept your surrender," the Prince said.

Westley held Buttercup's hand. "No one is surrendering," he said.

"You're acting silly now," the Prince replied. "I credit you with bravery.

Don't make yourself a fool."

"What is so foolish about winning?" Westley wanted to know. "It's my opinion that in order to capture us, you will have to come into the Fire Swamp. We have spent many hours here now; we know where the Snow Sand waits. I doubt that you or your men will be any too anxious to follow us in here. And by morning we will have slipped away."

"I doubt that somehow," said the Prince, and he gestured out to sea. Half the Armada had begun to give chase to the great ship Revenge. And the Revenge, alone, was sailing, as it had to do, away. "Surrender," the Prince said.

"It will not happen." "SURRENDER!" the Prince shouted. "DEATH FIRST!" Westley roared.

"...will you promise not to hurt him...?" Buttercup whispered.

"What was that?" the Prince said. "What was that?" Westley said.

Buttercup took a step forward and said, "If we surrender, freely and without struggle, if life returns to what it was one dusk ago, will you swear not to hurt this man?"

Prince Humperdinck raised his right hand: "I swear on the grave of my soon-to-be-dead father and the soul of my already-dead mother that I shall not hurt this man, and if I do, may I never hunt again though I live a thousand years."

Buttercup turned to Westley. "There," she said. "You can't ask for more than that, and that is the truth."

"The truth," said Westley, "is that you would rather live with your Prince than die with your love."

"I would rather live than die, I admit it."

"We were talking of love, madam." There was a long pause. Then Buttercup said it:

"I can live without love."

And with that she left Westley alone.

Prince Humperdinck watched her as she began the long cross to him. "When we are out of sight," he said to Count Rugen, "take that man in black and put him in the fifth level of the Zoo of Death."

The Count nodded. "For a moment, I believed you when you swore."

"I spoke truth; I never lie," the Prince replied. "I said Iwould not hurt him. But I never for a moment said he would not suffer pain. You will do the actual tormenting; I will only spectate." He opened his arms then for his Princess.

"He belongs to the ship Revenge," Buttercup said. "He is—" she began, about to tell Westley's story, but that was not for her to repeat—"a simple sailor and I have known him since I was a child. Will you arrange that?"

"Must I swear again?"

"No need," Buttercup said, because she knew, as did everyone, that the Prince was more forthright than any Florinese.

"Come along, my Princess." He took her hand. Buttercup went away with him.

Westley watched it all. He stood silently at the edge of the Fire Swamp. It was darker now, but the flame spurts behind him outlined his face. He was glazed with fatigue. He had been bitten, cut, gone without rest, had assaulted the Cliffs of Insanity, had saved and taken lives. He had risked his world, and now it was walking away from him, hand in hand with a ruffian prince.

Then Buttercup was gone, out of sight.

Westley took a breath. He was aware of the score of soldiers starting to surround him, and probably he could have made a few of them perspire for their victory.

But for what point? Westley sagged.

"Come, sir." Count Rugen approached. "We must get you safely to your ship."

"We are both men of action," Westley replied. "Lies do not become us." "Well spoken," said the Count, and with one sudden swing, he clubbed

Westley into insensitivity.

Westley fell like a beaten stone, his last conscious thought being of the Count's right hand; it was six-fingered, and Westley could never quite remember having encountered that deformity before....





THIS IS ONE of those chapters again where Professor Bongiorno of Columbia, the Florinese guru, claims that Morgenstern's satiric genius is at its fullest flower. (That's the way this guy talks: 'fullest flower,' 'delicious drolleries'—on and on.)

This festivities chapter is mostly detailed descriptions of guess what? Bingo! The festivities. It's like eighty-nine days till the nuptials and every high muckamuck in Florin has to give a 'do' for the couple, and what Morgenstern fills his pages with is how the various richies of the time entertained. What kind of parties, what kind of food, who did the decorations, how did the seating arrangements get settled, all that kind of thing.

The only interesting part, but it's not worth going through forty-four pages for, is that Prince Humperdinck gets more and more interested and mannerly toward Buttercup, cutting down even a little on his hunting activities. And, more important, because of the foiling of the kidnapping attempt, three things happen: (1) everyone is pretty well convinced that the plot was engineered by Guilder, so relations between the countries are more than a little strained; (2) Buttercup is just adored by everybody because the rumors are all over that she acted very brave and even came through the Fire Swamp alive and (3) Prince Humperdinck is, at last, in his own land, a hero. He was never popular, what with his hunting fetish and leaving the country to kind of rot once his old man got senile, but the way he foiled the kidnapping made everybody realize that this was some brave fella and they were lucky to have him next in line to lead them.

Anyhow, these forty-four pages cover just about the first month of party giving. And it's not till the end of that, that, for my money, things get going again. Buttercup is in bed, pooped, it's late, the end of another long party, and as she waits for sleep, she wonders what sea Westley is riding on, and the giant and the Spaniard, whatever happened to them? So eventually, in three quick flashbacks, Morgenstern returns to what I think is the story.

 

WHEN INIGO REGAINED consciousness, it was still night on the Cliffs of Insanity. Far below, the waters of Florin Channel pounded. Inigo stirred, blinked, tried to rub his eyes, couldn't.

His arms were tied together around a tree.

Inigo blinked again, banishing cobwebs. He had gone on his knees to the man in black, ready for death. Clearly, the victor had other notions. Inigo looked around as best he could, and there it was, the six-fingered sword, glittering in the moonlight like lost magic. Inigo stretched his right leg as far as it would go and managed to touch the handle. Then it was simply a matter of inching the weapon close enough to be graspable by one hand, and then it was an even simpler task to slash his bindings. He was dizzy when he stood, and he rubbed his head behind his ear, where the man in black had struck him. A lump, sizable, to be sure, but not a major problem.

The major problem was what to do now?

Vizzini had strict instructions for occasions such as this, when a plan went wrong: Go back to the beginning. Back to the beginning and wait for Vizzini, then regroup, replan, start again. Inigo had even made a little rhyme out of it for Fezzik so the giant would not have problems remembering what to do in time of trouble: "Fool, fool, back to the beginning is the rule."

Inigo knew precisely where the beginning was. They had gotten the job in Florin City itself, the Thieves Quarter. Vizzini had made the arrangements alone, as he always did. He had met with their employer, had accepted the job, had planned it, all in the Thieves Quarter. So the Thieves Quarter was clearly the place to go.

Only, Inigo hated it there. Everybody was so dangerous, big, mean and muscular, and so what if he was the greatest fencer in the world, who'd know it to look at him? He looked like a skinny Spanish guy it might be fun to rob. You couldn't walk around with a sign saying, "Be careful, this is the greatest fencer since the death of the Wizard of Corsica. Do not burgle."

Besides, and here Inigo felt deep pain, he wasn't that great a fencer, not anymore, he couldn't be, hadn't he just been beaten? Once, true, he had been a titan, but now, now—




What happens here that you aren't going to read is the six-page soliloquy from Inigo in which Morgenstern, through Inigo, reflects on the anguish of fleeting glory. The reason for the soliloquy here is that Morgenstern's previous book had gotten bombed by the critics and also hadn't sold beans. (Aside—did you know that Robert Browning's first book of poems didn't sell one copy? True. Even his mother didn't buy it at her local bookstore. Have you ever heard anything more humiliating? How would you like to have been Browning and it's your first book and you have these secret hopes that now, now, you'll be somebody. Established, Important. And you give it a week before you ask the publisher how things are going, because you don't want to seem pushy or anything. And then maybe you drop by, and it was probably all very English and understated in those days, and you're Browning and you chitchat around a bit, before you drop the biggie: 'Oh, by the way, any notions yet on how my poems might be doing?' And then his editor, who has been dreading this moment, probably says, 'Well, you know how it is with poetry these days; nothing's taking off like it used to, requires a bit of time for the word to get around.' And then finally, somebody had to say it. 'None, Bob. Sorry, Bob, no, we haven't yet had one authenticated sale. We thought for a bit that Hatchards had a potential buyer down by Piccadilly, but it didn't quite work out. Sorry, Bob; of course we'll keep you posted in the event of a breakthrough.' End of Aside.)

Anyway, Inigo finishes his speech to the Cliffs and spends the next few hours finding a fisherman who sails him back to Florin City.




THE THIEVES QUARTER was worse than he remembered. Always, before, Fezzik had been with him, and they made rhymes, and Fezzik was enough to keep any thief away.

Inigo moved panicked up the dark streets, desperately afraid. Why this giant fear? What was he afraid of?

He sat on a filthy stoop and pondered. Around him there were cries in the night and, from the alehouses, vulgar laughter. He was afraid, he realized then, because as he sat there, gripping the six-fingered sword for confidence, he was suddenly back to what he had been before Vizzini had found him.

A failure.

A man without point, with no attachment to tomorrow. Inigo had not touched brandy in years. Now he felt his fingers fumbling for money. Now he heard his footsteps running toward the nearest alehouse. Now he saw his money on the counter. Now he felt the brandy bottle in his hands.

Back to the stoop he ran. He opened the bottle. He smelled the rough brandy. He took a sip. He coughed. He took a swallow. He coughed again. He gulped it down and coughed and gulped some more and half began a smile.

His fears were starting to leave him.

After all, why should he have even been afraid? He was Inigo Montoya (the bottle was half gone now), son of the great Domingo Montoya, so what was there in the world worth fearing? (Now all the brandy was gone.) How dare fear approach a wizard such as Inigo Montoya? Well, never again. (Into the second bottle.) Never never never never again.

He sat alone and confident and strong. His life was straight and fine. He had money enough for brandy, and if you had that, you had the world.

The stoop was wretched and bleak. Inigo slumped there, quite contented, clutching the bottle in his once-trembling hands. Existence was really very simple when you did what you were told. And nothing could be simpler or better than what he had in store.

All he had to do was wait and drink until Vizzini came....

 

FEZZIK HAD NO idea how long he was unconscious. He only knew, as he staggered to his feet on the mountain path, that his throat was very sore where the man in black had strangled him.

What to do?

The plans had all gone wrong. Fezzik closed his eyes, trying to think— there was a proper place to go when plans went wrong, but he couldn't quite remember it. Inigo had even made a rhyme up for him so he wouldn't forget, and now, even with that, he was so stupid he had forgotten. Was that it? Was it "Stupid, stupid, go and wait for Vizzini with Cupid"? That rhymed, but where was the Cupid? "Dummy, dummy, go out now and fill your tummy." That rhymed too, but what kind of instructions were those?

What to do, what to do?

"Dunce, dunce, use your brains and do it right for once"? No help. Nothing was any help. He never had done anything right, not in his whole life, until Vizzini came, and without another thought, Fezzik ran off into the night after the Sicilian.

Vizzini was napping when he got there. He had been drinking wine and dozed off. Fezzik dropped to his knees and put his hands in prayer position. "Vizzini, I'm sorry," he began.

Vizzini napped on. Fezzik shook him gently. Vizzini did not wake.

Not so gently this time. Nothing.

"Oh I see, you're dead," Fezzik said. He stood up. "He's dead, Vizzini is," he said softly. And then, with not a bit of help from his brain, a great scream of panic burst from his throat into the night: "Inigo!" and he whirled back down the mountain path, because if Inigo was alive, it would be all right; it wouldn't be the same, no, it could never be that without Vizzini to order them and insult them as only he could, but at least there would be time for poetry, and when Fezzik reached the Cliffs of Insanity he said, "Inigo, Inigo, here I am" to the rocks and "I'm here, Inigo; it's your Fezzik" to the trees and "Inigo, INIGO, ANSWER ME PLEASE" all over until there was no other conclusion to draw but that just as there was now no Vizzini, so there was also no Inigo, and that was hard.

It was, in point of fact, too hard for Fezzik, so he began to run, crying out, "Be with you in a minute, Inigo," and "Right behind you, Inigo" and "Hey, Inigo, wait up" (wait up, straight up which was the way he ran, and wouldn't there be fun with rhymes once he and Inigo were together again), but after an hour or so of shouting his throat gave out because he had, after all, been strangled almost to death in the very recent past. On he ran, on and on and on until finally he reached a tiny village and found, just outside town, some nice rocks that formed kind of a cave, almost big enough for him to stretch out in. He sat with his back against a rock and his hands around his knees and his throat hurting until the village boys found him. They held their breath and crept as close as they dared. Fezzik hoped they would go away, so he froze, pretending to be off with Inigo and Inigo would say "barrel" and Fezzik right quick would come back "carol" and maybe they would sing a little something until Inigo said "serenade" and you couldn't stump Fezzik with one that easy because of "centigrade" and then Inigo would make a word about the weather and Fezzik would rhyme it and that was how it went until the village boys stopped being afraid of him. Fezzik could tell that because they were creeping very close to him now and all of a sudden yelling their lungs out and making

crazy faces. He didn't really blame them; he looked like the kind of person you did that to, mocked. His clothes were torn and his throat was gone and his eyes were wild and he probably would have yelled too if he'd been their age.

It was only when they found him funny that he found it, though he did not know the word, degrading. No more yelling. Just laughter now. Laughter, Fezzik thought, and then he thought giraffeter, because that's all he was to them, some huge funny thing that couldn't make much noise. Laughter, giraffeter, from now to hereafter.

Fezzik huddled up in his cave and tried looking on the bright side. At least they weren't throwing things at him.

Not yet, anyway.

 

WESTLEY AWOKE CHAINED in a giant cage. His shoulder was beginning to fester from the gnawing and digging that the R.O.U.S. had done into his flesh. He ignored his discomfort, momentarily, to try and adjust to his surroundings.

He was certainly underground. It was not the lack of windows that made that sure; more the dankness. From somewhere above him now, he could hear animal sounds: an occasional lion roar, the yelp of the cheetah.

Shortly after his return to consciousness, the albino appeared, bloodless, with skin as pale as dying birch. The candlelight that served to illuminate the cage made the albino seem totally like a creature who had never seen the sun. The albino held a tray which carried many things, bandages and food, healing powders and brandy.

"Where are we?" from Westley. A shrug from the albino.

"Who are you?" Shrug.

That was almost the entire extent of the fellow's conversation. Westley asked question after question while the albino tended and redressed his wound, then fed him food that was warm and surprisingly good and plentiful.

Shrug. Shrug.

"Who knows I'm here?" Shrug.

"Lie, but tell me something—give an answer. Who knows I'm here?" Whispered: "I know. They know."

"They?" Shrug.

"The Prince and the Count, you mean?" Nod.

"And that is all?" Nod.

"When I was brought in I was half conscious. The Count was giving the orders, but three soldiers were carrying me. They know too."

Shake. Whispered: "Knew."

"They're dead, that's what you're saying?" Shrug.

"Am I to die then?" Shrug.

Westley lay back on the floor of the giant underground cage watching as the albino silently reloaded the tray, glided from sight. If the soldiers were dead, surely it was not unreasonable to assume that he would eventually follow. But if they wanted his erasure, surely it was also not unreasonable to assume that they had not the least intention of doing it immediately, else why tend his wounds, why return his strength with good warm food? No, his death would be a while yet. But in the meantime, considering the personalities of his captors, it was finally not unreasonable to assume that they would do their best to make him suffer.

Greatly.

Westley closed his eyes. There was pain coming and he had to be ready for it. He had to prepare his brain, he had to get his mind controlled and safe from their efforts, so that they could not break him. He would not let them break him. He would hold together against anything and all. If only they gave him sufficient time to make ready, he knew he could defeat pain. It turned out they gave him sufficient time (it was months before the Machine was ready).

But they broke him anyway.

 

AT THE END of the thirtieth day of festivities, with sixty days more of partying to enjoy, Buttercup was genuinely concerned that she might lack the strength to endure. Smile, smile, hold hands, bow and thank, over and over. She was simply exhausted from one month; how was she to survive twice that?

It turned out, because of the King's health, to be both easy and sad. For with fifty-five days to go, Lotharon began to weaken terribly.

Prince Humperdinck ordered new doctors brought in. (There was still the last miracle man alive, Max, but since they had fired him long before, bringing him back on the case now was simply not deemed wise; if he was incompetent then, when Lotharon was only desperately ill, how could he suddenly be a cure-all now, with Lotharon dying?) The new doctors all agreed on various tried-and-true medications, and within forty-eight hours of their coming on the case, the King was dead.

The wedding date, of course, was unchanged—it wasn't every day a country had a five hundredth anniversary—but all the festivities were either curtailed entirely or vastly cut down. And Prince Humperdinck became, forty- five days before the wedding, King of Florin, and that changed everything, because, before, he had taken nothing but his hunting seriously, and now he had to learn, learn everything, learn to run a country, and he buried himself in books and wise men and how did you tax this and when should you tax that and foreign entanglements and who could be trusted and how far and with what? And before her lovely eyes, Humperdinck changed from a man of fear and action to one of frenzied wisdom, because he had to get it all straight now before any other country dared interfere with the future of Florin, so the wedding, when it actually took place, was a tiny thing and brief, sandwiched in between a ministers' meeting and a treasury crisis, and Buttercup spent her first afternoon as queen wandering around the castle not knowing what in the world to do with herself. It wasn't until King Humperdinck walked out on the balcony with her to greet the gigantic throng that had spent the day in patient waiting that she realized it had happened, she was the Queen, her life, for whatever it was worth, belonged now to the people.

They stood together on the castle balcony, accepting the cheers, the cries, the endless thunderous "hip hips," until Buttercup said, "Please, may I walk once more among them?" and the King said with a nod that she might and down she went again, as on the day of the wedding announcement, radiant and alone, and again the people swept apart to let her pass, weeping and cheering and bowing and—

—and then one person booed.

On the balcony watching it all Humperdinck reacted instantly, gesturing soldiers into the area where the sound had come from, dispatching more troops quickly down to surround the Queen, and like clockwork Buttercup was safe, the booer apprehended and led away.

"Hold a moment," Buttercup said, still shaken by the unexpectedness of

what had happened. The soldier who held the booer stopped. "Bring her to me," Buttercup said, and in a moment the booer was right there, eye to eye.

It was an ancient woman, withered and bent, and Buttercup thought of all the faces that had gone by in her lifetime, but this one she could not remember. "Have we met?" the Queen asked.

The old one shook her head.

"Then why? Why on this day? Why do you insult the Queen?"

"Because you are not worthy of cheers," the old woman said, and suddenly she was yelling, "You had love in your hands and you gave it up for gold!" She turned to the crowd. "It is true what I tell you—there was love alongside her in the Fire Swamp and she dropped it from her fingers like garbage, and that is what she is, the Queen of Garbage."

"I had given my word to the Prince—" Buttercup began, but the old woman would not be quieted.

"Ask her how she got through the Fire Swamp? Ask her if she did it alone? She threw love away to be the Queen of Grime, the Queen of Muck—I am old and life means nothing to me, so I am the only person in all this crowd to dare to tell truth, and truth says bow to the Queen of Feculence if you want to, but not I. Cheer the Queen of Slime and Ordure if you want to, but not I. Rave over the beauty of the Queen of Cesspools, but not I. Not I!" She was advancing on Buttercup now.

"Take her away," Buttercup ordered.

But the soldiers could not stop her, and the old woman kept coming on, her voice getting LOUDER and louder and Louder! and louder! and LOUDER and LOUDER! and—

Buttercup woke up screaming.

She was in her bed. Alone. Safe. The wedding was still sixty days away. But her nightmares had begun.

The next night she dreamed of giving birth to their first child and




Interruption, and hey, how about giving old Morgenstern credit for a major league fake-out there. I mean, didn't you think for a while at least that they really were married? I did.

It's one of my biggest memories of my father reading. I had pneumonia,

remember, but I was a little better now, and madly caught up in the book, and one thing you know when you're ten is that, no matter what, there's gonna be a happy ending. They can sweat all they want to scare you, the authors, but back of it all you know, you just have no doubt, that in the long run justice is going to win out. And Westley and Buttercup—well, they had their troubles, sure, but they were going to get married and live happily ever after. I would have bet the family fortune if I'd found a sucker big enough to take me on.

Well, when my father got through with that sentence where the wedding was sandwiched between the ministers' meeting and the treasury whatever, I said, 'You read that wrong.'

My father's this little bald barber—remember that too? And kind of illiterate. Well, you just don't challenge a guy who has trouble reading and say he's read something incorrectly, because that's really threatening. 'I'm doing the reading,' he said.

'I know that but you got it wrong. She didn't marry that rotten Humperdinck. She marries Westley.'

'It says right here,' my father began, a little huffy, and he starts going over it again.

'You must have skipped a page then. Something. Get it right, huh?'

By now he was more than a tiny bit upset. 'I skipped nothing. I read the words. The words are there, I read them, good night,' and off he went.

'Hey please, no,' I called after him, but he's stubborn, and, next thing, my mother was in saying, 'Your father says his throat is too sore; I told him not to read so much,' and she tucked and fluffed me and no matter how I battled, it was over. No more story till the next day.

I spent that whole night thinking Buttercup married Humperdinck. It just rocked me. How can I explain it, but the world didn't work that way. Good got attracted to good, evil you flushed down the john and that was that. But their marriage—I couldn't make it jibe. God, did I work at it. First I thought that probably Buttercup had this fantastic effect on Humperdinck and turned him into a kind of Westley, or maybe Westley and Humperdinck turned out to be long-lost brothers and Humperdinck was so happy to get his brother back he said, 'Look, Westley, I didn't realize who you were when I married her so what I'll do is I'll divorce her and you marry her and that way we'll all be happy.' To this day I don't think I was ever more creative.

But it didn't take. Something was wrong and I couldn't lose it. Suddenly there was this discontent gnawing away until it had a place big enough to

settle in and then it curled up and stayed there and it's still inside me lurking as I write this now.

The next night, when my father went back to reading and the marriage turned out to have been Buttercup's dream, I screamed I knew it, all along I knew it,' and my father said, 'So you're happy now, it's all right now, we can please continue?' and I said 'Go' and he did.

But I wasn't happy. Oh my ears were happy, I guess, my story sense was happy, my heart too, but in my, I suppose you have to call it 'soul,' there was that damn discontent, shaking its dark head.

All this was never explained to me till I was in my teens and there was this great woman who lived in my hometown, Edith Neisser, dead now, and she wrote terrific books about how we screw up our children—Brothers and Sisters was one of her books, The Eldest Child was another. Published by Harper. Edith doesn't need the plug, seeing, like I said, as she's no longer with us, but if there are any amongst you who are worried that maybe you're not being perfect parents, pick up one of Edith's books while there's still time. I knew her 'cause her kid Ed got his haircuts from my pop, and she was this writer and by my teens I knew, secretly, that was the life for me too, except I couldn't tell anybody. It was too embarrassing—barber's sons, if they hustled, maybe got to be IBM salesmen, but writers? No way. Don't ask me how, but eventually Edith discovered my shhhhhh ambition and from then on, sometimes, we would talk. And I remember once we were having iced tea on the Neisser porch and talking and just outside the porch was their badminton court and I was watching some kids play badminton and Ed had just shellacked me, and as I left the court for the porch, he said, 'Don't worry, it'll all work out, you'll get me next time' and I nodded, and then Ed said, 'And if you don't, you'll beat me at something else.'

I went to the porch and sipped iced tea and Edith was reading this book and she didn't put it down when she said, 'That's not necessarily true, you know.'

I said, 'How do you mean?'

And that's when she put her book down. And looked at me. And said it: 'Life isn't fair, Bill. We tell our children that it is, but it's a terrible thing to do. It's not only a lie, it's a cruel lie. Life is not fair, and it never has been, and it's never going to be!

Would you believe that for me right then it was like one of those comic books where the lightbulb goes on over Mandrake the Magician's head? 'It

isn't!' I said, so loud I really startled her. 'You're right. It's not fair.' I was so happy if I'd known how to dance, I'd have started dancing. 'Isn't that great, isn't it just terrific?' I think along about here Edith must have thought I was well on my way toward being bonkers.

But it meant so much to me to have it said and out and free and flying— that was the discontent I endured the night my father stopped reading, I realized right then. That was the reconciliation I was trying to make and couldn't.

And that's what I think this book's about. All those Columbia experts can spiel all they want about the delicious satire; they're crazy. This book says 'life isn't fair' and I'm telling you, one and all, you better believe it. I got a fat spoiled son—he's not gonna nab Miss Rheingold. And he's always gonna be fat, even if he gets skinny he'll still be fat and he'll still be spoiled and life will never be enough to make him happy, and that's my fault maybe

—make it all my fault, if you want—the point is, we're not created equal, for the rich they sing, life isn't fair. I got a cold wife; she's brilliant, she's stimulating, she's terrific; there's no love; that's okay too, just so long as we don't keep expecting everything to somehow even out for us before we die.

Look. (Grownups skip this paragraph.) I'm not about to tell you this book has a tragic ending, I already said in the very first line how it was my favorite in all the world. But there's a lot of bad stuff coming up, torture you've already been prepared for, but there's worse. There's death coming up, and you better understand this: some of the wrong people die. Be ready for it. This isn't Curious George Uses the Potty. Nobody warned me and it was my own fault (you'll see what I mean in a little) and that was my mistake, so I'm not letting it happen to you. The wrong people die, some of them, and the reason is this: life is not fair. Forget all the garbage your parents put out. Remember Morgenstern. You'll be a lot happier.

Okay. Enough. Back to the next. Nightmare time.




THE NEXT NIGHT she dreamed of giving birth to their first child and it was a girl, a beautiful little girl, and Buttercup said, "I'm sorry it wasn't a boy; I know you need an heir," and Humperdinck said, "Beloved sweet, don't concern yourself with that; just look at the glorious child God has given us"

and then he left and Buttercup held the child to her perfect breast and the child said, "Your milk is sour" and Buttercup said, "Oh, I'm sorry," and she shifted to the other breast and the child said, "No, this is sour too," and Buttercup said, "I don't know what to do" and the baby said, "You always know what to do, you always know exactly what to do, you always do exactly what's right for you, and the rest of the world can go hang," and Buttercup said, "You mean Westley" and the baby said, "Of course I mean Westley," and Buttercup explained patiently, "I thought he was dead, you see; I'd given my word to your father" and the baby said, "I'm dying now; there's no love in your milk, your milk has killed me" and then the child stiffened and cracked and turned in Buttercup's hands to nothing but dry dust and Buttercup screamed and screamed; even when she was awake again, with fifty-nine days to go till her marriage, she was still screaming.

The third nightmare came quickly the following evening, and again it was a baby—this time a son, a marvelous strong boy—and Humperdinck said, "Beloved, it's a boy" and Buttercup said, "I didn't fail you, thank heavens" and then he was gone and Buttercup called out, "May I see my son now" and all the doctors scurried around outside her royal room, but the boy was not brought in. "What seems to be the trouble?" Buttercup called out and the chief doctor said, "I don't quite understand, but he doesn't want to see you" and Buttercup said, "Tell him I am his mother and I am the Queen and I command his presence" and then he was there, just as handsome a baby boy as anyone could wish for. "Close it," Buttercup said, and the doctors closed the door. The baby stood in the corner as far from her bed as he could. "Come here, darling," Buttercup said. "Why? Are you going to kill me too?" "I'm your mother and I love you, now come here; I've never killed anybody." "You killed Westley, did you see his face in the Fire Swamp? When you walked away and left him? That's what I call killing." "When you're older, you'll understand things, now I'm not going to tell you again—come here." "Murderer," the baby shouted. "Murderer!" but by then she was out of bed and she had him in her arms and was saying, "Stop that, stop it this instant; I love you," and he said, "Your love is poison; it kills," and he died in her arms and she started to cry. Even when she was awake again, with fifty-eight days to go till her marriage, she was still crying.

The next night she simply refused to go to sleep. Instead, she walked and read and did needlework and drank cup after cup of steaming tea from the Indies. She felt sick with weariness, of course, but such was her fear of what she might dream that she preferred any waking discomfort to whatever sleep

might have to offer, and at dawn her mother was pregnant—no, more than pregnant; her mother was having a baby—and as Buttercup stood there in the corner of the room, she watched herself being born and her father gasped at her beauty and so did her mother and the midwife was the first to show concern. The midwife was a sweet woman, known throughout the village for her love of babies, and she said, "Look—trouble—" and the father said, "What trouble? Where before did you ever see such beauty?" and the midwife said, "Don't you understand why she was given such beauty? It's because she has no heart, here, listen; the baby is alive but there is no beat" and she held Buttercup's chest against the father's ear and the father could only nod and say, "We must find a miracle man to place a heart inside" but the midwife said, "That would be wrong, I think; I've heard before of creatures like this, the heartless ones, and as they grow bigger they get more and more beautiful and behind them is nothing but broken bodies and shattered souls, and these without hearts are anguish bringers, and my advice would be, since you're both still young, to have another child, a different child, and be rid of this one now, but, of course, the final decision is up to you" and the father said to the mother, "Well?" and the mother said, "Since the midwife is the kindest person in the village, she must know a monster when she sees one; let's get to it," so Buttercup's father and Buttercup's mother put their hands to the baby's throat and the baby began to gasp. Even when Buttercup was awake again, at dawn, with fifty-seven days to go till her marriage, she could not stop gasping.

From then on, the nightmares became simply too frightening.

When there were fifty days to go, Buttercup knocked, one night, on the door to Prince Humperdinck's chambers. She entered when he bid her to. "I see trouble," he said. "You look very ill." And so she did. Beautiful, of course. Still that. But in no way well.

Buttercup did not see quite how to begin.

He ushered her into a chair. He got her water. She sipped at it, staring dead ahead. He put the glass to one side.

"At your convenience, Princess," he said.

"It comes to this," Buttercup began. "In the Fire Swamp, I made the worst mistake in all the world. I love Westley. I always have. It seems I always will. I did not know this when you came to me. Please believe what I am about to say: when you said that I must marry you or face death, I answered, 'Kill me.' I meant that. I mean this now too: if you say I must marry you in fifty days, I will be dead by morning."

The Prince was literally stunned.

After a long moment, he knelt by Buttercup's chair and, in his gentlest voice, started to speak: "I admit that when we first became engaged, there was to be no love involved. That was as much my choice as yours, though the notion may have come from you. But surely you must have noticed, in this last month of parties and festivities, a certain warming of my attitude."

"I have. You have been both sweet and noble."

"Thank you. Having said that, I hope you appreciate how difficult this next sentence is for me to say: I would die myself rather than cause you unhappiness by standing in the way of your marrying the man you love."

Buttercup wanted almost to weep with gratitude. She said: "I will bless you all my days for your kindness." Then she stood. "So it's settled. Our wedding is off."

He stood too. "Except for perhaps one thing." "That being?"

"Have you considered the possibility that he might not now want any longer to marry you?"

Until that moment, she had not.

"You were, I hate to remind you, not altogether gentle with his emotions in the Fire Swamp. Forgive me for saying that, beloved, but you did leave him in the lurch, in a manner of speaking."

Buttercup sat down hard, her turn now to be stunned.

Humperdinck knelt again beside her. "This Westley of yours, this sailor boy; he has pride?"

Buttercup managed to whisper, "More than any man alive, I sometimes think."

"Well consider, then, dearest. Here he is, off sailing somewhere with the Dread Pirate Roberts; he has had a month to survive the emotional scars you dealt him. What if he wants now to remain single? Or, worse, what if he has found another?"

Buttercup was now even beyond whispering.

"I think, sweetest child, that we should strike a bargain, you and I: if Westley wants to marry you still, bless you both. If, for reasons unpleasant to mention, his pride will not let him, then you will marry me, as planned, and be the Queen of Florin."

"He couldn't be married. I'm sure. Not my Westley." She looked at the Prince. "But how can I find out?"

"What about this: you write him a letter, telling him everything. We'll make four copies. I'll take my four fastest ships and order them off in all directions. The Dread Pirate Roberts is not often more than a month's sail from Florin. Whichever of my ships finds him will run the white flag of truce, deliver your letter, and Westley can decide. If 'no,' he can speak that message to my captain. If 'yes,' my captain will sail him here to you, and I will have to content myself somehow with a lesser bride."

"I think—I'm not sure—but I definitely think, that this is the most generous decision I have yet heard."

"Do me this favor then in return: until we know Westley's intentions, one way or another, let us continue as we have, so the festivities will not be halted. And if I seem too fond of you, remember that I cannot help myself."

"Agreed," Buttercup said, going to the door, but not before she kissed his cheek.

He followed her. "Off with you now and write your letter," and he returned the kiss, smiling with his eyes at her until the corridor curved her from his sight. There was no doubt whatsoever in his mind that he was going to seem too fond of her in the days ahead. Because when she died of murder on their wedding night, it was crucial that all Florin realize the depth of his love, the epochal size of his loss, since then no one would dare hesitate to follow him in the revenge war he was to launch against Guilder.

At first, when he hired the Sicilian, he was convinced it was best that someone else do her in, all the while making it appear the work of soldiers from Guilder. And when the man in black had somehow materialized to spoil his plans, the Prince came close to going insane with rage. But now his basically optimistic nature had reasserted itself: everything always worked out for the best. The people were infatuated with Buttercup now as they had never been before her kidnapping. And when he announced from his castle balcony that she had been murdered—he already saw the scene in his mind: he would arrive just too late to save her from strangling but soon enough to see the Guilderian soldiers leaping from the window of his bedroom to the soft ground below—when he made that speech to the masses on the five hundredth anniversary of his country, well, there wouldn't be a dry eye in the Square. And although he was just the least bit perturbed, since he had never actually killed a woman before with his bare hands, there was a first time for everything. Besides, if you wanted something done right, you did it yourself.

THAT NIGHT, THEY began to torture Westley. Count Rugen did the actual pain inducing; the Prince simply sat by, asking questions out loud, inwardly admiring the Count's skill.

The Count really cared about pain. The whys behind the screams interested him fully as much as the anguish itself. And whereas the Prince spent his life in physically following the hunt, Count Rugen read and studied anything he could get his hands on dealing with the subject of Distress.

"All right now," the Prince said to Westley, who lay in the great fifth-level cage; "before we begin, I want you to answer me this: have you any complaints about your treatment thus far?"

"None whatever," Westley replied, and in truth he had none. Oh, he might have preferred being unchained a bit now and then, but if you were to be a captive, you couldn't ask for more than he had been given. The albino's medical ministrations had been precise, and his shoulder was fine again; the food the albino brought had always been hot and nourishing, the wine and brandy wonderfully warming against the dankness of the underground cage.

"You feel fit, then?" the Prince went on.

"I assume my legs are a little stiff from being chained, but other than that,

yes."

"Good. Then I promise you this as God himself is my witness: answer the

next question and I will set you free this night. But you must answer it honestly, fully, withholding nothing. If you lie, I will know. And then I'll loose the Count on you."

"I have nothing to hide," Westley said. "Ask away."

"Who hired you to kidnap the Princess? It was someone from Guilder. We found fabric indicating as much on the Princess's horse. Tell me that man's name and you are free. Speak."

"No one hired me," Westley said. "I was working strictly freelance. And I didn't kidnap her; I saved her from others who were doing that very thing."

"You seem a reasonable fellow, and my Princess claims to have known you many years, so I will give you, on her account, one last and final chance: the name of the man in Guilder who hired you. Tell me or face torture."

"No one hired me, I swear."

The Count set fire to Westley's hands. Nothing permanent or disabling; he just dipped Westley's hands in oil and brought a candle close enough to set things bubbling. When Westley had screamed "NO ONE—NO ONE—NO ONE—ON MY LIFE!" a sufficient number of times, the Count dipped

Westley's hands in water, and he and the Prince left via the underground entrance, leaving the medication to the albino, who was always nearby during the torturing times, but never visible enough to be distracting.

"I feel quite invigorated," the Count said as he and the Prince began to ascend the underground staircase. "It's a perfect question. He was telling the truth, clearly; we both know that."

The Prince nodded. The Count was privy to all his innermost plans for the revenge war.

"I'm fascinated to see what happens," the Count went on. "Which pain will be least endurable? The physical, or the mental anguish of having freedom offered if the truth is told, then telling it and being thought a liar."

"I think the physical," said the Prince. "I think you're wrong," said the Count.

Actually, they were both wrong; Westley suffered not at all throughout. His screaming was totally a performance to please them; he had been practicing his defenses for a month now, and he was more than ready. The minute the Count brought the candle close, Westley raised his eyes to the ceiling, dropped his eyelids over them, and in a state of deep and steady concentration, he took his brain away. Buttercup was what he thought of. Her autumn hair, her perfect skin, and he brought her very close beside him, and had her whisper in his ear throughout the burning: "I love you. I love you. I only left you in the Fire Swamp to test your love for me. Is it as great as mine for you? Can two such loves exist on one planet at one time? Is there that much room, beloved Westley?..."

The albino bandaged his fingers. Westley lay still.

For the first time, the albino started things. Whispered: "You better tell them."

From Westley, a shrug.

Whispered: "They never stop. Not once they start. Tell them what they want to know and have done with it."

Shrug.

Whispered: "The Machine is nearly ready. They are testing it on animals now."

Shrug.

Whispered: "It's for your own good I tell you these things." "My own good? What good? They're going to kill me anyway."

From the albino: nod.

 

THE PRINCE FOUND Buttercup waiting unhappily outside his chamber doors.

"It's my letter," she began. "I cannot make it right."

"Come in, come in," the Prince said gently. "Maybe we can help you." She sat down in the same chair as before. "All right, I'll close my eyes and listen; read to me."

"'Westley, my passion, my sweet, my only, my own. Come back, come back. I shall kill myself otherwise. Yours in torment, Buttercup.'" She looked at Humperdinck. "Well? Do you think I'm throwing myself at him?"

"It does seem a bit forward," the Prince admitted. "It doesn't leave him a great deal of room to maneuver."

"Will you help me to improve it, please?"

"I'll do what I can, sweet lady, but first it might help if I knew just a bit about him. Is he really so wonderful, this Westley of yours?"

"Not so much wonderful as perfect," she replied. "Kind of flawless. More or less magnificent. Without blemish. Rather on the ideal side." She looked at the Prince. "Am I being helpful?"

"I think emotions are clouding your objectivity just a bit. Do you actually think that there is nothing the fellow can't do?"

Buttercup thought for a while. "It's not so much that there's nothing he can't do; it's more that he can do it all better than anybody else can do it."

The Prince chuckled and smiled. "In other words, for example, you mean if he wanted to hunt, he could outhunt, again for example, someone such as myself."

"Oh, I would think if he wanted to, he could, quite easily, but he happens not to like hunting, at least to my knowledge, though maybe he does; I don't know. I never knew he was so interested in mountain climbing but he scaled the Cliffs of Insanity under most adverse conditions, and everyone agrees that that is not the easiest thing in the world to accomplish."

"Well, why don't we just begin our letter with 'Divine Westley,' and appeal to his sense of modesty," the Prince suggested.

Buttercup began to write, stopped. "Does 'divine' begin de or di?"

"Di, I believe, amazing creature," the Prince replied, smiling gently as Buttercup commenced the letter. They composed it in four hours, and many many times she said, "I could never get through this without you" and the

Prince was always most modest, asking little helpful personal questions about Westley as often as was possible without drawing attention to it, and in this way, well before dawn, she told him, smiling as she remembered, of Westley's early fears of Spinning Ticks.

And that night, in the fifth-level cage, the Prince asked, as he was to always ask, "Tell me the name of the man in Guilder who hired you to kidnap the Princess and I promise you immediate freedom" and Westley replied, as he was always to reply, "No one, no one; I was alone" and the Count, who had spent the day getting the Spinners ready, placed them carefully on Westley's skin and Westley closed his eyes and begged and pleaded and after an hour or so the Prince and Count left, the albino remaining behind with the chore of burning the Spinners and then pulling them free from Westley, lest they accidentally poison him, and on the way up the underground stairs to ground level the Prince said, just for conversation's sake, "Much better, don't you think?"

The Count, oddly, said nothing.

Which was vaguely irritating to Humperdinck because, to tell the absolute truth, torture was never all that high on his scale of passions, and he would just as soon have disposed of Westley right then.

If only Buttercup would admit that he, Humperdinck, was the better man. But she would not! She simply would not! All she ever talked about was

Westley. All she ever asked about was news of Westley. Days went by, weeks went by, party after party went by, and all Florin was moved by the spectacle of their great hunting Prince at last so clearly and wonderfully in love, but when they were alone, all she ever said was, "I wonder where could Westley be? What could be taking him so long? How can I live until he comes?"

Maddening. So each night, the Count's discomforts, which made Westley writhe and twist, were really sort of all right. The Prince would manage an hour or so of spectating before he and the Count would leave, the Count still oddly silent. And down below, tending the wounds, the albino would whisper: "Tell them. Please. They will only add to your suffering."

Westley could barely suppress his smile.

He had felt no pain, not once, none. He had closed his eyes and taken his brain away. That was the secret. If you could take your brain away from the present and send it to where it could contemplate skin like wintry cream; well, let them enjoy themselves.

His revenge time would come.

Westley was living now most of all for Buttercup. But there was no denying that there was one more thing he wanted too.

His time...

 

PRINCE HUMPERDINCK SIMPLY had no time. There seemed to be not one decision in all of Florin that one way or another didn't eventually come heavily to rest upon his shoulders. Not only was he getting married, his country was having its five hundredth anniversary. Not only was he noodling around in his mind the best ways to get a war going, he also had to constantly have affection shining from his eyes. Every detail had to be met, and met correctly.

His father was just no help at all, refusing either to expire or stop mumbling (you thought his father was dead but that was in the fake-out, don't forget—Morgenstern was just edging into the nightmare sequence, so don't be confused) and start making sense. Queen Bella simply hovered around him, translating here and there, and it was with a shock that Prince Humperdinck realized, just twelve days before his wedding day, that he had neglected to set in motion the crucial Guilder section of his plan, so he called Yellin to the castle late one night.

Yellin was Chief of All Enforcement in Florin City, a job he had inherited from his father. (The albino keeper at the Zoo was Yellin's first cousin, and together they formed the only pair of nonnobles the Prince could come close to trusting.)

"Your Highness," Yellin said. He was small, but crafty, with darting eyes and slippery hands.

Prince Humperdinck came out from behind his desk. He moved close to Yellin and looked carefully around before saying, softly, "I have heard, from unimpeachable sources, that many men of Guilder have, of late, begun to infiltrate our Thieves Quarter. They are disguised as Florinese, and I am worried."

"I have heard nothing of such a thing," Yellin said. "A prince has spies everywhere."

"I understand," said Yellin. "And you think, since the evidence points that they tried to kidnap your fiancée once, such a thing might happen again?"

"It's a possibility."

"I'll close off the Thieves Quarter then," Yellin said. "No one will enter and no one will leave."

"Not good enough," said the Prince. "I want the Thieves Quarter emptied

and every villain jailed until I am safely on my honeymoon." Yellin did not nod quickly enough, so the Prince said, "State your problem."

"My men are not always too happy at the thought of entering the Thieves Quarter. Many of the thieves resist change."

"Root them out. Form a brute squad. But get it done."

"It takes at least a week to get a decent brute squad going," Yellin said. "But that is time enough." He bowed, and started to leave.

And that was when the scream began.

Yellin had heard many things in his life, but nothing quite so eerie as this: he was a brave man, but this sound frightened him. It was not human, but he could not guess the throat of the beast it came from. (It was actually a wild dog, on the first level of the Zoo, but no wild dog had ever shrieked like that before. But then, no wild dog had ever been put in the Machine.)

The sound grew in anguish, and it filled the night sky as it spread across the castle grounds, over the walls, even into the Great Square beyond.

It would not stop. It simply hung now below the sky, an audible reminder of the existence of agony. In the Great Square, half a dozen children screamed back at the night, trying to blot out the sound. Some wept, some only ran for home.

Then it began to lessen in volume. Now it was hard to hear in the Great Square, now it was gone. Now it was hard to hear on the castle walls, now it was gone from the castle walls. It shrunk across the grounds toward the first level of the Zoo of Death, where Count Rugen sat fiddling with some knobs. The wild dog died. Count Rugen rose, and it was all he could do to bury his own shriek of triumph.

He left the Zoo and ran toward Prince Humperdinck's chambers. Yellin was just going when the Count got there. The Prince was seated now, behind his desk. When Yellin was gone and they were alone, the Count bowed to his majesty: "The Machine," he said at last, "works."

 

PRINCE HUMPERDINCK TOOK a while before answering. It was a ticklish situation, granted he was the boss, the Count merely an underling, still, no one in all Florin had Rugen's skills. As an inventor, he had, obviously, at last, rid the Machine of all defects. As an architect, he had been crucial in the safety factors involved in the Zoo of Death, and it had undeniably been Rugen who had arranged for the only survivable entrance being the underground fifth- level one. He was also supportive to the Prince in all endeavors of hunting and

battle, and you didn't give a follower like that a quick "Get away, boy, you bother me." So the Prince indeed took a while.

"Look, Ty," he said finally. "I'm just thrilled you smoothed all the bugs out of the Machine; I never for a minute doubted you'd get it right eventually. And I'm really anxious as can be to see it working. But how can I put this? I can't keep my head above water one minute to the next: it's not just the parties and the goo-gooing with what's-her-name, I've got to decide how long the Five Hundredth Anniversary Parade is going to be and where does it start and when does it start and which nobleman gets to march in front of which other nobleman so that everyone's still speaking to me at the end of it, plus I've got a wife to murder and a country to frame for it, plus I've got to get the war going once that's all happened, and all this is stuff I've got to do myself. Here's what it all comes down to: I'm just swamped, Ty. So how about if you go to work on Westley and tell me how it goes, and when I get the time, I'll come watch and I'm sure it'll be just wonderful, but for now, what I'd like is a little breathing room, no hard feelings?"

Count Rugen smiled. "None." And there weren't any. He always felt better when he could dole out pain alone. You could concentrate much more deeply when you were alone with agony.

"I knew you'd understand, Ty."

There was a knock on the door and Buttercup stuck her head in. "Any news?" she said.

The Prince smiled at her and sadly shook his head. "Honey, I promised to tell you the second I hear a thing."

"It's only twelve days, though."

"Plenty of time, dulcet darling, now don't worry yourself." "I'll leave you," Buttercup said.

"I was going too," the Count said. "May I walk you to your quarters?"

Buttercup nodded, and down the corridors they wandered till they reached her suite. "Good night," Buttercup said quickly; ever since that day he had first come to her father's farm, she had always been afraid whenever the Count came near.

"I'm sure he'll come," the Count said; he was privy to all the Prince's plans, and Buttercup was well aware of this. "I don't know your fellow well, but he impressed me greatly. Any man who can find his way through the Fire Swamp can find his way to Florin Castle before your wedding day."

Buttercup nodded.

"He seemed so strong, so remarkably powerful," the Count went on, his voice warm and lulling. "I only wondered if he possessed true sensitivity, as some men of great might, as you know, do not. For example, I wonder: is he capable of tears?"

"Westley would never cry," Buttercup answered, opening her chamber door. "Except for the death of a loved one." And with that she closed the Count away and, alone, went to her bed and knelt. Westley, she thought then. Do come please; I have begged you in my thoughts now these many weeks and still no word. Back when we were on the farm, I thought I loved you, but that was not love. When I saw your face behind the mask on the ravine floor, I thought I loved you, but that was again nothing more than deep infatuation. Beloved: I think I love you now, and I pray you only give me the chance to spend my life in constant proving. I could spend my life in the Fire Swamp and sing from morn till night if you were by me. I could spend eternity sinking down through Snow Sand if my hand held your hand. My preference would be to last eternity with you beside me on a cloud, but hell would also be a lark if Westley was with me....

She went on that way, silent hour after silent hour; she had done nothing else for thirty-eight evenings now, and each time, her ardor deepened, her thoughts became more pure. Westley. Westley. Flying across the seven seas to claim her.

For his part, and quite without knowing, Westley was spending his evenings in much the same fashion. After the torture was done, when the albino had finished tending his slashes or burns or breaks, when he was alone in the giant cage, he sent his brain to Buttercup, and there it dwelled.

He understood her so well. In his mind, he realized that moment he left her on the farm when she swore love, certainly she meant it, but she was barely eighteen. What did she know of the depth of the heart? Then again, when he had removed his black mask and she had tumbled to him, surprise had been operating, stunned astonishment as much as emotion. But just as he knew that the sun was obliged to rise each morning in the east, no matter how much a western arisal might have pleased it, so he knew that Buttercup was obliged to spend her love on him. Gold was inviting, and so was royalty, but they could not match the fever in his heart, and sooner or later she would have to catch it. She had less choice than the sun.

So when the Count appeared with the Machine, Westley was not particularly perturbed. As a matter of fact, he had no idea what the Count was

bringing with him into the giant cage. As a matter of absolute fact, the Count was bringing nothing; it was the albino who was doing the actual work, making trip after trip with thing after thing.

That was what it really looked like to Westley: things. Little soft rimmed cups of various sizes and a wheel, most likely, and another object that could turn out to be either a lever or a stick; it was hard to tell.

"A good good evening to you," the Count began.

He had never, to Westley's memory, shown such excitement. Westley made a very weak nod in return. Actually, he felt about as well as ever, but it didn't do to let that kind of news get around.

"Feeling a bit under the weather?" the Count asked. Westley made another feeble nod.

The albino scurried in and out, bringing more things: wirelike extensions, stringy and endless.

"That will be all," the Count said finally. Nod.

Gone.

"This is the Machine," the Count said when they were alone. "I've spent eleven years constructing it. As you can tell, I'm rather excited and proud."

Westley managed an affirmative blink.

"I'll be putting it together for a while." And with that, he got busy.

Westley watched the construction with a good deal of interest and, logically enough, curiosity.

"You heard that scream a bit earlier on this evening?" Another affirmative blink.

"That was a wild dog. This machine caused the sound." It was a very complex job the Count was doing, but the six fingers on his right hand never for a moment seemed in doubt as to just what to do. "I'm very interested in pain," the Count said, "as I'm sure you've gathered these past months. In an intellectual way, actually. I've written, of course, for the more learned journals on the subject. Articles mostly. At the present I'm engaged in writing a book. My book. The book, I hope. The definitive work on pain, at least as we know it now."

Westley found the whole thing fascinating. He made a little groan.

"I think pain is the most underrated emotion available to us," the Count said. "The Serpent, to my interpretation, was pain. Pain has been with us always, and it always irritates me when people say 'as important as life and

death' because the proper phrase, to my mind, should be, 'as important as pain and death.'" The Count fell silent for a time then, as he began and completed a series of complex adjustments. "One of my theories," he said somewhat later, "is that pain involves anticipation. Nothing original, I admit, but I'm going to demonstrate to you what I mean: I will not, underline not, use the Machine on you this evening. I could. It's ready and tested. But instead I will simply erect it and leave it beside you, for you to stare at the next twenty-four hours, wondering just what it is and how it works and can it really be as dreadful as all that." He tightened some things here, loosened some more over there, tugged and patted and shaped.

The Machine looked so silly Westley was tempted to giggle. Instead, he groaned again.

"I'll leave you to your imagination, then," the Count said, and he looked at Westley. "But I want you to know one thing before tomorrow night happens to you, and I mean it: you are the strongest, the most brilliant and brave, the most altogether worthy creature it has ever been my privilege to meet, and I feel almost sad that, for the purposes of my book and future pain scholars, I must destroy you."

"Thank ... you..." Westley breathed softly.

The Count went to the cage door and said over his shoulder, "And you can stop all your performing about how weak and beaten you are; you haven't fooled me for a month. You're practically as strong now as on the day you entered the Fire Swamp. I know your secret, if that's any consolation to you."

"...secret?" Hushed, strained.

"You've been taking your brain away," the Count cried. "You haven't felt the least discomfort in all these months. You raise your eyes and drop your eyelids and then you're off, probably with—I don't know—her, most likely. Good night now. Try and sleep. I doubt you'll be able to. Anticipation, remember?" With a wave, he mounted the underground stairs.

Westley could feel the sudden pressure of his heart.

Soon the albino came, knelt by Westley's ear. Whispered: "I've been watching you all these days. You deserve better than what's coming. I'm needed. No one else feeds the beasts as I do. I'm safe. They won't hurt me. I'll kill you if you'd like. That would foil them. I've got some good poison. I beg you. I've seen the Machine. I was there when the wild dog screamed. Please let me kill you. You'll thank me, I swear."

"I must live."

Whispered: "But—"

Interruption: "They will not reach me. I am all right. I am fine. I am alive, and I will stay that way." He said the words loud, and he said them with passion. But for the first time in a long time, there was terror....

 

"WELL, COULD YOU SLEEP?" the Count asked the next night upon his arrival in the cage.

"Quite honestly, no," Westley replied in his normal voice.

"I'm glad you're being honest with me; I'll be honest with you; no more charades between us," the Count said, putting down a number of notebooks and quill pens and ink bottles. "I must carefully track your reactions," he explained.

"In the name of science?"

The Count nodded. "If my experiments are valid, my name will last beyond my body. It's immortality I'm after, to be quite honest." He adjusted a few knobs on the Machine. "I suppose you're naturally curious as to how this works."

"I have spent the night pondering and I know no more than when I started. It appears to be a great conglomeration of soft rimmed cups of infinitely varied sizes, together with a wheel and a dial and a lever, and what it does is beyond me."

"Also glue," added the Count, pointing to a small tub of thick stuff. "To keep the cups attached." And with that, he set to work, taking cup after cup, touching the soft rims with glue, and setting them against Westley's skin. "Eventually I'll have to put one on your tongue too," the Count said, "but I'll save that for last in case you have any questions."

"This certainly isn't the easiest thing to get set up, is it?"

"I'll be able to fix that in later models," the Count said; "at least those are my present plans," and he kept right on putting cup after cup on Westley's skin until every inch of exposed surface was covered. "So much for the outside," the Count said then. "This next is a bit more delicate; try not to move."

"I'm chained hand, head and foot," Westley said. "How much movement do you think I'm capable of?"

"Are you really as brave as you sound, or are you a little frightened? The truth, please. This is for posterity, remember."

"I'm a little frightened," Westley replied.

The Count jotted that down, along with the time. Then he got down to the fine work, and soon there were tiny tiny soft rimmed cups on the insides of

Westley's nostrils, against his eardrums, under his eyelids, above and below his tongue, and before the Count arose, Westley was covered inside and out with the things. "Now all I do," the Count said very loudly, hoping Westley could hear, "is get the wheel going to its fastest spin so that I have more than enough power to operate. And the dial can be set from one to twenty and, this being the first time, I will set it at the lowest setting, which is one. And then all I need do is push the lever forward, and we should, if I haven't gummed it up, be in full operation."

But Westley, as the lever moved, took his brain away, and when the Machine began, Westley was stroking her autumn-colored hair and touching her skin of wintry cream and—and—and then his world exploded—because the cups, the cups were everywhere, and before, they had punished his body but left his brain, only not the Machine; the Machine reached everywhere—his eyes were not his to control and his ears could not hear her gentle loving whisper and his brain slid away, slid far from love into the deep fault of despair, hit hard, fell again, down through the house of agony into the county of pain. Inside and out, Westley's world was ripping apart and he could do nothing but crack along with it.

The Count turned off the Machine then, and as he picked up his notebooks he said, "As you no doubt know, the concept of the suction pump is centuries old—well, basically, that's all this is, except instead of water, I'm sucking life; I've just sucked away one year of your life. Later I'll set the dial higher, certainly to two or three, perhaps even to five. Theoretically, five should be five times more severe than what you've just endured, so please be specific in your answers. Tell me now, honestly: how do you feel?"

In humiliation, and suffering, and frustration, and anger, and anguish so great it was dizzying, Westley cried like a baby.

"Interesting," said the Count, and carefully noted it down.

 

IT TOOK YELLIN a week to get his enforcers together in sufficient number, together with an adequate brute squad. And so, five days before the wedding, he stood at the head of his company awaiting the speech of the Prince. This was in the castle courtyard, and when the Prince appeared, the Count was, as usual, with him, although, not as usual, the Count seemed preoccupied. Which, of course, he was, though Yellin had no way of knowing that. The Count had sucked ten years from Westley this past week, and, with the life of sixty-five that was average for a Florinese male, the victim had

approximately thirty years remaining, assuming he was about twenty-five when they started experimenting. But how best to go about dividing that? The Count was simply in a quandary. So many possibilities, but which would prove, scientifically, most interesting? The Count sighed; life was never easy.

"You are here," the Prince began, "because there may be another plot against my beloved. I charge each and every one of you with being her personal protector. I want the Thieves Quarter empty and all the inhabitants jailed twenty-four hours before my wedding. Only then will I rest easy. Gentlemen, I beg you: think of this mission as being an affair of the heart, and I know you will not fail." With that he pivoted and, followed by the Count, hurried from the courtyard, leaving Yellin in command.

The conquest of the Thieves Quarter began immediately. Yellin worked long and hard at it each day, but the Thieves Quarter was a mile square, so there was much to do. Most of the criminals had been through unjust and illegal roundups before, so they offered little resistance. They knew the jails were not celled enough for all of them, so if it meant a few days' incarceration, what did it matter?

There was, however, a second group of criminals, those who realized that capture meant, for various past performances, death, and these, without exception, resisted. In general, Yellin, through adroit handling of the Brute Squad, was able to bring these bad fellows, eventually, under control.

Still, thirty-six hours before the sunset wedding, there were half a dozen holdout left in the Thieves Quarter. Yellin arose at dawn and, tired and confused—not one of the captured criminals seemed to come from Guilder— he gathered the best of the Brute Squad and led them into the Thieves Quarter for what simply had to be the final foray.

Yellin went immediately to Falkbridge's Alehouse, first sending all save two Brutes off on various tasks, keeping a noisy one and a quiet one for his own needs. He knocked on Falkbridge's door and waited. Falkbridge was by far the most powerful man in the Thieves Quarter. He seemed almost to own half of it and there wasn't a crime of any dimension he wasn't behind. He always avoided arrest, and everyone except Yellin thought Falkbridge must be bribing somebody. Yellin knew he was bribing somebody, since every month, rain or shine, Falkbridge came to Yellin's house and gave him a satchel full of money.

"Who?" Falkbridge called from inside the alehouse.

"The Chief of All Enforcement in Florin City, accompanied by Brutes,"

Yellin replied. Completeness was one of his virtues.

"Oh." Falkbridge opened the door. For a power, he was very unimposing, short and chubby. "Come in."

Yellin entered, leaving the two Brutes in the doorway. "Get ready and be quick," Yellin said.

"Hey, Yellin, it's me," Falkbridge said softly.

"I know, I know," Yellin said softly right back. "But please, do me a favor, get ready."

"Pretend I did. I'll stay in the alehouse, I promise. I got enough food; no one will ever know."

"The Prince is without mercy," Yellin said. "If I let you stay and I'm found out, that's it for me."

"I been paying you twenty years to stay out of jail. You're a rich man just so I don't have to go to jail. Where's the logic of me paying you and no advantages?"

"I'll make it up to you. I'll get you the best cell in Florin City. Don't you trust me?"

"How can I trust a man I pay twenty years to stay out of jail when all of a sudden, the minute a little extra pressure's on, he says 'go to jail'? I'm not going."

"You!" Yellin signaled to the noisy one. The Brute started running forward.

"Put this man in the wagon immediately," Yellin said.

Falkbridge was starting to explain when the noisy one clubbed him across the neck.

"Not so hard!" Yellin cried.

The noisy one picked up Falkbridge, tried dusting his clothes. "Is he alive?" Yellin asked.

"See, I didn't know you wanted him breathing in the wagon; I thought you only wanted him in the wagon breathing or not, so—"

"Enough," Yellin interrupted and, upset, he hurried out of the alehouse while the noisy one brought Falkbridge. "Is that everyone then?" Yellin asked as various Brutes were visible leaving the Thieves Quarter pulling various wagons.

"I think there's still the fencer with the brandy," the noisy one began. "See, they tried getting him out yesterday but—"

"I can't be bothered with a drunk; I'm an important man, get him out of

here and do it now, both of you; take the wagon with you, and be quick! This quarter must be locked and deserted by sundown or the Prince will be mad at me, and I don't like it much when the Prince is mad at me."

"We're going, we're going," the noisy one replied, and he hurried off, letting the quiet one bring the wagon with Falkbridge inside. "They tried getting this fencer yesterday, some of the standard enforcers, but it seems he has certain sword skills that made them wary, but I think I have a trick that will work." The quiet one hurried along behind, dragging the wagon. They rounded a corner, and from around another corner just up ahead, a kind of drunken mumbling was starting to get louder.

"I'm getting very bored, Vizzini" came from out of sight. "Three months is a long time to wait, especially for a passionate Spaniard." Much louder now: "And I am very passionate, Vizzini, and you are nothing but a tardy Sicilian. So if you're not here in ninety more days, I'm done with you. You hear? Done!" Much softer now: "I didn't mean that, Vizzini, I just love my filthy stoop, take your time "

The noisy Brute slowed. "That kind of talk goes on all day; ignore it, and keep the wagon out of sight." The quiet one pushed the wagon almost to the corner and stopped it. "Stay with the wagon," the noisy one added, and then whispered, "Here comes my trick." With that he walked alone around the corner and stared ahead at the skinny fellow sitting clutching the brandy bottle on the stoop. "Ho there, friend," the noisy one said.

"I'm not moving: keep your 'ho there,'" said the brandy drinker.

"Hear me through, please: I have been sent by Prince Humperdinck himself, who is in need of entertainment. Tomorrow is our country's five hundredth anniversary and the dozen greatest tumblers and fencers and entertainers are at this very moment competing. The finest pair will compete personally tomorrow for the new bride and groom. Now, as to why I'm here: yesterday, some of my friends tried rousting you and they said, later, that you resisted with some splendid swordwork. So, if you would like, I, at great personal sacrifice, will rush you to the fencing contest, where, if you are as good as I am told, you might have yet the honor of entertaining the Royal Couple tomorrow. Do you think you could win such a competition?"

"Breezing."

"Then hurry while there's still time to enter."

The Spaniard managed to stand. He unsheathed his sword and flashed it a few times across the morning.

The noisy one took a few quick steps backward and said, "No time to waste; come along now."

Then the drunk started yelling: "I'm—waiting—for—Vizzini—" "Meanie."

"I'm—not—mean, I'm—just—following—the—rule—" "Cruel."

"Not—cruel, not—mean; can't you understand I'm..." and here his voice trailed off for a moment as he squinted. Then, quietly, he said, "Fezzik?"

From behind the noisy one, the quiet one said, "Who says-ik?"

Inigo took a step from his stoop, trying desperately to make his eyes focus through the brandy. "'Says-ik'? Is that a joke you made?"

The quiet one said, "Played."

Inigo gave a cry and started staggering forward: "Fezzik, it's you!" "TRUE!" And he reached out, grabbed Inigo just before he stumbled,

brought him back to an upright position.

"Hold him just like that," the noisy Brute said, and he moved in quickly, right arm raised, as he had done to Falkbridge.

 

S

 

P

 

L

 

A

 

T

 

!

 

Fezzik dumped the noisy Brute into the wagon beside Falkbridge, covered them both with a soiled blanket, then hurried back to Inigo, whom he had left leaning propped against a building.

"It's just so good to see you," Fezzik said then.

"Oh, it is ... it ... is, but..." Inigo's voice was winding steadily down now. "I'm too weak for surprises" were the last sounds he got out before he fainted from fatigue and brandy and no food and bad sleep and lots of other things, none of them nutritious.

Fezzik hoisted him up with one arm, took the wagon in the other, and hurried back to Falkbridge's house. He carried Inigo inside, placed him upstairs on Falkbridge's feather bed, then hurried away to the entrance of the Thieves Quarter, dragging the wagon behind him. He made very sure that the dirty blanket covered both the victims, and outside the entrance the Brute Squad held a boot count of those they had removed. The total came out right, and, by eleven in the morning, the great walled Thieves Quarter was officially empty and padlocked.

Released from active duty, Fezzik followed the wall around to a quiet place and waited. He was alone. Walls were never any problem for him, not so long as his arms worked, and he quickly scaled this one and hurried back through the quiet streets to Falkbridge's house. He made some tea, carried it upstairs, force-fed Inigo. Within a few moments, Inigo was blinking under his own power.

"It's just so good to see you," Fezzik said then.

"Oh, it is, it is," Inigo agreed, "and I'm sorry for fainting, but I have done nothing for ninety days but wait for Vizzini and drink brandy, and a surprise like seeing you, well, that was just too much for me on an empty stomach. But I'm fine now."

"Good," Fezzik said. "Vizzini is dead."

"He is, eh? Dead, you say ... Vizz..." and then he fainted again.

Fezzik began berating himself. "Oh, you stupid, if there's a right way and a wrong way, trust you to find the dumb way; fool, fool, back to the beginning was the rule." Fezzik really felt idiotic then because, after months of forgetting, now that he didn't need to remember anymore, he remembered. He hurried downstairs and made some tea and brought some crackers and honey and fed Inigo again.

When Inigo blinked, Fezzik said, "Rest."

"Thank you, my friend; no more fainting." And he closed his eyes and slept for an hour.

Fezzik busied himself in Falkbridge's kitchen. He really didn't know how to prepare a proper meal, but he could heat and he could cool and he could sniff the good meat from the rotted, so it wasn't too great a task to finally end up with something that once looked like roast beef and another thing that could have been a potato.

The unexpected smell of hot food brought Inigo around, and he lay in bed, eating every bite Fezzik fed him. "I never realized I was in such terrible

condition," Inigo said, chewing away.

"Shhh, you'll be fine now," Fezzik said, cutting another piece of meat, putting it into Inigo's mouth.

Inigo chewed it carefully down. "First you appearing so suddenly and then, on top of that, the business of Vizzini. It was too much for me."

"It would have been too much for anybody; just rest." Fezzik began to cut another piece of meat.

"I feel such a baby, so helpless," Inigo said, taking the next bite, chewing away.

"You'll be as strong as ever by sundown," Fezzik promised, getting the next piece of meat ready. "The six-fingered man is named Count Rugen and he's here right now in Florin City."

"Interesting," Inigo managed this time before he fainted again.

Fezzik stood over the still figure. "Well it is so good to see you," he said, "and it's been such a long time and I've just got so much news."

Inigo only lay there.

Fezzik hurried to Falkbridge's tub and plugged it up and after a lot of work he got it filled with steaming water and then he dunked Inigo in, holding him down with one hand, holding Inigo's mouth shut with the other, and when the brandy began to sweat from the Spaniard's body, Fezzik emptied the tub and filled it again, with icy water this time, and back he plunged Inigo, and when that water began to warm a bit back he filled the tub with steaming stuff and back went Inigo and now the brandy was really oozing from his pores and that was how it went, hour after hour, hot to icy cold to steaming hot and then some tea and then some toast and then some steaming hot again and more icy cold and then a nap and then more toast and less tea but the longest steamer yet and this time there wasn't much brandy left inside and one final icy cold and then a two-hour sleep until by mid-afternoon, they sat downstairs in Falkbridge's kitchen, and now, at last, for the first time in ninety days, Inigo's eyes were almost bright. His hands did shake, but not all that noticeably, and perhaps the Inigo of before the brandy would have bested this fellow now in sixty minutes of solid fencing. But not too many other masters in the world would have survived for five.

"Tell me briefly now: while I've been here with the brandy, you have been where?"

"Well, I spent some time in a fishing village and then I wandered a bit, and then a few weeks ago I found myself in Guilder and the talk there was of

the coming wedding and perhaps a coming war and I remembered Buttercup when I carried her up the Cliffs of Insanity; she was so pretty and soft and I had never been so near perfume before that I thought it might be nice to see her wedding celebrations, so I came here, but my money was gone, and then they were forming a brute squad and needed giants and I went to apply and they beat me with clubs to see if I was strong enough and when the clubs broke they decided I was. I've been a Brute First Class all this past week; it's very good pay."

Inigo nodded. "All right, again, and this time please be brief, from the beginning: the man in black. Did he get by you?"

"Yes. Fairly too. Strength against strength. I was too slow and out of practice."

"Then it was he that killed Vizzini?" "That is my belief."

"Did he use his sword or his strength?"

Fezzik tried to remember. "There weren't any sword wounds and Vizzini didn't seem broken. There were just these two goblets and Vizzini dead. Poison is my guess."

"Why would Vizzini take poison?" Fezzik hadn't the least idea.

"But he was definitely dead?" Fezzik was positive.

Inigo began to pace the kitchen, his movements quick and sharp, the way his movements were before. "All right, Vizzini is dead, enough of that. Tell me briefly where the six-fingered Rugen is so I may kill him."

"That may not be so easy, Inigo, because the Count is with the Prince, and the Prince is in his castle, and he is pledged not to leave it till after his wedding, for he fears another sneak attack from Guilder, and all the entrances but the main one are sealed for safety and the main doors are guarded by twenty men."

"Hmmm," Inigo said, pacing faster now. "If you fought five and I fenced five, that would mean ten gone, which would be bad because that would also mean ten left and they would kill us. But" and now he picked up his pace even more, "if you should take six and I took eight, that would mean fourteen beaten, which would not be as bad but still bad enough, since the six remaining would kill us." And now he whirled on Fezzik. "How many could you handle at the most?"

"Well, some of them are from the Brute Squad, so I don't think more than eight."

"Leaving me twelve, which is not impossible, but not the best way to spend your first evening after three months on brandy." And suddenly Inigo's body sagged and in his eyes, bright a moment ago, now there was moisture.

"What has happened?" Fezzik cried.

"Oh, my friend, my friend, I need Vizzini. I am not a planner. I follow. Tell me what to do and no man alive does it better. But my mind is like fine wine; it travels badly. I go from thought to thought but not with logic, and I forget things, and help me, Fezzik, what am I to do?"

Fezzik wanted to cry now too. "I'm the stupidest fellow that was ever born; you know that. I couldn't remember to come back here even after you made up that special lovely rhyme for me."

"I need Vizzini."

"But Vizzini is dead."

And then Inigo was up again, blazing about the kitchen, and for the first time his fingers were snapping with excitement: "I don't need Vizzini; I need his master: I need the man in black! Look—he bested me with steel, my greatness; he bested you with strength, yours. He must have outplanned and outthought Vizzini and he will tell me how to break through the castle and kill the six-fingered beast. If you have the least notion where the man in black is at this moment, relate, quickly, the answer."

"He sails the seven seas with the Dread Pirate Roberts." "Why would he do a thing like that?"

"Because he is a sailor for the Dread Pirate Roberts."

"A sailor? A common sailor? A common ordinary seaman bests the great Inigo Montoya with the sword? In-con-ceiv-a-ble. He must be the Dread Pirate Roberts. Otherwise it makes no sense."

"In any event, he is sailing far away. Count Rugen says so and the Prince himself gave the order. The Prince wants no pirates around, what with all the trouble he is having with Guilder—remember, they kidnapped the Princess once, they might try—"

"Fezzik, we kidnapped the Princess once. You never were strong on memory, but even you should recall that we put the Guilder uniform pieces under the Princess's saddle. Vizzini did it because he was under orders to do it. Someone wanted Guilder to look guilty and who but a noble would want that and what noble more than the war-loving Prince himself? We never knew who

hired Vizzini. I guess Humperdinck. And as for the Count's word on the man in black's whereabouts, since the Count is the same man who slaughtered my father, we can rest assured that he is certainly a terrific fellow." He started for the door. "Come. We have much to do."

Fezzik followed him through the darkening streets of the Thieves Quarter. "You'll explain things to me as we go along?" Fezzik asked.

"I'll explain them to you now...." His bladelike body knifed on through the quiet streets, Fezzik hurrying alongside. "(a) I need to reach Count Rugen to at last avenge my father; (b) I cannot plan on how to reach Count Rugen; (c) Vizzini could have planned it for me but, (c prime) Vizzini is unavailable; however, (d) the man in black outplanned Vizzini, so, therefore, (e) the man in black can get me to Count Rugen."

"But I told you, Prince Humperdinck, after he captured him, gave orders for all to hear that the man in black was to be returned safely to his ship. Everyone in Florin knows this to be so."

"(a) Prince Humperdinck had some plans to kill his fiancée and hired us to carry them out but (b) the man in black ruined Prince Humperdinck's plans; however, eventually, (c) Prince Humperdinck managed to capture the man in black, and, as everybody in all Florin City also knows, Prince Humperdinck has a terrible temper, so, therefore, (d) if a man has a terrible temper, what could be more fun than losing it against the very fellow who spoiled your plans to kill your fiancée?" They had reached the Thieves Quarter wall now. Inigo jumped on Fezzik's shoulders and Fezzik started to climb. "Conclusion (1)," Inigo continued, not missing a beat, "since the Prince is in Florin City taking out his temper on the man in black, the man in black must also be in Florin City. Conclusion (2), the man in black must not be too happy with his present situation. Conclusion (3), I am in Florin City and need a planner to avenge my father, while he is in Florin City and needs a rescuer to salvage his future, and when people have equal needs of each other, conclusion (4 and final), deals are made."

Fezzik reached the top of the wall and started carefully climbing down the other side. "I understand everything," he said.

"You understand nothing, but it really doesn't matter, since what you mean is, you're glad to see me, just as I'm glad to see you because no more loneliness."

"That's what I mean," said Fezzik.

IT WAS DUSK when they began their search blindly through all of Florin City. Dusk, a day before the wedding. Count Rugen was about to begin his nightly experiments at that dusk, gathering up his notebooks from his room, filled with all his jottings. Five levels underground, behind high castle walls, locked and chained and silent, Westley waited beside the Machine. In a way, he still looked like Westley, except, of course, that he had been broken. Twenty years of his life had been sucked away. Twenty were left. Pain was anticipation. Soon the Count would come again. Against any wishes he had left, Westley went on crying.

 

IT WAS DUSK when Buttercup went to see the Prince. She knocked loudly, waited, knocked again. She could hear him shouting inside, and if it had not been so important, she would never have knocked the third time, but she did, and the door was yanked open, and the look of anger on his face immediately changed to the sweetest smile. "Beloved," he said. "Come in. A moment more is all I need." And he turned back to Yellin. "Look at her, Yellin. My bride-to-be. Has any man ever been so blessed?"

Yellin shook his head.

"Am I wrong, do you think, to go to any lengths, then, to protect her?"

Yellin shook his head again. The Prince was driving him crazy with his stories of the Guilder infiltration. Yellin had every spy he'd ever used working day and night and not one of them had come up with anything about Guilder. And yet the Prince insisted. Inwardly, Yellin sighed. It was beyond him; he was simply an enforcer, not a prince. In fact, the only remotely disturbing news he'd heard since he'd closed the Thieves Quarter that morning was within the hour, when someone told him of a rumor that the ship of the Dread Pirate Roberts had perhaps been seen sailing all the way into Florin Channel itself. But such a thing, Yellin knew from long experience, was, simply, rumor.

"I'll tell you, they are everywhere, these Guilders," the Prince went on. "And since you seem unable to stop them, I wish to change some plans. All the gates have been sealed to my castle except the front one, yes?"

"Yes. And twenty men guard it."

"Add eighty more. I want a hundred men. Clear?" "A hundred men it will be. Every Brute available."

"Inside the castle I'm quite safe. I have my own supplies, food, stables, enough. As long as they cannot get at me, I will survive. These, then, are the new and final plans—jot them down. All five-hundredth-anniversary

arrangements are canceled until after the wedding. The wedding is tomorrow at sunset. My bride and I will ride my whites to Florin Channel surrounded by all your enforcers. There we will board a ship and begin our long-awaited honeymoon surrounded by every ship in the Florin Armada—"

"Every ship but four," Buttercup corrected.

He blinked at her a moment in silence. Then he said, blowing her a kiss, but discreetly, so Yellin couldn't see, "Yes yes, how forgetful I am, every ship but four." He turned back to Yellin.

But in his blink, in that following silence, Buttercup had seen it all. "Those ships will stay with us until I deem it safe to release them. Of

course, Guilder could attack then, but that is a chance we must risk. Let me think if there's anything else." The Prince loved giving orders, especially the kind he knew would never need carrying out. Also, Yellin was a slow jotter, and that only added to the fun. "Excused," the Prince said finally.

With a bow, Yellin was gone.

"The four ships were never sent," Buttercup said, when they were alone. "Don't bother lying to me anymore."

"Whatever was done was done for your own good, sweet pudding." "Somehow, I do not think so."

"You're nervous, I'm nervous; we're getting married tomorrow, we've got a right to be."

"You couldn't be more wrong, you know; I'm very calm." And in truth, she did seem that way. "It doesn't matter whether you sent the ships or not. Westley will come for me. There is a God; I know that. And there is love; I know that too; so Westley will save me."

"You're a silly girl, now go to your room."

"Yes, I am a silly girl and, yes again, I will go to my room, and you are a coward with a heart filled with nothing but fear."

The Prince had to laugh. "The greatest hunter in the world and you say I am a coward?"

"I do, I do indeed. I'm getting much smarter as I age. I say you are a coward and you are; I think you hunt only to reassure yourself that you are not what you are: the weakest thing to ever walk the earth. He will come for me and then we will be gone, and you will be helpless for all your hunting, because Westley and I are joined by the bond of love and you cannot track that, not with a thousand bloodhounds, and you cannot break it, not with a thousand swords."

Humperdinck screamed toward her then, ripping at her autumn hair, yanking her from her feet and down the long curving corridor to her room, where he tore that door open and threw her inside and locked her there and started running for the underground entrance to the Zoo of Death—




My father stopped reading. 'Go on,' I said.

'Lost my place,' he said and I waited there, still weak with pneumonia and wet with fear until he started reading again. 'Inigo allowed Fezzik to open the door—' 'Hey,' I said. 'Hold it, that's not right, you skipped,' and then I quick caught my tongue because we'd just had that scene when I got all upset about Buttercup marrying Humperdinck when I'd accused him of skipping, and I didn't want any repeat of that. 'Daddy,' I said, I don't mean anything or anything, but wasn't the Prince sort of running toward the Zoo and then the next thing you said was about Inigo, and maybe, I mean, shouldn't there be a page or like that in between?'

My father started to close the book. 'I'm not fighting; please, don't close it.'

'It is not for that,' he said, and then he looked at me for a long time. 'Billy,' he said (he almost never called me that; I loved it when he did; anybody else I hated it, but when the barber did it, I don't know, I just melted), 'Billy, do you trust me?'

'What is that? Of course I do.'

'Billy, you got pneumonia; you're taking this book very serious, I know, because we already fought once about it.'

'I'm not fighting anymore—'

'Listen to me—I never lied to you yet, did I? Okay. Trust me. I don't want to read you the rest of this chapter and I want you to say it's all right.'

'Why? What happens in the rest of this chapter?'

'If I tell you, I could accomplish the same by reading. Just say okay.' 'I can't say that until I know what happens.'

'But—'

'Tell me what happens and I'll tell you if it's okay and I promise if I don't want to hear it, you can skip on to Inigo.' 'You won't do me this favor?'

'I'll sneak out of bed when you're asleep; I don't care where you hide the book, I'll find it and I'll read the rest of the chapter myself, so you might as well tell me.'

'Billy, please?'

'I gotcha; you might as well admit it.' My father sighed this terrible sound. I knew I had him beaten then. 'Westley dies,' my father said.

I said, 'What do you mean, "Westley dies"? You mean dies?'

My father nodded. 'Prince Humperdinck kills him.' 'He's only faking though, right?'

My father shook his head, closed the book all the way. Aw shit,' I said and I started to cry.

'I'm sorry,' my father said. 'I'll leave you alone,' and he left me.

'Who gets Humperdinck?' I screamed after him. He stopped in the hall. I don't understand.'

'Who kills Prince Humperdinck? At the end, somebody's got to get him.

Is it Fezzik? Who?'

'Nobody kills him. He lives.'

'You mean he wins, Daddy? Jesus, what did you read me this thing for?' and I buried my head in my pillow and I never cried like that again, not once to this day. I could feel almost my heart emptying into my pillow. I guess the most amazing thing about crying though is that when you're in it, you think it'll go on forever but it never really lasts half what you think. Not in terms of real time. In terms of real emotions, it's worse than you think, but not by the clock. When my father came back, it couldn't have been even an hour later.

'So,' he said, 'shall we go on tonight or not?'

'Shoot,' I told him. Eyes dry, no catch in throat, nothing. 'Fire when ready.'

'With Inigo?'

'Let's hear the murder,' I said. I knew I wasn't about to bawl again. Like Buttercup's, my heart was now a secret garden and the walls were very high.




HUMPERDINCK SCREAMED TOWARD her then, ripping at her autumn hair, yanking her from her feet and down the long curving corridor to her room, where he tore that door open and threw her inside and locked her there and started running for the underground entrance to the Zoo of Death and down he plunged, giant stride after giant stride, and when he threw the door of the fifth- level cage open, even Count Rugen was startled at the purity of whatever the emotion was that was reflected in the Prince's eyes. The Prince moved to Westley. "She loves you," the Prince cried. "She loves you still and you love her, so think of that—think of this too: in all this world, you might have been happy, genuinely happy. Not one couple in a century has that chance, not really, no matter what the storybooks say, but you could have had it, and so, I would think, no one will ever suffer a loss as great as you" and with that he grabbed the dial and pushed it all the way forward and the Count cried, "Not to twenty!" but by then it was too late; the death scream had started.

 

IT WAS MUCH worse than the scream of the wild dog. In the first place, the dial for the wild dog had only been set at six, whereas this was more than triple that. And so, naturally enough, it was more than three times as long. And more than three times as loud. But none of this really was why it was worse.

It was the scream from a human throat that made the difference.

In her chamber, Buttercup heard it, and it frightened her, but she had not the least idea what it was.

By the main door of the castle, Yellin heard it, and it also frightened him, though he couldn't imagine what it was either.

All the hundred Brutes and fighters flanked by the main door heard it too, and, to a man, they were bothered by it, and they talked it over for quite a while, but none of them had any sound notions as to what it might have been.

The Great Square was filled with common people excited about the coming wedding and anniversary, and they all heard it too, and no one even made the pretense of not being scared, but, again, none of them knew at all what it might have been.

The death scream rose higher in the night.

All the streets leading into the Square were also filled with citizens, all trying to crowd into the Square, and they heard it, but once they admitted they were petrified, they gave up trying to guess what it might have been.

Inigo knew immediately.

In the tiny alley that he and Fezzik were trying to force their way through,

he stopped, remembering. The alley led to the streets that led to the Square, and the alley was jammed too.

"I don't like that sound," Fezzik said, his skin, for the moment, cold.

Inigo grabbed the giant and the words began pouring out: "Fezzik—Fezzik

—that is the sound of Ultimate Suffering—I know that sound—that was the sound in my heart when Count Rugen slaughtered my father and I saw him fall

—the man in black makes it now—" "You think that's him?"

"Who else has cause for Ultimate Suffering this celebration night?" And with that, he started to follow the sound.

But the crowds were in his way, and he was strong but he was thin and he cried, "Fezzik—Fezzik—we must track that sound, we must trace it to its source, and I cannot move, so you must lead me. Fly, Fezzik; this is Inigo begging you—make a path—please! "

Well, Fezzik had rarely had anyone beg him for anything, least of all Inigo, and when something like that happened, you did what you could, so Fezzik, without waiting, began to push. Forward. Lots of people. Fezzik pushed harder. Lots of people began to move. Out of Fezzik's way. Fast.

The death scream was starting to fade now, fading in the clouds. "Fezzik!" said Inigo. "All your power, now."

Down the alley Fezzik ran, people screaming and diving to get out of his way, and in his footsteps Inigo kept pace, and at the end of the alley was a street and the scream was fainter now but Fezzik turned left and into the middle of the street he went and he owned it, no one was in his way, nothing dared block his way, and the scream was getting just so hard to hear, so with all his might Fezzik roared, "QUIET!" and the street was suddenly hushed and Fezzik pounded along, Inigo right behind, and the scream was still there, still faintly there, and into the Great Square itself and the castle beyond before the scream was gone....

 

WESTLEY LAY DEAD by the Machine. The Prince kept the dial by the twenty mark long long after it was necessary, until the Count said, "Done."

The Prince left without another look at Westley. He took the secret underground stairs four at a time. "She actually called me a coward," he said, and then he was gone from sight.

Count Rugen started taking notes. Then he threw his quill pen down. He tested Westley briefly, then he shook his head. Death was not of any intellectual

interest to him at all; when you were dead, you couldn't react to pain. The Count said, "Dispose of the body," because, even though he couldn't see the albino, he knew the albino was there. It was really a shame, he realized as he mounted the stairs after the Prince. You just didn't come across victims like Westley every day of the year.

When they were gone, the albino came out, pulled the cups from the corpse, decided to burn the body on the garbage pyre back behind the castle. Which meant a wheelbarrow. He hurried up the underground stairs, came out the secret entrance, moved quickly to the main tool shed; all the wheelbarrows were buried back at the rear wall, behind the hoes and rakes and hedge trimmers. The albino made a hissing sound of displeasure and began to pick his way past all the other equipment. This kind of thing always seemed to happen to him when he was in a hurry. The albino hissed again, extra work, extra work, all the time. Wouldn't you just know it?

He finally got the barrow out and was just passing the false and deadly supposed main entrance to the Zoo when "I'm having the devil's own trouble tracking that scream" was spoken to him, and the albino whirled to find, there, there in the castle grounds, a blade-thin stranger with a sword in his hand. The sword suddenly flicked its way to the albino's throat. "Where is the man in black?" the swordsman said then. He had a giant scar slanting down each cheek and seemed like no one to trifle with.

Whispered: "I know no man in black."

"Did the scream come from that place?" The fellow indicated the main entrance.

Nod.

"And the throat it came from? I need this man, so be quick!" Whispered: "Westley."

Inigo reasoned: "A sailor? Brought here by Rugen?" Nod.

"And I reach him where?"

The albino hesitated, then pointed to the deadly entrance. Whispered: "He is on the bottom level. Five levels down."

"Then I have no more need for you. Quiet him a while, Fezzik."

From behind him, the albino was aware of a giant shadow moving. Funny, he thought—the last thing he remembered—I thought that was a tree.

Inigo was on fire now. There was no stopping him. Fezzik hesitated by the main door. "Why would he tell the truth?"

"He's a zookeeper threatened with death. Why would he lie?" "That doesn't follow."

"I don't care!" Inigo said sharply, and, in fact, he didn't. He knew in his heart the man in black was down there. There was no other reason for Fezzik to find him, for Fezzik to know of Rugen, for everything to be coming together after so many years of waiting. If there was a God, then there was a man in black waiting. Inigo knew that. He knew it. And, of course, he was absolutely right. But again, of course, there were many things he did not know. That the man in black was dead, for one. That the entrance they were taking was the wrong one, for another, a false one, set up to foil those, like himself, who did not belong. There were spitting cobras down there, though what would actually come at him would be worse. These things he did not know either.

But his father had to be revenged. And the man in black would figure out how. That was enough for Inigo.

And so, with an urgency that would soon turn to deep regret, he and Fezzik approached the Zoo of Death.





INIGO ALLOWED Fezzik to open the door, not because he wished to hide behind the giant's strength but, rather, because the giant's strength was crucial to their entering: someone would have to force the thick door from its hinges, and that was right up Fezzik's alley.

"It's open," Fezzik said, simply turning the knob, peering inside.

"Open?" Inigo hesitated. "Close it then. There must be something wrong. Why would something as valuable as the Prince's private zoo be left unlocked?"

"It smells of animals something awful in there," Fezzik said. "Did I get a whiff!"

"Let me think," Inigo said; "I'll figure it out," and he tried to do his best, but it made no sense. You didn't leave diamonds lying around on the breakfast table and you kept the Zoo of Death shut and bolted. So there had to be a reason; it was just a matter of exercising your brain power and the answer would be there. (The answer to why the door happened to be unlocked was really this: it was always unlocked. And the reason for that was really this: safety. No one who had entered via the front door had ever survived to exit again. The idea basically belonged to Count Rugen, who helped the Prince architect the place. The Prince selected the location—the farthest corner of the castle grounds, away from everything, so the roars wouldn't bother the servants

—but the Count designed the entrance. The real entrance was by a giant tree, where a root lifted and revealed a staircase and down you went until you arrived at the fifth level. The false entrance, called the real entrance, took you down the levels the ordinary way, first to second, second to third, or, actually, second to death.)

"Yes," Inigo said finally. "You figured it out?"

"The reason the door was unlocked is simply this: the albino would have locked it, he would never have been so stupid as not to, but, Fezzik, my friend, we got to him before he got to it. Clearly, once he was done with his

wheelbarrowing, he would have begun locking and bolting. It's quite all right; you can stop worrying; let's go."

"I just feel so safe with you," Fezzik said, and he pulled the door open a second time. As he did it, he noticed that not only was the door unlocked, it didn't even have a place for a lock, and he wondered should he mention that to Inigo, but decided against it, because Inigo would have to wait and figure some more and they had done enough of that already, because, although he said he felt safe with Inigo, in truth he was very frightened. He had heard odd things about this place, and lions didn't bother him, and who cared about gorillas; they were nothing. It was the creepers that made him squeamish. And the slitherers. And the stingers. And the ... and the everything, Fezzik decided, to be truthful and honest. Spiders and snakes and bugs and bats and you name it— he just wasn't very fond of any of them. "Still smells of animals," he said, and he held the door open for Inigo, and together, stride for stride, they entered the Zoo of Death, the great door shutting silently behind them.

"Quite a bizarre place," Inigo said, moving past several large cages in which were cheetahs and hummingbirds and other swift things. At the end of the hall was another door with a sign above it saying, "To Level Two." They opened that door and saw a flight of stairs leading very steeply down. "Careful," Inigo said; "stay close to me and watch your balance."

They started down toward the second level.

"If I tell you something, will you promise not to laugh at me or mock me or be mean to me?" Fezzik asked.

"My word," Inigo nodded.

"I'm just scared to pieces," Fezzik said. "Be sure it ceases," Inigo said right back. "Oh, that's a wonderful rhyme—"

"Some other time," Inigo said, making another, feeling quite bright about the whole thing, sensing the pleasure in having Fezzik visibly relax as they descended, so he smiled and clapped Fezzik on his great shoulder for the good fellow he was. But deep, deep inside, Inigo's stomach was knotting. He was absolutely appalled and astonished that a man of unlimited strength and power would be scared to pieces; until Fezzik spoke, Inigo was positive that he was the only one who was genuinely scared to pieces, and the fact that they both were did not bode well if panic time came. Someone would have to keep his wits, and he had assumed automatically that since Fezzik had so few, he would find retaining them not all that difficult. No good, Inigo realized. Well, he

would simply have to do his best to avoid panic situations and that was that.

The staircase was straight, and very long, but eventually they reached the end of it. Another door. Fezzik gave it a push. It opened. Another corridor lined with cages, big ones though, and inside, great baying hippos and a twenty-foot alligator thrashing angrily in shallow water.

"We must hurry," Inigo said, picking up the pace; "much as we might like to dawdle," and he half ran toward a sign that said, "To Level Three." Inigo opened the door and looked down and Fezzik peered over his shoulder. "Hmmm," Inigo said.

This staircase was different. It was not nearly as steep, and it curved halfway, so that whatever was near the bottom of it was quite out of sight as they stood at the top preparing to go down. There were strange candles burning high on the walls out of reach. The shadows they made were very long and very thin.

"Well, I'm certainly glad I wasn't brought up here," Inigo said, trying for a

joke.

"Fear," Fezzik said, the rhyme out before he could stop it.

Inigo exploded. "Really! If you can't maintain control, I'm going to send

you right back up and you can just wait there all by yourself."

"Don't leave me; I mean, don't make me leave you. Please. I meant to say 'beer'; I don't know how the f got in there."

"I'm really losing patience with you; come along," Inigo said, and he started down the curving stairs, Fezzik following, and as the door closed behind them, two things happened:

  1. The door, quite clearly, locked.
  2. Out went the candles on the high walls. "DON'T BE FRIGHTENED!" Inigo screamed.

"I'M NOT, I'M NOT!" Fezzik screamed right back. And then, above his heartbeat, he managed, "What are we going to do?"

"S-s-s-simple," said Inigo after a while.

"Are you frightened too?" asked Fezzik in the darkness.

"Not ... remotely," Inigo said with great care. "And before, I meant to say 'easy'; I don't know how the 's-s-s-s-' got in there. Look: we can't go back and we certainly don't want to stay here, so we just must keep on going as we were before these little things happened. Down. Down is our direction, Fezzik, but I can tell you're a bit edgy about all this, so, out of the goodness of my heart, I will let you walk down not behind me, and not in front of me, but right next to

me, on the same step, stride for stride, and you put an arm around my shoulder, because that will probably make you feel better, and I, so as not to make you feel foolish, will put an arm around your shoulder, and thus, safe, protected, together, we will descend."

"Will you draw your sword with your free hand?" "I already have. Will you make a fist with yours?" "It's clenched."

"Then let's look on the bright side: we're having an adventure, Fezzik, and most people live and die without being as lucky as we are."

They moved down one step. Then another. Then two, then three, as they got the hang of it.

"Why do you think they locked the door behind us?" Fezzik asked as they moved.

"To add spice to our trip, I suspect," replied Inigo. It was certainly one of his weaker answers, but the best he could come up with.

"Here's where the turn starts," said Fezzik, and they slowed, making the sharp turn without stumbling, continuing on down. "And they took away the candles for the same reason—spice?"

"Most likely. Don't squeeze me quite so hard—" "Don't you squeeze me quite so hard—"

By then they knew they were for it.

There has been, for many years, a running battle among jungle zoologists as to just which of the giant snakes is the biggest. The anaconda men are forever trumpeting the Orinoco specimen that weighed well over five hundred pounds, while the python people never fail to reply by pointing out that the African Rock found outside Zambesi measured thirty-four feet, seven inches. The argument, of course, is silly, because "biggest" is a vague word, having no value whatever in arguments, if one is serious.

But any serious snake enthusiast would admit, whatever his schooling, that the Arabian Garstini, though shorter than the python and lighter than the anaconda, was quicker and more ravenous than either, and this specimen of Prince Humperdinck's was not only remarkable for its speed and agility, it was also kept in a permanent state just verging on the outskirts of starvation, so the first coil came like lightning as it dropped from above them and pinioned their hands so the fist and sword were useless and the second coil imprisoned their arms and "Do something—" Inigo cried.

"I can't—I'm caught—you do something—"

"Fight it, Fezzik—"

"It's too strong for me—" "Nothing is too strong for you—"

The third coil was done now, around the upper shoulders, and the fourth coil, the final coil, involved the throat, and Inigo whispered in terror, because he could hear the beast's breathing now, could actually feel its breath, "Fight it

... I'm ... I'm..."

Fezzik trembled with fear and whispered, "Forgive me, Inigo." "Oh, Fezzik ... Fezzik..."

"What...?"

"I had such rhymes for you "

"What rhymes? "

Silence.

The fourth coil was finished. "Inigo, what rhymes?" Silence.

Snake breath.

"Inigo, I want to know the rhymes before I die—Inigo, I really want to know—Inigo, tell me the rhymes" Fezzik said, and by now he was very frustrated and, more than that, he was spectacularly angry and one arm came clear of one coil and that made it a bit less of a chore to fight free of the second coil and that meant he could take that arm and bring it to the aid of the other arm and now he was yelling it out, "You're not going anywhere until I know those rhymes" and the sound of his own voice was really very impressive, deep and resonant, and who was this snake anyway, getting in the path of Fezzik when there were rhymes to learn, and by this time not only were both arms free of the bottom three coils but he was furious at the interruption and his hands grabbed toward the snake breath, and he didn't know if snakes had necks or not but whatever it was that you called the part that was under its mouth, that was the part he had between his great hands and he gave it a smash against the wall and the snake hissed and spit but the fourth coil was looser, so Fezzik smashed it again and a third time and then he brought his hands back a bit for leverage and he began to whip the beast against the walls like a native washerwoman beating a skirt against rocks, and when the snake was dead, Inigo said, "Actually, I had no specific rhymes in mind; I just had to do something to get you into action."

Fezzik was panting terribly from his labors. "You lied to me is what

you're saying. My only friend in all my life turns out to be a liar." He started tromping down the stairs, Inigo stumbling after him.

Fezzik reached the door at the bottom and threw it open and slammed it, with Inigo just managing to slip inside before the door crashed shut.

It locked immediately.

At the end of this corridor, the "To Level Four" sign was clearly visible, and Fezzik hurried toward it. Inigo pursued him, hurrying past the poisoners, the spitting cobras and Gaboon vipers and, perhaps most quickly lethal of all, the lovely tropical stonefish from the ocean outside India.

"I apologize," Inigo said. "One lie in all these years, that's not such a terrible average when you consider it saved our lives."

"There's such a thing as principle" was all Fezzik would answer, and he opened the door that led to the fourth level. "My father made me promise never to lie, and not once in my life have I even been tempted," and he started down the stairs.

"Stop!" Inigo said. "At least examine where we're going."

It was a straight staircase, but completely dark. The opening at the far end was invisible. "It can't be as bad as where we've been," Fezzik snapped, and down he went.

In a way, he was right. For Inigo, bats were never the ultimate nightmare. Oh, he was afraid of them, like everybody else, and he would run and scream if they came near; in his mind, though, hell was not bat-infested. But Fezzik was a Turkish boy, and people claim the fruit bat from Indonesia is the biggest in the world; try telling that to a Turk sometime. Try telling that to anyone who has heard his mother scream, "Here come the king bats!" followed by the poisonous fluttering of wings.

"HERE COME THE KING BATS!" Fezzik screamed, and he was, quite literally, as he stood halfway down the dark steps, paralyzed with fear, and behind him now, doing his best to fight the darkness, came Inigo, and he had never heard that tone before, not from Fezzik, and Inigo didn't want bats in his hair either, but it wasn't worth that kind of fright, so he started to say "What's so terrible about king bats" but "What" was all he had time for before Fezzik cried, "Rabies! Rabies!" and that was all Inigo needed to know, and he yelled, "Down, Fezzik," and Fezzik still couldn't move, so Inigo felt for him in the darkness as the fluttering grew louder and with all his strength he slammed the giant on the shoulder hollering "Down" and this time Fezzik went to his knees obediently, but that wasn't enough, not nearly, so Inigo slammed him again

crying, "Flat, flat, all the way down," until Fezzik lay on the black stairs shaking and Inigo knelt above him, the great six-fingered sword flying into his hands, and this was it, this was a test to see how far down the ninety days of brandy had taken him, how much of the great Inigo Montoya remained, for, yes, he had studied fencing, true, he had spent half his life and more learning the Agrippa attack and the Bonetti defense and of course he had studied his Thibault, but he had also, one desperate time, spent a summer with the only Scot who ever understood swords, the crippled MacPherson, and it was MacPherson who scoffed at everything Inigo knew, it was MacPherson who said, "Thibault, Thibault is fine if you fight in a ballroom, but what if you meet your enemy on terrain that is tilted and you are below him," and for a week, Inigo studied all the moves from below, and then MacPherson put him on a hill in the upper position, and when those moves were mastered, MacPherson kept right on, for he was a cripple, his legs stopped at the knee, and so he had a special feel for adversity. "And what if your enemy blinds you?" MacPherson once said. "He throws acid in your eyes and now he drives in for the kill; what do you do? Tell me that, Spaniard, survive that, Spaniard." And now, waiting for the charge of the king bats, Inigo flung his mind back toward the MacPherson moves, and you had to depend on your ears, you found his heart from his sounds, and now, as he waited, above him Inigo could feel the king bats massing, while below him Fezzik trembled like a kitten in cold water.

"Be still!" Inigo commanded, and that was the last sound he made, because he needed his ears now, and he tilted his head toward the flutter, the great sword firm in his right hand, the deadly point circling slowly in the air. Inigo had never seen a king bat, knew nothing of them; how fast were they, how did they come at you, at what angle, and how many made each charge? The flutter was dead above him now, ten feet perhaps, perhaps more, and could bats see in the night? Did they have that weapon too? "Come on!" Inigo was about to say, but there was no need, because with a rush of wings he had expected and a high long shriek he had not, the first king bat swooped down at him.

Inigo waited, waited, the flutter was off to the left, and that was wrong, because he knew where he was and so did the beasts, so that meant they must have been preparing something for him, a cut, a sudden turn, and with all control left to his brain he kept his sword just as it was, circling slowly, not following the sound until the fluttering stopped and the king bat veered in silence toward Inigo's face.

The six-fingered sword drove through like butter.

The death sound of the king bat was close to human, only a bit higher pitched and shorter, and Inigo was only briefly interested because now there was a double flutter; they were coming at him from two sides and one right, one left, and MacPherson told him always move from strength to weakness, so Inigo stabbed first to the right, then drove left, and two more almost human sounds came and went. The sword was heavy now, three dead beasts changed the balance, and Inigo wanted to clear the weapon, but now another flutter, a single one, and no veering this time, straight and deadly for his face and he ducked and was lucky; the sword moved up and into the heart of the lethal thing and now there were four skewered on the sword of legend, and Inigo knew he was not about to lose this fight and from his throat came the words, "I am Inigo Montoya and still the Wizard; come for me," and when he heard three of them fluttering, he wished he had been just a bit more modest but it was too late for that, so he needed surprise, and he took it, shifting position against the beasts, standing straight, taking their dives long before they expected it, and now there were seven king bats and his sword was completely out of balance and that would have been a bad thing, a dangerous thing, except for one important aspect: there was silence now in the darkness. The fluttering was done.

"Some giant you are," Inigo said then, and he stepped over Fezzik and hurried down the rest of the darkened stairs.

Fezzik got up and lumbered after him, saying, "Inigo, listen, I made a mistake before, you didn't lie to me, you tricked me, and father always said tricking was fine, so I'm not mad at you anymore, and is that all right with you? It's all right with me."

They turned the knob on the door at the bottom of the black stairs and stepped onto the fourth level.

Inigo looked at him. "You mean you'll forgive me completely for saving your life if I completely forgive you for saving mine?"

"You're my friend, my only one." "Pathetic, that's what we are," Inigo said. "Athletic."

"That's very good," Inigo said, so Fezzik knew they were fine again. They started toward the sign that said, "To Level Five," passing strange cages. "This is the worst yet," Inigo said, and then he jumped back, because behind a pale glass case, a blood eagle was actually eating what looked like an arm. And on the other side there was a great black pool, and whatever was in it was dark

and many armed and the water seemed to get sucked toward the center of the pool where the mouth of the thing was. "Hurry," Inigo said, and he found himself trembling at the thought of being dropped into the black pool.

They opened the door and looked down toward the fifth level. Stunning.

In the first place, the door they opened had no lock, so it could not trap them. And in the second place the stairs were all brightly lit. And in the third place the stairs were absolutely straight. And in the fourth place, it wasn't a long flight at all.

And in the main place, there was nothing inside. It was bright and clean and totally, without the least doubt, empty.

"I don't believe it for a minute," Inigo said, and, holding his sword at the ready, he took the first step down. "Stay by the door—the candles will go out any second."

He took a second step down. The candles stayed bright.

A third step. The fourth. There were only about a dozen steps in all, and he took two more, stopping in the middle. Each step was perhaps a foot in width, so he was six feet from Fezzik, six feet from the large, ornate green- handled door that opened onto the final level. "Fezzik?"

From the upper door: "What?" "I'm frightened."

"It looks all right though."

"No. It's supposed to; that's to fool us. Whatever we've gotten by before, this must be worse."

"But there's nothing to see, Inigo."

Inigo nodded. "That's why I'm so frightened." He took another step down toward the final, ornate green-handled door. Another. Four steps to go. Four feet to go.

Forty-eight inches from death.

Inigo took another step. He was trembling now; almost out of control. "Why are you shaking?" Fezzik from the top.

"Death is here. Death is here." He took another step down. Twenty-four inches to dying.

"Can I come join you now?"

Inigo shook his head. "No point in your dying too." "But it's empty."

"No. Death is here." Now he was out of control. "If I could see it, I could fight it."

Fezzik didn't know what to do.

"I'm Inigo Montoya the Wizard; come for me!" He turned around and around, sword ready, studying the brightly lit staircase.

"Now you're scaring me," Fezzik said, and he let the door close behind him and started down the stairs.

Inigo started up after him, saying "No." They met on the sixth step. Seventy-two inches from death now.

The green speckled recluse doesn't destroy as quickly as the stonefish. And many think the mamba brings more suffering, what with the ulcerating and all. But gram for gram, nothing in the universe comes close to the green speckled recluse; among other spiders, compared with the green speckled recluse, the black widow was a rag doll. Prince Humperdinck's recluse lived behind the ornate green handle on the bottom door. She rarely moved, unless the handle turned. Then she struck like lightning.

On the sixth stair, Fezzik put his arm around Inigo's shoulder. "We'll go down together, step by step. There's nothing here, Inigo."

To the fifth step. "There has to be." "Why?"

"Because the Prince is a fiend. And Rugen is his twin in misery. And this is their masterpiece." They moved to the fourth step.

"That's wonderful thinking, Inigo," Fezzik said, loud and calmly; but, inside, he was starting to go to pieces. Because here he was, in this nice bright place, and his one friend in all the world was cracking from the strain. And if you were Fezzik, and you hadn't much brainpower, and you found yourself four stories underground in a Zoo of Death looking for a man in black that you really didn't think was down there, and the only friend you had in all the world was going quickly mad, what did you do?

Three steps now.

If you were Fezzik, you panicked, because if Inigo went mad, that meant the leader of this whole expedition was you, and if you were Fezzik, you knew the last thing in the world you could ever be was a leader. So Fezzik did what he always did in a panic situation.

He bolted.

He just yelled and jumped for the door and slammed it open with his body, never even bothering with the niceties of turning that pretty green handle,

and as the door gave behind his strength he kept right on running until he came to the giant cage and there, inside and still, lay the man in black. Fezzik stopped then, relieved greatly, because seeing that silent body meant one thing: Inigo was right, and if Inigo was right, he couldn't be crazy, and if he wasn't crazy, then Fezzik didn't have to lead anybody anywhere. And when that thought reached his brain, Fezzik smiled.

Inigo, for his part, was startled at Fezzik's strange behavior. He saw no reason for it whatsoever, and was about to call after Fezzik when he saw a tiny green speckled spider scurrying down from the door handle, so he stepped on it with his boot as he hurried to the cage.

Fezzik was already inside the place, kneeling over the body. "Don't say it," Inigo said, entering.

Fezzik tried not to, but it was on his face. "Dead."

Inigo examined the body. He had seen a lot of corpses in his time. "Dead." Then he sat down miserably on the floor and put his arms around his knees and rocked back and forth like a baby, back and forth, back and forth and back.

It was too unfair. You expected unfairness if you breathed, but this went beyond that. He, Inigo, no thinker, had thought—hadn't he found the man in black? He, Inigo, frightened of beasts and crawlers and anything that stung, had brought them down the Zoo unharmed. He had said good-by to caution and stretched himself far beyond any boundaries he ever dreamed he possessed. And now, after such effort, after being reunited with Fezzik on this day of days for this one purpose, to find the man to help him find a plan to help him revenge his dead Domingo—gone. All was gone. Hope? Gone. Future? Gone. All the driving forces of his life. Gone. Snuffed out. Beaten. Dead.

"I am Inigo Montoya, the son of Domingo Montoya, and I do not accept it." He sprang to his feet, started up the underground stairs, stopping only long enough to snap commands. "Come, come along. Bring the body." He searched through his pockets for a moment, but they were empty, from the brandy. "Have you got any money, Fezzik?"

"Some. They pay well on the Brute Squad."

"Well I just hope it's enough to buy a miracle, that's all."

 

WHEN THE KNOCKING started on his hut door, Max almost didn't answer it. "Go away," he almost said, because lately it was only kids come to mock him. Except this was a little past the time for kids being up—it was almost midnight—and besides, the knocking was both loud and, at the same

time, rat-a-tatty, as if the brain was saying to the fist, "Hurry it up; I want to see a little action."

So Max opened the door a peek's worth. "I don't know you."

"Aren't you Miracle Max that worked all those years for the King?" this skinny guy said.

"I got fired, didn't you hear? That's a painful subject, you shouldn't have brought it up, good night, next time learn a little manners," and he closed the hut door.

Rat-a-tat—rat-a-tattt.

"Get away, I'm telling you, or I call the Brute Squad."

"I'm on the Brute Squad," this other voice said from outside the door, a big deep voice you wanted to stay friendly with.

"We need a miracle; it's very important," the skinny guy said from outside. "I'm retired," Max said, "anyway, you wouldn't want someone the King

got rid of, would you? I might kill whoever you want me to miracle." "He's already dead," the skinny guy said.

"He is, huh?" Max said, a little interest in his voice now. He opened the door a peek's worth again. "I'm good at dead."

"Please," the skinny guy said.

"Bring him in. I'm making no promises," Miracle Max answered after some thought.

This huge guy and this skinny guy brought in this big guy and put him on the hut floor. Max poked the corpse. "Not so stiff as some," he said.

The skinny guy said, "We have money."

"Then go get some great genius specialist, why don't you? Why waste time messing around with me, a guy who the King fired." It almost killed him when it happened. For the first two years, he wished it had. His teeth fell out from gnashing; he pulled the few loyal tufts from his scalp in wild anger.

"You're the only miracle man left alive in Florin," the skinny guy said. "Oh, so that's why you come to me? One of you said, 'What'll we do with

this corpse?' And the other one said, 'Let's take a flyer on that miracle man the King fired,' and the first one probably said, 'What've we got to lose; he can't kill a corpse' and the other one probably said—"

"You were a wonderful miracle man," the skinny guy said. "It was all politics that got you fired."

"Don't insult me and say wonderful—I was great—I am great—there was never—never, you hear me, sonny, a miracle man could match me—half the

miracle techniques I invented—and then they fired me...." Suddenly his voice trailed off. He was very old and weak and the effort at passionate speech had drained him.

"Sir, please, sit down—" the skinny guy said.

"Don't 'sir' me, sonny," Miracle Max said. He was tough when he was young and he was still tough. "I got work to do. I was feeding my witch when you came in; I got to finish that now," and he lifted the hut trap door and took the ladder down into the cellar, locking the trap door behind him. When that was done, he put his finger to his lips and ran to the old woman cooking hot chocolate over the coals. Max had married Valerie back a million years ago, it seemed like, at Miracle School, where she worked as a potion ladler. She wasn't, of course, a witch, but when Max started practice, every miracle man had to have one, so, since Valerie didn't mind, he called her a witch in public and she learned enough of the witch trade to pass herself off as one under pressure. "Listen! Listen!" Max whispered, gesturing repeatedly toward the hut above. "Upstairs you'll never guess what I got—a giant and a spick."

"A giant on a stick?" Valerie said, clutching her heart; her hearing wasn't what it once was.

"Spick! Spick! A Spanish fella. Scars and everything, a very tough cookie."

"Let them steal what they want; what do we have worth fighting over?" "They don't want to steal, they want to buy. Me. They got a corpse up

there and they want a miracle."

"You were always good at dead," Valerie said. She hadn't seen him trying so hard not to seem excited since the firing had all but done him in. She very carefully kept her own excitement under control. If only he would work again. Her Max was such a genius, they'd all come back, every patient. Max would be honored again and they could move out of the hut. In the old days, the hut was where they tried experiments. Now it was home. "You had nothing else pressing on for the evening, why not take the case?"

"I could, I admit that, no question, but suppose I did? You know human nature; they'd probably try getting out without paying. How can I force a giant to pay if he doesn't want to? Who needs that kinda grief? I'll send them on their way and you bring me up a nice cup of chocolate. Besides, I was halfway through an article on eagles' claws that was very well written."

"Get the money in advance. Go. Demand. If they say no, out with them. If they say yes, bring the money down to me, I'll feed it to the frog, they'll never

find it even if they change their mind and try to rob it back."

Max started back up the ladder. "What should I ask for? I haven't done a miracle—it's what, three years now? Prices may have skyrocketed. Fifty, you think? If they got fifty, I'll consider. If not, out they go."

"Right," Valerie agreed, and the minute Max had shut the trap door, she clambered silently up the ladder and pressed her ear to the ceiling.

"Sir, we're in a terrible rush, so—" this one voice said.

"Don't you hurry me, sonny, you hurry a miracle man, you get rotten miracles, that what you want?"

"You'll do it, then?"

"I didn't say I'd do it, sonny, don't try pressuring a miracle man, not this one; you try pressuring me, out you go, how much money you got?"

"Give me your money, Fezzik?" the same voice said again.

"Here's all I've got," this great voice boomed. "You count it, Inigo."

There was a pause. "Sixty-five is what we've got," the one called Inigo

said.

Valerie was about to clap her hands with joy when Max said, "I never

worked for anything that little in my life; you got to be joking, excuse me again; I got to belch my witch; she's done eating by now."

Valerie hurried back to the coals and waited until Max joined her. "No good," he said. "They only got twenty."

Valerie stirred away at the stove. She knew the truth but dreaded having to say it, so she tried another tack. "We're practically out of chocolate powder; twenty could sure be a help at the barterer's tomorrow."

"No chocolate powder?" Max said, visibly upset. Chocolate was one of his favorites, right after cough drops.

"Maybe if it was a good cause you could lower yourself to work for twenty," Valerie said. "Find out why they need the miracle."

"They'd probably lie."

"Use the bellows cram if you're in doubt. Look: I would hate to have it on my conscience if we didn't do a miracle when nice people were involved."

"You're a pushy lady," Max said, but he went back upstairs. "Okay," he said to the skinny guy. "What's so special I should bring back out of all the hundreds of people pestering me every day for my miracles this particular fella? And, believe me, it better be worthwhile."

Inigo was about to say "So he can tell me how to kill Count Rugen," but that didn't quite sound like the kind of thing that would strike a cranky miracle

man as aiding the general betterment of mankind, so he said, "He's got a wife, he's got fifteen kids, they haven't a shred of food; if he stays dead, they'll starve, so—"

"Oh, sonny, are you a liar," Max said, and he went to the corner and got out a huge bellows. "I'll ask him," Max grunted, lifting the bellows toward Westley.

"He's a corpse; he can't talk," Inigo said.

"We got our ways" was all Max would answer, and he stuck the huge bellows way down into Westley's throat and started to pump. "You see," Max explained as he pumped, "there's different kinds of dead: there's sort of dead, mostly dead, and all dead. This fella here, he's only sort of dead, which means there's still a memory inside, there's still bits of brain. You apply a little pressure here, a little more there, sometimes you get results."

Westley was beginning to swell slightly now from all the pumping. "What are you doing?" Fezzik said, starting to get upset.

"Never mind, I'm just filling his lungs; I guarantee you it ain't hurting him." He stopped pumping the bellows after a few moments more, and then started shouting into Westley's ear: "WHAT'S SO IMPORTANT? WHAT'S HERE WORTH COMING BACK FOR? WHAT YOU GOT WAITING FOR YOU?"

Max carried the bellows back to the corner then and got out a pen and paper. "It takes a while for that to work its way out, so you might as well answer me some questions. How well do you know this guy?"

Inigo didn't much want to answer that, since it might have sounded strange admitting they'd only met once alive, and then to duel to the death. "How do you mean exactly?" he replied.

"Well, for example," Max said, "was he ticklish or not?"

"Ticklish?" Inigo exploded angrily. "Ticklish! Life and death are all around and you talk ticklish!"

"Don't you yell at me," Max exploded right back, "and don't you mock my methods—tickling can be terrific in the proper instances. I had a corpse once, worse than this fella, mostly dead he was, and I tickled him and tickled him; I tickled his toes and I tickled his armpits and his ribs and I got a peacock feather and went after his belly button; I worked all day and I worked all night and the following dawn—the following dawn, mark me— this corpse said, 'I just hate that,' and I said, 'Hate what?' and he said, 'Being tickled; I've come all the way back from the dead to ask you to stop,' and I said, 'You mean this that I'm doing now with the peacock feather, it bothers you?' and he said, 'You

couldn't guess how much it bothers me,' and of course I just kept on asking him questions about tickling, making him talk back to me, answer me, because, I don't have to tell you, once you get a corpse really caught up in conversation, your battle's half over."

"Tr ... ooooo ... luv..."

Fezzik grabbed onto Inigo in panic and they both pivoted, staring at the man in black, who was silent again. " 'True love,' he said," Inigo cried. "You heard him—true love is what he wants to come back for. That's certainly worthwhile."

"Sonny, don't you tell me what's worthwhile—true love is the best thing in the world, except for cough drops. Everybody knows that."

"Then you'll save him?" Fezzik said.

"Yes, absolutely, I would save him, ifhe had said 'true love,' but you misheard, whereas I, being an expert on the bellows cram, will tell you what any qualified tongue man will only be happy to verify—namely, that the f sound is the hardest for the corpse to master, and that it therefore comes out vuh, and what your friend said was 'to blove,' by which he meant, obviously, 'to bluff'— clearly he is either involved in a shady business deal or a card game and wishes to win, and that is certainly not reason enough for a miracle. I'm sorry, I never change my mind once it's made up, good-by, take your corpse with you."

"Liar! Liar!" shrieked suddenly from the now open trap door. Miracle Max whirled. "Back, Witch—" he commanded.

"I'm not a witch, I'm your wife—" she was advancing on him now, an ancient tiny fury—"and after what you've just done I don't think I want to be that anymore—" Miracle Max tried to calm her but she was having none of it. "He said 'true love,' Max—even I could hear it—'true love,' 'true love.'"

"Don't go on," Max said, and now there was pleading coming from somewhere.

Valerie turned toward Inigo. "He is rejecting you because he is afraid—he is afraid he's done, that the miracles are gone from his once majestic fingers

—"

"Not true—" Max said.

"You're right," Valerie agreed, "it isn't true—they never were majestic, Max—you were never any good."

"The Ticklish Cure—you were there—you saw—" "A fluke—"

"All the drowners I returned—"

"Chance—"

"Valerie, we've been married eighty years; how can you do this to me?" "Because true love is expiring and you haven't got the decency to tell why

you don't help—well I do, and I say this, Prince Humperdinck was right to fire you—"

"Don't say that name in my hut, Valerie—you made a pledge to me you'd never breathe that name—"

"Prince Humperdinck, Prince Humperdinck, Prince Humperdinck—at least he knows a phony when he sees one—"

Max fled toward the trap door, his hands going to his ears.

"But this is his fiancée's true love," Inigo said then. "If you bring him back to life, he will stop Prince Humperdinck's marriage—"

Max's hands left his ears. "This corpse here—he comes back to life, Prince Humperdinck suffers?"

"Humiliations galore," Inigo said.

"Now that's what I call a worthwhile reason," Miracle Max said. "Give me the sixty-five; I'm on the case." He knelt beside Westley. "Hmmm," he said.

"What?" Valerie said. She knew that tone.

"While you were doing all that talking, he's slipped from sort of to mostly dead."

Valerie tapped Westley in a couple of places. "Stiffening," she said. "You'll have to work around that."

Max did a few taps himself. "Do you suppose the oracle's still up?"

Valerie looked at the clock. "I don't think so, it's almost one. Besides, I don't trust her all that much anymore."

Max nodded. "I know, but it would have been nice to have a little advance hint on whether this is gonna work or not." He rubbed his eyes. "I'm tired going in; I wish I'd known in advance about the job; I'd have napped this afternoon." He shrugged. "Can't be helped, down is down. Get me my Encyclopedia of Spells and the Hex Appendix."

"I thought you knew all about this kind of thing," Inigo said, starting to get upset himself now.

"I'm out of practice, retired; it's been three years, you can't mess around with these resurrection recipes; one little ingredient wrong, the whole thing blows up in your face."

"Here's the hex book and your glasses," Valerie puffed, coming up the basement ladder. As Max began thumbing through, she turned to Inigo and

Fezzik, who were hovering. "You can help," she said. "Anything," Fezzik said.

"Tell us whatever's useful. How long do we have for the miracle? If we work it—"

"When we work it," Max said from his hex book. His voice was growing stronger.

"When we work it," Valerie went on, "how long does it have to maintain full efficiency? Just exactly what's going to be done?"

"Well, that's hard to predict," Inigo said, "since the first thing we have to do is storm the castle, and you never can be really sure how those things work out."

"An hour pill should be about right," Valerie said. "Either it's going to be plenty or you'll both be dead, so why not say an hour?"

"We'll all three be fighting," Inigo corrected. "And then once we've stormed the castle we have to stop the wedding, steal the Princess and make our escape, allowing space somewhere in there for me to duel Count Rugen."

Visibly Valerie's energy drained. She sat wearily down. "Max," she said, tapping his shoulder. "No good."

He looked up. "Huh?"

"They need a fighting corpse."

Max shut the hex book. "No good," he said.

"But I bought a miracle," Inigo insisted. "I paid you sixty-five."

"Look here—" Valerie thumped Westley's chest—"nothing. You ever hear anything so hollow? The man's life's been sucked away. It'll take months before there's strength again."

"We haven't got months—it's after one now, and the wedding's at six tonight. What parts can we hope to have in working order in seventeen hours?"

"Well," Max said, considering. "Certainly the tongue, absolutely the brain, and, with luck, maybe a little slow walk if you nudge him gently in the right direction."

Inigo looked at Fezzik in despair.

"What can I tell you?" Max said. "You needed a fantasmagoria."

"And you never could have gotten one of those for sixty-five," Valerie added, consolingly.




Little cut here, twenty pages maybe. What happens basically is an alternation of scenes—what's going on in the castle, then what's the situation with the miracle man, back and forth, and with every shift he gives the time, sort of 'there were now eleven hours until six o'clock,' that kind of thing. Morgenstern uses the device, mainly, because what he's really interested in, as always, is the satiric antiroyalty stuff and how stupid they were going through with all these old traditions, kissing the sacred ring of Great-grandfather So-and-So, etc.

There is some action stuff which I cut, which I never did anywhere else, and here's my logic: Inigo and Fezzik have to go through a certain amount of derring-do in order to come up with the proper ingredients for the resurrection pill, stuff like Inigo finding some frog dust while Fezzik is off after holocaust mud, this latter, for example, requiring, first, Fezzik's acquiring a holocaust cloak so he doesn't burn to death gathering the mud, etc. Well, it's my conviction that this is the same kind of thing as the Wizard of Oz sending Dorothy's friends to the wicked witch's castle; it's got the same 'feel,' if you know what I mean, and I didn't want to risk, when the book's building to climax, the reader's saying, 'Oh, this is just like the Oz books.' Here's the kicker, though: Morgenstern's Florinese version came before Baum wrote The Wonderful Wizard of Oz, so in spite of the fact that he was the originator, he comes out just the other way around. It would be nice if somebody, maybe a Ph.D. candidate on the loose, did a little something for Morgenstern's reputation, because, believe me, if being ignored is suffering, the guy has suffered.

The other reason I made the cut is this: you just know that the resurrection pill has got to work. You don't spend all this time with a nutty couple like Max and Valerie to have it fail. At least, a whiz like Morgenstern doesn't.

One last thing: Hiram, my editor, felt the Miracle Max section was too Jewish in sound, too contemporary. I really let him have it on that one; it's a very sore point with me, because, just to take one example, there was a line in Butch Cassidy and the Sundance Kid where Butch said, I got vision and the rest of the world wears bifocals,' and one of my genius producers said, 'That line's got to go; I don't put my name on this movie with that line in it,' and I said why and he said, 'They didn't talk like that then; it's anachronistic.' I remember explaining, 'Ben Franklin wore bifocals—Ty Cobb was batting champion of the American League when these guys were around—my mother

was alive when these guys were alive and she wore bifocals.' We shook hands and ended enemies but the line stayed in the picture.

And so here the point is, if Max and Valerie sound Jewish, why shouldn't they? You think a guy named Simon Morgenstern was Irish Catholic? Funny thing—Morgenstern's folks were named Max and Valerie and his father was a doctor. Life imitating art, art imitating life; I really get those two confused, sort of like I can never remember if claret is Bordeaux wine or Burgundy. They both taste good is the only thing that really matters, I guess, and so does Morgenstern, and we'll pick it up again later, thirteen hours later, to be precise, four in the afternoon, two hours before the wedding.




"YOU MEAN, THAT'S it?" Inigo said, appalled.

"That's it," Max nodded proudly. He had not been up this long a stretch since the old days, and he felt terrific.

Valerie was so proud. "Beautiful," she said. She turned to Inigo then. "You sound so disappointed—what did you think a resurrection pill looked like?"

"Not like a lump of clay the size of a golf ball," Inigo answered.




(Me again, last time this chapter: no, that is not anachronistic either; there were golf balls in Scotland seven hundred years ago, and, not only that, remember Inigo had studied with MacPherson the Scot. As a matter of fact, everything Morgenstern wrote is historically accurate; read any decent book on Florinese history.)




"I USUALLY GIVE them a coating of chocolate at the last minute; it makes them look a lot better," Valerie said.

"It must be four o'clock," Max said then. "Better get the chocolate ready,

so it'll have time to harden."

Valerie took the lump with her and started down the ladder to the kitchen. "You never did a better job; smile."

"It'll work without a hitch?" Inigo said.

Max nodded very firmly. But he did not smile. There was something in the back of his mind bothering him; he never forgot things, not important things, and he didn't forget this either.

He just didn't remember it in time....

 

AT 4:45 PRINCE Humperdinck summoned Yellin to his chambers. Yellin came immediately, though he dreaded what was, he knew, about to happen. As a matter of fact, Yellin already had his resignation written and in an envelope in his pocket. "Your Highness," Yellin began.

"Report," Prince Humperdinck said. He was dressed brilliantly in white, his wedding costume. He still looked like a mighty barrel, but brighter.

"All of your wishes have been carried out, Highness. Personally I have attended to each detail." He was very tired, Yellin was, and his nerves long past frayed.

"Specify," said the Prince. He was seventy-five minutes away from his first female murder, and he wondered if he could get his fingers to her throat before even the start of a scream. He had been practicing on giant sausages all the afternoon and had the movements down pretty pat, but then, giant sausages weren't necks and all the wishing in the world wouldn't make them so.

"All passages to the castle itself have been resealed this very morning, save the main gate. That is now the only way in, and the only way out. I have changed the lock to the main gate. There is only one key to the new lock and I keep it wherever I am. When I am outside with the one hundred troops, the key is in the outside lock and no one can leave the castle from the inside. When I am with you, as I am now, the key is in the inside lock, and no one may enter from the outside."

"Follow," said the Prince, and he moved to the large window of his chamber. He pointed outside. Below the window was a lovely planted garden. Beyond that the Prince's private stables. Beyond that, naturally, the outside castle wall. "That is how they will come," he said. "Over the wall, through my stables, past my garden, to my window, throttle the Queen and back the way they came before we know it."

"They?" Yellin said, though he knew the answer.

"The Guilderians, of course."

"But the wall where you suggest is the highest wall surrounding all of Florin Castle—it is fifty feet high at that point—so that would seem the least likely point of attack." He was trying desperately to keep himself under control.

"All the more reason why they should choose this spot; besides, the world knows that the Guilderians are unsurpassed as climbers."

Yellin had never heard that. He had always thought the Swiss were the ones who were unsurpassed as climbers. "Highness," he said, in one last attempt, "I have not yet, from a single spy, heard a single word about a single plot against the Princess."

"I have it on unimpeachable authority that there will be an attempt made to strangle the Princess this very night."

"In that case," Yellin said, and he dropped to one knee and held out the envelope, "I must resign." It was a difficult decision—the Yellins had headed enforcement in Florin for generations, and they took their work more than seriously. "I am not doing a capable job, sire; please forgive me and believe me when I say that my failures were those of the body and mind and not of the heart."

Prince Humperdinck found himself, quite suddenly, in a genuine pickle, for once the war was finished, he needed someone to stay in Guilder and run it, since he couldn't be in two places at once, and the only men he trusted were Yellin and the Count, and the Count would never take the job, being obsessed, as he was these days, with finishing his stupid Pain Primer. "I do not accept your resignation, you are doing a capable job, there is no plot, I shall slaughter the Queen myself this very evening, you shall run Guilder for me after the war, now get back on your feet."

Yellin didn't know what to say. "Thank you" seemed so inadequate, but it was all he could come up with.

"Once the wedding is done with I shall send her here to make ready while I shall, with boots carefully procured in advance, make tracks leading from the wall to the bedroom and returning then from the bedroom to the wall. Since you are in charge of law enforcement, I expect you will not take long to verify my fears that the prints could only be made by the boots of Guilderian soldiers. Once we have that, we'll need a royal proclamation or two, my father can resign as being unfit for battle, and you, dear Yellin, will soon be living in Guilder Castle."

Yellin knew a dismissal speech when he heard one. "I leave with no thought in my heart but to serve you."

"Thank you," Humperdinck said, pleased, because, after all, loyalty was one thing you couldn't buy. And in that mood, he said to Yellin by the door, "And, oh, if you see the albino, tell him he may stand in the back for my wedding; it's quite all right with me."

"I will, Highness," Yellin said, adding, "but I don't know where my cousin is—I went looking for him less than an hour ago and he was nowhere to be found."

The Prince understood important news when he heard it because he wasn't the greatest hunter in the world for nothing and, even more, because if there was one thing you could say about the albino it was that he was always to be found. "My God, you don't suppose there is a plot, do you? It's a perfect time; the country celebrates; if Guilder were about to be five hundred years old, I know I'd attack them."

"I will rush to the gate and fight, to the death if necessary," Yellin said. "Good man," the Prince called after him. If there was an attack, it would

come at the busiest time, during the wedding, so he would have to move that up. State affairs went slowly, but, still, he had authority. Six o'clock was out. He would be married no later than half past five or know the reason why.

 

AT FIVE O'CLOCK, MAX and Valerie were in the basement sipping coffee. "You better get right to bed," Valerie said; "you look all troubled. You can't stay up all night as if you were a pup."

"I'm not tired," Max said. "But you're right about the other."

"Tell Mama." Valerie crossed to him, stroked where his hair had been. "It's just I been remembering, about the pill."

"It was a beautiful pill, honey. Feel proud."

"I think I messed up the amounts, though. Didn't they want an hour? When I doubled the recipe, I didn't do enough. I don't think it'll work over forty minutes."

Valerie moved into his lap. "Let's be honest with each other; sure, you're a genius, but even a genius gets rusty. You were three years out of practice. Forty minutes'll be plenty."

"I suppose you're right. Anyway, what can we do about it? Down is down."

"The pressures you been under, if it works at all, it'll be a miracle."

Max had to agree with her. "A fantasmagoria." He nodded.

 

THE MAN IN black was nearly stiff when Fezzik reached the wall. It was almost five o'clock and Fezzik had been carrying the corpse the whole way from Miracle Max's, back street to back street, alleyway to alleyway, and it was one of the hardest things he had ever done. Not taxing. He wasn't even winded. But if the pill was just what it looked like, a chocolate lump, then he, Fezzik, was going to have a lifetime of bad dreams of bodies growing stiff between his fingers.

When he at last was in the wall shadow, he said to Inigo, "What now?" "We've got to see if it's still safe. There might be a trap waiting." It was

the same part of the wall that led, shortly, to the Zoo, in the farther corner of the castle grounds. But if the albino's body had been discovered, then who knew what was waiting for them?

"Should I go up then?" Fezzik asked.

"We'll both do it," Inigo replied. "Lean him against the wall and help me." Fezzik tilted the man in black so he was in no danger of falling and waited while Inigo jumped onto his shoulders. Then Fezzik did the climbing. Any crack in the wall was enough for his fingers; the least imperfection was all he needed. He climbed quickly, familiar with it now, and after a moment, Inigo was able to grab hold of the top and say, "All right; go on back down," so Fezzik returned to the man in black and waited.

Inigo crept along the wall top in dead silence. Far across he could see the castle entrance and the armed soldiers flanking it. And closer at hand was the Zoo. And off in the deepest brush in the farthest corner of the wall, he could make out the still body of the albino. Nothing had changed at all. They were, at least so far, safe. He gestured down to Fezzik, who scissored the man in black between his legs, began the arm climb noiselessly.

When they were all together on the wall top, Inigo stretched out the dead man and then hurried along until he could get a better view of the main gate. The walk from the outer wall to the main castle gate was slanted slightly down, not much of an incline, but a steady one. There must be—Inigo did a quick count—at least a hundred men standing at the ready. And the time must be—he estimated closely—five after five now, perhaps close to ten. Fifty minutes till the wedding. Inigo turned then and hurried back to Fezzik. "I think we should give him the pill," he said. "It must be around forty-five minutes till the ceremony."

"That means he's only got fifteen minutes to escape with," Fezzik said. "I think we should wait until at least five-thirty. Half before, half after."

"No," Inigo said. "We're going to stop the wedding before it happens— that's the best way, at least to my mind. Before they're all set. In the hustle and bustle beforehand, that's when we should strike."

Fezzik had no further rebuttal.

"Anyway," Inigo said, "we don't know how long it takes to swallow something like this."

"I could never get it down myself. I know that."

"We'll have to force-feed him," Inigo said, unwrapping the chocolate- colored lump. "Like a stuffed goose. Put our hands around his neck and kind of push it down into whatever comes next."

"I'm with you, Inigo," Fezzik said. "Just tell me what to do."

"Let's get him in a sitting position, I think, don't you? I always find it's easier swallowing sitting up than lying down."

"We'll have to really work at it," Fezzik said. "He's completely stiff by now. I don't think he'll bend easy at all."

"You can make him," Inigo said. "I always have confidence in you, Fezzik."

"Thank you," Fezzik said. "Just don't ever leave me alone." He pulled the corpse between them and tried to make him bend in half, but the man in black was so stiff Fezzik really had to perspire to get him at right angles. "How long do you think we'll have to wait before we know if the miracle's on or not?"

"Your guess is as good as mine," Inigo said. "Get his mouth as wide open as you can and tilt his head back a little and we'll just drop it in and see."

Fezzik worked at the dead man's mouth a while, got it the way Inigo said, tilted the neck perfect the first time, and Inigo knelt directly above the cavity, dropped the pill down, and as it hit the throat he heard, "Couldn't beat me alone, you dastards; well, I beat you each apart, I'll beat you both together."

"You're alive!" Fezzik cried.

The man in black sat immobile, like a ventriloquist's dummy, just his mouth moving. "That is perhaps the most childishly obvious remark I have ever come across, but what can you expect from a strangler. Why won't my arms move?"

"You've been dead," Inigo explained.

"And we're not strangling you," Fezzik explained, "we were just getting the pill down."

"The resurrection pill," Inigo explained. "I bought it from Miracle Max and it works for sixty minutes."

"What happens after sixty minutes? Do I die again?" (It wasn't sixty minutes; he just thought it was. Actually it was forty; only they had used up one already in conversation, so it was down to thirty-nine.)

"We don't know. Probably you just collapse and need tending for a year or however long it takes to get your strength back."

"I wish I could remember what it was like when I was dead," the man in black said. "I'd write it all down. I could make a fortune on a book like that. I can't move my legs either."

"That will come. It's supposed to. Max said the tongue and the brain were shoo-ins and probably you'll be able to move, but slowly."

"The last thing I remember was dying, so why am I on this wall? Are we enemies? Have you got names? I'm the Dread Pirate Roberts, but you can call me 'Westley.'"

"Fezzik."

"Inigo Montoya of Spain. Let me tell you what's been going on—" He stopped and shook his head. "No," he said. "There's too much, it would take too long, let me distill it for you: the wedding is at six, which leaves us probably now something over half an hour to get in, steal the girl, and get out; but not before I kill Count Rugen."

"What are our liabilities?"

"There is but one working castle gate and it is guarded by perhaps a hundred men."

"Hmmm," Westley said, not as unhappy as he might have been ordinarily, because just then he began to be able to wiggle his toes.

"And our assets?"

"Your brains, Fezzik's strength, my steel."

Westley stopped wiggling his toes. "That's all? That's it? Everything? The grand total?"

Inigo tried to explain. "We've been operating under a terrible time pressure from the very beginning. Just yesterday morning, for example, I was a hopeless drunk and Fezzik toiled for the Brute Squad."

"It's impossible," Westley cried.

"I am Inigo Montoya and I do not accept defeat—you will think of something; I have complete confidence in you."

"She's going to marry Humperdinck and I'm helpless" West-ley said in

blind despair. "Lay me down again. Leave me alone."

"You're giving in too easily, we fought monsters to reach you, we risked everything because you have the brains to conquer problems. I have complete and absolute total confidence that you—"

"I want to die," Westley whispered, and he closed his eyes. "If I had a month to plan, maybe I might come up with something, but this..." His head rocked from side to side. "I'm sorry. Leave me."

"You just moved your own head," Fezzik said, doing his best to be cheery. "Doesn't that up your spirits?"

"My brains, your strength and his steel against a hundred troops? And you think a little head-jiggle is supposed to make me happy? Why didn't you leave me to death? This is worse. Lying here helpless while my true love marries my murderer."

"I just know once you're over your emotional outbursts, you'll come up with—"

"I mean if we even had a wheelbarrow, that would be something," Westley said.

"Where did we put that wheelbarrow the albino had?" Inigo asked. "Over by the albino, I think," Fezzik replied.

"Maybe we can get a wheelbarrow," Inigo said.

"Well why didn't you list that among our assets in the first place?" Westley said, sitting up, staring out at the massed troops in the distance.

"You just sat up," Fezzik said, still trying to be cheery.

Westley continued to stare at the troops and the incline leading down toward them. He shook his head. "What I'd give for a holocaust cloak," he said then.

"There we can't help you," Inigo said.

"Will this do?" Fezzik wondered, pulling out his holocaust cloak. "Where...?" Inigo began.

"While you were after frog dust—" Fezzik answered. "It fit so nicely I just tucked it away and kept it."

Westley got to his feet then. "All right. I'll need a sword eventually." "Why?" Inigo asked. "You can barely lift one."

"True," Westley agreed. "But that is hardly common knowledge. Hear me now; there may be problems once we're inside—"

"I'll say there may be problems," Inigo cut in. "How do we stop the wedding? Once we do, how do I find the Count? Once I do, where will I find

you again? Once we're together, how do we escape? Once we escape—" "Don't pester him with so many questions," Fezzik said. "Take it easy; he's

been dead."

"Right, right, sorry," Inigo said.

The man in black was moving verrrrrry slowly now along the top of the wall. By himself. Fezzik and Inigo followed him through the darkness in the direction of the wheelbarrow. There was no denying the fact that there was a certain excitement in the air.

 

BUTTERCUP, for her part, felt no excitement whatsoever. She had, in fact, never remembered such a wonderful feeling of calm. Her Westley was coming; that was her world. Ever since the Prince had dragged her to her room she had spent the intervening hours thinking of ways to make Westley happy. There was no way he could miss stopping her wedding. That was the only thought that could survive the trip across her conscious mind.

So when she heard the wedding was to be moved up, she wasn't the least upset. Westley was always prepared for contingencies, and if he could rescue her at six, he could just as happily rescue her at half past five.

Actually, Prince Humperdinck got things going even faster than he had hoped. It was 5:23 when he and his bride-to-be were kneeling before the aged Archdean of Florin. It was 5:24 when the Archdean started to speak.

And 5:25 when the screaming started outside the main gate.

Buttercup only smiled softly. Here comes my Westley now, was all she thought.

 

IT WAS NOT, in point of fact, her Westley that was causing the commotion out front. Westley was doing all he could to simply walk straight down the incline toward the main gate without help. Ahead of him, Inigo struggled with the heavy wheelbarrow. The reason for its weight was that Fezzik stood in it, arms wide, eyes blazing, voice booming in terrible rage: "I AM THE DREAD PIRATE ROBERTS AND THERE WILL BE NO

SURVIVORS." He said that over and over, his voice echoing and reverberating as his rage increased. He was, standing there, gliding down through the darkness, quite an imposing figure, seeming, all in all, probably close to ten feet tall, with voice to match. But even that was not the cause of the screaming.

 

YELLIN, FROM HIS position by the gate, was reasonably upset at the

roaring giant gliding down toward them through the darkness. Not that he doubted his hundred men could dispatch the giant; the upsetting thing was that, of course, the giant would be aware of that too, and logically there must somewhere in the dimness out there be any number of giant helpers. Other pirates, anything. Who could tell? Still, his men held together remarkably staunchly.

It was only when the giant got halfway down the incline that he suddenly, happily, burst into flame and continued his trip saying, "NO SURVIVORS, NO SURVIVORS!" in a manner that could only indicate deadly sincerity.

It was seeing him happily burning and advancing that started the Brute Squad to screaming. And once that happened, why, everybody panicked and ran....





ONCE THE PANIC was well under way, Yellin realized he had next to no chance of bringing things immediately under control. Besides, the giant was terribly close now, and the roar of "NO SURVIVORS" made it very hard to do any solid thinking, but fortunately he had the sense to grab the one and only key to the castle and hide it on his person.

Fortunately too, Westley had the sense to look for such behavior. "Give me the key," Westley said to Yellin, once Inigo had his sword securely pressuring Yellin's Adam's apple.

"I have no key," Yellin replied. "I swear on the grave of my parents; may my mother's soul forever sizzle in torment if I am lying."

"Tear his arms off," Westley said to Fezzik, who was sizzling a bit himself now, because there was a limit as to just how long a holocaust cloak was really good for, and he wanted to strip a bit, but before he did that, he reached for Yellin's arms.

"This key you mean?" Yellin said, and he dropped it, and after Inigo had taken his sword, they let him run away.

"Open the gate," Westley said to Fezzik.

"I'm so hot," Fezzik said, "can I please take this thing off first?" and after Westley's nod, he pulled the flaming cloak away and left it on the ground, then unlocked the gate and pulled the door open enough for them to slip through.

"Lock it and keep the key, Fezzik," Westley said. "It must be after 5:30 by now; half an hour left to stop the wedding."

"What do we do after we win?" Fezzik said, working with the key, forcing the great lock to close. "Where should we meet? I'm the kind of fellow who needs instructions."

Before Westley could answer, Inigo cried out and readied his sword. Count Rugen and four palace guards were rounding a corner and running toward them. The time was then 5:34.

 

THE WEDDING ITSELF did not end until 5:31, and Humperdinck had to

use all of his persuasive abilities to get even that much accomplished. As the screaming from outside the gate burst all bounds of propriety, the Prince interrupted the Archdean with gentlest manner and said, "Holiness, my love is simply overpowering my ability to wait—please skip on down to the end of the service."

The time was then 5:27.

"Humperdinck and Buttercup," the Archdean said, "I am very old and my thoughts on marriage are few, but I feel I must give them to you on this most happy of days." (The Archdean could hear absolutely nothing, and had been so afflicted since he was eighty-five or so. The only actual change that had come over him in the past years was that, for some reason, his impediment had gotten worse. "Mawidge," he said. "Vewy old." Unless you paid strict attention to his title and past accomplishments, it was very hard to take him seriously.)

"Mawidge—" the Archdean began.

"Again, Holiness, I interrupt in the name of love. Please hurry along as best you can to the end."

"Mawidge is a dweam wiffin a dweam."

Buttercup was paying little attention to the goings on. West-ley must be racing down the corridors now. He always ran so beautifully. Even back on the farm, long before she knew her heart, it was good to watch him run.

Count Rugen was the only other person in the room, and the commotion at the gate had him on edge. Outside the door he had his four best swordsmen, so no one could enter the tiny chapel, but, still, there were a lot of people screaming where the Brute Squad should have been. The four guards were the only ones left inside the castle, for the Prince needed no spectators to the events that were soon to happen. If only the idiot cleric would speed things along. It was already 5:29.

"The dweam of wuv wapped wiffin the gweater dweam of everwasting west. Eternity is our fwiend, wemember that, and wuv wiw fowwow you fowever."

It was 5:30 when the Prince stood up and approached the Archdean firmly. "Man and wife," he shouted. "Man and wife. Say that!"

"I'm not there yet," the Archdean answered. "You just arrived," the Prince replied. "Now!"

Buttercup could picture Westley rounding the final corner. There were four guards outside waiting. At ten seconds per guard, she began figuring, but then stopped, because numbers had always been her enemy. She looked down

at her hands. Oh, I hope he still thinks I'm pretty, she thought; those nightmares took a lot out of me.

"Man and wife, you're man and wife," the Archdean said.

"Thank you, Holiness," the Prince said, whirling toward Rugen. "Stop that commotion!" he commanded, and before his words were finished, the Count was running for the chapel door.

It was 5:31.




IT TOOK A full three minutes for the Count and the guards to reach the gate, and when they did, the Count could not believe it—he had seen Westley killed, and now there was Westley. And with a giant and a strangely scarred swarthy fellow. Something about the twin scars banked deep into his memory, but now was not the time for reminiscing. "Kill them," he said to the fencers, "but leave the middle-sized one until I tell you" and the four guards drew their swords—

—but too late; too late and too slow, because as Fezzik moved in front of Westley, Inigo attacked, the great blade blinding, and the fourth guard was dead before the first one had had sufficient time to hit the floor.

Inigo stood still a moment, panting. Then he made a half turn in the direction of Count Rugen and executed a quick and well-formed bow. "Hello," he said. "My name is Inigo Montoya. You killed my father. Prepare to die."

And in reply, the Count did a genuinely remarkable and unexpected thing: he turned and ran. It was now 5:37.

 

KING LOTHARON AND QUEEN Bella arrived at the wedding chapel in time to see Count Rugen leading the four guards in a charge down the corridor.

"Are we too early?" Queen Bella said, as they entered the wedding chapel and found Buttercup and Humperdinck and the Archdean.

"There is much going on," the Prince said. "All, in due time, will come matchlessly clear. But I fear there is a strong possibility that, at this very moment, the Guilderians are attacking. I need time alone in the garden to formulate my battle plans, so could I prevail upon you two to personally escort Buttercup to my bedchamber?"

His request was, naturally, granted. The Prince hurried off then, and, after

one stop to unlock a closet and remove several pairs of boots that had once belonged to Guilderian soldiers, he hurried outside.

Buttercup, for her part, walked very slowly and peacefully between the old King and Queen. There was no need ever to worry, not with Westley there to stop her wedding and take her away forever. The truth of her situation did not take genuine effect until she was halfway to Humperdinck's room.

There was no Westley.

No sweet Westley. He had not seen fit to come for her.

She gave a terrible sigh. Not so much of sadness as of farewell. Once she got to Humperdinck's room, it would all be done. He had a splendid collection of swords and cutlery.

She had never seriously contemplated suicide before. Oh, of course she'd thought about it; every girl does from time to time. But never seriously. To her quiet surprise, she found it was going to be the easiest thing in the world. She reached the Prince's chamber, said good night to the Royal Family, and went directly to the wall display of weaponry. The time was then 5:46.

 

INIGO, AT 5:37, was so startled at the Count's cowardice that for a moment he simply stood there. Then he gave chase and, of course, he was faster, but the Count made it through a doorway, slammed and locked it, and Inigo was helpless to budge the thing. "Fezzik," he called out desperately, "Fezzik, break it down."

But Fezzik was with Westley. That was his job, to stay and protect Westley, and though they were still within view of Inigo, Fezzik could do nothing; Westley had already started to walk. Slowly. Weakly. But he was, under his own power, walking.

"Charge it," Fezzik replied. "Slam your shoulder hard. It will give for you."

Inigo charged the door. He slammed and slammed his shoulder, but he was thin, the door otherwise. "He's getting away from me," Inigo said.

"But Westley is helpless," Fezzik reminded him. "Fezzik, I need you," Inigo screamed.

"I'll only be a minute," Fezzik said, because there were some things you did, no matter what, and when a friend needed help, you helped him.

Westley nodded, kept on walking, still slowly, still weak, but still able to move.

"Hurry," Inigo urged.

Fezzik hurried. He lumbered to the locked door, threw his bulk against it hard.

The door held. "Please," Inigo urged.

"I'll get it, I'll get it," Fezzik promised, and he took a few steps back this time, then drove his shoulder against the wood.

The door gave some. A little. But not enough.

Fezzik backed away from it now. With a roar he charged across the corridor and when he was close he left the castle floor with both feet and the door splintered.

"Thank you, thank you," Inigo said, already halfway through the broken door.

"What do I do now though?" Fezzik called.

"Back to Westley," Inigo answered, in full flight now, beginning chasing through a series of rooms.

"Stupid," Fezzik punished himself with, and he turned and rejoined Westley. Only Westley was no longer there. Fezzik could feel the panic starting inside him. There were half a dozen possible corridors. "Which which which?" Fezzik said, trying to figure it out, trying for once in his life to do something right. "You'll pick the wrong one, knowing you," he said out loud, and then he took a corridor and started hurrying along it as fast as he could.

He did pick the wrong one. Westley was alone now.

 

INIGO WAS GAINING. He could see, instant to instant, flashes of the fleeing noble in the next room, and when he reached that place, the Count would have made it into the room beyond. But each time, Inigo was gaining. By 5:40, he felt confident he would, after a chase of twenty-five years, be alone in a room with his revenge.

 

BY 5:48, BUTTERCUP felt quite sure she would be dead. It was still a minute before that as she stood staring at the Prince's knives. The most lethal looked to be the one most used, the Florinese dagger. Pointed at one end, it entered easily, growing into a triangular shape by the hilt. For quicker bleeding, it was said. They were made in varying sizes, and the Prince's looked to be one of the largest, being wrist thick where it joined the handle. She pulled it from the wall, put it to her heart.

"There are always too few perfect breasts in this world; leave yours alone," she heard. And there was Westley on the bed. It was 5:48, and she knew that she would never die.

Westley, for his part, assumed he had till 6:15 for his hour to be up. That was, of course, when an hour was up, only he didn't have an hour; only forty minutes. Till 5:55, actually. Seven minutes more. But, as has been said, he had no way of knowing that.

 

AND INIGO HAD no way of knowing that Count Rugen had a Florinese dagger. Or that he was expert with the thing. It took Inigo until 5:41 before he actually cornered the Count. In a billiard room. "Hello," he was about to say. "My name is Inigo Montoya; you killed my father; prepare to die." What he actually got out was somewhat less: "Hello, my name is Ini—"

And then the dagger rearranged his insides. The force of the throw sent him staggering backward into the wall. The rush of blood weakened him so quickly he could not keep his feet. "Domingo, Domingo," he whispered, and then he was, at forty-two minutes after five, lost on his knees....

 

BUTTERCUP WAS BAFFLED by Westley's behavior. She rushed to him, expecting to be met halfway in a wild embrace. Instead, he only smiled at her and remained where he was, lying on the Prince's pillows, a sword beside his body.

Buttercup continued the journey alone and fell onto her very one and darling Westley.

"Gently," he said.

"At a time like this that's all you can think to say? 'Gently'?" "Gently," Westley repeated, not so gently this time.

She got off him. "Are you angry at me for getting married?" she wondered. "You are not married," he said, softly. Strange his voice was. "Not in my

church or any other."

"But this old man did pronounce—"

"Widows happen. Every day—don't they, Your Highness?" And now his voice was stronger as he addressed the Prince, who entered, muddy boots in hand.

Prince Humperdinck dove for his weapons, and a sword flashed in his thick hands. "To the death," he said, advancing.

Westley gave a soft shake of his head. "No," he corrected. "To the pain."

It was an odd phrase, and for the moment it brought the Prince up short. Besides, why was the fellow just lying there? Where was the trap? "I don't think I quite understand that."

Westley lay without moving but he was smiling more deeply now. "I'll be only too delighted to explain." It was 5:50 now. Twenty-five minutes of safety left. (There were five. He did not know that. How could he know that?) Slowly, carefully, he began to talk....

 

INIGO WAS TALKING too. It was still 5:42 when he whispered, "I'm ...

sorry ... Father   "

Count Rugen heard the words but nothing really connected until he saw the sword still held in Inigo's hand. "You're that little Spanish brat I taught a lesson to," he said, coming closer now, examining the scars. "It's simply incredible. Have you been chasing me all these years only to fail now? I think that's the worst thing I ever heard of; how marvelous."

Inigo could say nothing. The blood fauceted from his stomach. Count Rugen drew his sword.

"...sorry, Father ... I'm sorry  "

'I DON'T WANT YOUR "SORRY"! MY NAME IS DOMINGO MONTOYA AND I DIED FOR THAT SWORD AND YOU CAN KEEP YOUR "SORRY." IF YOU WERE GOING TO FAIL, WHY DIDN'T YOU DIE

YEARS AGO AND LET ME REST IN PEACE?' And then MacPherson was after him too—'Spaniards! I never should have tried to teach a Spaniard; they're dumb, they forget, what do you do with a wound? How many times did I teach you—what do you do with a wound?'

"Cover it..." Inigo said, and he pulled the knife from his body and stuffed his left fist into the bleeding.

Inigo's eyes began to focus again, not well, not perfectly, but enough to see the Count's blade as it approached his heart, and Inigo couldn't do much with the attack, parry it vaguely, push the point of the blade into his left shoulder where it did no unendurable harm.

Count Rugen was a bit surprised that his point had been deflected, but there was nothing wrong with piercing a helpless man's shoulder. There was no hurry when you had him.

MacPherson was screaming again—'Spaniards! Give me a Polack anytime; at least the Polacks remember to use the wall when they have one; only the Spaniards would forget to use a wall—'

Slowly, inch by inch, Inigo forced his body up the wall, using his legs just for pushing, letting the wall do all the supporting that was necessary.

Count Rugen struck again, but for any number of reasons, most probably because he hadn't expected the other man's movement, he missed the heart and had to be content with driving his blade through the Spaniard's left arm.

Inigo didn't mind. He didn't even feel it. His right arm was where his interest lay, and he squeezed the handle and there was strength in his hand, enough to flick out at the enemy, and Count Rugen hadn't expected that either, so he gave a little involuntary cry and took a step back to reassess the situation. Power was flowing up from Inigo's heart to his right shoulder and down from his shoulder to his fingers and then into the great six-fingered sword and he pushed off from the wall then, with a whispered, "...hello ... my name is ...

Inigo Montoya; you killed ... my father; prepare to die." And they crossed swords.

The Count went for the quick kill, the inverse Bonetti No chance.

"Hello ... my name is Inigo Montoya; you killed my father ... prepare to die "

Again they crossed, and the Count moved into a Morozzo defense, because the blood was still streaming.

Inigo shoved his fist deeper into himself. "Hello, my name is Inigo Montoya; you killed my father; prepare to die."

The Count retreated around the billiard table. Inigo slipped in his own blood.

The Count continued to retreat, waiting, waiting.

"Hello, my name is Inigo Montoya; you killed my father; prepare to die." He dug with his fist and he didn't want to think what he was touching and pushing and holding into place but for the first time he felt able to try a move, so the six-fingered sword flashed forward—

—and there was a cut down one side of Count Rugen's cheek—

—another flash—

—another cut, parallel, bleeding—

"Hello, my name is Inigo Montoya; you killed my father; prepare to die." "Stop saying that!" The Count was beginning to experience a decline of

nerve.

Inigo drove for the Count's left shoulder, as the Count had wounded his. Then he went through the Count's left arm, at the same spot the Count had

penetrated his. "Hello." Stronger now. "Hello! HELLO. MY NAME IS INIGO MONTOYA. YOU KILLED MY FATHER. PREPARE TO DIE!"

"No—"

"Offer me money—" "Everything," the Count said. "Power too. Promise me that." "All I have and more. Please." "Offer me anything I ask for." "Yes. Yes. Say it."

"I WANT DOMINGO MONTOYA, YOU SON OF A BITCH," and the

six-fingered sword flashed again.

The Count screamed.

"That was just to the left of your heart." Inigo struck again. Another scream.

"That was below your heart. Can you guess what I'm doing?" "Cutting my heart out."

"You took mine when I was ten; I want yours now. We are lovers of justice, you and I—what could be more just than that?"

The Count screamed one final time and then fell dead of fear.

Inigo looked down at him. The Count's frozen face was petrified and ashen and the blood still poured down the parallel cuts. His eyes bulged wide, full of horror and pain. It was glorious. If you like that kind of thing.

Inigo loved it.

It was 5:50 when he staggered from the room, heading he knew not where or for how long, but hoping only that whoever had been guiding him lately would not desert him now....




"I'M GOING TO tell you something once and then whether you die or not is strictly up to you," Westley said, lying pleasantly on the bed. Across the room, the Prince held the sword high. "What I'm going to tell you is this: drop your sword, and if you do, then I will leave with this baggage here"—he glanced at Buttercup—"and you will be tied up but not fatally, and will soon be free to go about your business. And if you choose to fight, well, then, we will not both leave alive."

"I expect to breathe a while," the Prince said. "I think you are bluffing— you have been prisoner for months and I myself killed you less than a day ago, so I doubt that you have much might left in your arm."

"Possibly true," Westley agreed, "and when the moment comes, remember that: I might indeed be bluffing. I could, in fact be lying right here because I lack the strength to stand. All that, weigh carefully."

"You are only alive now because you said 'to the pain.' I want that phrase explained."

"My pleasure." It was 5:52 now. Three minutes left. He thought he had eighteen. He took a long pause, then started speaking. "Surely, you must have guessed I am no ordinary sailor. I am, in fact, Roberts himself."

"I am, in fact, not the least surprised or awed."

"To the pain means this: if we duel and you win, death for me. If we duel and I win, life for you. But life on my terms."

"Meaning?" It could all still be a trap. His body was at the ready.

"There are those who credit you with skill as a hunter, though I find that doubtful."

The Prince smiled. The fellow was baiting him. Why?

"And if you hunt well, then surely, when you tracked your lady, you must have begun at the Cliffs of Insanity. A duel was fought there and if you noted the movements and the strides, you would know that those were masters battling. They were. Remember this: I won that fight. And I am a pirate. We have our special tricks with swords."

It was 5:53. "I am not unfamiliar with steel."

"The first thing you lose will be your feet," Westley said. "The left, then the right. Below the ankle. You will have stumps available to use within six months. Then your hands, at the wrist. They heal somewhat quicker. Five months is a fair average." And now Westley was beginning to be aware of strange changes in his body and he began talking faster, faster and louder. "Next your nose. No smell of dawn for you. Followed by your tongue. Deeply cut away. Not even a stump left. And then your left eye—"

"And then my right eye and then my ears, and shall we get on with it?" the Prince said. It was 5:54.

"Wrong!" Westley's voice rang across the room. "Your ears you keep, so that every shriek of every child at seeing your hideous-ness will be yours to cherish—every babe that weeps in fear at your approach, every woman that cries 'Dear God, what is that thing?' will reverberate forever with your perfect

ears. That is what 'to the pain' means. It means that I leave you to live in anguish, in humiliation, in freakish misery until you can stand it no more; so there you have it, pig, there you know, you miserable vomitous mass, and I say this now, and live or die, it's up to you: Drop your sword! "

The sword crashed to the floor. It was 5:55.

Westley's eyes rolled up into his head and his body crumpled and half pitched from the bed and the Prince saw that and went to the floor, grabbing for his sword, standing, starting to bring it high, when Westley cried out: "Now you will suffer: to the pain!" His eyes were open again.

Open and blazing.

"I'm sorry; I meant nothing, I didn't; look," and the Prince dropped his sword a second time.

"Tie him," Westley said to Buttercup. "Be quick about it—use the curtain sashes; they look enough to hold him—"

"You'd do it so much better," Buttercup replied. "I'll get the sashes, but I really think you should do the actual tying."

"Woman," Westley roared, "you are the property of the Dread Pirate Roberts and you ... do ... what ... you're ... told!"

Buttercup gathered the sashes and did what she could with tying up her husband.

Humperdinck lay flat while she did it. He seemed strangely happy. "I wasn't afraid of you," he said to Westley. "I dropped my sword because it will be so much more pleasure for me to hunt you down."

"You think so, do you? I doubt you'll find us."

"I'll conquer Guilder and then I'll come for you. The corner you least expect, when you round it, you will find me waiting."

"I am the King of the Sea—I await you with pleasure." He called out to Buttercup. "Is he tied yet?"

"Sort of."

There was movement at the doorway and then Inigo was there. Buttercup cried out at the blood. Inigo ignored her, looked around. "Where's Fezzik?"

"Isn't he with you?" Westley said.

Inigo leaned for a moment against the nearest wall, gathering strength.

Then he said, "Help him up," to Buttercup.

"Westley?" Buttercup replied. "Why does he need me to help him?" "Because he has no strength, now do what you're told," Inigo said, and

then suddenly on the floor, the Prince began struggling mightily with the sashes and he was tied, and tied well, but power and anger were both on his side.

"You were bluffing; I was right the first time," Humperdinck said, and Inigo said, "That was not a clever thing of me to let slip; I'm sorry," and Westley said, "Did you at least win your battle?" and Inigo said, "I did," and Westley said, "Let us try to find some place to defend ourselves; at least perhaps we can go together," and Buttercup said, "I'll help you up, poor darling," and Fezzik said, "Oh, Inigo, I need you, please, Inigo; I'm lost and miserable and frightened and I just need to see a friendly face."

They moved slowly to the window.

Wandering lost and forlorn through the Prince's garden was Fezzik, leading the four giant whites.

"Here," Inigo whispered.

"Three friendly faces," Fezzik said, kind of bouncing up and down on his heels, which he always did when things were looking up. "Oh, Inigo, I just ruined everything and I got so lost and when I stumbled into the stables and found these pretty horses I thought four was how many of them there were and four was how many of us there were too, if we found the lady—hello, lady— and I thought, Why not take them along with me in case we all ever run into each other." He stopped a moment, considering. "And I guess we did."

Inigo was terribly excited. "Fezzik, you thought for yourself," he said.

Fezzik considered that a moment too. "Does that mean you're not mad at me for getting lost?"

"If we only had a ladder—" Buttercup began.

"Oh, you don't need a ladder to get down here," Fezzik said; "it's only twenty feet, I'll catch you, only do it one at a time, please; there's not enough light, so if you all come at once I might miss."

So while Humperdinck struggled, they jumped, one at a time, and Fezzik caught them gently and put them on the whites, and he still had the key so they could get out the front gate, and except for the fact that Yellin had regrouped the Brute Squad, they would have gotten out without any trouble at all. As it was, when Fezzik unlocked the gate, they saw nothing but armed Brutes in formation, Yellin at their lead. And no one smiling.

Westley shook his head. "I am dry of notions."

"Child's play," of all people, Buttercup said, and she led the group toward Yellin. "The Count is dead; the Prince is in grave danger. Hurry now and you may yet save him. All of you. Go."

Not a Brute moved.

"They obey me," Yellin said. "And I am in charge of enforcement, and—" "And I," Buttercup said. "I," she repeated, standing up in the saddle, a

creature of infinite beauty and eyes that were starting to grow frightening, "I," she said for the third and last time, "am

the QUEEEEEEEEEEEEN."

There was no doubting her sincerity. Or power. Or capability for vengeance. She stared imperiously across the Brute Squad.

"Save Humperdinck," one Brute said, and with that they all dashed into the castle.

"Save Humperdinck," Yellin said, the last one left, but clearly his heart wasn't in it.

"Actually, that was something of a fib," Buttercup said as they began to ride for freedom, "seeing as Lotharon hasn't officially resigned, but I thought 'I am the Queen' sounded better than 'I am the Princess.'"

"All I can say is, I'm impressed," Westley told her.

Buttercup shrugged. "I've been going to royalty school three years now; something had to rub off." She looked at Westley. "You all right? I was worried about you back on the bed there. Your eyes rolled up into your head and everything."

"I suppose I was dying again, so I asked the Lord of Permanent Affection for the strength to live the day. Clearly, the answer came in the affirmative."

"I didn't know there was such a Fellow," Buttercup said.

"Neither did I, in truth, but if He didn't exist, I didn't much want to either." The four great horses seemed almost to fly toward Florin Channel.

"It appears to me as if we're doomed, then," Buttercup said. Westley looked at her. "Doomed, madam?"

"To be together. Until one of us dies."

"I've done that already, and I haven't the slightest intention of ever doing it again," Westley said.

Buttercup looked at him. "Don't we sort of have to sometime?"

"Not if we promise to outlive each other, and I make that promise now." Buttercup looked at him. "Oh my Westley, so do I."




'And they lived happily ever after,' my father said. 'Wow,' I said.

He looked at me. 'You're not pleased?'

'No, no, it's just, it came so quick, the ending, it surprised me. I thought there'd be a little more, is all. I mean, was the pirate ship waiting or was that just a rumor like it said?'

'Complain to Mr. Morgenstern. "And they lived happily ever after" is how it ends.'

The truth was, my father was fibbing. I spent my whole life thinking it ended that way, up until I did this abridgement. Then I glanced at the last page. This is how Morgenstern ends it.




BUTTERCUP LOOKED AT him. "Oh my Westley, so do I."

From behind them suddenly, closer than they had imagined, they could hear the roar of Humperdinck: "Stop them! Cut them off!" They were, admittedly, startled, but there was no reason for worry: they were on the fastest horses in the kingdom, and the lead was already theirs.

However, this was before Inigo's wound reopened, and Westley relapsed again, and Fezzik took the wrong turn, and Buttercup's horse threw a shoe. And the night behind them was filled with the crescendoing sound of pursuit....




That's Morgenstern's ending, a 'Lady or the Tiger?' type effect (this was before 'The Lady or the Tiger?,' remember). Now, he was a satirist, so he left it that way, and my father was, I guess I realized too late, a romantic, so he ended it another way.

Well, I'm an abridger, so I'm entitled to a few ideas of my own. Did they make it? Was the pirate ship there? You can answer it for yourself, but, for me, I say yes it was. And yes, they got away. And got their strength back and had lots of adventures and more than their share of laughs.

But that doesn't mean I think they had a happy ending either. Because, in my opinion anyway, they squabbled a lot, and Buttercup lost her looks

eventually, and one day Fezzik lost a fight and some hotshot kid whipped Inigo with a sword and Westley was never able to really sleep sound because of Humperdinck maybe being on the trail.

I'm not trying to make this a downer, understand. I mean, I really do think that love is the best thing in the world, except for cough drops. But I also have to say, for the umpty-umpth time, that life isn't fair. It's just fairer than death, that's all.

New York City February, 1973



AN EXPLANATION

YOU'RE PROBABLY wondering why I only abridged the first chapter. The answer is simple: I was not allowed to do more. The following explanation is kind of personal, and I'm sorry for putting you through it. Some of this—more than some, a lot—was painful when it happened, still is as I write it down for you. I don't come out all that well a lot of the time, but that can't be helped. Morgenstern was always honest with his audience. I don't think I can be any less with you....

 

MY TROUBLES BEGAN twenty-five years ago with the reunion scene.

You remember, in my abridgement of The Princess Bride, when Buttercup and Westley have been reunited just before the Fire Swamp, I stuck my two cents in and said I thought Morgenstern had cheated his readers by not including a reunion scene for the lovers so I'd written my own version and send in if you want a copy? (Pages 178—79 in this edition.)

My late great editor Hiram Haydn felt I was wrong, that if you abridge someone you can't suddenly start using your own words. But I liked my reunion scene a lot. So, to humor me, he let me stick that note in the book about sending in for it.

No one—please believe this—no one thought anyone would actually request my version. But Harcourt, the original hardcover publisher, got deluged, and later Ballantine, the first paperback publisher, got deluged even more. I loved that. Publishers having to spend money. My reunion scene was poised for mailing—but not one was ever sent.

What follows is the explanatory letter I wrote that was mailed to the tens of thousands of people who had written in over the years asking for the scene.

 

Dear Reader,

Thank you for sending in and no, this is not the reunion scene, because of a certain roadblock named Kermit Shog.

As soon as bound books were ready, I got a call from my lawyer, Charley

—(you may not remember, but Charley's the one I called from California to go down in the blizzard and buy The Princess Bride from the used-book dealer). Anyway, he usually begins with Talmudic humor, wisdom jokes, only this time

he just says, "Bill, I think you better get down here," and before I'm even allowed a "why?" he adds, "Right away if you can."

Panicked, I zoom down, wondering who could have died, did I flunk my tax audit, what? His secretary lets me into his office and Charley says, "This is Mr. Shog, Bill."

And there he is, sitting in the corner, hands on his briefcase, looking exactly like an oily version of Peter Lorre. I really expected him to say, "Give me the Falcon, you must, or I will be forced to keeel you."

"Mr. Shog is a lawyer," Charley goes on. And then this next was said underlined: "He represents the Morgenstern estate."

Who knew? Who could have dreamed such a thing existed, an estate of a man dead at least a million years that no one ever heard of over here anyway? "Perhaps you will give me the Falcon now," Mr. Shog said. That's not true. What he said was "Perhaps you will like a few words with your client alone now," and Charley nodded and out he went and once he was done I said, "Charley, my God, I never figured—" and he said, "Did Harcourt?" and I said, "Not that they ever mentioned," and he said, "Ooch," the grunting sound lawyers make when they know they've backed a loser. "What does he want?" I said. "A meeting with Mr. Jovanovich," Charley answered....

 

It turned out that Kermit Shog did not just want a meeting with William Jovanovich, the brilliant man who ran the firm. He also wanted amazing amounts of money and he also wanted the unabridged The Princess Bride version printed with a huge first printing (100,000), and, of course, the idea of little me sending out the reunion scene died that day.

But the lawsuits began. Over the years, a grand total of thirteen—only eleven directly concerning me. It was horrible, but the one good thing was that the copyright on Morgenstern ran out in '78. So I told everyone who sent in for the reunion scene that their names were being put on a list and kept and once '78 rolled around, voila...but I was wrong again. Here is part of the next note I sent out to all people requesting the reunion scene.

 

I'm really sorry about this but you know the story that ends, "Disregard previous wire, letter follows"? Well, you've got to disregard the business about the Morgenstern copyright running out in '78. That was a definitely a boo-boo but Mr. Shog, being Florinese, has trouble, naturally, with our numbering system. The copyright runs out in '87, not '78.

Worse, he died. Mr. Shog, I mean. (Don't ask how you could tell. It was easy. One morning he just stopped sweating, so there it was.) What makes it worse is that the whole affair is now in the hands of his kid, named—wait for it—Mandrake Shog. Mandrake moves with all the verve and speed of a lizard flaked out on a riverbank.

The only good thing that's happened in this whole mess is I finally got a shot at reading some of Buttercup's Baby. Up at Columbia, they feel it's definitely superior to The Princess Bride in satirical content. Personally, I don't have the emotional attachment to it, but it's a helluva story, no question.

 

It's funny, looking back, but at the time I had really zero interest in

Buttercup's Baby.

Many reasons, but among them this: I was writing my own novels then. To make sense of that, I suppose I ought to tell you what I did with The Princess Bride. I know the book cover just says "abridged by" and, yes, I jumped from "good part" to "good part." But it was really a good deal more than that.

Morgenstern's The Princess Bride is a thousand-page manuscript. I got it down to three hundred. But I didn't just cut out his satiric interludes. I made elisions constantly. And there was all kinds of stuff, some of it wonderful, I got rid of. Example: Westley's terrible childhood and how he came to be the Farm Boy. Example: How the King and Queen went to Miracle Max because they knew they had somehow given birth to a monster (Humperdinck), and could Max change that? Max's failure is what led to his firing, which in turn, caused his crisis in confidence. (His wife, Valerie, refers to it when she says to Inigo: "He is afraid he's done, that the miracles are gone from his once majestic fingers..." ([>] in this version.)

I felt all this, exciting and moving as a lot of it is, to be off the spine of the story. I went with true love and high adventure and I think I was right to do that. And I think the results have proved that. Morgenstern never had any audience for his book—except in Florin, of course. I brought it to people everywhere and, with the movie, to a wider audience still. So, sure, I abridged it.

But, I'm sorry, I shaped it. I also brought it to life. I don't know what you want to call that, but whatever I did, it's sure something.

 

SO BUTTERCUP'S BABY was just not for me at that time. The workload

was one thing. It would have meant thousands of hours of labor. But that was nothing compared to the constant attacks by the Shogs. Lawsuit after awful lawsuit, and each time I had to defend myself, had to give depositions, which I frankly found hateful because they were all attacks on my honesty.

I had had, then, enough of Mr. Morgenstern for a while.

I didn't actually read Buttercup's Baby, either. I happened to be at Columbia University one afternoon—I gave my papers to Columbia—and some Florinese kid stopped by, handed me a rough translation to glance at. The full title of the book is this: Buttercup's Baby: S. Morgenstern's Glorious Examination of courage Matched Against the Death of the Heart. Had a great opening page, a real shocker, but that was mostly what I remember. It was just another book to me then, you see. It had not become lodged in my heart.

Yet.




SO WHAT CHANGED things?

To tell you the truth, and I might as well, my life the last dozen years has been, how can I put it, what's the reverse of giddy? Oh, I've written plenty of screenplays and some nonfiction, but I haven't written a novel, and please remember that that's painful for me because in my heart that's what I am, a novelist, a novelist who happens to write screenplays. (I hate it when I sometimes meet people and they say, "Well, when's the next book coming out?" and I always make a smile and lie that I'm on the homestretch now.) And the movies I've been involved with—except for Misery—have all brought their share of disappointment.

I live alone here in New York, in a nice hotel, room service twenty-four hours, all that's great, but I feel, sometimes, that whatever I wrote once that maybe had some quality, well, maybe those days are gone.

But to balance the bad, there was always my son, Jason.

You all remember how when he was ten he was this humorless blimp, this waddler? Well that was his thin phase. Helen and I used to fight about it all the time.

He had just passed three hundred biggies when he turned fifteen. I had come home from work early, hollered my presence, was heading for the wine closet when I heard this heartbreaking sound—

—sobbing—

—coming from the kid's room. I took a breath, went to his door, knocked. Jason and I were not close at this point. The truth is, he didn't care for me all that much. He barely acknowledged my existence, pissed on the movies I wrote, never dreamed of opening any of the books. It killed me, of course, but I never let on.

"Jason?" I said from just outside his door. The awful sobbing continued.

"What is it?"

"You can't help—no one can help—nothing can help—" And then this forlorn wahhhhhh....

I knew the last person he wanted to see was me. But I had to go in. "I promise I won't tell anybody."

He came rolling into my arms, his face fiery, distorted. "Oh, Daddy, I'm ugly and I've got no friends and all the girls laugh at me and make fun because I'm so fat."

I had to blink back tears myself—because it was all true, y'see. I was trapped there in that moment. I didn't know if he wanted to hear the truth from me or not. Finally I had to say it. "Who cares?" I told him. "I love you."

He grabbed me so hard. "Poppa," he managed, "Poppa," the first blessed time he ever called me that, his hot tears fresh on my skin.

That was our turning point.

For the past twenty years, no one could have asked for a better son. More than that, Jason's the best friend I have in the world. But our real clincher happened the next day.

I took him down to the Strand Bookstore, on Broadway and 12th Street, where I go a lot, research mostly, and we were about to enter when he stopped and pointed to a photograph in the window, the front cover of a book of photographs.

"I wonder who that is?" Jason said, staring.

"He's an Austrian bodybuilder, trying to make it as an actor. I met him when I was in L.A. last. He wants to be Fezzik if The Princess Bride ever happens." (This was the late '70s now, twenty years back. Schwarzenegger was nothing then, but when The Princess Bride did finally happen, he was such a huge star we couldn't afford him in our budget.) "I liked him. Very bright young guy."

Jason could not take his eyes off the picture.

Then I said what I guess turned out to be the magic words: "He was pudgy once too."

Jason looked at me then. "I don't think so," he said. I didn't think so either, but it didn't hurt to say it.

"It came up in conversation." I said. "He said he thought he had gone as far in the bodybuilding world as he could. What drove him was he didn't like the way he looked when he was young." An aside about Arnold, which I bet you didn't know: he was friends with Andre the Giant. (I guess strong guys all know each other.) Following is a story he told me. I used it in the obit I wrote when Andre, alas, died.

 

Andre once invited Schwarzenegger to a wrestling arena in Mexico where he was performing in front of 25,000 screaming fans, and after he'd pinned his opponent, he gestured for Schwarzenegger to come into the ring.

So through the noise, Schwarzenegger climbs up. Andre says, "Take off your shirt, they are all crazy for you to take off your shirt, I speak Spanish." So Schwarzenegger, embarrassed, does what Andre tells him. Off comes his jacket, his shirt, his undershirt, and he begins striking poses. And then Andre goes to the locker room while Schwarzenegger goes back to his friends.

And it had all been a practical joke. God knows what the crowd was screaming for, but it wasn't for Schwarzenegger to semistrip and pose: "Nobody gave a s——if I took my shirt off or not, but I fell for it. Andre could do that to you."

 

"I wonder how much that picture book is?" Jason said then. (We're still outside of the Strand, remember, and we didn't know it, but the earth has moved.)

Are you surprised to learn I bought it for him?

This is what happened to Jason in the next two years: he went from 308 to

  1. He went from five-foot-six-and-a-half to six-foot-three. He had always been tops in his class at Dalton, but now, ripped and gorgeous, he was popular too.

This is what happened to Jason in the years after that. College, Medical School, the decision to be a shrink like his mom. (Except Jason's speciality is sex therapy.) New York magazine rated him tops in the city and he also met this lovely lady Wall Streeter, Peggy Henderson, and they got happily married.

And and and had a son.

I went to the hospital as soon as he was born. "We're calling him Arnold," Peggy told me, holding him in her arms.

"Perfect," I said. The truth is, obviously, I was hoping they  might remember me too, somehow. But down was down.

"That's right," Jason said. "William Arnold." And he took Willy and put him in my arms.

High point of my life.

 

FOR THOSE OF you who have not yet thrown the book across the room in frustration, let me explain that this all really does have to do with why only the first chapter of Buttercup's Baby. And I promise to get there so fast you won't believe it.

  1. Willy the kid. Jason and Peggy live only two blocks away and I am careful not to drive them nuts, but I never had a grandson before. Not a toy at Zitomer's escaped me. Not a cough from him didn't keep me up all night going through my health encyclopedias.

I could refuse him, obviously, nothing.

Which is why my behavior in the park was so odd. Gorgeous spring day, Peggy and Jason holding hands up ahead, me and seven-year-old Willy tossing a Wiffle ball back and forth a step behind. We already go to some weekend Knick games together. (I've had season tickets since Hubie Brown was sent down to earth to destroy me.)

"We have a request," Jason began things.

"Guess what we finished last night?" Peggy went on. "The Princess Bride. We took turns reading it out loud."

Trying for casual, I asked the youngster what he thought of the entire enterprise.

"It was good," Willy replied, "'cept for the end."

"I don't like the end all that much, either," I said. "Blame Mr.

Morgenstern."

"No, no," Peggy explained. "He didn't dislike the ending. He didn't like

that it ended."

Pause. We walked in silence.

"I told him about the sequel, Poppa," Jason said then. Peggy nodded. "He got really excited."

And then my Willy said the words: "Read it to me?"

I knew at that moment I was losing it. I remember exactly my fear—what

if I couldn't bring it to life this time? What if I failed? Failed us both?

"That's the request, Dad. Willy wants you to read him Buttercup's Baby.

We all want you to do it."

"Well it's too bad about what 'we' all want, isn't it," I started, my voice too loud. "It's sure too bad 'we' can't have everything, isn't it? You all better get used to disappointment," and before I did anything even worse, I looked at my watch, gestured that I had to go, took off, went home, stayed there, didn't answer the phone, had early Chinese sent in from Pig Heaven, started drinking, was gone by midnight.

And woke before dawn with a dream, so vivid; I went out to my terrace, paced, started trying to figure out the dream, and more than that, I guess, my life and how had I screwed it up.

It was a memory of that second pneumonia, and Helen was reading the screenplay of the movie to me—only this time she was young and wonderful, and she was also crying.

On the terrace I knew why—we are all the writers of our own dreams— she was me, she was me crying for me, for what I had become. And then I remembered she wasn't reading The Princess Bride, she was reading about Fezzik and the madman on the mountain, the start of Buttercup's Baby, and I realized that twice I had almost died and Morgenstern had come to save me and now here he was again, saving me again, because I knew this, standing there looking out at the city as the sun rose: I would be a real writer once more, not just some schmuck with an Underwood, as screenwriters are still thought of Out There.

I didn't think I was ready to go from zero to sixty, to start a novel from scratch. I didn't feel confident that I could make everything up, as I had done for my thirty novel-writing years.

Let me explain what I was not ready to do.

Take Szell, the Nazi dentist in Marathon Man (Olivier in the movie, and wasn't he great? Remember the "is it safe" scene with the dental tools?). There is this street in Manhattan, 47th between Fifth and Sixth, and I was walking along it one day, decades back, on my way somewhere, can't remember, doesn't matter, but that block is called the "diamond district." It is filled with an amazing number of diamond shops, most of them run by Jews, and on a lot of them, you could see they still had their concentration camp numbers. I thought that day what a great scene it might be if I could have a Nazi walking on that street.

Which Nazi I didn't know, but probably I started doing some mild research, reading and asking people, and I finally came across the most brilliant of them all, Mengele—the double doctor, Ph.D. and M.D.—then thought to be living in Argentina, the guy who did the heartless experiments on twins.

OK, great, I've got my guy—but why does he risk everything to come to 47th Street? I knew this much: it couldn't be to go to the prom. The most wanted man on earth had to have an unshakable reason.

Years go by, with Mengele stuck in the corner of my head and gradually Babe started to appear, the marathon man of the title. Then I caught a break: I read about a surgeon who had invented a heart sleeve operation, somewhere, maybe Cleveland, but I could put him in New York.

Yesss. Mengele came to America, to New York, because he had to, to save his life.

Brilliant.

I am flying for the next little while because I have solved my most difficult problem and then it hits me—fool!—what kind of a villain is it who's so frail he needs heart surgery? My God, if someone chased him he might keel over from the effort.

Obviously, a couple of years later I figured out some things and wrote the book and wrote the movie and the scene that still works best, along with the dental scene, is Szell wandering among the Jews.

On the terrace that morning I knew I wasn't ready to take on that kind of trip. But this shaping of Buttercup's Baby was a perfect middle step for me. Bringing it to life as I had The Princess Bride would give me the confidence to at last go back to being what I once was.

So I would do the abridgement of the sequel and then do my own novel and ride off into the frigging sunset, thank you very much. Once offices opened for the day I called Charley (still my lawyer) and told him that I wanted more than anything on earth to abridge the sequel and was there any way he thought the Morgenstern estate would put an end to hostilities?

He said the most amazing thing: "They contacted me today. The Shogs. Kermit's daughter did. She's a young lawyer for the firm, sounded nice and bright, and let me quote her: 'We want to settle for peace with your Mr. Goldman.'"

Tennessee said it best: "Sometimes there's God so quickly."

I MET KARLOFF Shog the next morning for breakfast in the dining room of the Carlyle Hotel, none prettier in all New York. Charley set it up and decided not to be there, no point, this was a "look-like" where we would both try on our charm and see if we could do business.

So I sat waiting for her to appear. With a name like Karloff Shog, I figured a mustache was a sure bet and don't even think about her armpits. (In case you don't know—and you don't know, nobody knows stuff like this— Karloff is the most popular girl's name in Florin. Make of that what you will.)

This dreamboat walks in. Mid-thirties, dressed to kill, long loose blonde hair, gorgeous. She comes right over and she holds out her hand. "Hi, Carly Shog, this is so great meeting you, you look just like the pictures on your books, only, may I say, younger."

"You may say that as loudly and as often as you want." I tend to be a little thick-tongued when sweet young things are around, so that was pretty smooth for me. The nutty thing is, at that moment, when we had met on earth for all of ten seconds, I thought she wanted me. "Want" in the sense of "desire." And if you know me at all, you know I don't think anybody ever wants me. Not wants in the sense of desire anyway. "What brings you to America?"

"We're doing a lot of legal stuff in the States now. I just moved here." Now a pause. "Thank God." She looked at me. "I can tell you've never been in Florin." I said I hadn't. "It's a little inbred. I mean, in Florin if you marry your first cousin, that's considered good." Another pause. "An attempt at humor. Sorry."

I have dated some terrific women since Helen left me a decade past. But this one here, this blue-eyed lawyer with the body and the brains, on any list, was special. She reached across the table then, took my hand—

—Let me run that by you again: she took my hand!

And looked into my eyes and said, "I'm just so glad our legal troubles are done."

"It's been awful," I agreed. "I was only sued once before in my whole life." (It's true.) "And that was by an actor so it doesn't really count."

Need I tell you her laugh was bell-like? Then, to only improve her bank account came this: "You won't believe me, but I've read every novel you've ever written. Including the Harry Longbaugh." (No Way to Treat a Lady was first published under a pseudonym, Harry Longbaugh, the real name of the Sundance Kid.)

I am so in love at this point it is ridiculous. "The lawsuits your guys filed

—you'll drop them?"

"Of course. All thirteen. That's what we're going to do for you, and all we want from you is your goodwill."

"Goodwill?" If I'd have had an engagement ring with me, it would've been

hers.

"Yes. It's so important that Buttercup's Baby be published. Here in

America."

I signaled for coffee and a waiter poured us some. We fiddled with sweetener and low-fat milk and all that other yummy stuff we do to our stomachs these days. We sipped silently. And we looked at each other. Then I said the nuttiest thing: "How old are you, Carly?"

"How old do you want me to be? I know all about you. I know you were born at Michael Reese Hospital in Chicago on August 12th, 1931. Pretty good?"

I nodded.

She opened her purse then. "All you have to know is this, Bill. I broke up with my boyfriend when I left Florin City. And he was fifty-five. I have a thing for..." And here she paused, smiled so sweetly. "...for vigorous older men."

Mark Antony was never this smitten.

She reached into her purse, handed me a piece of paper. "This is just legal boilerplate. Have your lawyer check it out, then sign it and mail it back to me."

"What is it?"

"It's called settling for peace. We agree to drop all the lawsuits. You agree that we did nothing wrong, and that you wish us the best on all future projects." "I do more than wish you well. I'm going to kill myself doing Buttercup's

Baby."

"Of course you would," she said then, and do you know the most important six words in the last thirty years in World Culture? I'll tell you what they are. Peter Benchley came up with them when he was walking along a beach and the words were these: "What if the shark got territorial?" Because out of that came the novel Jaws, and then the movie Jaws, and nothing's really been the same since.

Well, Carly Shog's next six words weren't that important. Except, of course, to me. Before she said them I asked her, "Why did you say 'Of course you would?' You meant 'Of course you will! I'm doing Buttercup's Baby."

That moment, waiting for her to speak, looking at the glorious lady, at her pale blue eyes, I remember thinking something weird is going on, something

bad, even. But in no paranoid nightmare could I have come up with what she said next:

"Stephen King is doing the abridgement."

 

HERE'S WHAT I did not say: "What's the punch line?" Here's another: "You're killing me." Or: "He'll laugh right in your face." Try: "You rotten bitch." While I was busy saying nothing, Carly went smartly on.

"Here's what we get when you sign that letter: safety. See, you're nowhere near King in terms of sales, no one is, we don't have to go there. But a lot of people connect you with Morgenstern because of the movie and what we don't want is people wondering why you decided not to do the sequel. Goodwill is very important, and we can't have you running around claiming betrayal. I wrote this. I think you can live with it."

Here's what she put down: "I'm so excited Stephen King has come on board. Frankly, I'm exhausted as far as Mr. Morgenstern is concerned. So I wish everyone the best. And I don't know about you, but I can't wait to read Buttercup's Baby."

I looked at her a moment before I spoke. She looked like Bela Lugosi now. "He won't do it. King. I know him a little, and there's no reason on earth he'd get dragged into something like this."

"Steve doesn't feel he's getting 'dragged into' anything. He's genuinely excited. We talk every day. Will, 'til everything's finalized."

"I don't believe you. I don't know what you're after but find another buyer." I stood up.

"His name wasn't always King," Carly said then. "He has ancestors who lived in Florin City way back when. He still visits in the summertime."

I sat back down.

"Does he know about me?"

"Bill, of course. And I told him just what the peace settlement says—that you're exhausted. That's easy enough to believe. My God, you haven't written a novel in well over a decade."

She now strongly resembled Leatherface from The Texas Chainsaw Massacre. "I'll see you in court," I said, tossing some money on the table, walking out. A stupid and hollow thing to say. She could keep pressuring me with the lawsuits. No question, she had all the cards.

All but one.

 

LATE THE NEXT morning I was sitting in the airport in Bangor, Maine. I knew King basically from Misery, a screenplay I wrote from one of his best and favorite novels. I'd come up to Bangor a couple of times, just your basic research, chatting with him, a few questions I thought could be better answered in person than over the phone. We had a sneak for him when the movie was done and Rob Reiner, the director, and I paced the lobby while it was on, hoping he'd like it. It meant a lot to us to please him. Rob's career really took off with Stand By Me, another work by King (a novella called The Body).

We could tell as soon as we saw him walking out that he was happy about what we'd done with his baby. He loved Kathy Bates especially. (Not alone in that; she won the Oscar for Best Actress.) It's funny but what I remember even more was the moment before it started when he left us to take his seat: the look on his face was so hopeful. Like a kid. I commented on that to Rob who said, "I think he's as vulnerable now as when he started—which is how he's managed to stay Stephen King."

I don't think everyone realizes what a phenomenon he is. It's not just the hundreds of millions of books sold—it's that he has arguably been the hottest writer in the world for so long. Carrie came out in '74—a quarter century sitting closest to the fire.

I saw him through the window now. Jeans, lumberjack shirt, shambling walk. King's a lot bigger than you think. And remarkably unpretentious.

We sat in a private corner of the waiting room—I hadn't eaten since the legendary lunch the day before with the Fiend of Florin. And I'd been up half the night getting everything all set, just how to say it rationally, novelist to novelist, storyteller to storyteller, and the way it went in my head I wasn't even halfway through before he said, "Bill, that bitch lied to me, she said you didn't want to do it. I only said I'd get involved because she talked to a bunch of relatives I still have back there and they put pressure on me but I felt dragged into the damn thing from the beginning."

The silence went on. King looked at me. Waiting. I knew I was making him nervous, just sitting there, but I couldn't figure how to start. All I knew was I didn't want to embarrass him. Or, worse, humiliate myself.

Finally he asked, "How's Kathy? I liked her in Titanic."

He's giving you a way to start, I told myself. So talk about Kathy Bates.

You've got a great Kathy Bates story, tell him. "I don't see her much, but did I ever tell you how she got the Misery part? It's a great story."

King shook his head.

"I wrote the part for her. I'd seen her on stage for years—she's one of the great actresses but she'd never gotten her break in films—and before I started I was talking with Rob and I said, 'I'm going to write Annie Wilkes for Kathy Bates.' And Rob said, 'Oh, good. She's great. We'll use her.'"

"Then what?" King asked.

"That was it. The most sought after female role that year and it went to this unknown. I loved being part of that. Changing a life."

"Great story, all right," King said, trying to sound enthusiastic. But I knew his heart wasn't in it.

"No!" I said, way too loud, but I was not in the best of shape, as readers of these pages will have sensed. "No," I repeated, more conversationally. "That's not the story. Here's the great story."

King waited.

"Okay. So Rob calls her in. Just Kathy and Rob in the room and she has never come close to a lead in a movie and Rob just lets it fly: 'You've got the part.' Kathy sits there for a moment before she says this: 'The part. I've got it.' Rob nods, repeats the news. 'You've got it.' Now there's another pause before Kathy comes out with this: 'The Annie part. Annie Wilkes. That part?' Rob nods again. 'Annie Wilkes. The lead.' Now a little faster from Kathy: 'And I've got it and it's all set and everything.' 'All set,' from Rob. Now she leans forward a little. 'Let me just get this straight—I am playing Annie Wilkes, the lead, in Misery?' 'Yup,' says Reiner. And Kathy goes on: 'It's done and everything, I mean, I am definitely playing Annie, and that's set and done and everything, no mistakes or anything?' And Rob says, 'It is so set you wouldn't believe it.' And then there is a moment of silence in the room. And then she says this: 'Can I tell my mother?'"

King just loved it. (I do too. It's one of my all-time favorite sweet Hollywood stories.) He laughed and smiled and looked at me questioningly, and I raised my right hand and said, "All true, word of honor," and I could feel myself, at last, relaxing. I knew I could do it now, talk to him, convince him not to do the sequel, because, after all, I had done The Princess Bride and, even on this earth, fair was occasionally fair, and he said, "I really liked the movie." I said, "I did too, not just Kathy but how about Jimmy Caan?" Then he said, "I meant The Princess Bride."

"Thanks. So do I," and I was about to go on when I realized something. Something just awful. He hadn't mentioned the novel, just the movie. But, my God, he had to like it, I was just being paranoid.

"I wish I felt the same about the novel," he said, and I could see it pained him to say it.

The most popular storyteller of the century tells you that you suck as a storyteller. I would like to report I handled the whole thing with maturity. But, alas, what I said, like a total jerk, was, "Yeah? Well, a lot of people liked it just fine, thank you very much."

Suddenly he was leaning in toward me. "Bill, the way you caught his style was fine, but, the fact is, I don't like a lot of what you did with the abridgement. For example, Chapter Four—you cut out seventy pages on Buttercup's training. How could you do that? There was wonderful stuff in there. You must have seen the Royalty School. It's one of the great buildings left in all of Europe. Buttercup's curriculum is amazing. How could you leave it out?"

"I was mostly interested in the story, you know, the plot." And that's when I broke it to him. "I never went there. To Florin. What was so important about going?"

"What was so important? You flew up here just to check out things for a screenplay adaptation."

I didn't say anything then because I could feel this terrible wind coming and I knew it would blow me away.

"That's why I want to do Buttercup's Baby" he said. "Get things right this time."

I was dead in the water. I stood, thanked him for his time, started out, devastated.

"I'm really sorry," he said.

I made a smile. Not the easiest thing for me to pull off at that moment, but I liked King, didn't want him of all people to see me fall apart.

He called after me: "Bill—wait—I just had an idea. Listen—I'll do the abridgement and you can do the screenplay. I'll make that a deal-breaker in my contract." King was trying to be helpful, I understood that, but right there in the airport I told him about my dad reading to me and Jason not liking it and me realizing how I had only been read the good parts and now Jason was me and he had this kid, Willy, this wonderful child named after me, and Willy wanted me to read it to him and none of this abridgement business would have happened if I hadn't started it and what would he do if he ever lost it, his

power, storytelling, as I'd lost mine, and how would he like to spend the rest of his life writing perfect parts for perfectly horrible people who happen to be movie stars this week, with all that power—

—and I was what I most didn't want to ever be, humiliated, so I left him there, forcing myself not to run out the door, gone....

 

THE PLANE BACK TO New York left in three hours and I grabbed a cab, hid in Bangor 'til it was time, cabbed back to the airport.

Late. Weather problems.

I sat on a bench in the airport, leaned back, closed my eyes until King asked, "You had to come all the way to Maine to have a nervous breakdown?" He was sitting alongside me. "You did make one good point, and I've thought a lot about it—none of this abridgement business would have happened except your dad kept skipping stuff. So in a way you're very much right, it is your baby, you began it."

Pause.

Then he said it.

"Try the first chapter."

He could tell from my expression that I didn't quite understand what he meant. I guess I was like Kathy talking to Rob. "Look, this is the twenty-fifth anniversary year of The Princess Bride, right? Your version." It was. "Well, probably your publisher will want to do something, maybe reprint it in hardcover." I nodded. We'd already talked about that. "Well, abridge the first chapter of Buttercup's Baby. Include it if you want. You probably ought to write an introduction to the chapter, explaining why you're not doing the whole book. I'll call the Shogs, tell them my decision. They won't like it but they'll go along. They've been wanting to be in business with me for years. Florinese rights to my stuff are coming due in the next couple of years."

For a moment then he hesitated, and I wondered if he was changing his mind. I just waited, hoping not. Next he shook his head, and there was a look on his face that might have said "Am I nuts to do this?" Then these wonderful words: "Bill, I expect you to really try this time."

"I'll research the hell out of it," I told him. (And have I ever.) "But what happens after I publish the chapter?"

"Let's go one step at a time," he answered. "You write it, I'll read it, Morgenstern's public will read it. I'll send a bunch of copies to all my cousins in Florin, see what they think." He stood, looked at me. "I guess the most

important thing is really Morgenstern. He was a master and it would be nice if we could please him, don't you think?"

"That would be best of all," I said, God's truth.

We shook hands, said good-bye, he started away, glanced back. "You haven't read Buttercup's Baby yet, have you?"

"Not yet."

"It's a pretty amazing story."

"What are you saying? That even I can't screw it up?" "You got that right," Stephen King said, and he smiled....




I LEFT FOR Florin immediately. (I didn't get to Florin immediately, of course—Florin Air's scheduling geniuses saw to that. I took the Air France night flight to Brussels, where you connect with InterItalia, which lets you out in Guilder, and then just the short hop to Florin City.) I'd made out a list of places to see. Royalty School, obviously, because King put such emphasis on it, the Cliffs of Insanity—I phoned ahead and made a booking, the place is insane with visitors now—the forest where the Battle of the Trees took place, on and on. King had given me a list of friends and scholars who he thought might prove helpful. One wonderful cousin ran the best restaurant in Florin, a blessing, because Florin, as you may know, is the root vegetable capital of Europe, good for their farmers, but rutabaga is their national dish and you can get sick of it pretty fast unless a skillful cook is around.

It was odd, those first days, looking at real places that I thought were made up when I was a kid. I was worried that they might not live up to my fantasies. (Some of them didn't, most of them did.)

The Thieves Quarter where Fezzik reunited with Inigo, I saw that, and the room where Inigo finally finally killed Count Rugen—it's on the castle tour. Buttercup's farm has been kept pretty much intact, but what can I tell you, it's a farm. And of course the Fire Swamp is still as deadly as ever, no one's allowed in, but I did see the spot not that far away where local scholars believe that Buttercup and Westley held each other after she pushed him off the cliff. (It's where the reunion scene took place, and let me tell you, it was strange, me standing there, looking at that patch of ground.)

You still can't get to One Tree Island by boat because of the surrounding

whirlpool, so I rented a helicopter, wandered. (One Tree is where they went to get their strength back.) It's where Buttercup and Westley first made love, where poor Waverly was born. Probably I shouldn't call her "poor" Waverly, she had a great time for a while, parents who loved her, the world's greatest fencer as her guard, the world's strongest man as her baby-sitter. Can't ask for a whole lot more.

Of course, everything changed with the kidnapping, but I better shut up now, before I get ahead of the story....



 




Fezzik Dies




FEZZIK CHASED the madman up the mountain, the madman who carried the most precious thing, for Fezzik, ever to be on earth, the kid herself, Buttercup's Baby.

"Chased" was perhaps the wrong word. "Lumbered after" might have been more accurate. However you wanted to put it, the news was not good, because Fezzik, try as he might, was falling farther and farther behind. There were two reasons. The first: size. They were fifteen thousand feet in the air, the rise was sheer, and Fezzik had terrible trouble finding footholds that might make him secure. His huge clumpy feet would touch here or there, seeking sanctuary, but it took too much time.

And the madman used that time to his advantage, increasing his lead, occasionally glancing down with his skinless face, to see how much farther Fezzik had fallen behind. Even to Fezzik, his plan was clear: get to the crest, run across the plateau, start down the far side, leave Fezzik helpless, still trying for the ascent.

The second reason for Fezzik's lack of success was this: fear. Or, to be more specific, fears. Being the biggest and strongest, no one realized he also had feelings. Just because he could uproot trees, people didn't want to know that the little squirmy bugs that lived in the roots spooked him. Just because he had defeated the wrestling champions of seventy-three countries, people didn't believe that his mother had to keep candles burning all night long when he was (comparatively speaking) little. Of course, the idea of public speaking was beyond thought. But Fezzik would rather have spent the rest of his years in constant speechmaking than face what was staring at him now. The possibility of

 

F

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With nothing but rocks to crush his body at the end.

True, he had climbed the Cliffs of Insanity, but that was different. He'd had a rope to hold on to so he knew which way to go, and he'd had Vizzini insulting him, which always made the time pass more pleasantly.

If only the madman possessed some other baggage, Fezzik would have stopped and crept back down to safety. If only it was all the silver in Persia or a pill that you only took once and you weren't a giant anymore.

Easy to stop the chase then.

But this was Waverly, his blessing, and though he knew in his great heart he would lose this pursuit, knew he would somehow slip, Fezzik lumbered on.

He glanced up. She was rolled in the blanket she had been kidnapped in

—and how long ago was that now? Fezzik chose not to remember because the kidnapping had been his fault. He had allowed it somehow—it had happened on his watch. Fezzik blinked back quick tears of remorse. Her body was still. The madman probably gave her some potion. To make her easier to carry.

Above him, the madman stopped, pushed, kicked out—

—and giant rocks were coming down toward him.

Fezzik did his best to get out of their way, but he was too slow. The rocks grazed his feet, knocking them loose from their holds, and now he, Fezzik the Turk, was swinging high in space, holding on by just the strength of a few fingers.

The madman cried out with delight, then climbed on, rounded a mountain corner, was gone.

Fezzik hung in space. So very afraid. The winds picked at his body.

His left hand began to cramp so Fezzik took it out of the hold, reached a

yard up to a better one.

He hung there, thinking, and what he thought was not how very afraid he was but that he had just gone up three entire feet, using only his hands. Could he do that again? He reached up another yard, found another hold. This is all very interesting, he told himself. I actually went up without using my feet. I went up faster than before, without using my feet.

Hmmm.

And then suddenly he was moving. Just using his hands to reach, grab, then the next, reach, grab, and never mind using all fours, just use the upper twos—

—and then he was moving fast.

Fezzik flew up the mountain now. Somewhere on the other side was the madman, probably taking his time, feeling sure that Fezzik was gone. Fezzik increased his speed, up to the crest, then to the plateau, racing across it with enormous strides, and when the madman got there with the babe, Fezzik was waiting.

"I would like the child," Fezzik said softly.

"Of course you would." The madman had no mouth. The sound came from somewhere inside his skinless face. He still held Waverly's body.

Fezzik took a step nearer.

"I can breathe fire," the madman said.

Fezzik knew that it was true. But he was unafraid. Another step closer.

"I can change shape," the madman said, louder now, and Fezzik knew that it was true. But he also knew this: fear had entered the heart of his enemy.

"These are my final words," Fezzik said. "When I tell you to give me the child, you will give me the child."

"I will use all my magic on you!"

"You can try," Fezzik said softly. "But even though you have no face, I can see how frightened you are. You are frightened that I will hurt you." He paused. "And I will." He paused again. "Badly."

The fear inside the madman was pulsing now.

Fezzik's great hands reached toward the blanket. "Give me the child," he said, and the madman started to do that very thing, but then, instead, he flipped his hands so that Waverly rolled out of her blanket, spun high into the mountain air—

—the momentum carried her over the edge where the two men were

standing, and as she spun, her eyes fluttered open, and she looked around wildly, saw Fezzik, reached out toward him as she fell from sight, said the word she alone called him: "Shade."

Fezzik had no choice. He dove into space after her, gave up his life for the child....




Well, what do you think?

It's exciting, I'll give Morgenstern that. A 'grabber,' as TV guys say. But this is a novel, you have time to develop plot and character, no one's changing the channel here. So I'm not nuts about it. I also don't like calling Chapter 1 'Fezzik Dies.'

Do you believe that Morgenstern's really going to kill Fezzik? I sure don't, not for a New York minute. Forget that he's my favorite. But think what he did for Buttercup and Westley: he let himself get set on fire, just before the castle storming; he found the four white horses they all rode to freedom on; and don't think for a minute Inigo would have made it down through the Zoo of Death without Fezzik right there with him, so in a way, he saved Westley.

And, I'm sorry, you don't knock off someone like that. It's wrong. Just to get your story off with a bang.

In other words, I disapprove of this opening. There are, in fact, a number of things I'm not happy with in this chapter. But you know the reasons I have to go along.

And I'm also not sure I should be including this next section about Inigo. I had a big fight with my publisher, Peter Gethers. He's against putting it in, finds it confusing. Before I give my reasons, I think you better have a chance to see for yourself what we're arguing about.




INIGO WAS IN Despair.

Hard to find on the map (this was after maps) not because cartographers didn't know of its existence, but because when they visited to measure its

precise dimensions, they became so depressed they began to drink and question everything, most notably why would anyone want to be something as stupid as a cartographer? It required constant travel, no one ever knew your name, and, most of all, since wars were always changing boundaries, why bother? There grew up, then, a gentleman's agreement among mapmakers of the period to keep the place as secret as possible, lest tourists flock there and die. (Should you insist on paying a visit, it's closer to the Baltic states than most places.)

Everything about Despair was depressing. Nothing grew in the ground and what fell from the skies did not provoke much happy conversation. The entire country was damp and dank, and why the locals all did not flee was not only a good question, it was the only question. Locals talked about nothing else. "Why don't we move?" husbands would say each day to wives, and wives would answer, "God, I don't know, let's," and children would jump and shout, "Hooray hooray, we're out of here," but then nothing would happen. Bindibus live in more hideous conditions but they don't travel a lot either. There was a certain comfort in knowing that no matter how bad things were, they couldn't get worse. "We have endured everything," the locals would tell themselves. "Whereas if we pick up and go, say, to Paris, we would get gout and be insulted by Parisians all day."

Inigo, however, had a warm spot for the place. For it was here, years and years ago, that he had won his first fencing championship. He had arrived shortly before the tournament was to begin, and he had come with a heavy heart. Tears always behind his eyes. He could not shake his mood, because of what had just happened to him in Italy, on his first visit there. A journey he had begun with such hopes....

 

BY THE TIME he turned twenty, Inigo Montoya of Arabella, Spain, had spent his last eight years wandering the world. He had not yet begun the hunt for the six-fingered man who had killed his beloved father, Domingo. He was not ready and would not be until the great swordmaker, Yeste, pronounced him so. Yeste, his father's dearest friend, would never send him out if there were flaws. Flaws would not only bring death but, far worse, humiliation.

Inigo knew one thing and that only: when he finally found his tormenter, when he was at last able to face him and say, "Hello, my name is Inigo Montoya, you killed my father, prepare to die," there could be no question in his mind of defeat. The six-fingered man was a master. And so, preparing for

such a master, Inigo had wandered the world. Getting stronger as he grew, learning from whoever could teach him mysteries that needed solving. Lately, he had begun to specialize. His talents were past phenomenal, but still not good enough to get the blessing of Yeste.

He had recently been to Iceland, to spend months with Ardnock, the great frozen terrain expert. Inigo had already mastered fighting from below and from above, fighting from trees, from rocks, in rapids. But what if the six-fingered man was from the far north, and they battled on frost, or freshly watered ice? And what if Inigo, helpless and slipping, lost his balance, lost the battle, lost everything?

After Iceland, he spent half a year on the equator, studying with Atumba, the master of heat, because what if the six-fingered man came from a steaming country, and what if they battled in the heat of the hottest day, temperature at 150, and what if the grip of his sword went wet for a moment in his hand?

Now, having just turned twenty, he was in Italy, to see Piccoli, the tiny ancient, the acknowledged king of the mind. (Piccoli was from the most famous line of great Italian teachers—another branch was centered in Venice and taught singing to every famous Italian tenor whose name ends in a vowel.) Inigo knew he would not be able to think when his death battle came. His mind had to be a spring day, and his movements had to come on their own, his spins and twists and thrusts all had to leap unbidden.

Piccoli lived in a small stone house, in the employ of Count Cardinale, the strange and secret man who controlled most of the country. Piccoli had heard of Inigo because although Yeste was the greatest and most famous maker of swords, there were rumors that when he was confronted with a task that was too much even for him, he would go to the town of Arabella, high in the hills above Toledo, to the hovel of one Domingo Montoya, a widower who lived with a young son.

It was there that the six-fingered sword had been forged.

Could it truly be the wonder of his world? Piccoli had heard of it for a decade, yearned to see it dance before he died. The greatest weapon since Excalibur and where was it now? Gone with the child Montoya from the house of Yeste. And where was that child?

Piccoli had spent his entire long life training his mind, so that he had the ability to sit for a day in the middle of a mad battle and know nothing of the screams and slaughter going on around him. When he was in his mind, he was as if dead. And every morning at dawn he would go into his mind and stay

there 'til noon. No power could disturb him.

He had gone into his mind at dawn, one day, there to stay 'til the sun was highest—but on this one morning, at eight o'clock, a strangeness.

He was in his mind as he always was at six and at seven and at half-past seven, and at quarter 'til eight, and ten 'til, and five and four and three—

—and then Piccoli was pierced by something so dazzling even he had to open his eyes—

—to see a young man approaching, tall, blade-thin, muscular, spring- legged, who was handsome enough but would have been more than that, save for the two scars that paralleled his cheeks—

—who held such glory in his hands, the sun was dancing there.

Piccoli could not breathe as the young man approached. "I want to see Mr.

Piccoli, please."

"I wish to see your sword."

Piccoli trembled as he took it in his tiny hands. "What could you possibly want from me?" He could not take his eyes off the weapon. "You have the world here."

Inigo told him.

"You want me to teach you to control your mind?" Piccoli asked. Inigo nodded. "I have come from very far."

"A waste, I fear. You are young. The young have not the patience. They are stupid. They think their bodies will save them."

"Let me learn."

"Pointless. Go wage your battle without me."

"I beg you."

Piccoli sighed. "All right. Let me show you how stupid you are. Answer my queries: what on all the earth do you want more than anything?"

"Why, to kill the six-fingered man, of course."

And with that Piccoli started screaming: "Wrong, wrong! Listen—see what I say." His voice grew soft, seductive. "The six-fingered man has his sword in his hand—he thrusts—see what I say, Montoya, watch the sword. He has thrust the sword toward your father, now the sword is entering your father's heart, Domingo's heart is shredded and you are ten and standing there, you are helpless, do you remember that moment? I command you, remember that moment! "

Inigo could not stop his sudden tears.

"Now you are watching him fall. Look—look at him—watch Domingo

die—"

Inigo began sobbing out of all control.

"Tell me what you feel—"

Inigo was barely able to speak the word: "Pain..."

"Yes, right, of course, pain, killing pain. That's what you should want more than anything, an end to your pain."

"...yes..."

"That pain is with you, every moment every day?" "...yes..."

"If you think of ending your pain, you will kill the six-fingered man. But if you only think revenge, he will kill you, because he has already taken the thing on earth you treasured most, and he will know that, and when you battle he will say things, he will taunt you, he will talk about your pathetic father and he will laugh at your love for a failure like Domingo, and you will scream in rage and your revenge will take control and you will attack blindly—and then he will cut you to pieces."

Inigo saw it all, and it was true. He saw himself charging and heard himself screaming and then he felt the six-fingered man's sword as it entered his body, drove through his heart. "Please, do not let me lose to him," he finally managed to say.

Piccoli looked at the shattered young man before him. He gently returned the six-fingered sword. "Go dry your tears, Montoya," he said at last. "We start your training in the morning..."

 

IT WAS SAVAGE work. Inigo had never imagined it would be anything less, but Piccoli was merciless beyond human reckoning. For eight years Inigo had sprinted two hours each day, to make his legs muscular and strong. Now, with Piccoli he could not sprint at all. For eight years he had squeezed apple- size rocks two hours a day, so his wrists might deliver the death blow from any and all positions. Now, rock squeezing was banned. For eight years he had never skipped and dodged less than two hours a day so his legs would be quick. Now, no skipping, no dodging.

Inigo's body, so lash-strong, so whippet-quick, the body he had shaped for lethal combat, the body that was the envy of most men. That body? Piccoli hated it. "Your body is your enemy while you are with me," Piccoli explained. "We must weaken it for now. It is the only way you can grow your mind. As long as you think you can fight your way out of trouble, you will never be able

to fight your way out of trouble."

For eight years Inigo had gotten by on four hours' sleep. Now, that was all he did. Sleep. Doze. Rest. Snooze. He catnapped under orders, siestaed constantly. It seemed to him he was grabbing forty winks every time eighty winks had gone by. And while resting, he had to think about his mind.

Weeks passed. He was sleeping twelve hours a day at first, then fifteen. Piccoli's goal was a fat twenty, and Inigo knew the torture would never stop until his goal was reached. He did nothing but lie there and think about his mind.

His only job was to think about his mind. Get acquainted with it, learn its ways.

His sole exercise was fifteen minutes each day while the sun went down. Piccoli would send him outside, the sword in hand. And nod. Just once. And Inigo would flash in the dying light, the sword alive, and his body would leap and duck and the shadows moved like ghosts. Piccoli was very old, but once he had seen Bastia and this was Bastia again, alive again on earth.

One more nod from the tiny ancient head and back to rest. To bed. To lie there and think about his mind.

And it went that way until the day Piccoli had to go to the village for provisions. Inigo was alone in the stone house, and then there were soft footsteps approaching, and a soft voice, enquiring for the owner, and then Inigo was alone no longer. He looked toward the figure framed in the doorway, stood. And spoke these most remarkable and unexpected words:

"I cannot marry you."

She looked at him. "Have we met, sire?" "In my dreams."

"And we decided not to marry? What strange dreams from such a young fellow."

"No younger than you." "You work for Piccoli?"

Inigo shook his head. "Mostly I sleep for Piccoli. Come closer?" "I have no choice."

"You work in the castle?"

"I have lived there all my life. My mother too."

"Inigo Montoya of Spain. You...?" He waited for her name. He knew it would be a wondrous name, a name he would remember forever.

"Giulietta, sire."

"Do you think me strange, Giulietta?"

"I'd be pretty dopey if I didn't," Giulietta said. Before adding, "sire." "Do you feel your heart at this moment? I feel mine."

"I'd be pretty dopey if I didn't," Giulietta said. Her black eyes studied his face so closely before she said, "I think you better tell me of your dreams."

Inigo began. He told of the slaughter and his scars, and how, when he had healed he had begun his quest. And how wandering through the world, town to city to village, alone, always that, sometimes he made up companions since there were none really for company.

And when he was perhaps thirteen, there was a someone always waiting for him at the end of the day. As he grew up and older, she grew older, too, the girl, and she would be there, always there, and they would eat scraps together for dinner and sleep in haylofts in each other's arms, and her black eyes were so kind when they looked at him. "As your eyes are kind now, as you look at me, and her black hair tumbled down as I can see yours now, tumbling down, and you have kept me blessed company all these years, Giulietta, and I love you and I will forever, but I cannot, and I hope you understand, because my quest comes first, above all else, even with what I see in your eyes, I cannot marry you."

She was so obviously touched. Inigo knew that. Inigo saw that he had moved her deeply. He waited for her reply.

Finally Giulietta said, "Do you tell that story often? I'll bet the village girls go nuts over you." She turned toward the door then. "Go try it on them." And she was gone.

The next morning before he went into his mind, she was back. "Let me get this thing straight, Inigo—we had scraps for dinner? I'm in your fantasy and the best you can come up with is scraps?" She turned toward the door then. "You have no chance of winning my heart."

Inigo went back into his mind.

The next noon she poked him awake. "Let me get this straight, Inigo—we slept in haylofts? You couldn't even come up with a clean room at an inn? Do you know how scratchy haylofts are?" She turned toward the door then. "You have less chance of winning my heart today than you had yesterday."

Inigo went back into his mind.

The next dusk she stood in the doorway. It was just before his fifteen minutes of movement, and she said, "How do I know you're going to find this six-fingered man? And how do I know you can beat him? What if I took some

kind of weird pity on you and waited and then he won?" "That is my nightmare. That is why I study."

She pointed at his sword. "Are you any good with that thing?"

Inigo went outside and danced with the six-fingered sword in the dying light. He tried hard to be particularly dazzling and ended with a special flourish taught him years before by MacPherson in Scotland. It involved a spin and a sword toss and ended with a bow.

"Impressive stuff, Inigo, I admit it," she said when he was done. "But what happens after you find this guy and run him through? How are you going to earn a living? Doing stunts like that? What do you expect me to do, play the tambourine and gather the crowd? You have so little chance of winning my heart, there is no point to our ever seeing each other again. Good-by."

Watching her leave there was no question: Inigo's heart was aching....

 

SHE DID NOT return 'til the night of the Ball. Inigo could not help but hear the music pouring out of the castle down through the night. Musicians had been practicing for days. Suddenly Giulietta was there, beckoning. "It's so beautiful," she whispered. "I thought you might want to see. I can sneak you in, but you must do exactly what I say—it will go badly if we are found out."

They raced through the long shadows, paused only briefly outside the kitchen—then she nodded and they were inside and she pointed left to show that was their way, then right, and he followed 'til the ballroom itself stood before them.

It was a sight beyond his conceiving. A room of such size, such elegance, with flowers to fill a forest and musicians playing softly. Inigo stared—and kept staring—until he heard a gasp and Giulietta whispered, "Oh, no, the Count is here. I must go, get behind the door."

Inigo slipped behind the door, wondering how horrible the punishment was for sneaking into a castle, for peering in rooms only the mighty should behold. He closed his eyes and made a silent prayer that the Count would never see him.

He opened his eyes to nightmare: the Count was staring at him. An old, old man. Dressed in such magnificence. With a look of such disdain. And a voice of shattering power.

"You," he began, his rage already building, "are a thief!"

"I have never stolen—" Inigo started to say.

"Who are you?"

Inigo could not get the words out. "Ummmm ... Montoya. Inigo Montoya of Arabella, Spain."

"A Spaniard? In my house? I shall have to fumigate!" And then the Count came close. "How did you get in here?"

"Someone brought me. But I will never reveal her name. Punish me, do anything you will with me, but her name will always be a secret from you." Then he gasped as Giulietta stood in a distant doorway. He gestured for her to run, but the Count's turn was too fast and he saw. "Do nothing to her," Inigo cried out. "She has lived here all her life as did her mother before her."

"Her mother was my wife," the Count roared, loudest of all. "You pathetic excuse for a money-grubbing fool, you disgrace to the face of the world." And with a shriek of disgust he turned and was gone.

Giulietta was beside Inigo then, so excited. "Daddy likes you," she said.

 

THEY DANCED THROUGH the night. They held each other as lovers do. Inigo, with all of his study of movement, swirled like a light-footed dream and Giulietta had been trained since childhood for such things, and the musicians had played for fat dukes and grotesque merchants but now, looking at this dark couple hardly touching ground, they realized their music had to match the dancers.

Even today, all the servants in the Castle Cardinale remember the sound of that music.

Of course, before the spinning and the holding, there were a few minor points that needed a bit of ironing out.

"Daddy likes you," Giulietta said, watching as her father stormed away. "Time out," Inigo said. "If you're his daughter, that makes you a Countess.

And if you are a Countess that makes you a liar, because you said you were a servant. And if you're a liar, I cannot trust you, because there is no excuse for lying, especially when you knew of my dreams and my love. And so I must say farewell." He started to go.

"One thing?" This from Giulietta. "More lies?"

"You judge. Yes, I am a Countess. Yes, I lied. It is not all that easy being me. I do not expect sympathy but you must hear my side. I am one of the richest women on earth. In the eyes of many men, one of the more attractive. I am also, please believe me, and I know it sounds arrogant, but I am also wise and tender and kind. I did not dress as a servant girl to fool you. I always dress as

a servant girl. To try and find truth. Every eligible noble for a thousand miles has come to the castle. To ask my father for my hand. They say they want my happiness, but they only want my money. And all I want is love."

Inigo said nothing.

She took a step so she was closer. Then another so she was beside him. Then she whispered quickly, "When you came here with your dream, you won my heart. But I had to wait. To think. And now I have thought." She gestured for the musicians to play even more beautifully. "This is our party. We are the only guests. I did all this to please you, and if you do not kiss my mouth, Inigo Montoya of Spain, I will more than likely die."

How could he not obey her?

They danced through the night. Ohhh, how they danced. Inigo and Giulietta. And they embraced. And he kissed her mouth and her tumbling hair. And Inigo felt, for the first time since the dying, such happiness. It had fled from him, happiness, and when you spend years without, you forget that no blessing compares....




Guess what? It stops there. Bang, the little riff on happiness, end of section.

I call this the 'Unexplained Inigo Fragment.' And what Peter objected to, as well as the fact that he finds it confusing, is simply this: nothing happens.

He's right, in a strictly narrative way. But I feel that here, for the first time, Morgenstern shows us the human side of Inigo so we know he's more than just this Spanish Revenge Machine. (Frankly, I wish I had known this part existed before I read The Princess Bride.) I don't think I could have cared any more deeply than I did, but my God, what poor Inigo gave up to honor his father! Think about it. We all have fantasies, right?

You think before I met and married her I carried about this vision of Helen, my genius shrink wife? Of course not. But here Inigo has made this perfect creature for his own heart—and he finds her. And she loves him back.

And they part.

That's an assumption of mine, I know. But since we are told Inigo had a heavy heart when he reached Despair (and he came there from Italy), I have

to go that way.

I included this section here for a very simple reason: I think it's Morgenstern at his best. I ran it by King, of course, and he felt I had to include it, since Morgenstern did. He also put me in touch with this professor cousin he has at Florin University—the son of the lady who runs the great restaurant. And this cousin, a Morgenstern expert, feels that the confusion on my part is my fault. That if I'd done sufficient scholarly preparation, I would understand Morgenstern's symbolism, and would therefore know that plenty happens here. Namely, according to this cousin anyway, it is here that Inigo first learns that Humperdinck has set a plan in motion to kidnap Westley and Buttercup's first child, right after it's born. And then Inigo has to race back to One Tree and stop that from happening. King's cousin says this Unexplained Inigo Fragment isn't a fragment at all, but a completed part of the whole of the novel.

I don't get any of that; if you do, great. And while you're at it, decide if you think I was right or not, including it. If you disagree, that's OK. All I know is my heart was pure....




THE FOUR GREAT horses seemed almost to fly toward Florin Channel. "It appears to me as if we're doomed, then," Buttercup said.

Westley looked at her. "Doomed, madam?" "To be together. Until one of us dies."

"I've done that already, and I haven't the slightest intention of ever doing it again," Westley said.

Buttercup looked at him. "Don't we sort of have to sometime?"

"Not if we promise to outlive each other, and I make that promise now." Buttercup looked at him. "Oh my Westley, so do I."

From behind them suddenly, closer than they had imagined, they could hear the roar of Humperdinck: "Stop them! Cut them off!" They were, admittedly, startled, but there was no reason for worry: they were on the fastest horses in the kingdom, and the lead was already theirs.

However, this was before Inigo's wound reopened, and Westley relapsed again, and Fezzik took the wrong turn, and Buttercup's horse threw a shoe. And the night behind them was filled with the crescendoing sound of pursuit....

 

You see what he's done here?

This half page above is, of course, the ending of The Princess Bride, and this will only take a sec, but I'd like to draw attention to what he's doing in the sequel: playing with time. Look, I snitched in my explanation that Waverly was going to get kidnapped, forget that. Morgenstern tells you the same in the very opening pages with Fezzik on the mountain.

OK, so the kidnapping's already happened. Then in the Unexplained Inigo Fragment, he tells us that the kidnapping's about to happen (at least according to King's cousin he does). Now here, he goes back to before Buttercup and Westley have even safely gotten away from Humperdinck.

I think it's interesting, but some of you may find it confusing. Willy, my grandchild, did. I was reading it out loud to him (and how great a feeling was that, sports fans) when he said, 'Wait a sec,' so I did. And he said, 'How can Inigo hear about the kidnapping and the next sentence practically, it's Princess Bride all over again?' I ex- plained it was the way Morgenstern chose to tell this particular story. Then he said this: 'Can you do that?'

I sure hope so.




HOWEVER, THIS WAS before Inigo's wound reopened,—me again, and no, that was not a typo, I just thought it would make the transition easier if I repeated the last paragraph, go right on now—and Westley relapsed again, and Fezzik took the wrong turn, and Buttercup's horse threw a shoe. And the night behind them was filled with the crescendoing sound of pursuit....

Fezzik's mistake came first. He was in the lead, a position he tried to avoid whenever possible, but here he had no choice, since Inigo was losing strength with each stride and the lovers, well, they just sopped back and forth to each other about Eternity.

Which meant Fezzik, the ideal friend, the loyal follower, the lover of rhymes, perhaps not the most brilliant of fellows but certainly the most devoted bringer-up of any rears you might mention, found himself facing the most hateful, the most insidious bewilderment ever conceived of by the mind of man

—a fork in the road.

"It's not actually a road (toad)," he reassured himself. "It's more a path

(wrath), nothing to cause fret (sweat)." They were on their way to Florin Channel where the great pirate ship Revenge was waiting to scoop them up and head them all toward happiness. So relax, Fezzik, he told himself, treat the escapade as a lark (hark), a memory that would in the future bring warm smiles. After all, it was not even remotely a large fork.

It was, if you will, petite (sweet). A mere jog in the lane (pain). Fezzik almost made himself believe that. Then reality took hold—

—because it was still a fork—

—something that required thought, wisdom, a plan—

—and he knew he could screw up something like that anytime.




Me here, and no, this is not an interruption, just a note to explain I have gone to a lot of extra work to make this perfect, as you know, and I didn't want anyone writing in to point out that 'screw up' was anachronistic. It isn't. It's an ancient Turkish wrestling expression, a shorter version of 'corkscrew up,' a hold that brings pain of such magnitude that death soon follows. To 'corkscrew down,' of course, has been illegal for centuries. Everywhere.




THE FORK CAME closer.

They were surrounded by trees everywhere, always thickening, and the Brutes behind were clearly gaining, and even though the fork was indeed wee, it had to be there for a reason, and that reason Fezzik believed was that one way led to the Channel and the waiting Revenge while the other led elsewhere. And since the sea was their only profitable destination, elsewhere, no matter where else it elsed, was the same as doom.

Fezzik turned quickly to ask Inigo his opinion—but Inigo was bleeding so

terribly now, the bouncing of the stallion not being helpful when you have recently been slit inside.

Fezzik instinctively reached back, grabbed his weakening comrade, pulled him onto his horse to see what he might do to save him—

—and while he was reaching, the fork was on them and Fezzik wasn't even watching as his horse took the left turning—which turned out to be, alas, toward Elsewhere.

"Hi," Fezzik said, once he had Inigo in front of him. "Are you excited? I'm as excited as can be." Inigo was too weak for reply. Fezzik studied Inigo's wound, pushed one of Inigo's hands deeper into it, hoping to somehow help stop the bleeding. It was clearly up to him to save Inigo now, and to do that he'd have to get him to a good Blood Clogger. Surely the Revenge would employ such a fellow.

From Inigo this: a groan.

"I agree completely," Fezzik said, wondering how the trees could become so much thicker so very quickly. It was amazing. They were almost like a wall now in front of them. "I'm also sure that just past this last wall of trees is Florin Channel and all our dreams will come true."

From Inigo the same, only less of it. Then his fingers managed to clutch Fezzik's great hand. "I go to face my father now ... but Rugen is dead ... so it was not a useless life ... beloved friend ... tell me I did not fail "

He was losing Inigo now, and as he held the wounded fencer in his arms, Fezzik knew few things but one of them was this: wherever the bottom of the pit was located, surely he was there now.

"Mr. Giant?" he heard then.

Fezzik wondered who Buttercup was talking to, until he realized that they had never actually been introduced. Oh, he had rendered her unconscious, kidnapped her, almost killed her, so you couldn't say they were unacquainted, but none of it was truly a formal how-do-you-do.

"Fezzik, Princess."

"Mr. Fezzik," she cried out louder than necessary, but it was because at that moment her horse threw a shoe.

"Just Fezzik is fine, I'll know you mean me," he told her, watching her face in the moonlight. Never had he seen an equal. No one had. Except at the moment, she was not at her best—since not only was her horse behaving erratically, there was such pain behind her eyes. "What is wrong, Highness? Tell me so that I might help."

"My Westley has stopped breathing."

Wrong as usual, Fezzik realized, the pit is bottomless. He instinctively reached back, grabbed his breathless leader, pulled him onto his horse to see what he might do to save him—

—and while he was doing the reaching, his overburdened horse stopped.

Had to. For there was now a wall of trees blocking any progress—

—and Inigo would not stop bleeding—

—and Westley would not start breathing—

—and Buttercup would not stop staring at him, her face lit with the hope that of all the creatures left stomping the earth, he, Fezzik, was the only one that could save her beloved and thereby stop her heart from shredding.

Fezzik at this heroic moment knew what he wanted most to do: suck his thumb forever. But since that was out of the question, he did the next best thing. He made a poem.

 

Fezzik's in trouble, bubble bubble, His brain is just not in the pink.

His mind is rubble, rub-a-dub double, Because everyone needs him to think.



Great work, no question, considering he was carrying two almost corpses on his stopped horse while the Princess was weeping, hoping for a miracle. Hmm. Fezzik went for a different rhyme scheme, hopeful it would jog something useful.

 

Great-armed Fezzik, blocked by trees, Forget that she is crying.

Though lost (and that it's all your fault) Forget that two are dying.

Mighty Fezzik, strong of brawn Who most around think brainless, All you have to do is spawn

A plan that will be painless.

Fezzik the fearless, Fezzik the wise,

Fezzik the wonder of the age, Fezzik who—



The "who" is lost to time now.

Because it was at that moment of poetic inspiration that Prince Humperdinck's razor-sharp, metal-tipped arrow ripped through Fezzik's clothing on its way to his great heart....

 

ONCE HE REALIZED they had taken the left turning, Prince Humperdinck knew they were his. He turned to Yellin, the Chief Enforcer of Florin, a finger to his lips. Yellin raised a hand and the fifty trailing members of the Brute Squad slowed.

The moon's perfect yellow dusted the thickening trees. Humperdinck could not help but stare at their beauty. Only the trees of Florin could interrupt, however briefly, a blood hunt. Was there any place on earth with such trees, Humperdinck wondered? No; resoundingly no. They ranked among the treasures of the universe.

During the Prince's contemplative moment, Yellin gestured for the Brute Squad to get into their attack groups: the knifers here, the stranglers there, the crushers in between.

The Prince rounded the last small turning—and there in front of him, so beautifully framed by the perfect trees, was the death tableau. His weeping runaway bride, the two still men on the buckling horse, held there in the arms of the giant. "Damn," he told himself. "If only I'd brought the Royal Sketcher." Well, he would just have to hold this in memory.

In the Prince's world, the world of scourge and pain, there was still great controversy who to initially attack. Should the nearest be selected? Or should it be the leader? Clearly Westley was that, but at the moment, a frail one at best. And the other still man must have had power, since he had killed Rugen— not the easiest task. It was standard to leave the women for last, they were not expert at blood; they also whimpered and looked to the Heavens for escape— always good for chuckles around future campfires.

Leaving the giant.

The Prince unsheathed his bow, selected his sharpest metal tip, made the insertion. He was a great archer, but at night, with moonlight and shadow, he

was a good deal more. He had not missed a night kill in ever so long.

An inhale for balance.

A final smile to the trees.

Then the pull back, the release, and the arrow was on its straight way. The Prince held his breath until he saw the arrow rip the cloth of the giant, at the heart site.

The giant cried out loud in shock and fell backward off his horse.

As he fell, Yellin led the Brute charge and the Battle of the Trees, brief though it was, was on—the fifty Brutes at full cry charging the three men lying sprawled on the ground, the lone woman trying to somehow hold them all in her arms....

As her attackers came eyeball close, Buttercup had this thought: if she had to die, what better way existed than with her true love in her arms and the beauty of her beloved Florinese trees covering her with their branches? Even as a child, nothing pleased her more than the glorious trees at the bottom of her farm, and when her chores for the day were done, that is where she went to wander so happily. What peace they gave. And they would continue to give that peace to her fellow Florinese forever and—




Time out. Can you believe that last paragraph? Buttercup's about to die and she thinks of foliage? Horrible, horrible. So do not hold your breath waiting for the stupid Battle of the Trees. I went nuts when I first read this. I'm like you probably, zooming happily along, and Morgenstern was clearly a master of narrative, but right now I bet you are wondering this: what happened?

My God, Fezzik shot in the heart, the two other guys drifting away, Buttercup trying to hold it all together while these FIFTY ARMED BRUTES come charging in—we all want to know what happened, right?

Here is what you are not reading: sixty-five pages on Florinese trees, their history and importance. (Morgenstern had already started, if you noticed—-just when he realizes he's got them, Prince Humperdinck does an entire dumb paragraph about trees.) Even his Florinese publishers begged him to cut it. So I don't care what grief those Morgenstern whizzes at Columbia give me, if ever anything needed getting rid of, it was this.

Want to know why he put it in?

It actually has to do with The Princess Bride. Or rather, its success in Florin. Morgenstern was suddenly flush so he went right out and bought this country house that was off by itself and abutted this huge government-owned forest preserve. He was, indeed, master of all he surveyed.

However...

He had been misinformed. This lumber company had title and not long after he moved in, guess what, they began sawing down all these trees. Morgenstern went nuts. (He really did. His entire correspondence with the lumber company is right there in the Morgenstern Museum, just to the left off Florin Square.)

He couldn't make them stop and in a year or two, his house was all naked and alone and kind of dumb-looking, so he sold it (at a loss, which just killed him) and moved back into town.

But from then on, he became the country's best-known tree savior. (He had his eye on another country place, it turns out, similarly secluded, and he wouldn't buy it until he felt he was safe from the lumber interests.)

So what he did here in Buttercup's Baby was carefully build this huge suspense moment confident that his readers would have to read his tree essay in order to find out who lived and died.

Briefly now, in terms of narrative, this is what you found out: (A) Fezzik survived Humperdinck's metal-tipped arrow because of Miracle Max's holocaust cloak, which Fezzik kept tucked inside his tunic, and the folds of it blunted the arrow's impact, saving his life. (B) The pirates from the ship Revenge were hiding in the trees so when the Brutes were about to slaughter our quartet, they rained down on them like a rage from Heaven and took care of them all in just a couple of minutes, and when Humperdinck and Yellin saw this, they both fled. Then, (C) the pirates, headed by Pierre—their number one guy and next in line to become the Dread Pirate Roberts—took the four and scooted out to the Revenge with them, hoping everyone would be alive when they all got there.

Time back in.




AS SOON AS the four were safely aboard, Pierre signaled for the anchor

raising and the great pirate ship Revenge slipped through the waters of Florin Channel toward open sea. A snap of his fingers brought the Blood Clogger, who set to work on Inigo while Pierre himself, chief medico and second in command, turned his attention to Westley, or as he was known on the ship, the Dread Pirate Roberts. Fezzik and Buttercup stood close by. Buttercup could not stop trembling so she reached out, tried to hold Fezzik's hand, realized the size discrepency, held his thumb instead.

The Clogger ripped off Inigo's shirt, examined the bleeding man. There were minor sword wounds near each shoulder, but they were nothing. The stomach drew his attention. "A three-sided Florinese dagger," he said to Pierre, then turned to Fezzik. "When?"

"A few hours ago," Fezzik answered. "While we were storming the castle."

"I can clog him," the Clogger said. "But he will have little use for this." He indicated the six-fingered sword still clutched in Inigo's right hand. "Not for a very long time." And with that he scurried off, returned in a moment with flour and tomato puree, mixed them expertly, began filling the wound. He looked at Pierre then, nodded in the direction of Westley. "Want me to work on him?"

"This is not a matter of blood. Listen." He pounded on Westley's chest, listened to the awful empty sound. "His life has been sucked away."

"It happened yesterday," Fezzik said carefully, trying not to upset Buttercup any more. "If you were in town you probably heard his death scream."

"That was him?" Pierre cried out. "They did that to my master? Where was this?"

"At the bottom of the Zoo of Death." Fezzik indicated Inigo. "We found him there."

Pierre studied Westley a moment longer before he sagged. "He must have been tortured beyond human endurance." He shook his head. "If only I'd been with you. I would have known what to do. I would have rushed him to Miracle Max."

Fezzik started bouncing up and down. "But that's what we did. We went straight there. For a resurrection pill."

Energy began to flow back into Pierre's body. "If Max worked on him, then we have hope."

"We have more than hope," Buttercup said. "There is true love."

"Princess," Pierre said, "you work your side of the street and I'll work mine." He looked at Fezzik, thinking. Then this question: "Did Max tell you how dead he was?"

"'Sort of.' But then he slipped to 'mostly.'"

Pierre nodded. "'Mostly' is not ideal, but I can work around that. Was it a new resurrection pill, not an old one Max had hanging around?"

"Made fresh—I had to gather the holocaust mud," Fezzik said.

Pierre was getting excited now. His eyes blazed at Fezzik. "Last and most important question: did Valerie have time to do the chocolate coating?"

"She let me lick the pot," Fezzik said, happy because he knew he was giving the right answer. "It was duh-licious."




Little cut here. (I already said in the introduction that they went to One Tree Island to get their health back so there's not a lot of nail-biting tension in the air concerning Westley's survival at this point.)

What you're not going to read is a six-page sequence in which Pierre— and we all care desperately about spending time with him, right?—does all these wondrous modern Florinese medical things to help Westley. None of which work, natch, because at this point in his life, Morgenstern had a hate on for doctors because he had developed gas (and I'm sorry if this is disgusting to you but I promised King I would research the hell out of it, and I did a lot of legwork before I found that Morgenstern's entire medical record is on view in the Museum, but not everyone can see the personal stuff like this, you have to have some kind of scholarly interest to read it, and even then you can't take it out of the place). I forget where this sentence began, sorry, but anyway, he had gas, couldn't shake it, and gave Pierre this sequence to get his own back. (When nothing worked, by the way, Fezzik picked Westley up and hung him by the feet over the side till his lungs filled with seawater, a famous cure in Turkey—not for death but rather gout, which Fezzik's father suffered from. Westley coughed like crazy but it got him talking again.)




INIGO WAS STILL unconscious but had stopped bleeding when Westley finally opened his eyes. Middle of the night. Buttercup lay alongside him on the deck while Fezzik watched over them all. Pierre approached, knelt, spoke softly. "I have the worst of all news."

" 'Worst' does not exist," Westley whispered. He studied Buttercup's face. "We are together."

Pierre took a breath, then said it. "You must leave the ship. And you must do so this night."

Before Buttercup could voice her outrage, Westley put a finger to her lips. "Of course. I understand. Humperdinck is after us."

"His entire armada. We can outrun them for a while, but sooner or later, as long as you are here..."

"We are not in the best of shape for travel," Buttercup said. "Give us a few days. My husband is the most powerful man for a thousand miles. No place on earth is safe from him."

"Not possible. Much as I would like to. The crew would panic, as well they should, and I cannot have them losing faith in me."

Westley nodded. Then he was silent. Then he said Fezzik's name. Fezzik waited. "Do you remember the climb up the Cliffs of Insanity?"

"I don't want to go back there," Fezzik said. "I'm afraid of heights." "Fezzik," Westley said patiently. "I don't want to live there either. Just

answer me this. You were carrying three people when you did it, and please think before you answer me: were you tired? "

Fezzik waited 'til he was sure he had it right. Then he said, "No." "Why weren't you? Our lives depend on this, so please take your time." Fezzik didn't need time. "My arms," he said quietly.

Westley looked at him only a moment more. Then he turned to Pierre. "We will need chains and a small boat." He paused. "Go quickly now. You must get us close to One Tree Island by dawn."

 

THE REVENGE MADE spectacular time, full sail and a favoring wind, and soon they were sailing through a remote part of Florin Sea. Before dawn, the small boat was lowered and the four, all heavily chained to Fezzik now, got in. Neither Westley nor Inigo was capable of much movement. Fezzik took the oars, Westley nodded, and Fezzik began to row.

From the bridge, Pierre said, "I pray to see you again." "Do," Westley told him.

Buttercup cradled him in her lap. "That was so sweet of him," she said. "He did not seem a man of great religious conviction."

"This will be his first prayer. And it could not be for a more needy group."

"Why do you say that?" Buttercup asked.

"Let us just hold each other," Westley said. "While we can." "That's fairly ominous of you, don't you think?"

Fezzik listened. Terrified. But he had so many questions he did not know where to begin. So he just rowed. And every so often he smiled down at Inigo. Who every so often was able to smile back.

They were silent then, the four. For what seemed a very long time. The night could not have been prettier. The weather balmy. The waves all but nonexistent. A sweet caressing wind.

Ahhhhhh.

Fezzik rowed on, getting into a fine rhythm, his great arms enjoying the outing. He rowed harder for a moment and, of course, the tiny boat went faster. Then back to normal pace and, of course, the tiny boat slowed. Fezzik enjoyed doing that—it got rid of the monotony; harder, faster, normal, slower, harder, faster, normal. Faster.

Hmm, Fezzik thought, I wonder why that happened?

He rowed harder again and this time the vessel seemed close to flight, and it was then that Fezzik pulled the oars entirely out of the water—

—and the boat careened on faster than before.

Much faster than before. And then in the distance, but approaching quickly, came the roar. And Fezzik said, "Oh, Westley, I did something wrong, I'm sorry, I didn't mean to zoom like this. I was just sort of breaking the monotony, faster slower, that kind of thing, and I never meant for this to happen."

"It is not you," Westley replied, keeping his voice as steady as he could so as not to make things worse for his comrades. "The whirlpool has us now."

Inigo blinked awake on the word. "Fezzik ... row around it." "We can't do that," Westley said then.

Buttercup spoke all their thoughts then. "Westley, my hero and savior, what's the deal here?"

"I'll be very brief. Humperdinck's armada is after us. We need to disappear and mend. One Tree Island, from all I've heard, may well be the best spot on earth for us."

"And just what makes it so special?" Buttercup asked, louder now, because the small boat was rocketing now and the roar was growing loud.

"I can't be specific because I've never been there," Westley explained, half shouting, holding tight to the side so as not to be pulled overboard. "No one has ever been there. It is shrouded by mist with just the top of the single tree visible above the clouds. The mist is caused by the whirlpool. The island is surrounded by the whirlpool. And rocks. No boat can sail through—the rocks crush it or the water sucks it down. Now do you see why it is perfect for us? Humperdinck cannot get there and soon he will lose interest in trying to."

"Let me get this straight," Buttercup said. "The entire armada cannot get to the island but we can?"

"That is my belief."

"I don't mean to be pushy about this, but I am not keen on being crushed or

drowned. Westley, what in the world do we have that they don't?

"We have Fezzik," Westley replied simply.

"We absolutely do," Fezzik shouted, happy that the answer was so easily forthcoming. "He is right here inside my skin."

"But, my darling, what can Fezzik do?"

"Why, swim us through the whirlpool, of course."

No one answered for a moment because at that moment the tiny boat began to crack from the pressure of the water, and the roar of the whirlpool began to surround them, which meant it was very close. Westley checked Buttercup's chains and Inigo's as well as his own, making certain they were securely locked around Fezzik. The boat had little left it could do. It had brought them close, but now ahead the rocks became visible and Westley shouted through it all, "Save us, Fezzik, save us or we die."

Now Fezzik, as the world knows, had a terrible case of low self-esteem. So he was all for the theory behind Westley's words. Saving people. How wonderful. What in all the world could be better than saving people, especially these three with him now? Nothing. So in theory he should have made ready to dive in.

In practice he just sat in the bottom of the boat and shivered. "Fezzik, now!" Westley shouted.

Fezzik shivered all the worse.

"He needs a rhyme," Inigo explained to Westley. Then to Fezzik: "Fezzik is no zero?

Fezzik shivered even more.

"Do you want a hint?" Inigo shrieked as the boat began to splinter. Still the shivering.

"He's a hero," Inigo went on.

Fezzik would have none of it, put his head in his hands. "What could he be afraid of?" Buttercup cried out.

"Fezzik," Westley shouted into Fezzik's ear. "Are you afraid of the sharks?"

Even worse shivering. And a shake of the head. Now the whirlpool was starting to spin them. "Is it the sucking squid?"

Still worse. And another shake of the head. Now the whirlpool began to pull them down. "Is it the sea monsters?"

More shivering, more shaking.

And Westley, aware that they had next to no chance of survival the way things were going, cried, "Tell me!"

Fezzik buried his head in his hands.

And then from Westley, the loudest shout of all: "Nothing is worse than sea monsters. What are you so afraid of?"

Fezzik raised his great head and managed to look at them. "Getting water up my nose," he whispered. "I hate it so much." And then he buried his head again.

The boat was shattering by this time. In the final moments they clung to the remnants and Westley said, "I am too weak for the task, Inigo you do it," and Inigo said, "I am a Spaniard—I do not hold another man's nose," and Buttercup, not for the last time, heard herself say, "You men," and then as the whirlpool had them in its power, she took both of her hands and clamped them over Fezzik's nose.

 

THE WHIRLPOOL KNEW from the first it had them, it had not lost a battle in centuries, not since a soldier coming home from the Crusades caught it at a remarkably calm time, managed to slip almost past, was but a few feet from One Tree's shore before, exhausted, he collapsed backward and the whirlpool made no mistakes this time, just kept him down at the bottom longer than it had ever kept anyone, before releasing its grip, letting him float up toward where the sharks waited.

The sharks were waiting this day, too, excited, four to shred, and they

swam just at the outskirts of the whirlpool, watching as the bodies sank. Fezzik made no resistance whatsoever, did nothing 'til he was certain Buttercup's grip was solid. The whirlpool took them under, sped them down, on their way to the bottom and Fezzik let it happen, hoping only that the others could hold their breaths longer than they ever had, and soon he could feel the bottom of the sea. It was not deep here, whirlpools did not love deep water, and Fezzik bunched his giant body and shoved down with his mighty legs, shoved harder than he ever had before. As soon as his body began its upward trajectory, he started with his arms, his great tireless arms, windmilling them with more ferocity than the whirlpool had ever known, and it did what it could—increased its roar, swirled more savagely—but the arms would not stop, nothing could make them stop, and the chains held, and the others were unconscious from the battle, but Fezzik knew, as soon as he surfaced at the far end of the whirlpool, that Inigo had been right with his rhyme, he was definitely not a zero, not this day of days....

They were still chained when they reached the shore of One Tree, and they stayed that way for two days, all of them motionless, near dead from wounds and torture and exhaustion. Then they unchained themselves and, staying close together, began to explore their new home.




Me, obviously, and I'm sorry, but you don't want to read ten pages on vegetation. (Morgenstern's tree fixation scores again. His point here is that One Tree being pretty close to Eden is what all of Florin could be if only people didn't chop everything down.) The four get their strength back slowly. Buttercup nurses them and Fezzik takes care of food, cooking and cleaning the fish that was most of their diet. (Buttercup one day has nothing special going on so she makes him a gift for his nose— a clothespin. Well, Fezzik goes nuts, he's so happy. It fits perfectly, he's never without it, etc., etc., and armed with that, Fezzik becomes the scourge of the area, swimming all over, fighting sharks and sucking squids—tastes like chicken, I thought the more squeamish among you would be glad for that bit of info—bringing his catch of the day back for food.) Anyway, this section ends with the moon high, perfect night, very romantic, all that. Inigo and Fezzik are off in their tents dozing, Buttercup and Westley sitting alone by a flickering fire.

 

"YOU KNOW, we've only kissed," Buttercup said, staring at the embers. "Of course," Westley replied.

Not getting the answer she expected, Buttercup tried again. "We've certainly had more than our share of adventures, no one can deny it. And true love ... to have that, we must be the most blessed of creatures."

"Surely the most blessed," Westley agreed.

"But," Buttercup said then, trying for frivolity, "thus far, the unalloyed fact that shines out is this: we have only kissed."

"What else is there?" Wesley asked. He touched his lips lightly to her cheek, sighed. "Surely there could be nothing more."

This was somewhat disingenuous on his part, because he had been King of the Sea for several years and, well, things happened.

"Silly lad," she told him, smiling. "I have enough knowledge for us both. Of course I should, considering all those classes in lovemaking I took at Royalty School." She had taken the classes, but since Humperdinck had instructed her professors to teach her nothing whatsoever, Buttercup, though she smiled, was terrified.

"I am anxious for your teachings to begin."

She looked at his perfect face. She thought that, more than anything, she wanted this to go as it had in her heart. But what if she failed? What if she was just another case of big-talk, little-do and eventually he would tire of her, leave her? "I know so much it is hard to be sure just where is the best place to begin. If I go too fast, raise your hand."

He waited and when he saw the helplessness in her eyes he realized he had never loved her quite so much or so deeply. "Will you try not to laugh at me?"

"I would never embarrass a beginner such as yourself. It would be cruelty itself to mock your ignorance when I, of course, am totally wise."

"Do we begin standing up or lying down?"

"A very good question, that," Buttercup said quickly, not having the least notion what else to say. "There is great controversy as to which."

"Well perhaps it would be wise to cover both contingencies. Why don't I get a blanket in case lying down carries the day?" The blanket he brought and spread for them was soft, the pillow softer still.

"If we were to lie down," Westley said, lying down, "would we start close together on the blanket or far apart?"

"Again, great controversy," she replied. "You see, one of the problems with knowing so much is one sees both sides of questions."

"You are very patient with me and I appreciate that." He held out a hand for her. "We could do this: we could try lying close together on the blanket and experiment, more or less."

Buttercup took his strong hand. "My professors were all in favor of experimenting."

They were very close on the blanket now. The breeze, seeing this, knowing what they had been through to reach this moment, thought it might be nice to caress them. The stars, seeing this, thought it might be nice if they dimmed for a while. The moon went along with the whole notion, slipping half behind a cloud. Buttercup still held his hand. She wondered for a moment if it would be wise to stop now, tell truths, try again another evening. She was about to suggest that, but then she looked deeply into his eyes. They were the color of the sea before a storm and what she read in them gave her the strength to continue....




Want a shocker? Willy liked that scene. I remember when my father read The Princess Bride to me, I hated the kissing stuff. I told him before I read it he might find it a little short on derring-do, so maybe that helped. His only question after was what kind of 'things' happened when Westley was King of the Sea? I answered that if Morgenstern had wanted us to know, he would have told us. (He bought it. Phew.)

Anyway, you will probably not be surprised to learn the obligatory nine months flew by pretty fast and....




"I THINK SUNSET would be a lovely time," Buttercup said. "I think he would like that, opening his eyes to the world at that moment. Yes, sunset it shall be."

She was speaking at breakfast to the others, and they all agreed. In point of fact, since none of them had the least experience with birthing, they could hardly argue. And no one could argue with Buttercup's handling of herself. She had blossomed in the nine months since she and Westley first made love, had dealt with her situation with a serenity remarkable in one so young. True, the first months brought a touch of morning sickness, and, yes, it was discomforting. But all she had to do to banish it was look at Westley and tell herself she was bringing another such as he into the universe. And poof, the sickness was in retreat.

She knew their firstborn would be a boy. She had a dream the first month that it would be so. The dream recurred two more times. And after that she never doubted. And she behaved throughout as if this were the most normal of human conditions. You swelled, certainly, but that didn't stop you from your regular life, which in her case often consisted of helping Fezzik cook, helping Inigo mend his heart, walking and talking with Westley, discussing their future, where they would settle, what they might do with the rest of their lives considering that the most powerful man on earth was out to kill them.

After the meal, she was ready. Westley had made her a special birthing bed, the softest straw and pillows softer still. It faced west, and he built a nearby fire, and he had kettles boiling with pure water. An hour before sunset, when her contractions were but five minutes apart, he carried her to the bed and set her gently down, and sat alongside her, massaging her. She was so happy, as was he, and by the time the sun was starting to set the contractions were but two minutes apart.

Buttercup stared at the sun and smiled, took his hand and whispered to him, "It's what I always wanted most on earth, bringing your son into life at such a time, with you beside me." They were both so happy, and Westley told her, "We are one heartbeat," and she kissed him softly and said, "And will always be."

During this, Inigo was fencing with shadows, excellent practice if you had no proper opponent to play with. Westley, of course, was superb, and they had spent many happy hours slashing away at each other. But now, as sunset ended, Inigo made ready to stop soon and go welcome the baby.

Fezzik usually watched them, or Inigo alone when that was the case. But not this night. He was hiding on the far side of One Tree's one tree, the sky- topper. And he was holding his stomach and trying not to groan and be a bother, but the truth was this: for the strongest man on earth, for a man who

earned his living inflicting pain, Fezzik was squeamish. He could handle blood as well as the next fighter, when it came from an opponent. But he had asked Westley and Inigo what was it going to be like, when Buttercup's son was born, and though neither of them were expert, they both indicated there might be some blood as well as other stuff.

Fezzik rolled on the ground as the phrase "other stuff" went through his bean. There was a Turkish word that described such things—byuk. Fezzik held his stomach and thought byuk over and over. He knew, from looking at the stars overhead, that the boy was shortly to arrive.

But, by midnight, they knew something was wrong.

The contractions were but a minute apart as they looked out at the sun's afterglow—but that is where they stayed. At ten they were still as before, and Buttercup would have handled it quietly, as she had the preceding hours—

—but at midnight her back began to spasm. She could withstand that; Westley was beside her, what were spasms? She was settling in for a long visit with them—

—until the pain crept from her back to her hips, found one leg, then both, set them on fire—

—the blaze in her legs was the beginning of her torment.

Her color faded but she was still Buttercup and she was lit by the glow from the flames. She was still, then, something to see.

It was not 'til dawn that they saw what the pain had done to her.

Westley stayed alongside, rubbed her back, massaged her legs, toweled her perspiring face. He was wonderful.

By noon, they knew something was very much wrong.

Fezzik rumbled over, took a look, ran back and hid in his spot, helpless. Inigo grabbed the six-fingered sword and fought with the breezes until he realized the sun was going down again and they were into the second day.

"I don't want you to worry," Buttercup whispered to her beloved. "Nothing unusual so far," Westley replied. "From all I've heard, thirty

hours is perfectly normal."

"Good, I'm glad to know that."

When the next dawn came and she had clearly begun to weaken, she managed to say, "What else have you heard?" and Westley said, "Everyone agrees on this: the longer the labor, the healthier the baby."

"How lucky we shall be to have a healthy son." By the second sunset, it was only about survival.

Fezzik sobbed behind the tree as Westley counseled with Inigo. They spoke evenly—but terror was starting to circle about them. "I don't know of such things," Inigo said.

"Nor do I."

"I've heard of a cutting that can save the life. You cut the woman somehow."

"And kill my beloved? I would kill whoever tried."

Just then Buttercup cried out and Westley ran to her, dropped beside her. "...I'm sorry to be ... such a bother..."

"What caused the scream?"

Buttercup reached for his hand, held it so tight. "...my spine is on fire..." Westley smiled. "How lucky we are. Once that happens with the spine,

well, that's a clear signal that our son is about to be born."

"The spine is nothing, not when you get used to it. I have had real pain, when I heard Roberts had killed you. That was hard to deal with. I suffered then. But this—" She tried to snap her fingers but her body was not obeying her. "Nothing."

"Inigo and I were just talking about where to go once we are a family. You remember how before I left your father's farm I was thinking of America? That still seems a good notion to me, what do you think?"

She whispered, "America?"

"Yes, across the ocean somewhere, and do you know when I first loved you?"

"...tell me..."

"Well, we were young and you had just berated me terribly, called me a dullard and a fool as you did in those days: 'Farm Boy, why can't you ever do anything right? Farm Boy, you're hopeless, hopeless and dull and you'll never amount to anything.'"

Buttercup managed a smile. "...I was horrible..."

"On your good days you were horrible, but you could be much worse than that, and when the boys started coming around you were at your worst. One evening when they had all gone away and I was in the barn brushing Horse and you came out, humming and silly and said, 'I can have any boy in the village and lah de dah,' and I went to my hovel and I said to myself, 'That's it, you can keep those idiots for all I care, I am gone,' so I packed my belongings and I started out of the farm and I looked up at your window and I thought, 'You will be so sorry for humiliating me because I will come back here someday with all

the wealth of Asia, good-by forever.'" ". ..you really left me...?"

"That was the theory. But the reality was this: I turned and took a step toward the gate and I thought, 'What value has all the wealth of Asia without her smile?' And then I took another step and thought, 'But what if that smile comes and you not here to see it?' I just stood by at your window and I realized I had to be there in case your smile happened. Because I was so helpless when it came to you, I was so besotted by your splendor, I was soooooo ecstatic to be near you even though all you did was insult me. I could never leave."

She smiled the sweetest smile she could manage.

Westley gestured for Inigo to come closer. "I think we've rounded the corner," he whispered.

"I can see that," Inigo whispered back.

But they were living on hope and they both knew they were, and Westley held her so gently as her breathing grew increasingly weak. Inigo patted Westley on the shoulder as one comrade does to another, nodded that all was going to be well. And Westley nodded back. But Inigo in his heart knew this: it was soon to be over.

And behind the tree, Fezzik, alone, gasped, because he knew this: he was suddenly not alone anymore. He began to try and fight it, because something was invading him, invading his brain, and the Lord only knew his brain could use a little help, but Fezzik struggled on because when you were invaded, you never knew who was coming along for the ride, a helper or a damager, someone good, or, more terrifying, someone who wished anguish. Fezzik's mother had been invaded the day she met his father, for she was far too shy to approach him and flirt the way Turkish lasses were supposed to do in those days, so she just stood aside while the other village girls swooped him up. And she wanted Fezzik's father, wanted to spend her life with him, she knew that but she was helpless so she scuffed away, leaving the field to the braver girls—but then the invasion came and suddenly Fezzik's mother was brassy, and her temporary new tenant gave her confidence to do wonderful things, so back she went to join the other village flirts, and she outdid them all, with her flaunting smile and the wondrous way her body moved. At least it did that day, and Fezzik's father was smitten with her and even though the invader left that evening, they got married and his mother was so happy and his father only wondered as the years went on, wondered whatever happened to that glorious brazen creature who had won his heart....

Fezzik could feel his power going as the invader took control. His last thought was really a prayer: that please, whoever you are, if you harm the child, kill me first.

And by the fire Westley held Buttercup all the more tightly and said words of optimism, and Inigo always replied in the same tone.

Until that awful fiftieth hour of Buttercup's labor when Inigo could lie no more and said the dreaded words: "We've lost her."

Westley looked at her still face and it was true, and he had done nothing to save her. Not once in all of his life, except when he was in the Machine, had he ever let tears visit, not even when his beloved parents were tortured in front of him, not once, never, never the one time.

Now he fauceted. He fell across her, and Inigo could only watch helplessly. And Westley wondered what was he going to do until he died, because going on alone was not possible. They had battled the Fire Swamp and survived. If he had known how it was going to end, Westley thought at that moment, he would have let them die there. At least that way they would have been together.

And then, from behind them, there came a sound more strange than any they had come across before, a disembodied sound, as if a corpse were talking, and the sound boomed out at them:

 

"We have the body."

 

Inigo whirled, then cried out in the night. And Westley, in despair, was so surprised at Inigo's sound he whirled, and he too cried out in the night.

Something was moving toward them out of the darkness. They both squinted to make sure. Their eyes did not deceive. Fezzik was moving toward them out of the darkness.

At least something that looked like Fezzik was coming toward them. But his eyes were bright, and his pace was quick, and his voice—they had neither ever heard a voice like it. So deep, thunderous, and measured. And the accent was something they had also never heard before. Not until they finally reached America. (Or, more accurately, when the ones left alive got there.)

"Fezzik," Inigo said. "This is not the time."

"We have the body," Fezzik said again. "We have a fine strapping child inside. She has been kept waiting far too long."

Now the giant knelt beside the still woman, gestured for Westley to move,

put his ear to her, clapped his hands sharply. "You," he said, pointing at Inigo,

"bring me soap and water to disinfect my hands."

"Where did he hear that word?" Westley asked.

"I don't know, but I think I better do it," Inigo said, hurrying to the fire. And now Fezzik pointed to the great sword. "Sterilize it in the fire." "Why?" Inigo said, bringing Fezzik the soap and towel.

"To make the cut."

"No," Westley said. "I will not let him give you the sword."

And now the voice took on a power more frightening than ever. "This child is a putterer. That is what we call those that linger too long. But this child is more than that—she is in backward. And the umbilical cord is tightening around her throat. Now, if you wish to live your life alone, keep the sword. If you wish a child and wife, do what I tell you."

"Be at your best," Westley said, and he nodded for Inigo to hand the great sword to the giant.

Fezzik marched it to the fire, sizzled the point red, returned to the lady, knelt. "The umbilical cord is very tight now. There is little breath left now. There is little time." And for a moment Fezzik closed his eyes, breathed deep. Then he moved.

And his great hands were so soft, the giant fingers so skilled, and as Westley and Inigo stared, Fezzik's hands did his bidding, and the sword touched Buttercup's skin, and then there was the cut, long but precise, and then there was blood but Fezzik's eyes only blazed more deeply and his fingers waltzed, and he reached inside and gently took her out, took the child out, a girl, Buttercup was wrong, it was a girl, and here at last she came, pink and white like a candy stick—

—here came Waverly....




SHE WAS CONSIDERABLY below him at the start, twisting and spinning from momentum and wind. Fezzik had never seen the world like this, from this high, fifteen thousand feet with nothing below to break the fall, nothing, but at the far end rock formations.

He called after her but, of course, she could not hear. He stared after her but, of course, he was not gaining. There are scientific laws explaining that

bodies fall at the same speed no matter how different the size. But the makers of the laws had never tried explaining Fezzik, because his feet, so useless at finding holds on sheer mountainsides, were unmatched at flutter-kicking in falling air. He cupped his fingers so his hands were perfect hollow mitts and then he set to work, swinging his arms and fluttering his feet so that if you tried to watch them, you couldn't and then Fezzik strained still more—

—and the distance between them began to close. From a hundred feet to half, then half again and when he was that close Fezzik called out to her, his word—

"Keeeeed!"

She heard and stared up and when he had her eyes Fezzik made her favorite silly face—the one where his tongue touched the tip of his nose—and she saw it, of course, and then, of course, she laughed out loud with joy.

Because now she knew what all this was, just another of their glorious games that always ended so happily....

 

FROM THE START, they were different. Sometimes when she was very little and dozing and Fezzik was helping Buttercup he would say, "She has to tinkle," and Buttercup would answer, "No, she doesn't, she's just..." and then she would stop before she got to "fine" because Waverly had blinked awake soaking wet, and Buttercup would look at Fezzik in those moments with such a look of wonder.

Or sometimes Waverly and Buttercup would be playing happily, Fezzik watching, always there, watching so close, and Buttercup would say, "Fezzik, why do you look so sad?" and Fezzik would say, "I hate it when she's sick," and that night, a fever would come.

He knew when she was hungry, or tired, he knew why she was smiling.

And when crankiness was just around the corner.

Which made him, in Buttercup's mind, the perfect baby-sitter, since how could you improve on a sitter who knew what was going to happen? So Fezzik looked after her constantly and when she dozed he would sit between Waverly and the sun, which was why, when she started to talk, she called him "Shade"—because he was that, her shade in those earliest days.

Later, when she learned games, she had but to blink in his direction and he knew, not that she wanted to play, but which game. Westley agreed with Buttercup that although, yes, theirs was an unusual nurse-child relationship, it was a blessing, since it provided her with time to heal and recover, and better

yet, time for them to be together. So Fezzik and Waverly learned from each other and enjoyed each other. Occasional spats, of course, but that comes, as Buttercup explained to him one day, with mothering.

"Can Waverly come play in the whirlpool with me?" Fezzik would ask constantly.

Buttercup would hesitate. "It gets her overtired, Fezzik." "Please, please, please."

Buttercup would give in, of course, and off they would go, stopping first for the clothespin, then into the water, Waverly sitting securely on his head, his hands gripping her feet, and whoosh. It was truly magical, watching them, as Inigo and her parents did often. Because Fezzik, having conquered the whirlpool, had befriended it. He would kick up to speed, then swim into the whirl and let it carry them around, with Waverly shrieking and Fezzik keeping balance as they rode the water together, their favorite game, which always ended so happily....

 

FEZZIK WAS CLOSE enough to reach out now, so he did, brought the child into his arms, made another face, took her fears away. "Shade," she said, so happy.

Three thousand feet now.

Next he pulled her close to him. Two thousand.

He knew as the rocks flew up toward him that he could never save himself. But if he could bundle her next to his body, if he could lie flat in the air and bring her into his arms so his mighty back took the initial assault, there was a good chance she would be shaken, yes, shaken terribly.

But she might live.

He made his body flat against the wind. He pulled her to him with all his sweet strength. "Keed," he whispered finally, "if you ever need shade, think of me."

One final silly face.

One blessed responding laugh.

Fezzik closed his eyes then, thinking only this: thank God I was a giant after all....




Willy was quiet when I finished. He gathered up his baseball and his Frisbee, hit the elevator button. Dinnertime coming up and I had to get him home. He didn't speak again 'til we were on the street. 'No way Fezzik dies, I don't care what the chapter's called.'

I nodded. We walked in silence, and you know how Fezzik could tell what was going on with Waverly? Well, I can do that with Willy, at least on my good days, and I knew this great question was coming. 'Grandpa?' he said finally.

Do you think I love that? You remember how much money Westley was going to get when he decided to leave Buttercup after she tormented him once too often about the boys in the village? That's how much. 'Speak into the microphone,' I said, making my hand one.

'Okay—that thing that invaded Fezzik? Here's what I don't get: how did it know to invade him right then? I mean, if it came a day earlier, it would have just had to wait around inside him for twenty-four hours feeling stupid.'

I told him I doubted that question had ever been asked on Planet Earth before.

Jason and Peggy were waiting at the door. 'It was good, Dad,' Willy said. 'It played around with time a lot.'

'We really need another novelist in the family,' Jason said, and I laughed and hugged everybody, started back home. It was a gorgeous spring evening so I let the park win me for a while, just walked in silence, thinking.

First thing that has to be said: Morgenstern hasn't lost a whole lot off his fastball. This is clearly a different piece of work from The Princess Bride, but he was a much older man when he wrote it.

And since maybe this is the end of my involvement, a couple of closing thoughts.

Like Willy, I don't believe Fezzik is going to die here. My money is on Morgenstern saving him. He saved him from Humperdinck's arrow with the holocaust cloak, he'll come up with something.

The Unexplained Inigo Fragment. What was that? Couldn't he have given us a couple of hints at least as to why? Will it all make sense later?

Who was the madman on the mountain? Was he born without skin? How did he get Waverly? Was he the kidnapper or just a member of a gang? And if he was just a member, who was his boss?

And who did invade Fezzik?

A beautiful young couple passed me then. She was pregnant out to here and I wished her a Waverly. And I realized something, and this is it:

We've traveled a long way, you and I, from when Buttercup was only among the twenty most beautiful women on earth (because of her potential), riding Horse and taunting the Farm Boy, and Inigo and Fezzik were brought in to kill her. You've written letters, kept in touch, you'll never know how much I appreciate that. I was on the beach at Malibu once, years back, and I saw this young guy with his arm around his girl and they were both wearing T-shirts that said WESTLEY NEVER DIES.

Loved that.

And you know what? I like these four. Buttercup and Westley, Fezzik and Inigo. They've all suffered, been punished, no silver spoons for this bunch. And I can just feel these terrible forces gathering against them. I just know it's going to get worse for them than it's ever been. Will they all even live? 'Death of the heart,' the subtitle says. Whose death? And even more important maybe, whose heart? Morgenstern has never given them an easy shot at happiness.

This time I sure hope he lets them get there....

 

Florin City/New York City April 16, 1998



In the introduction to the thirtieth-anniversary edition, Goldman claims that he adapted The Princess Bride from a book originally written by the great Florinese writer S. Morgenstern. Throughout the rest of the novel, Goldman sustains two narratives: the tale of The Princess Bride and the story of his own involvement with it. How do Goldman's comments about Morgenstern, the publishing process, and the entertainment industry in general affect your reading of his novel?

Just before she reaches sixteen, Buttercup is the envy of all the village girls. Word of her beauty reaches Count Rugen, who pays a visit to her family. What makes Buttercup discover she is in love with the farm boy she has taunted? What tone does Goldman use to describe her confession of love and Westley's response? How does this compare with traditional episodes of fairy- tale love?

Why does Prince Humperdinck build his Zoo of Death? What is significant about the fifth level? How would you characterize the Prince's brand of sadism—and the sadism of Count Rugen and his life-sucking Machine? How are these elements of sadism and evil necessary to the universe of a fairy tale?

In the early part of the story Buttercup's kidnappers are known only as the Spaniard, the Turk, and the Sicilian. But as each of these men prepares to battle the man in black, the reader learns the kidnapper's name, his history, and how he became part of "the most effective criminal organization in the civilized world." How does this affect your reading of the subsequent battle scenes? With whom do your sympathies lie?

Discuss the story Westley tells about the Dread Pirate Roberts. How does this tale within the tale influence your interest in Westley? Is he still the same farm boy from the beginning of the book?

During the scenes in which Westley is tortured and then killed by Count Rugen and his Machine, does Goldman maintain a consistent tone, or does it shift depending on whether he is describing macabre events?

In the first chapter of Buttercup's Baby, why does Piccoli want Inigo to train his mind instead of his body in preparation for meeting the six-fingered man? What did you learn about Inigo in these passages that you didn't know before?

Also in Buttercup's Baby, how does Fezzik attempt to save Waverly's life as they fall through the air? What does this action, along with the name Waverly calls him, reveal about Fezzik's character?

Consider the romantic relationships that Goldman describes throughout the novel (Goldman and Helen, Westley and Buttercup, Miracle Max and Valerie). How does Goldman portray the women in his novel? Does this say something about his views of romance and marriage—or is it all part of a joke?

What surprised you most about the end of the book? Do you agree with what Goldman says about endings and about the fairness of life? Why or why not?

In addition to writing the novel The Princess Bride, Goldman also wrote the screenplay for the 1987 film adaptation directed by Rob Reiner. How does Goldman describe his experiences in both publishing and Hollywood? How does the book compare to the film? What plot changes do you notice, and why do you think they were made?

The Princess Bride was originally published in the 1970s. Does it reflect the trends of this time period, or does the original publication date seem surprising? What is its place in American literary history? How is the book also timeless?

How should The Princess Bride ultimately be categorized: Satire? Adventure? Romance? Fantasy? Is the title ironic? Does it imply a tame love story or a more traditional piece of children's literature?




 



I've been writing since Eisenhower's been president and I think this is my first asterisk. I feel giddy. The purpose of this is to announce that time has marched on. If you don't want to wait to read the reunion scene, you no longer have to. Just go to the Internet and log on to: www.PrincessBrideBook.com. You'll see it right on your very own computer screen.

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<![CDATA[The Lion Witch & the Wardrobe]]>Sat, 30 Apr 2022 21:35:53 GMThttp://daydreaminstudios.org/children-library/april-30th-2022
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Narnia 1 - The Lion, The Witch and The Wardrobe

Narnia 1 - The Lion, The Witch and The Wardrobe

Narnia 1 - The Lion, The Witch and The Wardrobe BY Lewis, C. S.

Narnia 1 - The Lion, The Witch and The Wardrobe

CHAPTER ONE

LUCY LOOKS INTO A WARDROBE

ONCE there were four children whose names were Peter, Susan, Edmund and Lucy. This story is about something that happened to them when they were sent away from London during the war because of the air-raids. They were sent to the house of an old Professor who lived in the heart of the country, ten miles from the nearest railway station and two miles from the nearest post office. He had no wife and he lived in a very large house with a housekeeper called Mrs Macready and three servants. (Their names were Ivy, Margaret and Betty, but they do not come into the story much.) He himself was a very old man with shaggy white hair which grew over most of his face as well as on his head, and they liked him almost at once; but on the first evening when he came out to meet them at the front door he was so odd-looking that Lucy (who was the youngest) was a little afraid of him, and Edmund (who was the next youngest) wanted to laugh and had to keep on pretending he was blowing his nose to hide it.

As soon as they had said good night to the Professor and gone upstairs on the first night, the boys came into the girls’ room and they all talked it over.

“We’ve fallen on our feet and no mistake,” said Peter. “This is going to be perfectly splendid. That old chap will let us do anything we like.”

“I think he’s an old dear,” said Susan.

“Oh, come off it!” said Edmund, who was tired and pretending not to be tired, which always made him bad-tempered. “Don’t go on talking like that.”

“Like what?” said Susan; “and anyway, it’s time you were in bed.”

“Trying to talk like Mother,” said Edmund. “And who are you to say when I’m to go to bed? Go to bed yourself.”

“Hadn’t we all better go to bed?” said Lucy. “There’s sure to be a row if we’re heard talking here.”

“No there won’t,” said Peter. “I tell you this is the sort of house where no one’s going to mind what we do. Anyway, they won’t hear us. It’s about ten minutes’ walk from here down to that dining-room, and any amount of stairs and passages in between.”

“What’s that noise?” said Lucy suddenly. It was a far larger house than she had ever been in before and the thought of all those long passages and rows of doors leading into empty rooms was beginning to make her feel a little creepy.

“It’s only a bird, silly,” said Edmund.

“It’s an owl,” said Peter. “This is going to be a wonderful place for birds. I shall go to bed now. I say, let’s go and explore tomorrow. You might find anything in a place like this. Did you see those mountains as we came along? And the woods? There might be eagles. There might be stags. There’ll be hawks.”

“Badgers!” said Lucy. “Foxes!” said Edmund. “Rabbits!” said Susan.

But when next morning came there was a steady rain falling, so thick that when you looked out of the window you could see neither the mountains nor the woods nor even the stream in the garden.

“Of course it would be raining!” said Edmund. They had just finished their breakfast with the Professor and were upstairs in the room he had set apart for them - a long, low room with two windows looking out in one direction and two in another.

“Do stop grumbling, Ed,” said Susan. “Ten to one it’ll clear up in an hour or so. And in the meantime we’re pretty well off. There’s a wireless and lots of books.”

“Not for me”said Peter; “I’m going to explore in the house.”

Everyone agreed to this and that was how the adventures began. It was the sort of house that you never seem to come to the end of, and it was full of unexpected places. The first few doors they tried led only into spare bedrooms, as everyone had expected that they would; but soon they came to a very long room full of pictures and there they found a suit of armour; and after that was a room all hung with green, with a harp in one corner; and then came three steps down and five steps up, and then a kind of little upstairs hall and a door that led out on to a balcony, and then a whole series of rooms that led into each other and were lined with books - most of them very old books and some bigger than a Bible in a church. And shortly after that they looked into a room that was quite empty except for one big wardrobe; the sort that has a looking-glass in the door. There was nothing else in the room at all except a dead blue-bottle on the window-sill.

“Nothing there!” said Peter, and they all trooped out again - all except Lucy. She stayed behind because she thought it would be worth while trying the door of the wardrobe, even though she felt almost sure that it would be locked. To her surprise it opened quite easily, and two moth-balls dropped out.

Looking into the inside, she saw several coats hanging up - mostly long fur coats. There was nothing Lucy liked so much as the smell and feel of fur. She immediately stepped into the wardrobe and got in among the coats and rubbed

her face against them, leaving the door open, of course, because she knew that it is very foolish to shut oneself into any wardrobe. Soon she went further in and found that there was a second row of coats hanging up behind the first one. It was almost quite dark in there and she kept her arms stretched out in front of her so as not to bump her face into the back of the wardrobe. She took a step further in - then two or three steps always expecting to feel woodwork against the tips of her fingers. But she could not feel it.

“This must be a simply enormous wardrobe!” thought Lucy, going still further in and pushing the soft folds of the coats aside to make room for her. Then she noticed that there was something crunching under her feet. “I wonder is that more mothballs?” she thought, stooping down to feel it with her hand. But instead of feeling the hard, smooth wood of the floor of the wardrobe, she felt something soft and powdery and extremely cold. “This is very queer,” she said, and went on a step or two further.

Next moment she found that what was rubbing against her face and hands was no longer soft fur but something hard and rough and even prickly. “Why, it is just like branches of trees!” exclaimed Lucy. And then she saw that there was a light ahead of her; not a few inches away where the back of the wardrobe ought to have been, but a long way off. Something cold and soft was falling on her. A moment later she found that she was standing in the middle of a wood at night-time with snow under her feet and snowflakes falling through the air.

Lucy felt a little frightened, but she felt very inquisitive and excited as well. She looked back over her shoulder and there, between the dark tree trunks; she could still see the open doorway of the wardrobe and even catch a glimpse of the empty room from which she had set out. (She had, of course, left the door open, for she knew that it is a very silly thing to shut oneself into a wardrobe.) It seemed to be still daylight there. “I can always get back if anything goes wrong,” thought Lucy. She began to walk forward, crunch-crunch over the snow and through the wood towards the other light. In about ten minutes she reached it and found it was a lamp-post. As she stood looking at it, wondering why there was a lamp-post in the middle of a wood and wondering what to do next, she heard a pitter patter of feet coming towards her. And soon after that a very strange person stepped out from among the trees into the light of the lamp-post.

He was only a little taller than Lucy herself and he carried over his head an umbrella, white with snow. From the waist upwards he was like a man, but his legs were shaped like a goat’s (the hair on them was glossy black) and instead of feet he had goat’s hoofs. He also had a tail, but Lucy did not notice this at first because it was neatly caught up over the arm that held the umbrella so as

to keep it from trailing in the snow. He had a red woollen muffler round his neck and his skin was rather reddish too. He had a strange, but pleasant little face, with a short pointed beard and curly hair, and out of the hair there stuck two horns, one on each side of his forehead. One of his hands, as I have said, held the umbrella: in the other arm he carried several brown-paper parcels. What with the parcels and the snow it looked just as if he had been doing his Christmas shopping. He was a Faun. And when he saw Lucy he gave such a start of surprise that he dropped all his parcels.

“Goodness gracious me!” exclaimed the Faun.

Narnia 1 - The Lion, The Witch and The Wardrobe

CHAPTER TWO

WHAT LUCY FOUND THERE

“GOOD EVENING,” said Lucy. But the Faun was so busy picking up its parcels that at first it did not reply. When it had finished it made her a little bow. “Good evening, good evening,” said the Faun. “Excuse me - I don’t want to

be inquisitive - but should I be right in thinking that you are a Daughter of Eve?”

“My name’s Lucy,” said she, not quite understanding him.

“But you are - forgive me - you are what they call a girl?” said the Faun. “Of course I’m a girl,” said Lucy.

“You are in fact Human?”

“Of course I’m human,” said Lucy, still a little puzzled.

“To be sure, to be sure,” said the Faun. “How stupid of me! But I’ve never seen a Son of Adam or a Daughter of Eve before. I am delighted. That is to say

-” and then it stopped as if it had been going to say something it had not intended but had remembered in time. “Delighted, delighted,” it went on. “Allow me to introduce myself. My name is Tumnus.”

“I am very pleased to meet you, Mr Tumnus,” said Lucy.

“And may I ask, O Lucy Daughter of Eve,” said Mr Tumnus, “how you have come into Narnia?”

“Narnia? What’s that?” said Lucy.

“This is the land of Narnia,” said the Faun, “where we are now; all that lies between the lamp-post and the great castle of Cair Paravel on the eastern sea. And you - you have come from the wild woods of the west?”

“I - I got in through the wardrobe in the spare room,” said Lucy.

“Ah!” said Mr Tumnus in a rather melancholy voice, “if only I had worked harder at geography when I was a little Faun, I should no doubt know all about those strange countries. It is too late now.”

“But they aren’t countries at all,” said Lucy, almost laughing. “It’s only just back there - at least - I’m not sure. It is summer there.”

“Meanwhile,” said Mr Tumnus, “it is winter in Narnia, and has been for ever so long, and we shall both catch cold if we stand here talking in the snow. Daughter of Eve from the far land of Spare Oom where eternal summer reigns around the bright city of War Drobe, how would it be if you came and had tea with me?”

“Thank you very much, Mr Tumnus,” said Lucy. “But I was wondering

whether I ought to be getting back.”

“It’s only just round the corner,” said the Faun, “and there’ll be a roaring fire - and toast - and sardines - and cake.”

“Well, it’s very kind of you,” said Lucy. “But I shan’t be able to stay long.” “If you will take my arm, Daughter of Eve,” said Mr Tumnus, “I shall be

able to hold the umbrella over both of us. That’s the way. Now - off we go.”

And so Lucy found herself walking through the wood arm in arm with this strange creature as if they had known one another all their lives.

They had not gone far before they came to a place where the ground became rough and there were rocks all about and little hills up and little hills down. At the bottom of one small valley Mr Tumnus turned suddenly aside as if he were going to walk straight into an unusually large rock, but at the last moment Lucy found he was leading her into the entrance of a cave. As soon as they were inside she found herself blinking in the light of a wood fire. Then Mr Tumnus stooped and took a flaming piece of wood out of the fire with a neat little pair of tongs, and lit a lamp. “Now we shan’t be long,” he said, and immediately put a kettle on.

Lucy thought she had never been in a nicer place. It was a little, dry, clean cave of reddish stone with a carpet on the floor and two little chairs (”one for me and one for a friend,” said Mr Tumnus) and a table and a dresser and a mantelpiece over the fire and above that a picture of an old Faun with a grey beard. In one corner there was a door which Lucy thought must lead to Mr Tumnus’s bedroom, and on one wall was a shelf full of books. Lucy looked at these while he was setting out the tea things. They had titles like The Life and Letters of Silenus or Nymphs and Their Ways or Men, Monks and Gamekeepers; a Study in Popular Legend or Is Man a Myth?

“Now, Daughter of Eve!” said the Faun.

And really it was a wonderful tea. There was a nice brown egg, lightly boiled, for each of them, and then sardines on toast, and then buttered toast, and then toast with honey, and then a sugar-topped cake. And when Lucy was tired of eating the Faun began to talk. He had wonderful tales to tell of life in the forest. He told about the midnight dances and how the Nymphs who lived in the wells and the Dryads who lived in the trees came out to dance with the Fauns; about long hunting parties after the milk-white stag who could give you wishes if you caught him; about feasting and treasure-seeking with the wild Red Dwarfs in deep mines and caverns far beneath the forest floor; and then about summer when the woods were green and old Silenus on his fat donkey would come to visit them, and sometimes Bacchus himself, and then the streams would run with wine instead of water and the whole forest would give itself up

to jollification for weeks on end. “Not that it isn’t always winter now,” he added gloomily. Then to cheer himself up he took out from its case on the dresser a strange little flute that looked as if it were made of straw and began to play. And the tune he played made Lucy want to cry and laugh and dance and go to sleep all at the same time. It must have been hours later when she shook herself and said:

“Oh, Mr Tumnus - I’m so sorry to stop you, and I do love that tune - but really, I must go home. I only meant to stay for a few minutes.”

“It’s no good now, you know,” said the Faun, laying down its flute and shaking its head at her very sorrowfully.

“No good?” said Lucy, jumping up and feeling rather frightened. “What do you mean? I’ve got to go home at once. The others will be wondering what has happened to me.” But a moment later she asked, “Mr Tumnus! Whatever is the matter?” for the Faun’s brown eyes had filled with tears and then the tears began trickling down its cheeks, and soon they were running off the end of its nose; and at last it covered its face with its hands and began to howl.

“Mr Tumnus! Mr Tumnus!” said Lucy in great distress. “Don’t! Don’t! What is the matter? Aren’ you well? Dear Mr Tumnus, do tell me what is wrong.” But the Faun continued sobbing as if its heart would break. And even when Lucy went over and put her arms round him and lent him her hand kerchief, he did not stop. He merely took the handker chief and kept on using it, wringing it out with both hands whenever it got too wet to be any more use, so that presently Lucy was standing in a damp patch.

“Mr Tumnus!” bawled Lucy in his ear, shaking him. “Do stop. Stop it at once! You ought to be ashamed of yourself, a great big Faun like you. What on earth are you crying about?”

“Oh - oh - oh!” sobbed Mr Tumnus, “I’m crying because I’m such a bad Faun.”

“I don’t think you’re a bad Faun at all,” said Lucy. “I think you are a very good Faun. You are the nicest Faun I’ve ever met.”

“Oh - oh - you wouldn’t say that if you knew,” replied Mr Tumnus between his sobs. “No, I’m a bad Faun. I don’t suppose there ever was a worse Faun since the beginning of the world.”

“But what have you done?” asked Lucy.

“My old father, now,” said Mr Tumnus; “that’s his picture over the mantelpiece. He would never have done a thing like this.”

“A thing like what?” said Lucy.

“Like what I’ve done,” said the Faun. “Taken service under the White Witch. That’s what I am. I’m in the pay of the White Witch.”

“The White Witch? Who is she?”

“Why, it is she that has got all Narnia under her thumb. It’s she that makes it always winter. Always winter and never Christmas; think of that!”

“How awful!” said Lucy. “But what does she pay you for?”

“That’s the worst of it,” said Mr Tumnus with a deep groan. “I’m a kidnapper for her, that’s what I am. Look at me, Daughter of Eve. Would you believe that I’m the sort of Faun to meet a poor innocent child in the wood, one that had never done me any harm, and pretend to be friendly with it, and invite it home to my cave, all for the sake of lulling it asleep and then handing it over to the White Witch?”

“No,” said Lucy. “I’m sure you wouldn’t do anything of the sort.” “But I have,” said the Faun.

“Well,” said Lucy rather slowly (for she wanted to be truthful and yet not be too hard on him), “well, that was pretty bad. But you’re so sorry for it that I’m sure you will never do it again.”

“Daughter of Eve, don’t you understand?” said the Faun. “It isn’t something I have done. I’m doing it now, this very moment.”

“What do you mean?” cried Lucy, turning very white.

“You are the child,” said Tumnus. “I had orders from the White Witch that if ever I saw a Son of Adam or a Daughter of Eve in the wood, I was to catch them and hand them over to her. And you are the first I’ve ever met. And I’ve pretended to be your friend an asked you to tea, and all the time I’ve been meaning to wait till you were asleep and then go and tell Her.”

“Oh, but you won’t, Mr Tumnus,” said Lucy. “Yo won’t, will you? Indeed, indeed you really mustn’t.”

“And if I don’t,” said he, beginning to cry again “she’s sure to find out. And she’ll have my tail cut off and my horns sawn off, and my beard plucked out, and she’ll wave her wand over my beautiful clove hoofs and turn them into horrid solid hoofs like wretched horse’s. And if she is extra and specially angry she’ll turn me into stone and I shall be only statue of a Faun in her horrible house until the four thrones at Cair Paravel are filled and goodness knows when that will happen, or whether it will ever happen at all.”

“I’m very sorry, Mr Tumnus,” said Lucy. “But please let me go home.”

“Of course I will,” said the Faun. “Of course I’ve got to. I see that now. I hadn’t known what Humans were like before I met you. Of course I can’t give you up to the Witch; not now that I know you. But we must be off at once. I’ll see you back to the lamp-post. I suppose you can find your own way from there back to Spare Oom and War Drobe?”

“I’m sure I can,” said Lucy.

“We must go as quietly as we can,” said Mr Tumnus. “The whole wood is full of her spies. Even some of the trees are on her side.”

They both got up and left the tea things on the table, and Mr Tumnus once more put up his umbrella and gave Lucy his arm, and they went out into the snow. The journey back was not at all like the journey to the Faun’s cave; they stole along as quickly as they could, without speaking a word, and Mr Tumnus kept to the darkest places. Lucy was relieved when they reached the lamp-post again.

“Do you know your way from here, Daughter o Eve?” said Tumnus.

Lucy looked very hard between the trees and could just see in the distance a patch of light that looked like daylight. “Yes,” she said, “I can see the wardrobe door.”

“Then be off home as quick as you can,” said the Faun, “and - c-can you ever forgive me for what meant to do?”

“Why, of course I can,” said Lucy, shaking him heartily by the hand. “And I do hope you won’t get into dreadful trouble on my account.”

“Farewell, Daughter of Eve,” said he. “Perhaps I may keep the handkerchief?”

“Rather!” said Lucy, and then ran towards the far off patch of daylight as quickly as her legs would carry her. And presently instead of rough branch brushing past her she felt coats, and instead of crunching snow under her feet she felt wooden board and all at once she found herself jumping out of the wardrobe into the same empty room from which the whole adventure had started. She shut the wardrobe door tightly behind her and looked around, panting for breath. It was still raining and she could hear the voices of the others in the passage.

“I’m here,” she shouted. “I’m here. I’ve come back I’m all right.”

Narnia 1 - The Lion, The Witch and The Wardrobe

CHAPTER THREE

EDMUND AND THE WARDROBE

Lucy ran out of the empty room into the passage and found the other three. “It’s all right,” she repeated, “I’ve comeback.”

“What on earth are you talking about, Lucy?” asked Susan.

“Why? said Lucy in amazement, “haven’t you all been wondering where I was?”

“So you’ve been hiding, have you?” said Peter. “Poor old Lu, hiding and nobody noticed! You’ll have to hide longer than that if you want people to start looking for you.”

“But I’ve been away for hours and hours,” said Lucy. The others all stared at one another.

“Batty!” said Edmund, tapping his head. “Quite batty.” “What do you mean, Lu?” asked Peter.

“What I said,” answered Lucy. “It was just after breakfast when I went into the wardrobe, and I’ve been away for hours and hours, and had tea, and all sorts of things have happened.”

“Don’t be silly, Lucy,” said Susan. “We’ve only just come out of that room a moment ago, and you were there then.”

“She’s not being silly at all,” said Peter, “she’s just making up a story for fun, aren’t you, Lu? And why shouldn’t she?”

“No, Peter, I’m not,” she said. “It’s - it’s a magic wardrobe. There’s a wood inside it, and it’s snowing, and there’s a Faun and a Witch and it’s called Narnia; come and see.”

The others did not know what to think, but Lucy was so excited that they all went back with her into the room. She rushed ahead of them, flung open the door of the wardrobe and cried, “Now! go in and see for yourselves.”

“Why, you goose,” said Susan, putting her head inside and pulling the fur coats apart, “it’s just an ordinary wardrobe; look! there’s the back of it.”

Then everyone looked in and pulled the coats apart; and they all saw - Lucy herself saw - a perfectly ordinary wardrobe. There was no wood and no snow, only the back of the wardrobe, with hooks on it. Peter went in and rapped his knuckles on it to make sure that it was solid.

“A jolly good hoax, Lu,” he said as he came out again; “you have really taken us in, I must admit. We half believed you.”

“But it wasn’t a hoax at all,” said Lucy, “really and truly. It was all different

a moment ago. Honestly it was. I promise.”

“Come, Lu,” said Peter, “that’s going a bit far. You’ve had your joke.

Hadn’t you better drop it now?”

Lucy grew very red in the face and tried to say something, though she hardly knew what she was trying to say, and burst into tears.

For the next few days she was very miserable. She could have made it up with the others quite easily at any moment if she could have brought herself to say that the whole thing was only a story made up for fun. But Lucy was a very truthful girl and she knew that she was really in the right; and she could not bring herself to say this. The others who thought she was telling a lie, and a silly lie too, made her very unhappy. The two elder ones did this without meaning to do it, but Edmund could be spiteful, and on this occasion he was spiteful. He sneered and jeered at Lucy and kept on asking her if she’d found any other new countries in other cupboards all over the house. What made it worse was that these days ought to have been delightful. The weather was fine and they were out of doors from morning to night, bathing, fishing, climbing trees, and lying in the heather. But Lucy could not properly enjoy any of it. And so things went on until the next wet day.

That day, when it came to the afternoon and there was still no sign of a break in the weather, they decided to play hide-and-seek. Susan was “It” and as soon as the others scattered to hide, Lucy went to the room where the wardrobe was. She did not mean to hide in the wardrobe, because she knew that would only set the others talking again about the whole wretched business. But she did want to have one more look inside it; for by this time she was beginning to wonder herself whether Narnia and the Faun had not been a dream. The house was so large and complicated and full of hiding-places that she thought she would have time to have one look into the wardrobe and then hide somewhere else. But as soon as she reached it she heard steps in the passage outside, and then there was nothing for it but to jump into the wardrobe and hold the door closed behind her. She did not shut it properly because she knew that it is very silly to shut oneself into a wardrobe, even if it is not a magic one.

Now the steps she had heard were those of Edmund; and he came into the room just in time to see Lucy vanishing into the wardrobe. He at once decided to get into it himself - not because he thought it a particularly good place to hide but because he wanted to go on teasing her about her imaginary country. He opened the door. There were the coats hanging up as usual, and a smell of mothballs, and darkness and silence, and no sign of Lucy. “She thinks I’m Susan come to catch her,” said Edmund to himself, “and so she’s keeping very quiet in at the back.” He jumped in and shut the door, forgetting what a very

foolish thing this is to do. Then he began feeling about for Lucy in the dark. He had expected to find her in a few seconds and was very surprised when he did not. He decided to open the door again and let in some light. But he could not find the door either. He didn’t like this at all and began groping wildly in every direction; he even shouted out, “Lucy! Lu! Where are you? I know you’re here.”

There was no answer and Edmund noticed that his own voice had a curious sound - not the sound you expect in a cupboard, but a kind of open-air sound. He also noticed that he was unexpectedly cold; and then he saw a light.

“Thank goodness,” said Edmund, “the door must have swung open of its own accord.” He forgot all about Lucy and went towards the light, which he thought was the open door of the wardrobe. But instead of finding himself stepping out into the spare room he found himself stepping out from the shadow of some thick dark fir trees into an open place in the middle of a wood. There was crisp, dry snow under his feet and more snow lying on the branches of the trees. Overhead there was pale blue sky, the sort of sky one sees on a fine winter day in the morning. Straight ahead of him he saw between the tree-trunks the sun, just rising, very red and clear. Everything was perfectly still, as if he were the only living creature in that country. There was not even a robin or a squirrel among the trees, and the wood stretched as far as he could

see in every direction. He shivered.

He now remembered that he had been looking for Lucy; and also how unpleasant he had been to her about her “imaginary country” which now turned out not to have been imaginary at all. He thought that she must be somewhere quite close and so he shouted, “Lucy! Lucy! I’m here too-Edmund.”

There was no answer.

“She’s angry about all the things I’ve been saying lately,” thought Edmund. And though he did not like to admit that he had been wrong, he also did not much like being alone in this strange, cold, quiet place; so he shouted again.

“I say, Lu! I’m sorry I didn’t believe you. I see now you were right all along. Do come out. Make it Pax.”

Still there was no answer.

“Just like a girl,” said Edmund to himself, “sulking somewhere, and won’t accept an apology.” He looked round him again and decided he did not much like this place, and had almost made up his mind to go home, when he heard, very far off in the wood, a sound of bells. He listened and the sound came nearer and nearer and at last there swept into sight a sledge drawn by two reindeer.

The reindeer were about the size of Shetland ponies and their hair was so

white that even the snow hardly looked white compared with them; their branching horns were gilded and shone like something on fire when the sunrise caught them. Their harness was of scarlet leather and covered with bells. On the sledge, driving the reindeer, sat a fat dwarf who would have been about three feet high if he had been standing. He was dressed in polar bear’s fur and on his head he wore a red hood with a long gold tassel hanging down from its point; his huge beard covered his knees and served him instead of a rug. But behind him, on a much higher seat in the middle of the sledge sat a very different person - a great lady, taller than any woman that Edmund had ever seen. She also was covered in white fur up to her throat and held a long straight golden wand in her right hand and wore a golden crown on her head. Her face was white - not merely pale, but white like snow or paper or icing- sugar, except for her very red mouth. It was a beautiful face in other respects, but proud and cold and stern.

The sledge was a fine sight as it came sweeping towards Edmund with the bells jingling and the dwarf cracking his whip and the snow flying up on each side of it.

“Stop!” said the Lady, and the dwarf pulled the reindeer up so sharp that they almost sat down. Then they recovered themselves and stood champing their bits and blowing. In the frosty air the breath coming out of their nostrils looked like smoke.

“And what, pray, are you?” said the Lady, looking hard at Edmund.

“I’m-I’m-my name’s Edmund,” said Edmund rather awkwardly. He did not like the way she looked at him.

The Lady frowned, “Is that how you address a Queen?” she asked, looking sterner than ever.

“I beg your pardon, your Majesty, I didn’t know,” said Edmund:

“Not know the Queen of Narnia?” cried she. “Ha! You shall know us better hereafter. But I repeat-what are you?”

“Please, your Majesty,” said Edmund, “I don’t know what you mean. I’m at school - at least I was it’s the holidays now.”

Narnia 1 - The Lion, The Witch and The Wardrobe

CHAPTER FOUR

TURKISH DELIGHT

“BUT what are you?” said the Queen again. “Are you a great overgrown dwarf that has cut off its beard?”

“No, your Majesty,” said Edmund, “I never had a beard, I’m a boy.” “A boy!” said she. “Do you mean you are a Son of Adam?”

Edmund stood still, saying nothing. He was too confused by this time to understand what the question meant.

“I see you are an idiot, whatever else you may be,” said the Queen. “Answer me, once and for all, or I shall lose my patience. Are you human?”

“Yes, your Majesty,” said Edmund.

“And how, pray, did you come to enter my dominions?” “Please, your Majesty, I came in through a wardrobe.” “A wardrobe? What do you mean?”

“I - I opened a door and just found myself here, your Majesty,” said Edmund.

“Ha!” said the Queen, speaking more to herself than to him. “A door. A door from the world of men! I have heard of such things. This may wreck all. But he is only one, and he is easily dealt with.” As she spoke these words she rose from her seat and looked Edmund full in the face, her eyes flaming; at the same moment she raised her wand. Edmund felt sure that she was going to do something dreadful but he seemed unable to move. Then, just as he gave himself up for lost, she appeared to change her mind.

“My poor child,” she said in quite a different voice, “how cold you look! Come and sit with me here on the sledge and I will put my mantle round you and we will talk.”

Edmund did not like this arrangement at all but he dared not disobey; he stepped on to the sledge and sat at her feet, and she put a fold of her fur mantle round him and tucked it well in.

“Perhaps something hot to drink?” said the Queen. “Should you like that?” “Yes please, your Majesty,” said Edmund, whose teeth were chattering.

The Queen took from somewhere among her wrappings a very small bottle which looked as if it were made of copper. Then, holding out her arm, she let one drop fall from it on the snow beside the sledge. Edmund saw the drop for a second in mid-air, shining like a diamond. But the moment it touched the snow there was a hissing sound and there stood a jewelled cup full of something that

steamed. The dwarf immediately took this and handed it to Edmund with a bow and a smile; not a very nice smile. Edmund felt much better as he began to sip the hot drink. It was something he had never tasted before, very sweet and foamy and creamy, and it warmed him right down to his toes.

“It is dull, Son of Adam, to drink without eating,” said the Queen presently. “What would you like best to eat?”

“Turkish Delight, please, your Majesty,” said Edmund.

The Queen let another drop fall from her bottle on to the snow, and instantly there appeared a round box, tied with green silk ribbon, which, when opened, turned out to contain several pounds of the best Turkish Delight. Each piece was sweet and light to the very centre and Edmund had never tasted anything more delicious. He was quite warm now, and very comfortable.

While he was eating the Queen kept asking him questions. At first Edmund tried to remember that it is rude to speak with one’s mouth full, but soon he forgot about this and thought only of trying to shovel down as much Turkish Delight as he could, and the more he ate the more he wanted to eat, and he never asked himself why the Queen should be so inquisitive. She got him to tell her that he had one brother and two sisters, and that one of his sisters had already been in Narnia and had met a Faun there, and that no one except himself and his brother and his sisters knew anything about Narnia. She seemed especially interested in the fact that there were four of them, and kept on coming back to it. “You are sure there are just four of you?” she asked. “Two Sons of Adam and two Daughters of Eve, neither more nor less?” and Edmund, with his mouth full of Turkish Delight, kept on saying, “Yes, I told you that before,” and forgetting to call her “Your Majesty”, but she didn’t seem to mind now.

At last the Turkish Delight was all finished and Edmund was looking very hard at the empty box and wishing that she would ask him whether he would like some more. Probably the Queen knew quite well what he was thinking; for she knew, though Edmund did not, that this was enchanted Turkish Delight and that anyone who had once tasted it would want more and more of it, and would even, if they were allowed, go on eating it till they killed themselves. But she did not offer him any more. Instead, she said to him,

“Son of Adam, I should so much like to see your brother and your two sisters. Will you bring them to see me?”

“I’ll try,” said Edmund, still looking at the empty box.

“Because, if you did come again - bringing them with you of course - I’d be able to give you some more Turkish Delight. I can’t do it now, the magic will only work once. In my own house it would be another matter.”

“Why can’t we go to your house now?” said Edmund. When he had first got on to the sledge he had been afraid that she might drive away with him to some unknown place from which he would not be able to get back; but he had forgotten about that fear now.

“It is a lovely place, my house,” said the Queen. “I am sure you would like it. There are whole rooms full of Turkish Delight, and what’s more, I have no children of my own. I want a nice boy whom I could bring up as a Prince and who would be King of Narnia when I am gone. While he was Prince he would wear a gold crown and eat Turkish Delight all day long; and you are much the cleverest and handsomest young man I’ve ever met. I think I would like to make you the Prince - some day, when you bring the others to visit me.”

“Why not now?” said Edmund. His face had become very red and his mouth and fingers were sticky. He did not look either clever or handsome, whatever the Queen might say.

“Oh, but if I took you there now,” said she, “I shouldn’t see your brother and your sisters. I very much want to know your charming relations. You are to be the Prince and - later on - the King; that is understood. But you must have courtiers and nobles. I will make your brother a Duke and your sisters Duchesses.”

“There’s nothing special about them,” said Edmund, “and, anyway, I could always bring them some other time.”

“Ah, but once you were in my house,” said the Queen, “you might forget all about thern. You would be enjoying yourself so much that you wouldn’t want the bother of going to fetch them. No. You must go back to your own country now and come to me another day, with them, you understand. It is no good coming without them.”

“But I don’t even know the way back to my own country,” pleaded Edmund. “That’s easy,” answered the Queen. “Do you see that lamp?” She pointed with her wand and Edmund turned and saw the same lamp-post under which Lucy had met the Faun. “Straight on, beyond that, is the way to the World of Men. And now look the other way’- here she pointed in the opposite direction - “and tell me if you can see two little hills rising above the trees.”

“I think I can,” said Edmund.

“Well, my house is between those two hills. So next time you come you have only to find the lamp-post and look for those two hills and walk through the wood till you reach my house. But remember - you must bring the others with you. I might have to be very angry with you if you came alone.”

“I’ll do my best,” said Edmund.

“And, by the way,” said the Queen, “you needn’t tell them about me. It

would be fun to keep it a secret between us two, wouldn’t it? Make it a surprise for them. Just bring them along to the two hills - a clever boy like you will easily think of some excuse for doing that - and when you come to my house you could just say “Let’s see who lives here” or something like that. I am sure that would be best. If your sister has met one of the Fauns, she may have heard strange stories about me - nasty stories that might make her afraid to come to me. Fauns will say anything, you know, and now -“

“Please, please,” said Edmund suddenly, “please couldn’t I have just one piece of Turkish Delight to eat on the way home?”

“No, no,” said the Queen with a laugh, “you must wait till next time.” While she spoke, she signalled to the dwarf to drive on, but as the sledge swept away out of sight, the Queen waved to Edmund, calling out, “Next time! Next time! Don’t forget. Come soon.”

Edmund was still staring after the sledge when he heard someone calling his own name, and looking round he saw Lucy coming towards him from another part of the wood.

“Oh, Edmund!” she cried. “So you’ve got in too! Isn’t it wonderful, and now-“

“All right,” said Edmund, “I see you were right and it is a magic wardrobe after all. I’ll say I’m sorry if you like. But where on earth have you been all this time? I’ve been looking for you everywhere.”

“If I’d known you had got in I’d have waited for you,” said Lucy, who was too happy and excited to notice how snappishly Edmund spoke or how flushed and strange his face was. “I’ve been having lunch with dear Mr Tumnus, the Faun, and he’s very well and the White Witch has done nothing to him for letting me go, so he thinks she can’t have found out and perhaps everything is going to be all right after all.”

“The White Witch?” said Edmund; “who’s she?”

“She is a perfectly terrible person,” said Lucy. “She calls herself the Queen of Narnia though she has no right to be queen at all, and all the Fauns and Dryads and Naiads and Dwarfs and Animals - at least all the good ones - simply hate her. And she can turn people into stone and do all kinds of horrible things. And she has made a magic so that it is always winter in Narnia - always winter, but it never gets to Christmas. And she drives about on a sledge, drawn by reindeer, with her wand in her hand and a crown on her head.”

Edmund was already feeling uncomfortable from having eaten too many sweets, and when he heard that the Lady he had made friends with was a dangerous witch he felt even more uncomfortable. But he still wanted to taste that Turkish Delight again more than he wanted anything else.

“Who told you all that stuff about the White Witch?” he asked. “Mr Tumnus, the Faun,” said Lucy.

“You can’t always believe what Fauns say,” said Edmund, trying to sound as if he knew far more about them than Lucy.

“Who said so?” asked Lucy.

“Everyone knows it,” said Edmund; “ask anybody you like. But it’s pretty poor sport standing here in the snow. Let’s go home.”

“Yes, let’s,” said Lucy. “Oh, Edmund, I am glad you’ve got in too. The others will have to believe in Narnia now that both of us have been there. What fun it will be!”

But Edmund secretly thought that it would not be as good fun for him as for her. He would have to admit that Lucy had been right, before all the others, and he felt sure the others would all be on the side of the Fauns and the animals; but he was already more than half on the side of the Witch. He did not know what he would say, or how he would keep his secret once they were all talking about Narnia.

By this time they had walked a good way. Then suddenly they felt coats around them instead of branches and next moment they were both standing outside the wardrobe in the empty room.

“I say,” said Lucy, “you do look awful, Edmund. Don’t you feel well?”

“I’m all right,” said Edmund, but this was not true. He was feeling very sick.

“Come on then,” said Lucy, “let’s find the others. What a lot we shall have to tell them! And what wonderful adventures we shall have now that we’re all in it together.”

Narnia 1 - The Lion, The Witch and The Wardrobe

CHAPTER FIVE

BACK ON THIS SIDE OF THE DOOR

BECAUSE the game of hide-and-seek was still going on, it took Edmund and Lucy some time to find the others. But when at last they were all together (which happened in the long room, where the suit of armour was) Lucy burst out:

“Peter! Susan! It’s all true. Edmund has seen it too. There is a country you can get to through the wardrobe. Edmund and I both got in. We met one another in there, in the wood. Go on, Edmund; tell them all about it.”

“What’s all this about, Ed?” said Peter.

And now we come to one of the nastiest things in this story. Up to that moment Edmund had been feeling sick, and sulky, and annoyed with Lucy for being right, but he hadn’t made up his mind what to do. When Peter suddenly asked him the question he decided all at once to do the meanest and most spiteful thing he could think of. He decided to let Lucy down.

“Tell us, Ed,” said Susan.

And Edmund gave a very superior look as if he were far older than Lucy (there was really only a year’s difference) and then a little snigger and said, “Oh, yes, Lucy and I have been playing - pretending that all her story about a country in the wardrobe is true. just for fun, of course. There’s nothing there really.”

Poor Lucy gave Edmund one look and rushed out of the room.

Edmund, who was becoming a nastier person every minute, thought that he had scored a great success, and went on at once to say, “There she goes again. What’s the matter with her? That’s the worst of young kids, they always -“

“Look here,” said Peter, turning on him savagely, “shut up! You’ve been perfectly beastly to Lu ever since she started this nonsense about the wardrobe, and now you go playing games with her about it and setting her off again. I believe you did it simply out of spite.”

“But it’s all nonsense,” said Edmund, very taken aback.

“Of course it’s all nonsense,” said Peter, “that’s just the point. Lu was perfectly all right when we left home, but since we’ve been down here she seems to be either going queer in the head or else turning into a most frightful liar. But whichever it is, what good do you think you’ll do by jeering and nagging at her one day and encouraging her the next?”

“I thought - I thought,” said Edmund; but he couldn’t think of anything to

say.

“You didn’t think anything at all,” said Peter; “it’s just spite. You’ve always liked being beastly to anyone smaller than yourself; we’ve seen that at school before now.”

“Do stop it,” said Susan; “it won’t make things any better having a row between you two. Let’s go and find Lucy.”

It was not surprising that when they found Lucy, a good deal later, everyone could see that she had been crying. Nothing they could say to her made any difference. She stuck to her story and said:

“I don’t care what you think, and I don’t care what you say. You can tell the Professor or you can write to Mother or you can do anything you like. I know I’ve met a Faun in there and - I wish I’d stayed there and you are all beasts, beasts.”

It was an unpleasant evening. Lucy was miserable and Edmund was beginning to feel that his plan wasn’t working as well as he had expected. The two older ones were really beginning to think that Lucy was out of her mind. They stood in the passage talking about it in whispers long after she had gone to bed.

The result was the next morning they decided that they really would go and tell the whole thing to the Professor. “He’ll write to Father if he thinks there is really something wrong with Lu,” said Peter; “it’s getting beyond us.” So they went and knocked at the study door, and the Professor said “Come in,” and got up and found chairs for them and said he was quite at their disposal. Then he sat listening to them with the tips of his fingers pressed together and never interrupting, till they had finished the whole story. After that he said nothing for quite a long time. Then he cleared his throat and said the last thing either of them expected:

“How do you know,” he asked, “that your sister ’s story is not true?”

“Oh, but -” began Susan, and then stopped. Anyone could see from the old man’s face that he was perfectly serious. Then Susan pulled herself together and said, “But Edmund said they had only been pretending.”

“That is a point,” said the Professor, “which certainly deserves consideration; very careful consideration. For instance - if you will excuse me for asking the question - does your experience lead you to regard your brother or your sister as the more reliable? I mean, which is the more truthful?”

“That’s just the funny thing about it, sir,” said Peter. “Up till now, I’d have said Lucy every time.”

“And what do you think, my dear?” said the Professor, turning to Susan. “Well,” said Susan, “in general, I’d say the same as Peter, but this couldn’t

be true - all this about the wood and the Faun.”

“That is more than I know,” said the Professor, “and a charge of lying against someone whom you have always found truthful is a very serious thing; a very serious thing indeed.”

“We were afraid it mightn’t even be lying,” said Susan; “we thought there might be something wrong with Lucy.”

“Madness, you mean?” said the Professor quite coolly. “Oh, you can make your minds easy about that. One has only to look at her and talk to her to see that she is not mad.”

“But then,” said Susan, and stopped. She had never dreamed that a grown- up would talk like the Professor and didn’t know what to think.

“Logic!” said the Professor half to himself. “Why don’t they teach logic at these schools? There are only three possibilities. Either your sister is telling lies, or she is mad, or she is telling the truth. You know she doesn’t tell lies and it is obvious that she is not mad For the moment then and unless any further evidence turns up, we must assume that she is telling the truth.”

Susan looked at him very hard and was quite sure from the expression on his face that he was no making fun of them.

“But how could it be true, sir?” said Peter. “Why do you say that?” asked the Professor.

“Well, for one thing,” said Peter, “if it was true why doesn’t everyone find this country every time they go to the wardrobe? I mean, there was nothing there when we looked; even Lucy didn’t pretend the was.”

“What has that to do with it?” said the Professor. “Well, sir, if things are real, they’re there all the time.”

“Are they?” said the Professor; and Peter did’nt know quite what to say. “But there was no time,” said Susan. “Lucy had no time to have gone

anywhere, even if there was such a place. She came running after us the very moment we were out of the room. It was less than minute, and she pretended to have been away for hours.”

“That is the very thing that makes her story so likely to be true,” said the Professor. “If there really a door in this house that leads to some other world (and I should warn you that this is a very strange house, and even I know very little about it) - if, I say, she had got into another world, I should not be at a surprised to find that the other world had a separate time of its own; so that however long you stay there it would never take up any of our time. On the other hand, I don’t think many girls of her age would invent that idea for themselves. If she had been pretending, she would have hidden for a reasonable time before coming out and telling her story.”

“But do you really mean, sir,” said Peter, “that there could be other worlds

- all over the place, just round the corner - like that?”

“Nothing is more probable,” said the Professor, taking off his spectacles and beginning to polish them, while he muttered to himself, “I wonder what they do teach them at these schools.”

“But what are we to do?” said Susan. She felt that the conversation was beginning to get off the point.

“My dear young lady,” said the Professor, suddenly looking up with a very sharp expression at both of them, “there is one plan which no one has yet suggested and which is well worth trying.”

“What’s that?” said Susan.

“We might all try minding our own business,” said he. And that was the end of that conversation.

After this things were a good deal better for Lucy. Peter saw to it that Edmund stopped jeering at her, and neither she nor anyone else felt inclined to talk about the wardrobe at all. It had become a rather alarming subject. And so for a time it looked as if all the adventures were coming to an end; but that was not to be.

This house of the Professor’s - which even he knew so little about - was so old and famous that people from all over England used to come and ask permission to see over it. It was the sort of house that is mentioned in guide books and even in histories; and well it might be, for all manner of stories were told about it, some of them even stranger than the one I am telling you now. And when parties of sightseers arrived and asked to see the house, the Professor always gave them permission, and Mrs Macready, the housekeeper, showed them round, telling them about the pictures and the armour, and the rare books in the library. Mrs Macready was not fond of children, and did not like to be interrupted when she was telling visitors all the things she knew. She had said to Susan and Peter almost on the first morning (along with a good many other instructions), “And please remember you’re to keep out of the way whenever I’m taking a party over the house.”

“Just as if any of us would want to waste half the morning trailing round with a crowd of strange grown-ups!” said Edmund, and the other three thought the same. That was how the adventures began for the second time.

A few mornings later Peter and Edmund were looking at the suit of armour and wondering if they could take it to bits when the two girls rushed into the room and said, “Look out! Here comes the Macready and a whole gang with her.”

“Sharp’s the word,” said Peter, and all four made off through the door at

the far end of the room. But when they had got out into the Green Room and beyond it, into the Library, they suddenly heard voices ahead of them, and realized that Mrs Macready must be bringing her party of sightseers up the back stairs - instead of up the front stairs as they had expected. And after that - whether it was that they lost their heads, or that Mrs Macready was trying to catch them, or that some magic in the house had come to life and was chasing them into Narnia they seemed to find themselves being followed everywhere, until at last Susan said, “Oh bother those trippers! Here - let’s get into the Wardrobe Room till they’ve passed. No one will follow us in there.” But the moment they were inside they heard the voices in the passage - and then someone fumbling at the door - and then they saw the handle turning.

“Quick!” said Peter, “there’s nowhere else,” and flung open the wardrobe. All four of them bundled inside it and sat there, panting, in the dark. Peter held the door closed but did not shut it; for, of course, he remembered, as every sensible person does, that you should never never shut yourself up in a wardrobe.

Narnia 1 - The Lion, The Witch and The Wardrobe

CHAPTER SIX

INTO THE FOREST

“I wish the Macready would hurry up and take all these people away,” said Susan presently, “I’m getting horribly cramped.”

“And what a filthy smell of camphor!” said Edmund.

“I expect the pockets of these coats are full of it,” said Susan, “to keep away the moths.”

“There’s something sticking into my back,” said Peter. “And isn’t it cold?” said Susan.

“Now that you mention it, it is cold,” said Peter, “and hang it all, it’s wet too. What’s the matter with this place? I’m sitting on something wet. It’s getting wetter every minute.” He struggled to his feet.

“Let’s get out,” said Edmund, “they’ve gone.”

“O-o-oh!” said Susan suddenly, and everyone asked her what was the matter.

“I’m sitting against a tree,” said Susan, “and look! It’s getting light - over there.”

“By Jove, you’re right,” said Peter, “and look there - and there. It’s trees all round. And this wet stuff is snow. Why, I do believe we’ve got into Lucy’s wood after all.”

And now there was no mistaking it and all four children stood blinking in the daylight of a winter day. Behind them were coats hanging on pegs, in front of them were snow-covered trees.

Peter turned at once to Lucy.

“I apologize for not believing you,” he said, “I’m sorry. Will you shake hands?”

“Of course,” said Lucy, and did.

“And now,” said Susan, “what do we do next?”

“Do?” said Peter, “why, go and explore the wood, of course.”

“Ugh!” said Susan, stamping her feet, “it’s pretty cold. What about putting on some of these coats?”

“They’re not ours,” said Peter doubtfully.

“I am sure nobody would mind,” said Susan; “it isn’t as if we wanted to take them out of the house; we shan’t take them even out of the wardrobe.”

“I never thought of that, Su,” said Peter. “Of course, now you put it that way, I see. No one could say you had bagged a coat as long as you leave it in

the wardrobe where you found it. And I suppose this whole country is in the wardrobe.”

They immediately carried out Susan’s very sensible plan. The coats were rather too big for them so that they came down to their heels and looked more like royal robes than coats when they had put them on. But they all felt a good deal warmer and each thought the others looked better in their new get-up and more suitable to the landscape.

“We can pretend we are Arctic explorers,” said Lucy.

“This is going to be exciting enough without pretending,” said Peter, as he began leading the way forward into the forest. There were heavy darkish clouds overhead and it looked as if there might be more snow before night.

“I say,” began Edmund presently, “oughtn’t we to be bearing a bit more to the left, that is, if we are aiming for the lamp-post?” He had forgotten for the moment that he must pretend never to have been in the wood before. The moment the words were out of his mouth he realized that he had given himself away. Everyone stopped; everyone stared at him. Peter whistled.

“So you really were here,” he said, “that time Lu said she’d met you in here

- and you made out she was telling lies.”

There was a dead silence. “Well, of all the poisonous little beasts -” said Peter, and shrugged his shoulders and said no more. There seemed, indeed, no more to say, and presently the four resumed their journey; but Edmund was saying to himself, “I’ll pay you all out for this, you pack of stuck-up, selfsatisfied prigs.”

“Where are we going anyway?” said Susan, chiefly for the sake of changing the subject.

“I think Lu ought to be the leader,” said Peter; “goodness knows she deserves it. Where will you take us, Lu?”

“What about going to see Mr Tumnus?” said Lucy. “He’s the nice Faun I told you about.”

Everyone agreed to this and off they went walking briskly and stamping their feet. Lucy proved a good leader. At first she wondered whether she would be able to find the way, but she recognized an oddlooking tree on one place and a stump in another and brought them on to where the ground became uneven and into the little valley and at last to the very door of Mr Tumnus’s cave. But there a terrible surprise awaited them.

The door had been wrenched off its hinges and broken to bits. Inside, the cave was dark and cold and had the damp feel and smell of a place that had not been lived in for several days. Snow had drifted in from the doorway and was heaped on the floor, mixed with something black, which turned out to be the

charred sticks and ashes from the fire. Someone had apparently flung it about the room and then stamped it out. The crockery lay smashed on the floor and the picture of the Faun’s father had been slashed into shreds with a knife.

“This is a pretty good wash-out,” said Edmund; “not much good coming here.”

“What is this?” said Peter, stooping down. He had just noticed a piece of paper which had been nailed through the carpet to the floor.

“Is there anything written on it?” asked Susan.

“Yes, I think there is,” answered Peter, “but I can’t read it in this light. Let’s get out into the open air.”

They all went out in the daylight and crowded round Peter as he read out the following words:

The former occupant of these premises, the Faun Tumnus, is under arrest and awaiting his trial on a charge of High Treason against her Imperial Majesty Jadis, Queen of Narnia, Chatelaine of Cair Paravel, Empress of the Lone Islands, etc., also of comforting her said Majesty’s enemies, harbouring spies and fraternizing with Humans.

signed MAUGRIM, Captain of the Secret Police, LONG LIVE THE QUEEN

The children stared at each other.

“I don’t know that I’m going to like this place after all,” said Susan. “Who is this Queen, Lu?” said Peter. “Do you know anything about her?”

“She isn’t a real queen at all,” answered Lucy; “she’s a horrible witch, the White Witch. Everyone all the wood people - hate her. She has made an enchantment over the whole country so that it is always winter here and never Christmas.”

“I - I wonder if there’s any point in going on,” said Susan. “I mean, it doesn’t seem particularly safe here and it looks as if it won’t be much fun either. And it’s getting colder every minute, and we’ve brought nothing to eat. What about just going home?”

“Oh, but we can’t, we can’t,” said Lucy suddenly; “don’t you see? We can’t just go home, not after this. It is all on my account that the poor Faun has got into this trouble. He hid me from the Witch and showed me the way back. That’s what it means by comforting the Queen’s enemies and fraternizing with Humans. We simply must try to rescue him.”

“A lot we could do! said Edmund, “when we haven’t even got anything to eat!”

“Shut up - you!” said Peter, who was still very angry with Edmund. “What do you think, Susan?”

“I’ve a horrid feeling that Lu is right,” said Susan. “I don’t want to go a step further and I wish we’d never come. But I think we must try to do something for Mr Whatever-his-name is - I mean the Faun.”

“That’s what I feel too,” said Peter. “I’m worried about having no food with us. I’d vote for going back and getting something from the larder, only there doesn’t seem to be any certainty of getting into this country again when once you’ve got out of it. I think we’ll have to go on.”

“So do I,” said both the girls.

“If only we knew where the poor chap was imprisoned!” said Peter.

They were all still wondering what to do next, when Lucy said, “Look! There’s a robin, with such a red breast. It’s the first bird I’ve seen here. I say! - I wonder can birds talk in Narnia? It almost looks as if it wanted to say something to us.” Then she turned to the Robin and said, “Please, can you tell us where Tumnus the Faun has been taken to?” As she said this she took a step towards the bird. It at once flew away but only as far as to the next tree. There it perched and looked at them very hard as if it understood all they had been saying. Almost without noticing that they had done so, the four children went a step or two nearer to it. At this the Robin flew away again to the next tree and once more looked at them very hard. (You couldn’t have found a robin with a redder chest or a brighter eye.)

“Do you know,” said Lucy, “I really believe he means us to follow him.” “I’ve an idea he does,” said Susan. “What do you think, Peter?”

“Well, we might as well try it,” answered Peter.

The Robin appeared to understand the matter thoroughly. It kept going from tree to tree, always a few yards ahead of them, but always so near that they could easily follow it. In this way it led them on, slightly downhill. Wherever the Robin alighted a little shower of snow would fall off the branch. Presently the clouds parted overhead and the winter sun came out and the snow all around them grew dazzlingly bright. They had been travelling in this way for about half an hour, with the two girls in front, when Edmund said to Peter, “if you’re not still too high and mighty to talk to me, I’ve something to say which you’d better listen to.”

“What is it?” asked Peter.

“Hush! Not so loud,” said Edmund; “there’s no good frightening the girls.

But have you realized what we’re doing?”

“What?” said Peter, lowering his voice to a whisper.

“We’re following a guide we know nothing about. How do we know which side that bird is on? Why shouldn’t it be leading us into a trap?”

“That’s a nasty idea. Still - a robin, you know. They’re good birds in all the

stories I’ve ever read. I’m sure a robin wouldn’t be on the wrong side.”

“It if comes to that, which is the right side? How do we know that the Fauns are in the right and the Queen (yes, I know we’ve been told she’s a witch) is in the wrong? We don’t really know anything about either.”

“The Faun saved Lucy.”

“He said he did. But how do we know? And there’s another thing too. Has anyone the least idea of the way home from here?”

“Great Scott!” said Peter, “I hadn’t thought of that.” “And no chance of dinner either,” said Edmund.

Narnia 1 - The Lion, The Witch and The Wardrobe

CHAPTER SEVEN

A DAY WITH THE BEAVERS

WHILE the two boys were whispering behind, both the girls suddenly cried “Oh!” and stopped.

“The robin!” cried Lucy, “the robin. It’s flown away.” And so it had - right out of sight.

“And now what are we to do?” said Edmund, giving Peter a look which was as much as to say “What did I tell you?”

“Sh! Look!” said Susan. “What?” said Peter.

“There’s something moving among the trees over there to the left.” They all stared as hard as they could, and no one felt very comfortable. “There it goes again,” said Susan presently.

“I saw it that time too,” said Peter. “It’s still there. It’s just gone behind that big tree.”

“What is it?” asked Lucy, trying very hard not to sound nervous.

“Whatever it is,” said Peter, “it’s dodging us. It’s something that doesn’t want to be seen.”

“Let’s go home,” said Susan. And then, though nobody said it out loud, everyone suddenly realized the same fact that Edmund had whispered to Peter at the end of the last chapter. They were lost.

“What’s it like?” said Lucy.

“It’s - it’s a kind of animal,” said Susan; and then, “Look! Look! Quick!

There it is.”

They all saw it this time, a whiskered furry face which had looked out at them from behind a tree. But this time it didn’t immediately draw back. Instead, the animal put its paw against its mouth just as humans put their finger on their lips when they are signalling to you to be quiet. Then it disappeared again. The children, all stood holding their breath.

A moment later the stranger came out from behind the tree, glanced all round as if it were afraid someone was watching, said “Hush”, made signs to them to join it in the thicker bit of wood where it was standing, and then once more disappeared.

“I know what it is,” said Peter; “it’s a beaver. I saw the tail.”

“It wants us to go to it,” said Susan, “and it is warning us not to make a noise.”

“I know,” said Peter. “The question is, are we to go to it or not? What do you think, Lu?”

“I think it’s a nice beaver,” said Lucy. “Yes, but how do we know?” said Edmund.

“Shan’t we have to risk it?” said Susan. “I mean, it’s no good just standing here and I feel I want some dinner.”

At this moment the Beaver again popped its head out from behind the tree and beckoned earnestly to them.

“Come on,” said Peter,”let’s give it a try. All keep close together. We ought to be a match for one beaver if it turns out to be an enemy.”

So the children all got close together and walked up to the tree and in behind it, and there, sure enough, they found the Beaver; but it still drew back, saying to them in a hoarse throaty whisper, “Further in, come further in. Right in here. We’re not safe in the open!”

Only when it had led them into a dark spot where four trees grew so close together that their boughs met and the brown earth and pine needles could be seen underfoot because no snow had been able to fall there, did it begin to talk to them.

“Are you the Sons of Adam and the Daughters of Eve?” it said. “We’re some of them,” said Peter.

“S-s-s-sh!” said the Beaver, “not so loud please. We’re not safe even here.” “Why, who are you afraid of?” said Peter. “There’s no one here but

ourselves.”

“There are the trees,” said the Beaver. “They’re always listening. Most of them are on our side, but there are trees that would betray us to her; you know who I mean,” and it nodded its head several times.

“If it comes to talking about sides,” said Edmund, “how do we know you’re a friend?”

“Not meaning to be rude, Mr Beaver,” added Peter, “but you see, we’re strangers.”

“Quite right, quite right,” said the Beaver. “Here is my token.” With these words it held up to them a little white object. They all looked at it in surprise, till suddenly Lucy said, “Oh, of course. It’s my handkerchief - the one I gave to poor Mr Tumnus.”

“That’s right,” said the Beaver. “Poor fellow, he got wind of the arrest before it actually happened and handed this over to me. He said that if anything happened to him I must meet you here and take you on to -” Here the Beaver’s voice sank into silence and it gave one or two very mysterious nods. Then signalling to the children to stand as close around it as they possibly could, so

that their faces were actually tickled by its whiskers, it added in a low whisper - “They say Aslan is on the move - perhaps has already landed.”

And now a very curious thing happened. None of the children knew who Aslan was any more than you do; but the moment the Beaver had spoken these words everyone felt quite different. Perhaps it has sometimes happened to you in a dream that someone says something which you don’t understand but in the dream it feels as if it had some enormous meaning - either a terrifying one which turns the whole dream into a nightmare or else a lovely meaning too lovely to put into words, which makes the dream so beautiful that you remember it all your life and are always wishing you could get into that dream again. It was like that now. At the name of Aslan each one of the children felt something jump in its inside. Edmund felt a sensation of mysterious horror. Peter felt suddenly brave and adventurous. Susan felt as if some delicious smell or some delightful strain of music had just floated by her. And Lucy got the feeling you have when you wake up in the morning and realize that it is the beginning of the holidays or the beginning of summer.

“And what about Mr Tumnus,” said Lucy; “where is he?”

“S-s-s-sh,” said the Beaver, “not here. I must bring you where we can have a real talk and also dinner.”

No one except Edmund felt any difficulty about trusting the beaver now, and everyone, including Edmund, was very glad to hear the word “dinner”.

They therefore all hurried along behind their new friend who led them at a surprisingly quick pace, and always in the thickest parts of the forest, for over an hour. Everyone was feeling very tired and very hungry when suddenly the trees began to get thinner in front of them and the ground to fall steeply downhill. A minute later they came out under the open sky (the sun was still shining) and found themselves looking down on a fine sight.

They were standing on the edge of a steep, narrow valley at the bottom of which ran - at least it would have been running if it hadn’t been frozen - a fairly large river. Just below them a dam had been built across this river, and when they saw it everyone suddenly remembered that of course beavers are always making dams and felt quite sure that Mr Beaver had made this one. They also noticed that he now had a sort of modest expression on his, face - the sort of look people have when you are visiting a garden they’ve made or reading a story they’ve written. So it was only common politeness when Susan said, “What a lovely dam!” And Mr Beaver didn’t say “Hush” this time but “Merely a trifle! Merely a trifle! And it isn’t really finished!”

Above the dam there was what ought to have been a deep pool but was now, of course, a level floor of dark green ice. And below the dam, much lower

down, was more ice, but instead of being smooth this was all frozen into the foamy and wavy shapes in which the water had been rushing along at the very moment when the frost came. And where the water had been trickling over and spurting through the dam there was now a glittering wall of icicles, as if the side of the dam had been covered all over with flowers and wreaths and festoons of the purest sugar. And out in the middle, and partly on top of the dam was a funny little house shaped rather like an enormous beehive and from a hole in the roof smoke was going up, so that when you saw it {especially if you were hungry) you at once thought of cooking and became hungrier than you were before.

That was what the others chiefly noticed, but Edmund noticed something else. A little lower down the river there was another small river which came down another small valley to join it. And looking up that valley, Edmund could see two small hills, and he was almost sure they were the two hills which the White Witch had pointed out to him when he parted from her at the lamp-post that other day. And then between them, he thought, must be her palace, only a mile off or less. And he thought about Turkish Delight and about being a King (”And I wonder how Peter will like that?” he asked himself) and horrible ideas came into his head.

“Here we are,” said Mr Beaver, “and it looks as if Mrs Beaver is expecting us. I’ll lead the way. But be careful and don’t slip.”

The top of the dam was wide enough to walk on, though not (for humans) a very nice place to walk because it was covered with ice, and though the frozen pool was level with it on one side, there was a nasty drop to the lower river on the other. Along this route Mr Beaver led them in single file right out to the middle where they could look a long way up the river and a long way down it. And when they had reached the middle they were at the door of the house.

“Here we are, Mrs Beaver,” said Mr Beaver, “I’ve found them. Here are the Sons and Daughters of Adam and Eve’- and they all went in.

The first thing Lucy noticed as she went in was a burring sound, and the first thing she saw was a kindlooking old she-beaver sitting in the corner with a thread in her mouth working busily at her sewing machine, and it was from it that the sound came. She stopped her work and got up as soon as the children came in.

“So you’ve come at last!” she said, holding out both her wrinkled old paws. “At last! To think that ever I should live to see this day! The potatoes are on boiling and the kettle’s singing and I daresay, Mr Beaver, you’ll get us some fish.”

“That I will,” said Mr Beaver, and he went out of the house (Peter went with

him), and across the ice of the deep pool to where he had a little hole in the ice which he kept open every day with his hatchet. They took a pail with them. Mr Beaver sat down quietly at the edge of the hole (he didn’t seem to mind it being so chilly), looked hard into it, then suddenly shot in his paw, and before you could say Jack Robinson had whisked out a beautiful trout. Then he did it all over again until they had a fine catch of fish.

Meanwhile the girls were helping Mrs Beaver to fill the kettle and lay the table and cut the bread and put the plates in the oven to heat and draw a huge jug of beer for Mr Beaver from a barrel which stood in one corner of the house, and to put on the frying-pan and get the dripping hot. Lucy thought the Beavers had a very snug little home though it was not at all like Mr Tumnus’s cave. There were no books or pictures, and instead of beds there were bunks, like on board ship, built into the wall. And there were hams and strings of onions hanging from the roof, and against the walls were gum boots and oilskins and hatchets and pairs of shears and spades and trowels and things for carrying mortar in and fishing-rods and fishing-nets and sacks. And the cloth on the table, though very clean, was very rough.

Just as the frying-pan was nicely hissing Peter and Mr Beaver came in with the fish which Mr Beaver had already opened with his knife and cleaned out in the open air. You can think how good the new-caught fish smelled while they were frying and how the hungry children longed for them to be done and how very much hungrier still they had become before Mr Beaver said, “Now we’re nearly ready.” Susan drained the potatoes and then put them all back in the empty pot to dry on the side of the range while Lucy was helping Mrs Beaver to dish up the trout, so that in a very few minutes everyone was drawing up their stools (it was all three-legged stools in the Beavers’ house except for Mrs Beaver’s own special rockingchair beside the fire) and preparing to enjoy themselves. There was a jug of creamy milk for the children (Mr Beaver stuck to beer) and a great big lump of deep yellow butter in the middle of the table from which everyone took as much as he wanted to go with his potatoes, and all the children thought - and I agree with them - that there’s nothing to beat good freshwater fish if you eat it when it has been alive half an hour ago and has come out of the pan half a minute ago. And when they had finished the fish Mrs Beaver brought unexpectedly out of the oven a great and gloriously sticky marmalade roll, steaming hot, and at the same time moved the kettle on to the fire, so that when they had finished the marmalade roll the tea was made and ready to be poured out. And when each person had got his (or her) cup of tea, each person shoved back his (or her) stool so as to be able to lean against the wall and gave a long sigh of contentment.

“And now,” said Mr Beaver, pushing away his empty beer mug and pulling his cup of tea towards him, “if you’ll just wait till I’ve got my pipe lit up and going nicely - why, now we can get to business. It’s snowing again,” he added, cocking his eye at the window. “That’s all the better, because it means we shan’t have any visitors; and if anyone should have been trying to follow you, why he won’t find any tracks.”

Narnia 1 - The Lion, The Witch and The Wardrobe

CHAPTER EIGHT

WHAT HAPPENED AFTER DINNER

“AND now,” said Lucy, “do please tell us what’s happened to Mr Tumnus.” “Ah, that’s bad,” said Mr Beaver, shaking his head. “That’s a very, very bad

business. There’s no doubt he was taken off by the police. I got that from a bird who saw it done.”

“But where’s he been taken to?” asked Lucy.

“Well, they were heading northwards when they were last seen and we all know what that means.”

“No, we don’t,” said Susan. Mr Beaver shook his head in a very gloomy fashion.

“I’m afraid it means they were taking him to her House,” he said. “But what’ll they do to him, Mr Beaver?” gasped Lucy.

“Well,” said Mr Beaver, “you can’t exactly say for sure. But there’s not many taken in there that ever comes out again. Statues. All full of statues they say it is - in the courtyard and up the stairs and in the hall. People she’s turned”

- (he paused and shuddered) “turned into stone.”

“But, Mr Beaver,” said Lucy, “can’t we - I mean we must do something to save him. It’s too dreadful and it’s all on my account.”

“I don’t doubt you’d save him if you could, dearie,” said Mrs Beaver, “but you’ve no chance of getting into that House against her will and ever coming out alive.”

“Couldn’t we have some stratagem?” said Peter. “I mean couldn’t we dress up as something, or pretend to be - oh, pedlars or anything - or watch till she was gone out - or- oh, hang it all, there must be some way. This Faun saved my sister at his own risk, Mr Beaver. We can’t just leave him to be - to be - to have that done to him.”

“It’s no good, Son of Adam,” said Mr Beaver, “no good your trying, of all people. But now that Aslan is on the move-“

“Oh, yes! Tell us about Aslan!” said several voices at once; for once again that strange feeling - like the first signs of spring, like good news, had come over them.

“Who is Aslan?” asked Susan.

“Aslan?” said Mr Beaver. “Why, don’t you know? He’s the King. He’s the Lord of the whole wood, but not often here, you understand. Never in my time or my father’s time. But the word has reached us that he has come back. He is

in Narnia at this moment. He’ll settle the White Queen all right. It is he, not you, that will save Mr Tumnus.”

“She won’t turn him into stone too?” said Edmund.

“Lord love you, Son of Adam, what a simple thing to say!” answered Mr Beaver with a great laugh. “Turn him into stone? If she can stand on her two feet and look him in the face it’ll be the most she can do and more than I expect of her. No, no. He’ll put all to rights as it says in an old rhyme in these parts:

Wrong will be right, when Aslan comes in sight, At the sound of his roar, sorrows will be no more, When he bares his teeth, winter meets its death,

And when he shakes his mane, we shall have spring again. You’ll understand when you see him.”

“But shall we see him?” asked Susan.

“Why, Daughter of Eve, that’s what I brought you here for. I’m to lead you where you shall meet him,” said Mr Beaver.

“Is-is he a man?” asked Lucy.

“Aslan a man!” said Mr Beaver sternly. “Certainly not. I tell you he is the King of the wood and the son of the great Emperor-beyond-the-Sea. Don’t you know who is the King of Beasts? Aslan is a lion - the Lion, the great Lion.”

“Ooh!” said Susan, “I’d thought he was a man. Is he - quite safe? I shall feel rather nervous about meeting a lion.”

“That you will, dearie, and no mistake,” said Mrs Beaver; “if there’s anyone who can appear before Aslan without their knees knocking, they’re either braver than most or else just silly.”

“Then he isn’t safe?” said Lucy.

“Safe?” said Mr Beaver; “don’t you hear what Mrs Beaver tells you? Who said anything about safe? ‘Course he isn’t safe. But he’s good. He’s the King, I tell you.”

“I’m longing to see him,” said Peter, “even if I do feel frightened when it comes to the point.”

“That’s right, Son of Adam,” said Mr Beaver, bringing his paw down on the table with a crash that made all the cups and saucers rattle. “And so you shall. Word has been sent that you are to meet him, tomorrow if you can, at the Stone Table.’

“Where’s that?” said Lucy.

“I’ll show you,” said Mr Beaver. “It’s down the river, a good step from here. I’ll take you to it!”

“But meanwhile what about poor Mr Tumnus?” said Lucy.

“The quickest way you can help him is by going to meet Aslan,” said Mr

Beaver, “once he’s with us, then we can begin doing things. Not that we don’t need you too. For that’s another of the old rhymes:

When Adam’s flesh and Adam’s bone Sits at Cair Paravel in throne,

The evil time will be over and done.

So things must be drawing near their end now he’s come and you’ve come. We’ve heard of Aslan coming into these parts before - long ago, nobody can say when. But there’s never been any of your race here before.”

“That’s what I don’t understand, Mr Beaver,” said Peter, “I mean isn’t the Witch herself human?”

“She’d like us to believe it,” said Mr Beaver, “and it’s on that that she bases her claim to be Queen. But she’s no Daughter of Eve. She comes of your father Adam’s” - (here Mr Beaver bowed) “your father Adam’s first wife, her they called Lilith. And she was one of the Jinn. That’s what she comes from on one side. And on the other she comes of the giants. No, no, there isn’t a drop of real human blood in the Witch.”

“That’s why she’s bad all through, Mr Beaver,” said Mrs Beaver.

“True enough, Mrs Beaver,” replied he, “there may be two views about humans (meaning no offence to the present company). But there’s no two views about things that look like humans and aren’t.”

“I’ve known good Dwarfs,” said Mrs Beaver.

“So’ve I, now you come to speak of it,” said her husband, “but precious few, and they were the ones least like men. But in general, take my advice, when you meet anything that’s going to be human and isn’t yet, or used to be human once and isn’t now, or ought to be human and isn’t, you keep your eyes on it and feel for your hatchet. And that’s why the Witch is always on the lookout for any humans in Narnia. She’s been watching for you this many a year, and if she knew there were four of you she’d be more dangerous still.”

“What’s that to do with it?” asked Peter.

“Because of another prophecy,” said Mr Beaver. “Down at Cair Paravel - that’s the castle on the sea coast down at the mouth of this river which ought to be the capital of the whole country if all was as it should be - down at Cair Paravel there are four thrones and it’s a saying in Narnia time out of mind that when two Sons of Adam and two Daughters of Eve sit in those four thrones, then it will be the end not only of the White Witch’s reign but of her life, and that is why we had to be so cautious as we came along, for if she knew about you four, your lives wouldn’t be worth a shake of my whiskers!”

All the children had been attending so hard to what Mr Beaver was telling them that they had noticed nothing else for a long time. Then during the

moment of silence that followed his last remark, Lucy suddenly said: “I say-where’s Edmund?”

There was a dreadful pause, and then everyone began asking “Who saw him last? How long has he been missing? Is he outside? and then all rushed to the door and looked out. The snow was falling thickly and steadily, the green ice of the pool had vanished under a thick white blanket, and from where the little house stood in the centre of the dam you could hardly see either bank. Out they went, plunging well over their ankles into the soft new snow, and went round the house in every direction. “Edmund! Edmund!” they called till they were hoarse. But the silently falling snow seemed to muffle their voices and there was not even an echo in answer.

“How perfectly dreadful!” said Susan as they at last came back in despair. “Oh, how I wish we’d never come.”

“What on earth are we to do, Mr Beaver?” said Peter.

“Do?” said Mr Beaver, who was already putting on his snow-boots, “do?

We must be off at once. We haven’t a moment to spare!”

“We’d better divide into four search parties,” said Peter, “and all go in different directions. Whoever finds him must come back here at once and-“

“Search parties, Son of Adam?” said Mr Beaver; “what for?” “Why, to look for Edmund, of course!”

“There’s no point in looking for him,” said Mr Beaver.

“What do you mean?” said Susan. “He can’t be far away yet. And we’ve got to find him. What do you mean when you say there’s no use looking for him?”

“The reason there’s no use looking,” said Mr Beaver, “is that we know already where he’s gone!” Everyone stared in amazement. “Don’t you understand?” said Mr Beaver. “He’s gone to her, to the White Witch. He has betrayed us all.”

“Oh, surely-oh, really!” said Susan, “he can’t have done that.”

“Can’t he?” said Mr Beaver, looking very hard at the three children, and everything they wanted to say died on their lips, for each felt suddenly quite certain inside that this was exactly what Edmund had done.

“But will he know the way?” said Peter.

“Has he been in this country before?” asked Mr Beaver. “Has he ever been here alone?”

“Yes,” said Lucy, almost in a whisper. “I’m afraid he has.” “And did he tell you what he’d done or who he’d met?” “Well, no, he didn’t,” said Lucy.

“Then mark my words,” said Mr Beaver, “he has already met the White Witch and joined her side, and been told where she lives. I didn’t like to

mention it before (he being your brother and all) but the moment I set eyes on that brother of yours I said to myself `Treacherous’. He had the look of one who has been with the Witch and eaten her food. You can always tell them if you’ve lived long in Narnia; something about their eyes.”

“All the same,” said Peter in a rather choking sort of voice, “we’ll still have to go and look for him. He is our brother after all, even if he is rather a little beast. And he’s only a kid.”

“Go to the Witch’s House?” said Mrs Beaver. “Don’t you see that the only chance of saving either him or yourselves is to keep away from her?”

“How do you mean?” said Lucy.

“Why, all she wants is to get all four of you (she’s thinking all the time of those four thrones at Cair Paravel). Once you were all four inside her House her job would be done - and there’d be four new statues in her collection before you’d had time to speak. But she’ll keep him alive as long as he’s the only one she’s got, because she’ll want to use him as a decoy; as bait to catch the rest of you with.”

“Oh, can no one help us?” wailed Lucy.

“Only Aslan,” said Mr Beaver, “we must go on and meet him. That’s our only chance now.”

“It seems to me, my dears,” said Mrs Beaver, “that it is very important to know just when he slipped away. How much he can tell her depends on how much he heard. For instance, had we started talking of Aslan before he left? If not, then we may do very well, for she won’t know that Aslan has come to Narnia, or that we are meeting him, and will be quite off her guard as far as that is concerned.”

“I don’t remember his being here when we were talking about Aslan -” began Peter, but Lucy interrupted him.

“Oh yes, he was,” she said miserably; “don’t you remember, it was he who asked whether the Witch couldn’t turn Aslan into stone too?”

“So he did, by Jove,” said Peter; “just the sort of thing he would say, too!” “Worse and worse,” said Mr Beaver, “and the next thing is this. Was he still

here when I told you that the place for meeting Aslan was the Stone Table?” And of course no one knew the answer to this question.

“Because, if he was,” continued Mr Beaver, “then she’ll simply sledge down in that direction and get between us and the Stone Table and catch us on our way down. In fact we shall be cut off from Aslan. “

“But that isn’t what she’ll do first,” said Mrs Beaver, “not if I know her. The moment that Edmund tells her that we’re all here she’ll set out to catch us this very night, and if he’s been gone about half an hour, she’ll be here in about

another twenty minutes.”

“You’re right, Mrs Beaver,” said her husband, “we must all get away from here. There’s not a moment to lose.”

Narnia 1 - The Lion, The Witch and The Wardrobe

CHAPTER NINE

IN THE WITCH’S HOUSE

AND now of course you want to know what had happened to Edmund. He had eaten his share of the dinner, but he hadn’t really enjoyed it because he was thinking all the time about Turkish Delight - and there’s nothing that spoils the taste of good ordinary food half so much as the memory of bad magic food. And he had heard the conversation, and hadn’t enjoyed it much either, because he kept on thinking that the others were taking no notice of him and trying to give him the cold shoulder. They weren’t, but he imagined it. And then he had listened until Mr Beaver told them about Aslan and until he had heard the whole arrangement for meeting Aslan at the Stone Table. It was then that he began very quietly to edge himself under the curtain which hung over the door. For the mention of Aslan gave him a mysterious and horrible feeling just as it gave the others a mysterious and lovely feeling.

Just as Mr Beaver had been repeating the rhyme about Adam’s flesh and Adam’s bone Edmund had been very quietly turning the doorhandle; and just before Mr Beaver had begun telling them that the White Witch wasn’t really human at all but half a Jinn and half a giantess, Edmund had got outside into the snow and cautiously closed the door behind him.

You mustn’t think that even now Edmund was quite so bad that he actually wanted his brother and sisters to be turned into stone. He did want Turkish Delight and to be a Prince (and later a King) and to pay Peter out for calling him a beast. As for what the Witch would do with the others, he didn’t want her to be particularly nice to them - certainly not to put them on the same level as himself; but he managed to believe, or to pretend he believed, that she wouldn’t do anything very bad to them, “Because,” he said to himself, “all these people who say nasty things about her are her enemies and probably half of it isn’t true. She was jolly nice to me, anyway, much nicer than they are. I expect she is the rightful Queen really. Anyway, she’ll be better than that awful Aslan!” At least, that was the excuse he made in his own mind for what he was doing. It wasn’t a very good excuse, however, for deep down inside him he really knew that the White Witch was bad and cruel.

The first thing he realized when he got outside and found the snow falling all round him, was that he had left his coat behind in the Beavers’ house. And of course there was no chance of going back to get it now. The next thing he realized was that the daylight was almost gone, for it had been nearly three

o’clock when they sat down to dinner and the winter days were short. He hadn’t reckoned on this; but he had to make the best of it. So he turned up his collar and shuffled across the top of the dam (luckily it wasn’t so slippery since the snow had fallen) to the far side of the river.

It was pretty bad when he reached the far side. It was growing darker every minute and what with that and the snowflakes swirling all round him he could hardly see three feet ahead. And then too there was no road. He kept slipping into deep drifts of snow, and skidding on frozen puddles, and tripping over fallen tree-trunks, and sliding down steep banks, and barking his shins against rocks, till he was wet and cold and bruised all over. The silence and the loneliness were dreadful. In fact I really think he might have given up the whole plan and gone back and owned up and made friends with the others, if he hadn’t happened to say to himself, “When I’m King of Narnia the first thing I shall do will be to make some decent roads.” And of course that set him off thinking about being a King and all the other things he would do and this cheered him up a good deal. He had just settled in his mind what sort of palace he would have and how many cars and all about his private cinema and where the principal railways would run and what laws he would make against beavers and dams and was putting the finishing touches to some schemes for keeping Peter in his place, when the weather changed. First the snow stopped. Then a wind sprang up and it became freezing cold. Finally, the clouds rolled away and the moon came out. It was a full moon and, shining on all that snow, it made everything almost as bright as day - only the shadows were rather confusing.

He would never have found his way if the moon hadn’t come out by the time he got to the other river you remember he had seen (when they first arrived at the Beavers’) a smaller river flowing into the great one lower down. He now reached this and turned to follow it up. But the little valley down which it came was much steeper and rockier than the one he had just left and much overgrown with bushes, so that he could not have managed it at all in the dark. Even as it was, he got wet through for he had to stoop under branches and great loads of snow came sliding off on to his back. And every time this happened he thought more and more how he hated Peter - just as if all this had been Peter’s fault.

But at last he came to a part where it was more level and the valley opened out. And there, on the other side of the river, quite close to him, in the middle of a little plain between two hills, he saw what must be the White Witch’s House. And the moon was shining brighter than ever. The House was really a small castle. It seemed to be all towers; little towers with long pointed spires on

them, sharp as needles. They looked like huge dunce’s caps or sorcerer’s caps. And they shone in the moonlight and their long shadows looked strange on the snow. Edmund began to be afraid of the House.

But it was too late to think of turning back now.

He crossed the river on the ice and walked up to the House. There was nothing stirring; not the slightest sound anywhere. Even his own feet made no noise on the deep newly fallen snow. He walked on and on, past corner after corner of the House, and past turret after turret to find the door. He had to go right round to the far side before he found it. It was a huge arch but the great iron gates stood wide open.

Edmund crept up to the arch and looked inside into the courtyard, and there he saw a sight that nearly made his heart stop beating. Just inside the gate, with the moonlight shining on it, stood an enormous lion crouched as if it was ready to spring. And Edmund stood in the shadow of the arch, afraid to go on and afraid to go back, with his knees knocking together. He stood there so long that his teeth would have been chattering with cold even if they had not been chattering with fear. How long this really lasted I don’t know, but it seemed to Edmund to last for hours.

Then at last he began to wonder why the lion was standing so still - for it hadn’t moved one inch since he first set eyes on it. Edmund now ventured a little nearer, still keeping in the shadow of the arch as much as he could. He now saw from the way the lion was standing that it couldn’t have been looking at him at all. (”But supposing it turns its head?” thought Edmund.) In fact it was staring at something else namely a little: dwarf who stood with his back to it about four feet away. “Aha!” thought Edmund. “When it springs at the dwarf then will be my chance to escape.” But still the lion never moved, nor did the dwarf. And now at last Edmund remembered what the others had said about the White Witch turning people into stone. Perhaps this was only a stone lion. And as soon as he had thought of that he noticed that the lion’s back and the top of its head were covered with snow. Of course it must be only a statue! No living animal would have let itself get covered with snow. Then very slowly and with his heart beating as if it would burst, Edmund ventured to go up to the lion. Even now he hardly dared to touch it, but at last he put out his hand, very quickly, and did. It was cold stone. He had been frightened of a mere statue!

The relief which Edmund felt was so great that in spite of the cold he suddenly got warm all over right down to his toes, and at the same time there came into his head what seemed a perfectly lovely idea. “Probably,” he thought, “this is the great Lion Aslan that they were all talking about. She’s caught him already and turned him into stone. So that’s the end of all their fine

ideas about him! Pooh! Who’s afraid of Aslan?”

And he stood there gloating over the stone lion, and presently he did something very silly and childish. He took a stump of lead pencil out of his pocket and scribbled a moustache on the lion’s upper lip and then a pair of spectacles on its eyes. Then he said, “Yah! Silly old Aslan! How do you like being a stone? You thought yourself mighty fine, didn’t you?” But in spite of the scribbles on it the face of the great stone beast still looked so terrible, and sad, and noble, staring up in the moonlight, that Edmund didn’t really get any fun out of jeering at it. He turned away and began to cross the courtyard.

As he got into the middle of it he saw that there were dozens of statues all about - standing here and there rather as the pieces stand on a chess-board when it is half-way through the game. There were stone satyrs, and stone wolves, and bears and foxes and cat-amountains of stone. There were lovely stone shapes that looked like women but who were really the spirits of trees. There was the great shape of a centaur and a winged horse and a long lithe creature that Edmund took to be a dragon. They all looked so strange standing there perfectly life-like and also perfectly still, in the bright cold moonlight, that it was eerie work crossing the courtyard. Right in the very middle stood a huge shape like a man, but as tall as a tree, with a fierce face and a shaggy beard and a great club in its right hand. Even though he knew that it was only a stone giant and not a live one, Edmund did not like going past it.

He now saw that there was a dim light showing from a doorway on the far side of the courtyard. He went to it; there was a flight of stone steps going up to an open door. Edmund went up them. Across the threshold lay a great wolf.

“It’s all right, it’s all right,” he kept saying to himself; “it’s only a stone wolf. It can’t hurt me”, and he raised his leg to step over it. Instantly the huge creature rose, with all the hair bristling along its back, opened a great, red mouth and said in a growling voice:

“Who’s there? Who’s there? Stand still, stranger, and tell me who you are.” “If you please, sir,” said Edmund, trembling so that he could hardly speak, “my name is Edmund, and I’m the Son of Adam that Her Majesty met in the wood the other day and I’ve come to bring her the news that my brother and sisters are now in Narnia - quite close, in the Beavers’ house. She - she wanted

to see them.”

“I will tell Her Majesty,” said the Wolf. “Meanwhile, stand still on the threshold, as you value your life.” Then it vanished into the house.

Edmund stood and waited, his fingers aching with cold and his heart pounding in his chest, and presently the grey wolf, Maugrim, the Chief of the Witch’s Secret Police, came bounding back and said, “Come in! Come in!

Fortunate favourite of the Queen - or else not so fortunate.”

And Edmund went in, taking great care not to tread on the Wolf’s paws.

He found himself in a long gloomy hall with many pillars, full, as the courtyard had been, of statues. The one nearest the door was a little faun with a very sad expression on its face, and Edmund couldn’t help wondering if this might be Lucy’s friend. The only light came from a single lamp and close beside this sat the White Witch.

“I’m come, your Majesty,” said Edmund, rushing eagerly forward.

“How dare you come alone?” said the Witch in a terrible voice. “Did I not tell you to bring the others with you?”

“Please, your Majesty,” said Edmund, “I’ve done the best I can. I’ve brought them quite close. They’re in the little house on top of the dam just up the riverwith Mr and Mrs Beaver.”

A slow cruel smile came over the Witch’s face. “Is this all your news?” she asked.

“No, your Majesty,” said Edmund, and proceeded to tell her all he had heard before leaving the Beavers’ house.

“What! Aslan?” cried the Queen, “Aslan! Is this true? If I find you have lied to me -“

“Please, I’m only repeating what they said,” stammered Edmund.

But the Queen, who was no longer attending to him, clapped her hands.

Instantly the same dwarf whom Edmund had seen with her before appeared. “Make ready our sledge,” ordered the Witch, “and use the harness without

bells.”

Narnia 1 - The Lion, The Witch and The Wardrobe

CHAPTER TEN

THE SPELL BEGINS TO BREAK

Now we must go back to Mr and Mrs Beaver and the three other children. As soon as Mr Beaver said, “There’s no time to lose,” everyone began bundling themselves into coats, except Mrs Beaver, who started picking up sacks and laying them on the table and said: “Now, Mr Beaver, just reach down that ham. And here’s a packet of tea, and there’s sugar, and some matches. And if someone will get two or three loaves out of the crock over there in the corner.”

“What are you doing, Mrs Beaver?” exclaimed Susan.

“Packing a load for each of us, dearie,” said Mrs Beaver very coolly. “You didn’t think we’d set out on a journey with nothing to eat, did you?”

“But we haven’t time!” said Susan, buttoning the collar of her coat. “She may be here any minute.”

“That’s what I say,” chimed in Mr Beaver.

“Get along with you all,” said his wife. “Think it over, Mr Beaver. She can’t be here for quarter of an hour at least.”

“But don’t we want as big a start as we can possibly get,” said Peter, “if we’re to reach the Stone Table before her?”

“You’ve got to remember that, Mrs Beaver,” said Susan. “As soon as she has looked in here and finds we’re gone she’ll be off at top speed.”

“That she will,” said Mrs Beaver. “But we can’t get there before her whatever we do, for she’ll be on a sledge and we’ll be walking.”

“Then - have we no hope?” said Susan.

“Now don’t you get fussing, there’s a dear,” said Mrs Beaver, “but just get half a dozen clean handkerchiefs out of the drawer. ‘Course we’ve got a hope. We can’t get there before her but we can keep under cover and go by ways she won’t expect and perhaps we’ll get through.”

“That’s true enough, Mrs Beaver,” said her husband. “But it’s time we were out of this.”

“And don’t you start fussing either, Mr Beaver,” said his wife. “There. That’s better. There’s five loads and the smallest for the smallest of us: that’s you, my dear,” she added, looking at Lucy.

“Oh, do please come on,” said Lucy.

“Well, I’m nearly ready now,” answered Mrs Beaver at last, allowing her husband to help her into; her snow-boots. “I suppose the sewing machine’s

took heavy to bring?”

“Yes. It is,” said Mr Beaver. “A great deal too heavy. And you don’t think you’ll be able to use it while we’re on the run, I suppose?”

“I can’t abide the thought of that Witch fiddling with it,” said Mrs Beaver, “and breaking it or stealing it, as likely as not.”

“Oh, please, please, please, do hurry!” said the three children. And so at last they all got outside and Mr Beaver locked the door (”It’ll delay her a bit,” he said) and they set off, all carrying their loads over their shoulders.

The snow had stopped and the moon had come out when they began their journey. They went in single file - first Mr Beaver, then Lucy, then Peter, then Susan, and Mrs Beaver last of all. Mr Beaver led them across the dam and on to the right bank of the river and then along a very rough sort of path among the trees right down by the river-bank. The sides of the valley, shining in the moonlight, towered up far above them on either hand. “Best keep down here as much as possible,” he said. “She’ll have to keep to the top, for you couldn’t bring a sledge down here.”

It would have been a pretty enough scene to look at it through a window from a comfortable armchair; and even as things were, Lucy enjoyed it at first. But as they went on walking and walking - and walking and as the sack she was carrying felt heavier and heavier, she began to wonder how she was going to keep up at all. And she stopped looking at the dazzling brightness of the frozen river with all its waterfalls of ice and at the white masses of the tree-tops and the great glaring moon and the countless stars and could only watch the little short legs of Mr Beaver going pad-pad-pad-pad through the snow in front of her as if they were never going to stop. Then the moon disappeared and the snow began to fall once more. And at last Lucy was so tired that she was almost asleep and walking at the same time when suddenly she found that Mr Beaver had turned away from the river-bank to the right and was leading them steeply uphill into the very thickest bushes. And then as she came fully awake she found that Mr Beaver was just vanishing into a little hole in the bank which had been almost hidden under the bushes until you were quite on top of it. In fact, by the time she realized what was happening, only his short flat tail was showing.

Lucy immediately stooped down and crawled in after him. Then she heard noises of scrambling and puffing and panting behind her and in a moment all five of them were inside.

“Wherever is this?” said Peter’s voice, sounding tired and pale in the darkness. (I hope you know what I mean by a voice sounding pale.)

“It’s an old hiding-place for beavers in bad times,” said Mr Beaver, “and a

great secret. It’s not much of a place but we must get a few hours’ sleep.”

“If you hadn’t all been in such a plaguey fuss when we were starting, I’d have brought some pillows,” said Mrs Beaver.

It wasn’t nearly such a nice cave as Mr Tumnus’s, Lucy thought - just a hole in the ground but dry and earthy. It was very small so that when they all lay down they were all a bundle of clothes together, and what with that and being warmed up by their long walk they were really rather snug. If only the floor of the cave had been a little smoother! Then Mrs Beaver handed round in the dark a little flask out of which everyone drank something - it made one cough and splutter a little and stung the throat, but it also made you feel deliciously warm after you’d swallowed it and everyone went straight to sleep.

It seemed to Lucy only the next minute (though really it was hours and hours later) when she woke up feeling a little cold and dreadfully stiff and thinking how she would like a hot bath. Then she felt a set of long whiskers tickling her cheek and saw the cold daylight coming in through the mouth of the cave. But immediately after that she was very wide awake indeed, and so was everyone else. In fact they were all sitting up with their mouths and eyes wide open listening to a sound which was the very sound they’d all been thinking of (and sometimes imagining they heard) during their walk last night. It was a sound of jingling bells.

Mr Beaver was out of the cave like a flash the moment he heard it. Perhaps you think, as Lucy thought for a moment, that this was a very silly thing to do? But it was really a very sensible one. He knew he could scramble to the top of the bank among bushes and brambles without being seen; and he wanted above all things to see which way the Witch’s sledge went. The others all sat in the cave waiting and wondering. They waited nearly five minutes. Then they heard something that frightened them very much. They heard voices. “Oh,” thought Lucy, “he’s been seen. She’s caught him!”

Great was their surprise when a little later, they heard Mr Beaver’s voice calling to them from just outside the cave.

“It’s all right,” he was shouting. “Come out, Mrs Beaver. Come out, Sons and Daughters of Adam. It’s all right! It isn’t Her!” This was bad grammar of course, but that is how beavers talk when they are excited; I mean, in Narnia - in our world they usually don’t talk at all.

So Mrs Beaver and the children came bundling out of the cave, all blinking in the daylight, and with earth all over them, and looking very frowsty and unbrushed and uncombed and with the sleep in their eyes.

“Come on!” cried Mr Beaver, who was almost dancing with delight. “Come and see! This is a nasty knock for the Witch! It looks as if her power is already

crumbling.”

“What do you mean, Mr Beaver?” panted Peter as they all scrambled up the steep bank of the valley together.

“Didn’t I tell you,” answered Mr Beaver, “that she’d made it always winter and never Christmas? Didn’t I tell you? Well, just come and see!”

And then they were all at the top and did see.

It was a sledge, and it was reindeer with bells on their harness. But they were far bigger than the Witch’s reindeer, and they were not white but brown. And on the sledge sat a person whom everyone knew the moment they set eyes on him. He was a huge man. in a bright red robe (bright as hollyberries) with a hood that had fur inside it and a great white beard, that fell like a foamy waterfall over his chest.

Everyone knew him because, though you see people of his sort only in Narnia, you see pictures of them and hear them talked about even in our world

- the world on this side of the wardrobe door. But when you really see them in Narnia it is rather different. Some of the pictures of Father Christmas in our world make him look only funny and jolly. But now that the children actually stood looking at him they didn’t find it quite like that. He was so big, and so glad, and so real, that they all became quite still. They felt very glad, but also solemn.

“I’ve come at last,” said he. “She has kept me out for a long time, but I have got in at last. Aslan is on the move. The Witch’s magic is weakening.”

And Lucy felt running through her that deep shiver of gladness which you only get if you are being solemn and still.

“And now,” said Father Christmas, “for your presents. There is a new and better sewing machine for you, Mrs Beaver. I will drop it in your house as, I pass.”

“If you please, sir,” said Mrs Beaver, making a curtsey. “It’s locked up.” “Locks and bolts make no difference to me,” said Father Christmas. “And

as for you, Mr Beaver, when you get home you will find your dam finished and mended and all the leaks stopped and a new sluicegate fitted.”

Mr Beaver was so pleased that he opened his mouth very wide and then found he couldn’t say anything at all.

“Peter, Adam’s Son,” said Father Christmas. “Here, sir,” said Peter.

“These are your presents,” was the answer, “and they are tools not toys. The time to use them is perhaps near at hand. Bear them well.” With these words he handed to Peter a shield and a sword. The shield was the colour of silver and across it there ramped a red lion, as bright as a ripe strawberry at the

moment when you pick it. The hilt of the sword was of gold and it had a sheath and a sword belt and everything it needed, and it was just the right size and weight for Peter to use. Peter was silent and solemn as he received these gifts, for he felt they were a very serious kind of present.

“Susan, Eve’s Daughter,” said Father Christmas. “These are for you,” and he handed her a bow and a quiver full of arrows and a little ivory horn. “You must use the bow only in great need,” he said, “for I do not mean you to fight in the battle. It does not easily miss. And when you put this horn to your lips; and blow it, then, wherever you are, I think help of some kind will come to you.”

Last of all he said, “Lucy, Eve’s Daughter,” and Lucy came forward. He gave her a little bottle of what looked like glass (but people said afterwards that it was made of diamond) and a small dagger. “In this bottle,” he said, “there is cordial made of the juice of one of the fireflowers that grow in the mountains of the sun. If you or any of your friends is hurt, a few drops of this restore them. And the dagger is to defend yourse at great need. For you also are not to be in battle.”

“Why, sir?” said Lucy. “I think - I don’t know but I think I could be brave enough.”

“That is not the point,” he said. “But battles are ugly when women fight. And now” - here he suddenly looked less grave - “here is something for the moment for you all!” and he brought out (I suppose from the big bag at his back, but nobody quite saw him do it) a large tray containing five cups and saucers, a bowl of lump sugar, a jug of cream, and a great big teapot all sizzling and piping hot. Then he cried out “Merry Christmas! Long live the true King!” and cracked his whip, and he and the reindeer and the sledge and all were out of sight before anyone realized that they had started.

Peter had just drawn his sword out of its sheath and was showing it to Mr Beaver, when Mrs Beaver said:

“Now then, now then! Don’t stand talking there till the tea’s got cold. Just like men. Come and help to carry the tray down and we’ll have breakfast. What a mercy I thought of bringing the bread-knife.”

So down the steep bank they went and back to the cave, and Mr Beaver cut some of the bread and ham into sandwiches and Mrs Beaver poured out the tea and everyone enjoyed themselves. But long before they had finished enjoying themselves Mr Beaver said, “Time to be moving on now.”

Narnia 1 - The Lion, The Witch and The Wardrobe

CHAPTER ELEVEN

ASLAN IS NEARER

EDMUND meanwhile had been having a most disappointing time. When the dwarf had gone to get the sledge ready he expected that the Witch would start being nice to him, as she had been at their last meeting. But she said nothing at all. And when at last Edmund plucked up his courage to say, “Please, your Majesty, could I have some Turkish Delight? You - you - said -” she answered, “Silence, fool!” Then she appeared to change her mind and said, as if to herself, a “And yet it will not do to have the brat fainting on the way,” and once more clapped her hands. Another, dwarf appeared.

“Bring the human creature food and drink,” she said.

The dwarf went away and presently returned bringing an iron bowl with some water in it and an iron plate with a hunk of dry bread on it. He grinned in a repulsive manner as he set them down on the floor beside Edmund and said:

“Turkish Delight for the little Prince. Ha! Ha! Ha!”

“Take it away,” said Edmund sulkily. “I don’t want dry bread.” But the Witch suddenly turned on him with such a terrible expression on her face that he, apologized and began to nibble at the bread, though, it was so stale he could hardly get it down.

“You may be glad enough of it before you taste bread again,” said the Witch.

While he was still chewing away the first dwarf came back and announced that the sledge was ready. The White Witch rose and went out, ordering Edmund to go with her. The snow was again falling as they came into the courtyard, but she took no notice of that and made Edmund sit beside her on the sledge. But before they drove off she called Maugrim and he came bounding like an enormous dog to the side of the sledge.

“Take with you the swiftest of your wolves and go at once to the house of the Beavers,” said the Witch, “and kill whatever you find there. If they are already gone, then make all speed to the Stone Table, but do not be seen. Wait for me there in hiding. I meanwhile must go many miles to the West before I find a place where I can drive across the river. You may overtake these humans before they reach the Stone Table. You will know what to do if you find them!”

“I hear and obey, O Queen,” growled the Wolf, and immediately he shot away into the snow and darkness, as quickly as a horse can gallop. In a few minutes he had called another wolf and was with him down on the dam sniffing

at the Beavers’ house. But of course they found it empty. It would have been a dreadful thing for the Beavers and the children if the night had remained fine, for the wolves would then have been able to follow their trail - and ten to one would have overtaken them before they had got to the cave. But now that the snow had begun again the scent was cold and even the footprints were covered up.

Meanwhile the dwarf whipped up the reindeer, and the Witch and Edmund drove out under the archway and on and away into the darkness and the cold. This was a terrible journey for Edmund, who had no coat. Before they had been going quarter of an hour all the front of him was covered with snow - he soon stopped trying to shake it off because, as quickly as he did that, a new lot gathered, and he was so tired. Soon he was wet to the skin. And oh, how miserable he was! It didn’t look now as if the Witch intended to make him a King. All the things he had said to make himself believe that she was good and kind and that her side was really the right side sounded to him silly now. He would have given anything to meet the others at this moment - even Peter! The only way to comfort himself now was to try to believe that the whole thing was a dream and that he might wake up at any moment. And as they went on, hour after hour, it did come to seem like a dream.

This lasted longer than I could describe even if I wrote pages and pages about it. But I will skip on to the time when the snow had stopped and the morning had come and they were racing along in the daylight. And still they went on and on, with no sound but the everlasting swish of the snow and the creaking of the reindeer’s harness. And then at last the Witch said, “What have we here? Stop!” and they did.

How Edmund hoped she was going to say something about breakfast! But she had stopped for quite a different reason. A little way off at the foot of a tree sat a merry party, a squirrel and his wife with their children and two satyrs and a dwarf and an old dogfox, all on stools round a table. Edmund couldn’t quite see what they were eating, but it smelled lovely and there seemed to be decorations of holly and he wasn’t at all sure that he didn’t see something like a plum pudding. At the moment when the sledge stopped, the Fox, who was obviously the oldest person present, had just risen to its feet, holding a glass in its right paw as if it was going to say something. But when the whole party saw the sledge stopping and who was in it, all the gaiety went out of their faces. The father squirrel stopped eating with his fork half-way to his mouth and one of the satyrs stopped with its fork actually in its mouth, and the baby squirrels squeaked with terror.

“What is the meaning of this?” asked the Witch Queen. Nobody answered.

“Speak, vermin!” she said again. “Or do you want my dwarf to find you a tongue with his whip? What is the meaning of all this gluttony, this waste, this selfindulgence? Where did you get all these things?”

“Please, your Majesty,” said the Fox, “we were given them. And if I might make so bold as to drink your Majesty’s very good health - “

“Who gave them to you?” said the Witch.

“F-F-F-Father Christmas,” stammered the Fox.

“What?” roared the Witch, springing from the sledge and taking a few strides nearer to the terrified animals. “He has not been here! He cannot have been here! How dare you - but no. Say you have been lying and you shall even now be forgiven.”

At that moment one of the young squirrels lost its head completely.

“He has - he has - he has!” it squeaked, beating its little spoon on the table. Edmund saw the Witch bite her lips so that a drop of blood appeared on her white cheek. Then she raised her wand. “Oh, don’t, don’t, please don’t,” shouted Edmund, but even while he was shouting she had waved her wand and instantly where the merry party had been there were only statues of creatures (one with its stone fork fixed forever half-way to its stone mouth) seated round a stone table on which there were stone plates and a stone plum pudding.

“As for you,” said the Witch, giving Edmund a stunning blow on the face as she re-mounted the sledge, “let that teach you to ask favour for spies and traitors. Drive on!” And Edmund for the first time in this story felt sorry for someone besides himself. It seemed so pitiful to think of those little stone figures sitting there all the silent days and all the dark nights, year after year, till the moss grew on them and at last even their faces crumbled away.

Now they were steadily racing on again. And soon Edmund noticed that the snow which splashed against them as they rushed through it was much wetter than it had been all last night. At the same time he noticed that he was feeling much less cold. It was also becoming foggy. In fact every minute it grew foggier and warmer. And the sledge was not running nearly as well as it had been running up till now. At first he thought this was because the reindeer were tired, but soon he saw that that couldn’t be the real reason. The sledge jerked, and skidded and kept on jolting as if it had struck against stones. And however the dwarf whipped the poor reindeer the sledge went slower and slower. There also seemed to be a curious noise all round them, but the noise of their driving and jolting and the dwarf’s shouting at the reindeer prevented Edmund from hearing what it was, until suddenly the sledge stuck so fast that it wouldn’t go on at all. When that happened there was a moment’s silence. And in that silence Edmund could at last listen to the other  noise properly. A strange, sweet,

rustling, chattering noise - and yet not so strange, for he’d heard it before - if only he could remember where! Then all at once he did remember. It was the noise of running water. All round them though out of sight, there were streams, chattering, murmuring, bubbling, splashing and even (in the distance) roaring. And his heart gave a great leap (though he hardly knew why) when he realized that the frost was over. And much nearer there was a drip-drip-drip from the branches of all the trees. And then, as he looked at one tree he saw a great load of snow slide off it and for the first time since he had entered Narnia he saw the dark green of a fir tree. But he hadn’t time to listen or watch any longer, for the Witch said:

“Don’t sit staring, fool! Get out and help.”

And of course Edmund had to obey. He stepped out into the snow - but it was really only slush by now - and began helping the dwarf to get the sledge out of the muddy hole it had got into. They got it out in the end, and by being very cruel to the reindeer the dwarf managed to get it on the move again, and they drove a little further. And now the snow was really melting in earnest and patches of green grass were beginning to appear in every direction. Unless you have looked at a world of snow as long as Edmund had been looking at it, you will hardly be able to imagine what a relief those green patches were after the endless white. Then the sledge stopped again.

“It’s no good, your Majesty,” said the dwarf. “We can’t sledge in this thaw.” “Then we must walk,” said the Witch.

“We shall never overtake them walking,” growled the dwarf. “Not with the start they’ve got.”

“Are you my councillor or my slave?” said the Witch. “Do as you’re told. Tie the hands of the human creature behind it and keep hold of the end of the rope. And take your whip. And cut the harness of the reindeer; they’ll find their own way home.”

The dwarf obeyed, and in a few minutes Edmund found himself being forced to walk as fast as he could with his hands tied behind him. He kept on slipping in the slush and mud and wet grass, and every time he slipped the dwarf gave him a curse and sometimes a flick with the whip. The Witch walked behind the dwarf and kept on saying, “Faster! Faster!”

Every moment the patches of green grew bigger and the patches of spow grew smaller. Every moment more and more of the trees shook off their robes of snow. Soon, wherever you looked, instead of white shapes you saw the dark green of firs or the black prickly branches of bare oaks and beeches and elms. Then the mist turned from white to gold and presently cleared away altogether. Shafts of delicious sunlight struck down on to the forest floor and overhead

you could see a blue sky between the tree tops.

Soon there were more wonderful things happening. Coming suddenly round a corner into a glade of silver birch trees Edmund saw the ground covered in all directions with little yellow flowers - celandines. The noise of water grew louder. Presently they actually crossed a stream. Beyond it they found snowdrops growing.

“Mind your own business!” said the dwarf when he saw that Edmund had turned his head to look at them; and he gave the rope a vicious jerk.

But of course this didn’t prevent Edmund from seeing. Only five minutes later he noticed a dozen crocuses growing round the foot of an old tree - gold and purple and white. Then came a sound even more delicious than the sound of the water. Close beside the path they were following a bird suddenly chirped from the branch of a tree. It was answered by the chuckle of another bird a little further off. And then, as if that had been a signal, there was chattering and chirruping in every direction, and then a moment of full song, and within five minutes the whole wood was ringing with birds’ music, and wherever Edmund’s eyes turned he saw birds alighting on branches, or sailing overhead or chasing one another or having their little quarrels or tidying up their feathers with their beaks.

“Faster! Faster!” said the Witch.

There was no trace of the fog now. The sky became bluer and bluer, and now there were white clouds hurrying across it from time to time. In the wide glades there were primroses. A light breeze sprang up which scattered drops of moisture from the swaying branches and carried cool, delicious scents against the faces of the travellers. The trees began to come fully alive. The larches and birches were covered with green, the laburnums with gold. Soon the beech trees had put forth their delicate, transparent leaves. As the travellers walked under them the light also became green. A bee buzzed across their path.

“This is no thaw,” said the dwarf, suddenly stopping. “This is Spring. What are we to do? Your winter has been destroyed, I tell you! This is Aslan’s doing.”

“If either of you mention that name again,” said the Witch, “he shall instantly be killed.”

Narnia 1 - The Lion, The Witch and The Wardrobe

CHAPTER TWELVE

PETER’S FIRST BATTLE

WHILE the dwarf and the White Witch were saying this, miles away the Beavers and the children were walking on hour after hour into what seemed a delicious dream. Long ago they had left the coats behind them. And by now they had even stopped saying to one another, “Look! there’s a kingfisher,” or “I say, bluebells!” or “What was that lovely smell?” or “Just listen to that thrush!” They walked on in silence drinking it all in, passing through patches of warm sunlight into cool, green thickets and out again into wide mossy glades where tall elms raised the leafy roof far overhead, and then into dense masses of flowering currant and among hawthorn bushes where the sweet smell was almost overpowering.

They had been just as surprised as Edmund when they saw the winter vanishing and the whole wood passing in a few hours or so from January to May. They hadn’t even known for certain (as the Witch did) that this was what would happen when Aslan came to Narnia. But they all knew that it was her spells which had produced the endless winter; and therefore they all knew when this magic spring began that something had gone wrong, and badly wrong, with the Witch’s schemes. And after the thaw had been going on for some time they all realized that the Witch would no longer be able to use her sledge. After that they didn’t hurry so much and they allowed themselves more rests and longer ones. They were pretty tired by now of course; but not what I’d call bitterly tired - only slow and feeling very dreamy and quiet inside as one does when one is coming to the end of a long day in the open. Susan had a slight blister on one heel.

They had left the course of the big river some time ago; for one had to turn a little to the right (that meant a little to the south) to reach the place of the Stone Table. Even if this had not been their way they couldn’t have kept to the river valley once the thaw began, for with all that melting snow the river was soon in flood - a wonderful, roaring, thundering yellow flood - and their path would have been under water.

And now the sun got low and the light got redder and the shadows got longer and the flowers began to think about closing.

“Not long now,” said Mr Beaver, and began leading them uphill across some very deep, springy moss (it felt nice under their tired feet) in a place where only tall trees grew, very wide apart. The climb, coming at the end of the

long day, made them all pant and blow. And just as Lucy was wondering whether she could really get to the top without another long rest, suddenly they were at the top. And this is what they saw.

They were on a green open space from which you could look down on the forest spreading as far as one could see in every direction - except right ahead. There, far to the East, was something twinkling and moving. “By gum!” whispered Peter to Susan, “the sea!” In the very middle of this open hill-top was the Stone Table. It was a great grim slab of grey stone supported on four upright stones. It looked very old; and it was cut all over with strange lines and figures that might be the letters of an unknown language. They gave you a curious feeling when you looked at them. The next thing they saw was a pavilion pitched on one side of the open place. A wonderful pavilion it was - and especially now when the light of the setting sun fell upon it - with sides of what looked like yellow silk and cords of crimson and tent-pegs of ivory; and high above it on a pole a banner which bore a red rampant lion fluttering in the breeze which was blowing in their faces from the far-off sea. While they were looking at this they heard a sound of music on their right; and turning in that direction they saw what they had come to see.

Aslan stood in the centre of a crowd of creatures who had grouped themselves round him in the shape of a half-moon. There were Tree-Women there and Well-Women (Dryads and Naiads as they used to be called in our world) who had stringed instruments; it was they who had made the music. There were four great centaurs. The horse part of them was like huge English farm horses, and the man part was like stern but beautiful giants. There was also a unicorn, and a bull with the head of a man, and a pelican, and an eagle, and a great Dog. And next to Aslan stood two leopards of whom one carried his crown and the other his standard.

But as for Aslan himself, the Beavers and the children didn’t know what to do or say when they saw him. People who have not been in Narnia sometimes think that a thing cannot be good and terrible at the same time. If the children had ever thought so, they were cured of it now. For when they tried to look at Aslan’s face they just caught a glimpse of the golden mane and the great, royal, solemn, overwhelming eyes; and then they found they couldn’t look at him and went all trembly.

“Go on,” whispered Mr Beaver. “No,” whispered Peter, “you first.”

“No, Sons of Adam before animals,” whispered Mr Beaver back again. “Susan,” whispered Peter, “What about you? Ladies first.”

“No, you’re the eldest,” whispered Susan. And of course the longer they

went on doing this the more awkward they felt. Then at last Peter realized that it was up to him. He drew his sword and raised it to the salute and hastily saying to the others “Come on. Pull yourselves together,” he advanced to the Lion and said:

“We have come - Aslan.”

“Welcome, Peter, Son of Adam,” said Aslan. “Welcome, Susan and Lucy, Daughters of Eve. Welcome He-Beaver and She-Beaver.”

His voice was deep and rich and somehow took the fidgets out of them. They now felt glad and quiet and it didn’t seem awkward to them to stand and say nothing.

“But where is the fourth?” asked Aslan.

“He has tried to betray them and joined the White Witch, O Aslan,” said Mr Beaver. And then something made Peter say,

“That was partly my fault, Aslan. I was angry with him and I think that helped him to go wrong.”

And Aslan said nothing either to excuse Peter or to blame him but merely stood looking at him with his great unchanging eyes. And it seemed to all of them that there was nothing to be said.

“Please - Aslan,” said Lucy, “can anything be done to save Edmund?”

“All shall be done,” said Aslan. “But it may be harder than you think.” And then he was silent again for some time. Up to that moment Lucy had been thinking how royal and strong and peaceful his face looked; now it suddenly came into her head that he looked sad as well. But next minute that expression was quite gone. The Lion shook his mane and clapped his paws together (”Terrible paws,” thought Lucy, “if he didn’t know how to velvet them!”) and said,

“Meanwhile, let the feast be prepared. Ladies, take these Daughters of Eve to the pavilion and minister to them.”

When the girls had gone Aslan laid his paw - and though it was velveted it was very heavy - on Peter’s shoulder and said, “Come, Son of Adam, and I will show you a far-off sight of the castle where you are to be King.”

And Peter with his sword still drawn in his hand went with the Lion to the eastern edge of the hilltop. There a beautiful sight met their eyes. The sun was setting behind their backs. That meant that the whole country below them lay in the evening light - forest and hills and valleys and, winding away like a silver snake, the lower part of the great river. And beyond all this, miles away, was the sea, and beyond the sea the sky, full of clouds which were just turning rose colour with the reflection of the sunset. But just where the land of Narnia met the sea - in fact, at the mouth of the great river - there was something on a little

hill, shining. It was shining because it was a castle and of course the sunlight was reflected from all the windows which looked towards Peter and the sunset; but to Peter it looked like a great star resting on the seashore.

“That, O Man,” said Aslan, “is Cair Paravel of the four thrones, in one of which you must sit as King. I show it to you because you are the first-born and you will be High King over all the rest.”

And once more Peter said nothing, for at that moment a strange noise woke the silence suddenly. It was like a bugle, but richer.

“It is your sister ’s horn,” said Aslan to Peter in a low voice; so low as to be almost a purr, if it is not disrespectful to think of a Lion purring.

For a moment Peter did not understand. Then, when he saw all the other creatures start forward and heard Aslan say with a wave of his paw, “Back! Let the Prince win his spurs,” he did understand, and set off running as hard as he could to the pavilion. And there he saw a dreadful sight.

The Naiads and Dryads were scattering in every direction. Lucy was running towards him as fast as her short legs would carry her and her face was as white as paper. Then he saw Susan make a dash for a tree, and swing herself up, followed by a huge grey beast. At first Peter thought it was a bear. Then he saw that it looked like an Alsatian, though it was far too big to be a dog. Then he realized that it was a wolf - a wolf standing on its hind legs, with its front paws against the tree-trunk, snapping and snarling. All the hair on its back stood up on end. Susan had not been able to get higher than the second big branch. One of her legs hung down so that her foot was only an inch or two above the snapping teeth. Peter wondered why she did not get higher or at least take a better grip; then he realized that she was just going to faint and that if she fainted she would fall off.

Peter did not feel very brave; indeed, he felt he was going to be sick. But that made no difference to what he had to do. He rushed straight up to the monster and aimed a slash of his sword at its side. That stroke never reached the Wolf. Quick as lightning it turned round, its eyes flaming, and its mouth wide open in a howl of anger. If it had not been so angry that it simply had to howl it would have got him by the throat at once. As it was - though all this happened too quickly for Peter to think at all - he had just time to duck down and plunge his sword, as hard as he could, between the brute’s forelegs into its heart. Then came a horrible, confused moment like something in a nightmare. He was tugging and pulling and the Wolf seemed neither alive nor dead, and its bared teeth knocked against his forehead, and everything was blood and heat and hair. A moment later he found that the monster lay dead and he had drawn his sword out of it and was straightening his back and rubbing the sweat off his

face and out of his eyes. He felt tired all over.

Then, after a bit, Susan came down the tree. She and Peter felt pretty shaky when they met and I won’t say there wasn’t kissing and crying on both sides. But in Narnia no one thinks any the worse of you for that.

“Quick! Quick!” shouted the voice of Aslan. “Centaurs! Eagles! I see another wolf in the thickets. There - behind you. He has just darted away. After him, all of you. He will be going to his mistress. Now is your chance to find the Witch and rescue the fourth Son of Adam.” And instantly with a thunder of hoofs and beating of wings a dozen or so of the swiftest creatures disappeared into the gathering darkness.

Peter, still out of breath, turned and saw Aslan close at hand. “You have forgotten to clean your sword,” said Aslan.

It was true. Peter blushed when he looked at the bright blade and saw it all smeared with the Wolf’s hair and blood. He stooped down and wiped it quite clean on the grass, and then wiped it quite dry on his coat.

“Hand it to me and kneel, Son of Adam,” said Aslan. And when Peter had done so he struck him with the flat of the blade and said, “Rise up, Sir Peter Wolf’s-Bane. And, whatever happens, never forget to wipe your sword.”

Now we must get back to Edmund. When he had been made to walk far further than he had ever known that anybody could walk, the Witch at last halted in a dark valley all overshadowed with fir trees and yew trees. Edmund simply sank down and lay on his face doing nothing at all and not even caring what was going to happen next provided they would let him lie still. He was too tired even to notice how hungry and thirsty he was. The Witch and the dwarf were talking close beside him in low tones.

“No,” said the dwarf, “it is no use now, O Queen. They must have reached the Stone Table by now.”

“Perhaps the Wolf will smell us out and bring us news,” said the Witch. “It cannot be good news if he does,” said the dwarf.

“Four thrones in Cair Paravel,” said the Witch. “How if only three were filled? That would not fulfil the prophecy.”

“What difference would that make now that He is here?” said the dwarf. He did not dare, even now, to mention the name of Aslan to his mistress.

“He may not stay long. And then - we would fall upon the three at Cair.” “Yet it might be better,” said the dwarf, “to keep this one” (here he kicked

Edmund) “for bargaining with.”

Narnia 1 - The Lion, The Witch and The Wardrobe

CHAPTER THIRTEEN

DEEP MAGIC FROM THE DAWN OF TIME

“Yes! and have him rescued,” said the Witch scornfully.

“Then,” said the dwarf, “we had better do what we have to do at once.”

“I would like to have it done on the Stone Table itself,” said the Witch. “That is the proper place. That is where it has always been done before.”

“It will be a long time now before the Stone Table can again be put to its proper use,” said the dwarf.

“True,” said the Witch; and then, “Well, I will begin.”

At that moment with a rush and a snarl a Wolf rushed up to them.

“I have seen them. They are all at the Stone Table, with Him. They have killed my captain, Maugrim. I was hidden in the thickets and saw it all. One of the Sons of Adam killed him. Fly! Fly!”

“No,” said the Witch. “There need be no flying. Go quickly. Summon all our people to meet me here as speedily as they can. Call out the giants and the werewolves and the spirits of those trees who are on our side. Call the Ghouls, and the Boggles, the Ogres and the Minotaurs. Call the Cruels, the Hags, the Spectres, and the people of the Toadstools. We will fight. What? Have I not still my wand? Will not their ranks turn into stone even as they come on? Be off quickly, I have a little thing to finish here while you are away.”

The great brute bowed its head, turned, and galloped away.

“Now!” she said, “we have no table - let me see. We had better put it against the trunk of a tree.”

Edmund found himself being roughly forced to his feet. Then the dwarf set him with his back against a tree and bound him fast. He saw the Witch take off her outer mantle. Her arms were bare underneath it and terribly white. Because they were so very white he could see them, but he could not see much else, it was so dark in this valley under the dark trees.

“Prepare the victim,”, said the Witch. And the dwarf undid Edmund’s collar and folded back his shirt at the neck. Then he took Edmund’s hair and pulled his head back so that he had to raise his chin. After that Edmund heard a strange noise - whizz whizz - whizz. For a moment he couldn’t think what it was. Then he realized. It was the sound of a knife being sharpened.

At that very moment he heard loud shouts from every direction - a drumming of hoofs and a beating of wings - a scream from the Witch - confusion all round him. And then he found he was being untied. Strong arms

were round him and he heard big, kind voices saying things like -

“Let him lie down - give him some wine - drink this - steady now - you’ll be all right in a minute.”

Then he heard the voices of people who were not talking to him but to one another. And they were saying things like “Who’s got the Witch?” “I thought you had her.” “I didn’t see her after I knocked the knife out of her hand - I was after the dwarf - do you mean to say she’s escaped?” “- A chap can’t mind everything at once - what’s that? Oh, sorry, it’s only an old stump!” But just at this point Edmund went off in a dead faint.

Presently the centaurs and unicorns and deer and birds (they were of course the rescue party which Aslan had sent in the last chapter) all set off to go back to the Stone Table, carrying Edmund with them. But if they could have seen what happened in that valley after they had gone, I think they might have been surprised.

It was perfectly still and presently the moon grew bright; if you had been there you would have seen the moonlight shining on an old tree-stump and on a fairsized boulder. But if you had gone on looking you would gradually have begun to think there was something odd about both the stump and the boulder. And next you would have thought that the stump did look really remarkably like a little fat man crouching on the ground. And if you had watched long enough you would have seen the stump walk across to the boulder and the boulder sit up and begin talking to the stump; for in reality the stump and the boulder were simply the Witch and the dwarf. For it was part of her magic that she could make things look like what they aren’t, and she had the presence of mind to do so at the very moment when the knife was knocked out of her hand. She had kept hold of her wand, so it had been kept safe, too.

When the other children woke up next morning (they had been sleeping on piles of cushions in the pavilion) the first thing they heard -from Mrs Beaver - was that their brother had been rescued and brought into camp late last night; and was at that moment with Aslan. As soon as they had breakfasted4 they all went out, and there they saw Aslan and Edmund walking together in the dewy grass, apart from the rest of the court. There is no need to tell you (and no one ever heard) what Aslan was saying, but it was a conversation which Edmund never forgot. As the others drew nearer Aslan turned to meet them, bringing Edmund with him.

“Here is your brother,” he said, “and - there is no need to talk to him about what is past.”

Edmund shook hands with each of the others and said to each of them in turn, “I’m sorry,” and everyone said, “That’s all right.” And then everyone

wanted very hard to say something which would make it quite clear that they were all friends with him again -something ordinary and natural -and of course no one could think of anything in the world to say. But before they had time to feel really awkward one of the leopards approached Aslan and said,

“Sire, there is a messenger from the enemy who craves audience.” “Let him approach,” said Aslan.

The leopard went away and soon returned leading the Witch’s dwarf. “What is your message, Son of Earth?” asked Aslan.

“The Queen of Narnia and Empress of the Lone Islands desires a safe conduct to come and speak with you,” said the dwarf, “on a matter which is as much to your advantage as to hers.”

“Queen of Narnia, indeed!” said Mr Beaver. “Of all the cheek -“

“Peace, Beaver,” said Aslan. “All names will soon be restored to their proper owners. In the meantime we will not dispute about them. Tell your mistress, Son of Earth, that I grant her safe conduct on condition that she leaves her wand behind her at that great oak.”

This was agreed to and two leopards went back with the dwarf to see that the conditions were properly carried out. “But supposing she turns the two leopards into stone?” whispered Lucy to Peter. I think the same idea had occurred to the leopards themselves; at any rate, as they walked off their fur was all standing up on their backs and their tails were bristling - like a cat’s when it sees a strange dog.

“It’ll be all right,” whispered Peter in reply. “He wouldn’t send them if it weren’t.”

A few minutes later the Witch herself walked out on to the top of the hill and came straight across and stood before Aslan. The three children who had not seen her before felt shudders running down their backs at the sight of her face; and there were low growls among all the animals present. Though it was bright sunshine everyone felt suddenly cold. The only two people present who seemed to be quite at their ease were Aslan and the Witch herself. It was the oddest thing to see those two faces - the golden face and the dead-white face so close together. Not that the Witch looked Aslan exactly in his eyes; Mrs Beaver particularly noticed this.

“You have a traitor there, Aslan,” said the Witch. Of course everyone present knew that she meant Edmund. But Edmund had got past thinking about himself after all he’d been through and after the talk he’d had that morning. He just went on looking at Aslan. It didn’t seem to matter what the Witch said.

“Well,” said Aslan. “His offence was not against you.” “Have you forgotten the Deep Magic?” asked the Witch.

“Let us say I have forgotten it,” answered Aslan gravely. “Tell us of this Deep Magic.”

“Tell you?” said the Witch, her voice growing suddenly shriller. “Tell you what is written on that very Table of Stone which stands beside us? Tell you what is written in letters deep as a spear is long on the firestones on the Secret Hill? Tell you what is engraved on the sceptre of the Emperor-beyond-the-Sea? You at least know the Magic which the Emperor put into Narnia at the very beginning. You know that every traitor belongs to me as my lawful prey and that for every treachery I have a right to a kill.”

“Oh,” said Mr Beaver. “So that’s how you came to imagine yourself a queen - because you were the Emperor’s hangman. I see.”

“Peace, Beaver,” said Aslan, with a very low growl. “And so,” continued the Witch, “that human creature is mine. His life is forfeit to me. His blood is my property.”

“Come and take it then,” said the Bull with the man’s head in a great bellowing voice.

“Fool,” said the Witch with a savage smile that was almost a snarl, “do you really think your master can rob me of my rights by mere force? He knows the Deep Magic better than that. He knows that unless I have blood as the Law says all Narnia will be overturned and perish in fire and water.”

“It is very true,” said Aslan, “I do not deny it.”

“Oh, Aslan!” whispered Susan in the Lion’s ear, “can’t we - I mean, you won’t, will you? Can’t we do something about the Deep Magic? Isn’t there something you can work against it?”

“Work against the Emperor’s Magic?” said Aslan, turning to her with something like a frown on his face. And nobody ever made that suggestion to him again.

Edmund was on the other side of Aslan, looking all the time at Aslan’s face. He felt a choking feeling and wondered if he ought to say something; but a moment later he felt that he was not expected to do anything except to wait, and do what he was told.

“Fall back, all of you,” said Aslan, “and I will talk to the Witch alone.”

They all obeyed. It was a terrible time this - waiting and wondering while the Lion and the Witch talked earnestly together in low voices. Lucy said, “Oh, Edmund!” and began to cry. Peter stood with his back to the others looking out at the distant sea. The Beavers stood holding each other’s paws with their heads bowed. The centaurs stamped uneasily with their hoofs. But everyone became perfectly still in the end, so that you noticed even small sounds like a bumble- bee flying past, or the birds in the forest down below them, or the wind rustling

the leaves. And still the talk between Aslan and the White Witch went on.

At last they heard Aslan’s voice, “You can all come back,” he said. “I have settled the matter. She has renounced the claim on your brother’s blood.” And all over the hill there was a noise as if everyone had been holding their breath and had now begun breathing again, and then a murmur of talk.

The Witch was just turning away with a look of fierce joy on her face when she stopped and said,

“But how do I know this promise will be kept?”

“Haa-a-arrh!” roared Aslan, half rising from his throne; and his great mouth opened wider and wider and the roar grew louder and louder, and the Witch, after staring for a moment with her lips wide apart, picked up her skirts and fairly ran for her life.

Narnia 1 - The Lion, The Witch and The Wardrobe

CHAPTER FOURTEEN

THE TRIUMPH OF THE WITCH

As soon as the Witch had gone Aslan said, “We must move from this place at once, it will be wanted for other purposes. We shall encamp tonight at the Fords of Beruna.

Of course everyone was dying to ask him how he had arranged matters with the witch; but his face was stern and everyone’s ears were still ringing with the sound of his roar and so nobody dared.

After a meal, which was taken in the open air on the hill-top (for the sun had got strong by now and dried the grass), they were busy for a while taking the pavilion down and packing things up. Before two o’clock they were on the march and set off in a northeasterly direction, walking at an easy pace for they had not far to go.

During the first part of the journey Aslan explained to Peter his plan of campaign. “As soon as she has finished her business in these parts,” he said, “the Witch and her crew will almost certainly fall back to her House and prepare for a siege. You may or may not be able to cut her off and prevent her from reaching it.” He then went on to outline two plans of battle - one for fighting the Witch and her people in the wood and another for assaulting her castle. And all the time he was advising Peter how to conduct the operations, saying things like, “You must put your Centaurs in such and such a place” or “You must post scouts to see that she doesn’t do so-and-so,” till at last Peter said,

“But you will be there yourself, Aslan.”

“I can give you no promise of that,” answered the Lion. And he continued giving Peter his instructions.

For the last part of the journey it was Susan and Lucy who saw most of him.

He did not talk very much and seemed to them to be sad.

It was still afternoon when they came down to a place where the river valley had widened out and the river was broad and shallow. This was the Fords of Beruna and Aslan gave orders to halt on this side of the water. But Peter said,

“Wouldn’t it be better to camp on the far side - for fear she should try a night attack or anything?”

Aslan, who seemed to have been thinking about something else, roused himself with a shake of his magnificent mane and said, “Eh? What’s that?”

Peter said it all over again.

“No,” said Aslan in a dull voice, as if it didn’t matter. “No. She will not make an attack to-night.” And then he sighed deeply. But presently he added, “All the same it was well thought of. That is how a soldier ought to think. But it doesn’t really matter.” So they proceeded to pitch their camp.

Aslan’s mood affected everyone that evening. Peter was feeling uncomfortable too at the idea of fighting the battle on his own; the news that Aslan might not be there had come as a great shock to him. Supper that evening was a quiet meal. Everyone felt how different it had been last night or even that morning. It was as if the good times, having just begun, were already drawing to their end.

This feeling affected Susan so much that she couldn’t get to sleep when she went to bed. And after she had lain counting sheep and turning over and over she heard Lucy give a long sigh and turn over just beside her in the darkness.

“Can’t you get to sleep either?” said Susan.

“No,” said Lucy. “I thought you were asleep. I say, Susan!” “What?”

“I’ve a most Horrible feeling - as if something were hanging over us.” “Have you? Because, as a matter of fact, so have I.”

“Something about Aslan,” said Lucy. “Either some dreadful thing is going to happen to him, or something dreadful that he’s going to do.”

“There’s been something wrong with him all afternoon,” said Susan. “Lucy! What was that he said about not being with us at the battle? You don’t think he could be stealing away and leaving us tonight, do you?”

“Where is he now?” said Lucy. “Is he here in the pavilion?” “I don’t think so.”

“Susan! let’s go outside and have a look round. We might see him.”

“All right. Let’s,” said Susan; “we might just as well be doing that as lying awake here.”

Very quietly the two girls groped their way among the other sleepers and crept out of the tent. The moonlight was bright and everything was quite still except for the noise of the river chattering over the stones. Then Susan suddenly caught Lucy’s arm and said, “Look!” On the far side of the camping ground, just where the trees began, they saw the Lion slowly walking away from them into the wood. Without a word they both followed him.

He led them up the steep slope out of the river valley and then slightly to the right - apparently by the very same route which they had used that afternoon in coming from the Hill of the Stone Table. On and on he led them, into dark shadows and out into pale moonlight, getting their feet wet with the

heavy dew. He looked somehow different from the Aslan they knew. His tail and his head hung low and he walked slowly as if he were very, very tired. Then, when they were crossing a wide open place where there where no shadows for them to hide in, he stopped and looked round. It was no good trying to run away so they came towards him. When they were closer he said,

“Oh, children, children, why are you following me?”

“We couldn’t sleep,” said Lucy - and then felt sure that she need say no more and that Aslan knew all they had been thinking.

“Please, may we come with you - wherever you’re going?” asked Susan. “Well -” said Aslan, and seemed to be thinking. Then he said, “I should be

glad of company tonight. Yes, you may come, if you will promise to stop when I tell you, and after that leave me to go on alone.”

“Oh, thank you, thank you. And we will,” said the two girls.

Forward they went again and one of the girls walked on each side of the Lion. But how slowly he walked! And his great, royal head drooped so that his nose nearly touched the grass. Presently he stumbled and gave a low moan.

“Aslan! Dear Aslan!” said Lucy, “what is wrong? Can’t you tell us?” “Are you ill, dear Aslan?” asked Susan.

“No,” said Aslan. “I am sad and lonely. Lay your hands on my mane so that I can feel you are there and let us walk like that.”

And so the girls did what they would never have dared to do without his permission, but what they had longed to do ever since they first saw him buried their cold hands in the beautiful sea of fur and stroked it and, so doing, walked with him. And presently they saw that they were going with him up the slope of the hill on which the Stone Table stood. They went up at the side where the trees came furthest up, and when they got to the last tree (it was one that had some bushes about it) Aslan stopped and said,

“Oh, children, children. Here you must stop. And whatever happens, do not let yourselves be seen. Farewell.”

And both the girls cried bitterly (though they hardly knew why) and clung to the Lion and kissed his mane and his nose and his paws and his great, sad eyes. Then he turned from them and walked out on to the top of the hill. And Lucy and Susan, crouching in the bushes, looked after him, and this is what they saw.

A great crowd of people were standing all round the Stone Table and though the moon was shining many of them carried torches which burned with evil-looking red flames and black smoke. But such people! Ogres with monstrous teeth, and wolves, and bull-headed men; spirits of evil trees and poisonous plants; and other creatures whom I won’t describe because if I did

the grownups would probably not let you read this book - Cruels and Hags and Incubuses, Wraiths, Horrors, Efreets, Sprites, Orknies, Wooses, and Ettins. In fact here were all those who were on the Witch’s side and whom the Wolf had summoned at her command. And right in the middle, standing by the Table, was the Witch herself.

A howl and a gibber of dismay went up from the creatures when they first saw the great Lion pacing towards them, and for a moment even the Witch seemed to be struck with fear. Then she recovered herself and gave a wild fierce laugh.

“The fool!” she cried. “The fool has come. Bind him fast.”

Lucy and Susan held their breaths waiting for Aslan’s roar and his spring upon his enemies. But it never came. Four Hags, grinning and leering, yet also (at first) hanging back and half afraid of what they had to do, had approached him. “Bind him, I say!” repeated the White Witch. The Hags made a dart at him and shrieked with triumph when they found that he made no resistance at all. Then others - evil dwarfs and apes - rushed in to help them, and between them they rolled the huge Lion over on his back and tied all his four paws together, shouting and cheering as if they had done something brave, though, had the Lion chosen, one of those paws could have been the death of them all. But he made no noise, even when the enemies, straining and tugging, pulled the cords so tight that they cut into his flesh. Then they began to drag him towards the Stone Table.

“Stop!” said the Witch. “Let him first be shaved.”

Another roar of mean laughter went up from her followers as an ogre with a pair of shears came forward and squatted down by Aslan’s head. Snip-snip- snip went the shears and masses of curling gold began to fall to the ground. Then the ogre stood back and the children, watching from their hiding-place, could see the face of Aslan looking all small and different without its mane. The enemies also saw the difference.

“Why, he’s only a great cat after all!” cried one. “Is that what we were afraid of?” said another.

And they surged round Aslan, jeering at him, saying things like “Puss, Puss! Poor Pussy,” and “How many mice have you caught today, Cat?” and “Would you like a saucer of milk, Pussums?”

“Oh, how can they?” said Lucy, tears streaming down her cheeks. “The brutes, the brutes!” for now that the first shock was over the shorn face of Aslan looked to her braver, and more beautiful, and more patient than ever.

“Muzzle him!” said the Witch. And even now, as they worked about his face putting on the muzzle, one bite from his jaws would have cost two or three of

them their hands. But he never moved. And this seemed to enrage all that rabble. Everyone was at him now. Those who had been afraid to come near him even after he was bound began to find their courage, and for a few minutes the two girls could not even see him - so thickly was he surrounded by the whole crowd of creatures kicking him, hitting him, spitting on him, jeering at him.

At last the rabble had had enough of this. They began to drag the bound and muzzled Lion to the Stone Table, some pulling and some pushing. He was so huge that even when they got him there it took all their efforts to hoist him on to the surface of it. Then there was more tying and tightening of cords.

“The cowards! The cowards!” sobbed Susan. “Are they still afraid of him, even now?”

When once Aslan had been tied (and tied so that he was really a mass of cords) on the flat stone, a hush fell on the crowd. Four Hags, holding four torches, stood at the corners of the Table. The Witch bared her arms as she had bared them the previous night when it had been Edmund instead of Aslan. Then she began to whet her knife. It looked to the children, when the gleam of the torchlight fell on it, as if the knife were made of stone, not of steel, and it was of a strange and evil shape.

As last she drew near. She stood by Aslan’s head. Her face was working and twitching with passion, but his looked up at the sky, still quiet, neither angry nor afraid, but a little sad. Then, just before she gave the blow, she stooped down and said in a quivering voice,

“And now, who has won? Fool, did you think that by all this you would save the human traitor? Now I will kill you instead of him as our pact was and so the Deep Magic will be appeased. But when you are dead what will prevent me from killing him as well? And who will take him out of my hand then? Understand that you have given me Narnia forever, you have lost your own life and you have not saved his. In that knowledge, despair and die.”

The children did not see the actual moment of the killing. They couldn’t bear to look and had covered their eyes.

Narnia 1 - The Lion, The Witch and The Wardrobe

CHAPTER FIFTEEN

DEEPER MAGIC FROM BEFORE THE DAWN OF TIME

WHILE the two girls still crouched in the bushes with their hands over their faces, they heard the voice of the Witch calling out,

“Now! Follow me all and we will set about what remains of this war! It will not take us long to crush the human vermin and the traitors now that the great Fool, the great Cat, lies dead.”

At this moment the children were for a few seconds in very great danger. For with wild cries and a noise of skirling pipes and shrill horns blowing, the whole of that vile rabble came sweeping off the hill-top and down the slope right past their hiding-place. They felt the Spectres go by them like a cold wind and they felt the ground shake beneath them under the galloping feet of the Minotaurs; and overhead there went a flurry of foul wings and a blackness of vultures and giant bats. At any other time they would have trembled with fear; but now the sadness and shame and horror of Aslan’s death so filled their minds that they hardly thought of it.

As soon as the wood was silent again Susan and Lucy crept out onto the open hill-top. The moon was getting low and thin clouds were passing across her, but still they could see the shape of the Lion lying dead in his bonds. And down they both knelt in the wet grass and kissed his cold face and stroked his beautiful fur - what was left of it - and cried till they could cry no more. And then they looked at each other and held each other’s hands for mere loneliness and cried again; and then again were silent. At last Lucy said,

“I can’t bear to look at that horrible muzzle. I wonder could we take if off?” So they tried. And after a lot of working at it (for their fingers were cold and it was now the darkest part of the night) they succeeded. And when they saw his face without it they burst out crying again and kissed it and fondled it and wiped away the blood and the foam as well as they could. And it was all more

lonely and hopeless and horrid than I know how to describe.

“I wonder could we untie him as well?” said Susan presently. But the enemies, out of pure spitefulness, had drawn the cords so tight that the girls could make nothing of the knots.

I hope no one who reads this book has been quite as miserable as Susan and Lucy were that night; but if you have been - if you’ve been up all night and cried till you have no more tears left in you - you will know that there comes in the end a sort of quietness. You feel as if nothing was ever going to happen

again. At any rate that was how it felt to these two. Hours and hours seemed to go by in this dead calm, and they hardly noticed that they were getting colder and colder. But at last Lucy noticed two other things. One was that the sky on the east side of the hill was a little less dark than it had been an hour ago. The other was some tiny movement going on in the grass at her feet. At first she took no interest in this. What did it matter? Nothing mattered now! But at last she saw that whatever-it-was had begun to move up the upright stones of the Stone Table. And now whatever-they-were were moving about on Aslan’s body. She peered closer. They were little grey things.

“Ugh!” said Susan from the other side of the Table. “How beastly! There are horrid little mice crawling over him. Go away, you little beasts.” And she raised her hand to frighten them away.

“Wait!” said Lucy, who had been looking at them more closely still. “Can you see what they’re doing?”

Both girls bent down and stared.

“I do believe -” said Susan. “But how queer! They’re nibbling away at the cords!”

“That’s what I thought,” said Lucy. “I think they’re friendly mice. Poor little things - they don’t realize he’s dead. They think it’ll do some good untying him.”

It was quite definitely lighter by now. Each of the girls noticed for the first time the white face of the other. They could see the mice nibbling away; dozens and dozens, even hundreds, of little field mice. And at last, one by one, the ropes were all gnawed through.

The sky in the east was whitish by now and the stars were getting fainter - all except one very big one low down on the eastern horizon. They felt colder than they had been all night. The mice crept away again.

The girls cleared away the remains of the gnawed ropes. Aslan looked more like himself without them. Every moment his dead face looked nobler, as the light grew and they could see it better.

In the wood behind them a bird gave a chuckling sound. It had been so still for hours and hours that it startled them. Then another bird answered it. Soon there were birds singing all over the place.

It was quite definitely early morning now, not late night. “I’m so cold,” said Lucy.

“So am I,” said Susan. “Let’s walk about a bit.”

They walked to the eastern edge of the hill and looked down. The one big star had almost disappeared. The country all looked dark grey, but beyond, at the very end of the world, the sea showed pale. The sky began to turn red. They

walked to ands fro more times than they could count between the dead Aslan and the eastern ridge, trying to keep warm; and oh, how tired their legs felt. Then at last, as they stood for a moment looking out towards they sea and Cair Paravel (which they could now just make out) the red turned to gold along the line where the sea and the sky met and very slowly up came the edge of the sun. At that moment they heard from behind them a loud noise - a great cracking, deafening noise as if a giant had broken a giant’s plate.

“What’s that?” said Lucy, clutching Susan’s arm.

“I - I feel afraid to turn round,” said Susan; “something awful is happening.”

“They’re doing something worse to Him,” said Lucy. “Come on!” And she turned, pulling Susan round with her.

The rising of the sun had made everything look so different - all colours and shadows were changed that for a moment they didn’t see the important thing. Then they did. The Stone Table was broken into two pieces by a great crack that ran down it from end to end; and there was no Aslan.

“Oh, oh, oh!” cried the two girls, rushing back to the Table.

“Oh, it’s too bad,” sobbed Lucy; “they might have left the body alone.” “Who’s done it?” cried Susan. “What does it mean? Is it magic?”

“Yes!” said a great voice behind their backs. “It is more magic.” They looked round. There, shining in the sunrise, larger than they had seen him before, shaking his mane (for it had apparently grown again) stood Aslan himself.

“Oh, Aslan!” cried both the children, staring up at him, almost as much frightened as they were glad.

“Aren’t you dead then, dear Aslan?” said Lucy. “Not now,” said Aslan.

“You’re not - not a - ?” asked Susan in a shaky voice. She couldn’t bring herself to say the word ghost. Aslan stooped his golden head and licked her forehead. The warmth of his breath and a rich sort of smell that seemed to hang about his hair came all over her.

“Do I look it?” he said.

“Oh, you’re real, you’re real! Oh, Aslan!” cried Lucy, and both girls flung themselves upon him and covered him with kisses.

“But what does it all mean?” asked Susan when they were somewhat calmer. “It means,” said Aslan, “that though the Witch knew the Deep Magic, there

is a magic deeper still which she did not know: Her knowledge goes back only to the dawn of time. But if she could have looked a little further back, into the stillness and the darkness before Time dawned, she would have read there a

different incantation. She would have known that when a willing victim who had committed no treachery was killed in a traitor ’s stead, the Table would crack and Death itself would start working backwards. And now -“

“Oh yes. Now?” said Lucy, jumping up and clapping her hands.

“Oh, children,” said the Lion, “I feel my strength coming back to me. Oh, children, catch me if you can!” He stood for a second, his eyes very bright, his limbs quivering, lashing himself with his tail. Then he made a leap high over their heads and landed on the other side of the Table. Laughing, though she didn’t know why, Lucy scrambled over it to reach him. Aslan leaped again. A mad chase began. Round and round the hill-top he led them, now hopelessly out of their reach, now letting them almost catch his tail, now diving between them, now tossing them in the air with his huge and beautifully velveted paws and catching them again, and now stopping unexpectedly so that all three of them rolled over together in a happy laughing heap of fur and arms and legs. It was such a romp as no one has ever had except in Narnia; and whether it was more like playing with a thunderstorm or playing with a kitten Lucy could never make up her mind. And the funny thing was that when all three finally lay together panting in the sun the girls no longer felt in the least tired or hungry or thirsty.

“And now,” said Aslan presently, “to business. I feel I am going to roar.

You had better put your fingers in your ears.”

And they did. And Aslan stood up and when he opened his mouth to roar his face became so terrible that they did not dare to look at it. And they saw all the trees in front of him bend before the blast of his roaring as grass bends in a meadow before the wind. Then he said,

“We have a long journey to go. You must ride on me.” And he crouched down and the children climbed on to his warm, golden back, and Susan sat first, holding on tightly to his mane and Lucy sat behind holding on tightly to Susan. And with a great heave he rose underneath them and then shot off, faster than any horse could go, down hill and into the thick of the forest.

That ride was perhaps the most wonderful thing that happened to them in Narnia. Have you ever had a gallop on a horse? Think of that; and then take away the heavy noise of the hoofs and the jingle of the bits and imagine instead the almost noiseless padding of the great paws. Then imagine instead of the black or grey or chestnut back of the horse the soft roughness of golden fur, and the mane flying back in the wind. And then imagine you are going about twice as fast as the fastest racehorse. But this is a mount that doesn’t need to be guided and never grows tired. He rushes on and on, never missing his footing, never hesitating, threading his way with perfect skill between tree trunks,

jumping over bush and briar and the smaller streams, wading the larger, swimming the largest of all. And you are riding not on a road nor in a park nor even on the downs, but right across Narnia, in spring, down solemn avenues of beech and across sunny glades of oak, through wild orchards of snow-white cherry trees, past roaring waterfalls and mossy rocks and echoing caverns, up windy slopes alight with gorse bushes, and across the shoulders of heathery mountains and along giddy ridges and down, down, down again into wild valleys and out into acres of blue flowers.

It was nearly midday when they found themselves looking down a steep hillside at a castle - a little toy castle it looked from where they stood - which seemed to be all pointed towers. But the Lion was rushing down at such a speed that it grew larger every moment and before they had time even to ask themselves what it was they were already on a level with it. And now it no longer looked like a toy castle but rose frowning in front of them. No face looked over the battlements and the gates were fast shut. And Aslan, not at all slacking his pace, rushed straight as a bullet towards it.

“The Witch’s home!” he cried. “Now, children, hold tight.”

Next moment the whole world seemed to turn upside down, and the children felt as if they had left their insides behind them; for the Lion had gathered himself together for a greater leap than any he had yet made and jumped - or you may call it flying rather than jumping - right over the castle wall. The two girls, breathless but unhurt, found themselves tumbling off his back in the middle of a wide stone courtyard full of statues.

Narnia 1 - The Lion, The Witch and The Wardrobe

CHAPTER SIXTEEN

WHAT HAPPENED ABOUT THE STATUES

“WHAT an extraordinary place!” cried Lucy. “All those stone animals -and people too! It’s -it’s like a museum.”

“Hush,” said Susan, “Aslan’s doing something.”

He was indeed. He had bounded up to the stone lion and breathed on him. Then without waiting a moment he whisked round - almost as if he had been a cat chasing its tail -and breathed also on the stone dwarf, which (as you remember) was standing a few feet from the lion with his back to it. Then he pounced on a tall stone dryad which stood beyond the dwarf, turned rapidly aside to deal with a stone rabbit on his right, and rushed on to two centaurs. But at that moment Lucy said,

“Oh, Susan! Look! Look at the lion.”

I expect you’ve seen someone put a lighted match to a bit of newspaper which is propped up in a grate against an unlit fire. And for a second nothing seems to have happened; and then you notice a tiny streak of flame creeping along the edge of the newspaper. It was like that now. For a second after Aslan had breathed upon him the stone lion looked just the same. Then a tiny streak of gold began to run along his white marble back then it spread - then the colour seemed to lick all over him as the flame licks all over a bit of paper - then, while his hindquarters were still obviously stone, the lion shook his mane and all the heavy, stone folds rippled into living hair. Then he opened a great red mouth, warm and living, and gave a prodigious yawn. And now his hind legs had come to life. He lifted one of them and scratched himself. Then, having caught sight of Aslan, he went bounding after him and frisking round him whimpering with delight and jumping up to lick his face.

Of course the children’s eyes turned to follow the lion; but the sight they saw was so wonderful that they soon forgot about him. Everywhere the statues were coming to life. The courtyard looked no longer like a museum; it looked more like a zoo. Creatures were running after Aslan and dancing round him till he was almost hidden in the crowd. Instead of all that deadly white the courtyard was now a blaze of colours; glossy chestnut sides of centaurs, indigo horns of unicorns, dazzling plumage of birds, reddy-brown of foxes, dogs and satyrs, yellow stockings and crimson hoods of dwarfs; and the birch-girls in silver, and the beech-girls in fresh, transparent green, and the larch-girls in green so bright that it was almost yellow. And instead of the deadly silence the

whole place rang with the sound of happy roarings, brayings, yelpings, barkings, squealings, cooings, neighings, stampings, shouts, hurrahs, songs and laughter.

“Oh!” said Susan in a different tone. “Look! I wonder - I mean, is it safe?”

Lucy looked and saw that Aslan had just breathed on the feet of the stone giant.

“It’s all right!” shouted Aslan joyously. “Once the feet are put right, all the rest of him will follow.”

“That wasn’t exactly what I meant,” whispered Susan to Lucy. But it was too late to do anything about it now even if Aslan would have listened to her. The change was already creeping up the Giant’s legs. Now he was moving his feet. A moment later he lifted his club off his shoulder, rubbed his eyes and said,

“Bless me! I must have been asleep. Now! Where’s that dratted little Witch that was running about on the ground. Somewhere just by my feet it was.” But when everyone had shouted up to him to explain what had really happened, and when the Giant had put his hand to his ear and got them to repeat it all again so that at last he understood, then he bowed down till his head was no further off than the top of a haystack and touched his cap repeatedly to Aslan, beaming all over his honest ugly face. (Giants of any sort are now so rare in England and so few giants are good-tempered that ten to one you have never seen a giant when his face is beaming. It’s a sight well worth looking at.)

“Now for the inside of this house!” said Aslan. “Look alive, everyone. Up stairs and down stairs and in my lady’s chamber! Leave no corner unsearched. You never know where some poor prisoner may be concealed.”

And into the interior they all rushed and for several minutes the whole of that dark, horrible, fusty old castle echoed with the opening of windows and with everyone’s voices crying out at once, “Don’t forget the dungeons - Give us a hand with this door! Here’s another little winding stair - Oh! I say. Here’s a poor kangaroo. Call Aslan - Phew! How it smells in here - Look out for trap- doors - Up here! There are a whole lot more on the landing!” But the best of all was when Lucy came rushing upstairs shouting out,

“Aslan! Aslan! I’ve found Mr Tumnus. Oh, do come quick.”

A moment later Lucy and the little Faun were holding each other by both hands and dancing round and round for joy. The little chap was none the worse for having been a statue and was of course very interested in all she had to tell him.

But at last the ransacking of the Witch’s fortress was ended. The whole castle stood empty with every door and window open and the light and the sweet spring air flooding into all the dark and evil places which needed them

so badly. The whole crowd of liberated statues surged back into the courtyard. And it was then that someone (Tumnus, I think) first said,

“But how are we going to get out?” for Aslan had got in by a jump and the gates were still locked.

“That’ll be all right,” said Aslan; and then, rising on his hind-legs, he bawled up at the Giant. “Hi! You up there,” he roared. “What’s your name?”

“Giant Rumblebuffin, if it please your honour,” said the Giant, once more touching his cap.

“Well then, Giant Rumblebuffin,” said Aslan, “just let us out of this, will you?”

“Certainly, your honour. It will be a pleasure,” said Giant Rumblebuffin. “Stand well away from the gates, all you little ‘uns.” Then he strode to the gate himself and bang - bang - bang - went his huge club. The gates creaked at the first blow, cracked at the second, and shivered at the third. Then he tackled the towers on each side of them and after a few minutes of crashing and thudding both the towers and a good bit of the wall on each side went thundering down in a mass of hopeless rubble; and when the dust cleared it was odd, standing in that dry, grim, stony yard, to see through the gap all the grass and waving trees and sparkling streams of the forest, and the blue hills beyond that and beyond them the sky.

“Blowed if I ain’t all in a muck sweat,” said the Giant, puffing like the largest railway engine. “Comes of being out of condition. I suppose neither of you young ladies has such a thing as a pocket-handkerchee about you?”

“Yes, I have,” said Lucy, standing on tip-toes and holding her handkerchief up as far as she could reach.

“Thank you, Missie,” said Giant Rumblebuffin, stooping down. Next moment Lucy got rather a fright for she found herself caught up in mid-air between the Giant’s finger and thumb. But just as she was getting near his face he suddenly started and then put her gently back on the ground muttering, “Bless me! I’ve picked up the little girl instead. I beg your pardon, Missie, I thought you was the handkerchee!”

“No, no,” said Lucy laughing, “here it is!” This time he managed to get it but it was only about the same size to him that a saccharine tablet would be to you, so that when she saw him solemnly rubbing it to and fro across his great red face, she said, “I’m afraid it’s not much use to you, Mr Rumblebuffin.”

“Not at all. Not at all,” said the giant politely. “Never met a nicer handkerchee. So fine, so handy. So - I don’t know how to describe it.”

“What a nice giant he is!” said Lucy to Mr Tumnus.

“Oh yes,” replied the Faun. “All the Buffins always were. One of the most

respected of all the giant families in Narnia. Not very clever, perhaps (I never knew a giant that was), but an old family. With traditions, you know. If he’d been the other sort she’d never have turned him into stone.”

At this point Aslan clapped his paws together and called for silence.

“Our day’s work is not yet over,” he said, “and if the Witch is to be finally defeated before bed-time we must find the battle at once.”

“And join in, I hope, sir!” added the largest of the Centaurs.

“Of course,” said Aslan. “And now! Those who can’t keep up - that is, children, dwarfs, and small animals - must ride on the backs of those who can - that is, lions, centaurs, unicorns, horses, giants and eagles. Those who are good with their noses must come in front with us lions to smell out where the battle is. Look lively and sort yourselves.”

And with a great deal of bustle and cheering they did. The most pleased of the lot was the other lion who kept running about everywhere pretending to be very busy but really in order to say to everyone he met. “Did you hear what he said? Us Lions. That means him and me. Us Lions. That’s what I like about Aslan. No side, no stand-off-ishness. Us Lions. That meant him and me.” At least he went on saying this till Aslan had loaded him up with three dwarfs, one dryad, two rabbits, and a hedgehog. That steadied him a bit.

When all were ready (it was a big sheep-dog who actually helped Aslan most in getting them sorted into their proper order) they set out through the gap in the castle wall. At first the lions and dogs went nosing about in all directions. But then suddenly one great hound picked up the scent and gave a bay. There was no time lost after that. Soon all the dogs and lions and wolves and other hunting animals were going at full speed with their noses to the ground, and all the others, streaked out for about half a mile behind them, were following as fast as they could. The noise was like an English fox-hunt only better because every now and then with the music of the hounds was mixed the roar of the other lion and sometimes the far deeper and more awful roar of Aslan himself. Faster and faster they went as the scent became easier and easier to follow. And then, just as they came to the last curve in a narrow, winding valley, Lucy heard above all these noises another noise - a different one, which gave her a queer feeling inside. It was a noise of shouts and shrieks and of the clashing of metal against metal.

Then they came out of the narrow valley and at once she saw the reason. There stood Peter and Edmund and all the rest of Aslan’s army fighting desperately against the crowd of horrible creatures whom she had seen last night; only now, in the daylight, they looked even stranger and more evil and more deformed. There also seemed to be far more of them. Peter’s army -

which had their backs to her looked terribly few. And there werestatues dotted all over the battlefield, so apparently the Witch had been using her wand. But she did not seem to be using it now. She was fighting with her stone knife. It was Peter she was fightin - both of them going at it so hard that Lucy could hardly make out what was happening; she only saw the stone knife and Peter’s sword flashing so quickly that they looked like three knives and three swords. That pair were in the centre. On each side the line stretched out. Horrible things were happening wherever she looked.

“Off my back, children,” shouted Aslan. And they both tumbled off. Then with a roar that shook all Narnia from the western lamp-post to the shores of the eastern sea the great beast flung himself upon the White Witch. Lucy saw her face lifted towards him for one second with an expression of terror and amazement. Then Lion and Witch had rolled over together but with the Witch underneath; and at the same moment all war-like creatures whom Aslan had led from the Witch’s house rushed madly on the enemy lines, dwarfs with their battleaxes, dogs with teeth, the Giant with his club (and his feet also crushed dozens of the foe), unicorns with their horns, centaurs with swords and hoofs. And Peter’s tired army cheered, and the newcomers roared, and the enemy squealed and gibbered till the wood re-echoed with the din of that onset.

Narnia 1 - The Lion, The Witch and The Wardrobe

CHAPTER SEVENTEEN

THE HUNTING OF THE WHITE STAG

THE battle was all over a few minutes after their arrival. Most of the enemy had been killed in the first charge of Aslan and his -companions; and when those who were still living saw that the Witch was dead they either gave themselves up or took to flight. The next thing that Lucy knew was that Peter and Aslan were shaking hands. It was strange to her to see Peter looking as he looked now - his face was so pale and stern and he seemed so much older.

“It was all Edmund’s doing, Aslan,” Peter was saying. “We’d have been beaten if it hadn’t been for him. The Witch was turning our troops into stone right and left. But nothing would stop him. He fought his way through three ogres to where she was just turning one of your leopards into a statue. And when he reached her he had sense to bring his sword smashing down on her wand instead of trying to go for her directly and simply getting made a statue himself for his pains. That was the mistake all the rest were making. Once her wand was broken we began to have some chance - if we hadn’t lost so many already. He was terribly wounded. We must go and see him.”

They found Edmund in charge of Mrs Beaver a little way back from the fighting line. He was covered with blood, his mouth was open, and his face a nasty green colour.

“Quick, Lucy,” said Aslan.

And then, almost for the first time, Lucy remembered the precious cordial that had been given her for a Christmas present. Her hands trembled so much that she could hardly undo the stopper, but she managed it in the end and poured a few drops into her brother’s mouth.

“There are other people wounded,” said Aslan while she was still looking eagerly into Edmund’s pale face and wondering if the cordial would have any result.

“Yes, I know,” said Lucy crossly. “Wait a minute.”

“Daughter of Eve,” said Aslan in a graver voice, “others also are at the point of death. Must more people die for Edmund?”

“I’m sorry, Aslan,” said Lucy, getting up and going with him. And for the next half-hour they were busy - she attending to the wounded while he restored those who had been turned into stone. When at last she was free to come back to Edmund she found him standing on his feet and not only healed of his wounds but looking better than she had seen him look - oh, for ages; in fact

ever since his first term at that horrid school which was where he had begun to go wrong. He had become his real old self again and could look you in the face. And there on the field of battle Aslan made him a knight.

“Does he know,” whispered Lucy to Susan, “what Aslan did for him? Does he know what the arrangement with the Witch really was?”

“Hush! No. Of course not,” said Susan. “Oughtn’t he to be told?” said Lucy.

“Oh, surely not,” said Susan. “It would be too awful for him. Think how you’d feel if you were he.”

“All the same I think he ought to know,” said Lucy. But at that moment they were interrupted.

That night they slept where they were. How Aslan provided food for them all I don’t know; but somehow or other they found themselves all sitting down on the grass to a fine high tea at about eight o’clock. Next day they began marching eastward down the side of the great river. And the next day after that, at about teatime, they actually reached the mouth. The castle of Cair Paravel on its little hill towered up above them; before them were the sands, with rocks and little pools of salt water, and seaweed, and the smell of the sea and long miles of bluish-green waves breaking for ever and ever on the beach. And oh, the cry of the sea-gulls! Have you heard it? Can you remember?

That evening after tea the four children all managed to get down to the beach again and get their shoes and stockings off and feel the sand between their toes. But next day was more solemn. For then, in the Great Hall of Cair Paravel - that wonderful hall with the ivory roof and the west wall hung with peacock’s feathers and the eastern door which looks towards the sea, in the presence of all their friends and to the sound of trumpets, Aslan solemnly crowned them and led them to the four thrones amid deafening shouts of, “Long Live King Peter! Long Live Queen Susan! Long Live King Edmund! Long Live Queen Lucy!”

“Once a king or queen in Narnia, always a king or queen. Bear it well, Sons of Adam! Bear it well, Daughters of Eve!” said Aslan.

And through the eastern door, which was wide open, came the voices of the mermen and the mermaids swimming close to the shore and singing in honour of their new Kings and Queens.

So the children sat on their thrones and sceptres were put into their hands and they gave rewards and honours to all their friends, to Tumnus the Faun, and to the Beavers, and Giant Rumblebuffin, to the leopards, and the good centaurs, and the good dwarfs, and to the lion. And that night there was a great feast in Cair Paravel, and revelry and dancing, and gold flashed and wine

flowed, and answering to the music inside, but stranger, sweeter, and more piercing, came the music of the sea people.

But amidst all these rejoicings Aslan himself quietly slipped away. And when the Kings and Queens noticed that he wasn’t there they said nothing about it. For Mr Beaver had warned them, “He’ll be coming and going,” he had said. “One day you’ll see him and another you won’t. He doesn’t like being tied down and of course he has other countries to attend to. It’s quite all right. He’ll often drop in. Only you mustn’t press him. He’s wild,’ you know. Not like a tame lion.”

And now, as you see, this story is nearly (but not quite) at an end. These two Kings and two Queens governed Narnia well, and long and happy was their reign. At first much of their time was spent in seeking out the remnants of the White Witch’s army and destroying them, and indeed for a long time there would be news of evil things lurking in the wilder parts of the forest - a haunting here and a killing there, a glimpse of a werewolf one month and a rumour of a hag the next. But in the end all that foul brood was stamped out. And they made good laws and kept the peace and saved good trees from being unnecessarily cut down, and liberated young dwarfs and young satyrs from being sent to school, and generally stopped busybodies and interferers and encouraged ordinary people who wanted to live and let live. And they drove back the fierce giants (quite a different sort from Giant Rumblebuffin) on the north of Narnia when these ventured across the frontier. And they entered into friendship and alliance with countries beyond the sea and paid them visits of state and received visits of state from them. And they themselves grew and changed as the years passed over them. And Peter became a tall and deep- chested man and a great warrior, and he was called King Peter the Magnificent. And Susan grew into a tall and gracious woman with black hair that fell almost to her feet and the kings of the countries beyond the sea began to send ambassadors asking for her hand in marriage. And she was called Susan the Gentle. Edmund was a graver and quieter man than Peter, and great in council and judgement. He was called King Edmund the Just. But as for Lucy, she was always gay and golden-haired, and all princes in those parts desired her to be their Queen, and her own people called her Queen Lucy the Valiant.

So they lived in great joy and if ever they remembered their life in this world it was only as one remembers a dream. And one year it fell out that Tumnus (who was a middle-aged Faun by now and beginning to be stout) came down river and brought them news that the White Stag had once more appeared in his parts - the White Stag who would give you wishes if you caught him. So these two Kings and two Queens with the principal members of their court,

rode a-hunting with horns and hounds in the Western Woods to follow the White Stag. And they had not hunted long before they had a sight of him. And he led them a great pace over rough and smooth and through thick and thin, till the horses of all the courtiers were tired out and these four were still following. And they saw the stag enter into a thicket where their horses could not follow. Then said King Peter (for they talked in quite a different style now, having been Kings and Queens for so long), “Fair Consorts, let us now alight from our horses and follow this beast into the thicket; for in all my days I never hunted a nobler quarry.”

“Sir,” said the others, “even so let us do.”

So they alighted and tied their horses to trees and went on into the thick wood on foot. And as soon as they had entered it Queen Susan said,

“Fair friends, here is a great marvel, for I seem to see a tree of iron.” “Madam,” said,King Edmund, “if you look well upon it you shall see it is a

pillar of iron with a lantern set on the top thereof.”

“By the Lion’s Mane, a strange device,” said King Peter, “to set a lantern here where the trees cluster so thick about it and so high above it that if it were lit it should give light to no man!”

“Sir,” said Queen Lucy. “By likelihood when this post and this lamp were set here there were smaller trees in the place, or fewer, or none. For this is a young wood and the iron post is old.” And they stood looking upon it. Then said King Edmund,

“I know not how it is, but this lamp on the post worketh upon me strangely. It runs in my mind that I have seen the like before; as it were in a dream, or in the dream of a dream.”

“Sir,” answered they all, “it is even so with us also.”

“And more,” said Queen Lucy, “for it will not go out of my mind that if we pass this post and lantern either we shall find strange adventures or else some great change of our fortunes.”

“Madam,” said King Edmund, “the like foreboding stirreth in my heart also.”

“And in mine, fair brother,” said King Peter.

“And in mine too,” said Queen Susan. “Wherefore by my counsel we shall lightly return to our horses and follow this White Stag no further.”

“Madam,” said King Peter, “therein I pray thee to have me excused. For never since we four were Kings and Queens in Narnia have we set our hands to any high matter, as battles, quests, feats of arms, acts of justice, and the like, and then given over; but always what we have taken in hand, the same we have achieved.”

“Sister,” said Queen Lucy, “my royal brother speaks rightly. And it seems to me we should be shamed if for any fearing or foreboding we turned back from following so noble a beast as now we have in chase.”

“And so say I,” said King Edmund. “And I have such desire to find the signification of this thing that I would not by my good will turn back for the richest jewel in all Narnia and all the islands.”

“Then in the name of Aslan,” said Queen Susan, “if ye will all have it so, let us go on and take the adventure that shall fall to us.”

So these Kings and Queens entered the thicket, and before they had gone a score of paces they all remembered that the thing they had seen was called a lamppost, and before they had gone twenty more they noticed that they were. making their way not through branches but through coats. And next moment they all came tumbling out of a wardrobe door into the empty room, and They were no longer Kings and Queens in their hunting array but just Peter, Susan, Edmund and Lucy in their old clothes. It was the same day and the same hour of the day on which they had all gone into the wardrobe to hide. Mrs Macready and the visitors were still talking in the passage; but luckily they never came into the empty room and so the children weren’t caught.

And that would have been the very end of the story if it hadn’t been that they felt they really must explain to the Professor why four of the coats out of his wardrobe were missing. And the Professor, who was a very remarkable man, didn’t tell them not to be silly or not to tell lies, but believed the whole story. “No,” he said, “I don’t think it will be any good trying to go back through the wardrobe door to get the coats. You won’t get into Narnia again by that

route. Nor would the coats be much use by now if you did! Eh? What’s that? Yes, of course you’ll get back to Narnia again some day. Once a King in Narnia, always a King in Narnia. But don’t go trying to use the same route twice.

Indeed, don’t try to get there at all. It’ll happen when you’re not looking for it. And don’t talk too much about it

even among yourselves. And don’t mention it to anyone else unless you find that they’ve

had adventures of the same sort themselves. What’s that? How will you know? Oh, you’ll know all right. Odd things they say - even their looks - will let the secret out. Keep your

eyes open. Bless me, what do they teach them at these schools?

And that is the very end of the adventure of the wardrobe. But if the Professor was right it was only the beginning of

the adventures of Narnia.

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<![CDATA[The Phantom of the Opera]]>Sat, 30 Apr 2022 13:25:42 GMThttp://daydreaminstudios.org/children-library/the-phantom-of-the-opera



The Phantom of the Opera

 

Prologue

IN WHICH THE AUTHOR OF THIS SINGULAR WORK INFORMS THE READER HOW HE ACQUIRED THE CERTAINTY THAT THE OPERA GHOST REALLY EXISTED

The Opera ghost really existed. He was not, as was long believed, a creature of the imagination of the artists, the superstition of the managers, or a product of the absurd and impressionable brains of the young ladies of the ballet, their mothers, the box-keepers, the cloak-room attendants or the concierge. Yes, he existed in flesh and blood, although he assumed the complete appearance of a real phantom; that is to say, of a spectral shade.

When I began to ransack the archives of the National Academy of Music I was at once struck by the surprising coincidences between the phenomena ascribed to the "ghost" and the most extraordinary and fantastic tragedy that ever excited the Paris upper classes; and I soon conceived the idea that this tragedy might reasonably be explained by the phenomena in question. The events do not date more than thirty years back; and it would not be difficult to find at the present day, in the foyer of the ballet, old men of the highest respectability, men upon whose word one could absolutely rely, who would remember as though they happened yesterday the mysterious and dramatic conditions that attended the kidnapping of Christine Daae, the disappearance of the Vicomte de Chagny and the death of his elder brother, Count Philippe, whose body was found on the bank of the lake that exists in the lower cellars of the Opera on the Rue-Scribe side. But none of those witnesses had until that day thought that there was any reason for connecting the more or less legendary figure of the Opera ghost with that terrible story.

The truth was slow to enter my mind, puzzled by an inquiry that at every moment was complicated by events which, at first sight, might be looked upon as superhuman; and more than once I was within an ace of abandoning a task in which I was exhausting myself in the hopeless pursuit of a vain image. At last, I received the proof that my presentiments had not deceived me, and I was rewarded for all my efforts on the day when I acquired the certainty that the Opera ghost was more than a mere shade.

On that day, I had spent long hours over THE MEMOIRS OF A MANAGER, the light and frivolous work of the too-skeptical Moncharmin, who, during his term at the Opera, understood nothing of the mysterious behavior of the ghost and who was making all the fun of it that he could at the very moment when he became the first victim of the curious financial operation that went on inside the "magic envelope."

I had just left the library in despair, when I met the delightful acting-manager of our National Academy, who stood chatting on a landing with a lively and well-groomed little old man, to whom he introduced me gaily. The acting-manager knew all about my investigations and how eagerly and unsuccessfully I had been trying to discover the whereabouts of the examining magistrate in the famous Chagny case, M. Faure. Nobody knew what had become of him, alive or dead; and here he was back from Canada, where he had spent fifteen years, and the first thing he had done, on his return to Paris, was to come to the secretarial offices at the Opera and ask for a free seat. The little old man was M. Faure himself.

We spent a good part of the evening together and he told me the whole Chagny case as he had understood it at the time. He was bound to conclude in favor of the madness of the viscount and the accidental death of the elder brother, for lack of evidence to the contrary; but he was nevertheless persuaded that a terrible tragedy had taken place between the two brothers in connection with Christine Daae. He could not tell me what became of Christine or the viscount. When I mentioned the ghost, he only laughed. He, too, had been told of the curious manifestations that seemed to point to the existence of an abnormal being, residing in one of the most mysterious corners of the Opera, and he knew the story of the envelope; but he had never seen anything in it worthy of his attention as magistrate in charge of the Chagny case, and it was as much as he had done to listen to the evidence of a witness who appeared of his own accord and declared that he had often met the ghost. This witness was none other than the man whom all Paris called the "Persian" and who was well-known to every subscriber to the Opera. The magistrate took him for a visionary.

I was immensely interested by this story of the Persian. I wanted, if there were still time, to find this valuable and eccentric witness. My luck began to improve and I discovered him in his little flat in the Rue de Rivoli, where he had lived ever since and where he died five months after my visit. I was at first inclined to be suspicious; but when the Persian had told me, with child-like candor, all that he knew about the ghost and had handed me the proofs of the ghost's existence—including the strange correspondence of Christine Daae—to do as I pleased with, I was no longer able to doubt. No, the ghost was not a myth!

I have, I know, been told that this correspondence may have been forged from first to last by a man whose imagination had certainly been fed on the most seductive tales; but fortunately I discovered some of Christine's writing outside the famous bundle of letters and, on a comparison between the two, all my doubts were removed. I also went into the past history of the Persian and found that he was an upright man, incapable of inventing a story that might have defeated the ends of justice.

This, moreover, was the opinion of the more serious people who, at one time or other, were mixed up in the Chagny case, who were friends of the Chagny family, to whom I showed all my documents and set forth all my inferences. In this connection, I should like to print a few lines which I received from General D——:

SIR:

I can not urge you too strongly to publish the results of your inquiry. I remember perfectly that, a few weeks before the disappearance of that great singer, Christine Daae, and the tragedy which threw the whole of the Faubourg Saint-Germain into mourning, there was a great deal of talk, in the foyer of the ballet, on the subject of the "ghost;" and I believe that it only ceased to be discussed in consequence of the later affair that excited us all so greatly. But, if it be possible—as, after hearing you, I believe—to explain the tragedy through the ghost, then I beg you sir, to talk to us about the ghost again.

Mysterious though the ghost may at first appear, he will always be more easily explained than the dismal story in which malevolent people have tried to picture two brothers killing each other who had worshiped each other all their lives.

Believe me, etc.

Lastly, with my bundle of papers in hand, I once more went over the ghost's vast domain, the huge building which he had made his kingdom. All that my eyes saw, all that my mind perceived, corroborated the Persian's documents precisely; and a wonderful discovery crowned my labors in a very definite fashion. It will be remembered that, later, when digging in the substructure of the Opera, before burying the phonographic records of the artist's voice, the workmen laid bare a corpse. Well, I was at once able to prove that this corpse was that of the Opera ghost. I made the acting-manager put this proof to the test with his own hand; and it is now a matter of supreme indifference to me if the papers pretend that the body was that of a victim of the Commune.

The wretches who were massacred, under the Commune, in the cellars of the Opera, were not buried on this side; I will tell where their skeletons can be found in a spot not very far from that immense crypt which was stocked during the siege with all sorts of provisions. I came upon this track just when I was looking for the remains of the Opera ghost, which I should never have discovered but for the unheard-of chance described above.

But we will return to the corpse and what ought to be done with it. For the present, I must conclude this very necessary introduction by thanking M. Mifroid (who was the commissary of police called in for the first investigations after the disappearance of Christine Daae), M. Remy, the late secretary, M. Mercier, the late acting-manager, M. Gabriel, the late chorus-master, and more particularly Mme. la Baronne de Castelot-Barbezac, who was once the "little Meg" of the story (and who is not ashamed of it), the most charming star of our admirable corps de ballet, the eldest daughter of the worthy Mme. Giry, now deceased, who had charge of the ghost's private box. All these were of the greatest assistance to me; and, thanks to them, I shall be able to reproduce those hours of sheer love and terror, in their smallest details, before the reader's eyes.

And I should be ungrateful indeed if I omitted, while standing on the threshold of this dreadful and veracious story, to thank the present management the Opera, which has so kindly assisted me in all my inquiries, and M. Messager in particular, together with M. Gabion, the acting-manager, and that most amiable of men, the architect intrusted with the preservation of the building, who did not hesitate to lend me the works of Charles Garnier, although he was almost sure that I would never return them to him. Lastly, I must pay a public tribute to the generosity of my friend and former collaborator, M. J. Le Croze, who allowed me to dip into his splendid theatrical library and to borrow the rarest editions of books by which he set great store.

GASTON LEROUX.




Chapter I Is it the Ghost?

It was the evening on which MM. Debienne and Poligny, the managers of the Opera, were giving a last gala performance to mark their retirement. Suddenly the dressing-room of La Sorelli, one of the principal dancers, was invaded by half-a-dozen young ladies of the ballet, who had come up from the stage after "dancing" Polyeucte. They rushed in amid great confusion, some giving vent to forced and unnatural laughter, others to cries of terror. Sorelli, who wished to be alone for a moment to "run through" the speech which she was to make to the resigning managers, looked around angrily at the mad and tumultuous crowd. It was little Jammes—the girl with the tip-tilted nose, the forget-me-not eyes, the rose-red cheeks and the lily-white neck and shoulders—who gave the explanation in a trembling voice:

"It's the ghost!" And she locked the door.

Sorelli's dressing-room was fitted up with official, commonplace elegance. A pier-glass, a sofa, a dressing-table and a cupboard or two provided the necessary furniture. On the walls hung a few engravings, relics of the mother, who had known the glories of the old Opera in the Rue le Peletier; portraits of Vestris, Gardel, Dupont, Bigottini. But the room seemed a palace to the brats of the corps de ballet, who were lodged in common dressing-rooms where they spent their time singing, quarreling, smacking the dressers and hair-dressers and buying one another glasses of cassis, beer, or even rhum, until the call-boy's bell rang.

Sorelli was very superstitious. She shuddered when she heard little Jammes speak of the ghost, called her a "silly little fool" and then, as she was the first to believe in ghosts in general, and the Opera ghost in particular, at once asked for details:

"Have you seen him?"

"As plainly as I see you now!" said little Jammes, whose legs were giving way beneath her, and she dropped with a moan into a chair.

Thereupon little Giry—the girl with eyes black as sloes, hair black as ink, a swarthy complexion and a poor little skin stretched over poor little bones—little Giry added:

"If that's the ghost, he's very ugly!"

"Oh, yes!" cried the chorus of ballet-girls.

And they all began to talk together. The ghost had appeared to them in the shape of a gentleman in dress-clothes, who had suddenly stood before them in the passage, without their knowing where he came from. He seemed to have come straight through the wall.

"Pooh!" said one of them, who had more or less kept her head. "You see the ghost everywhere!"

And it was true. For several months, there had been nothing discussed at the Opera but this ghost in dress-clothes who stalked about the building, from top to bottom, like a shadow, who spoke to nobody, to whom nobody dared speak and who vanished as soon as he was seen, no one knowing how or where. As became a real ghost, he made no noise in walking. People began by laughing and making fun of this specter dressed like a man of fashion or an undertaker; but the ghost legend soon swelled to enormous proportions among the corps de ballet. All the girls pretended to have met this supernatural being more or less often. And those who laughed the loudest were not the most at ease. When he did not show himself, he betrayed his presence or his passing by accident, comic or serious, for which the general superstition held him responsible. Had any one met with a fall, or suffered a practical joke at the hands of one of the other girls, or lost a powderpuff, it was at once the fault of the ghost, of the Opera ghost.

After all, who had seen him? You meet so many men in dress-clothes at the Opera who are not ghosts. But this dress-suit had a peculiarity of its own. It covered a skeleton. At least, so the ballet-girls said. And, of course, it had a death's head.

Was all this serious? The truth is that the idea of the skeleton came from the description of the ghost given by Joseph Buquet, the chief scene-shifter, who had really seen the ghost. He had run up against the ghost on the little staircase, by the footlights, which leads to "the cellars." He had seen him for a second—for the ghost had fled—and to any one who cared to listen to him he said:

"He is extraordinarily thin and his dress-coat hangs on a skeleton frame. His eyes are so deep that you can hardly see the fixed pupils. You just see two big black holes, as in a dead man's skull. His skin, which is stretched across his bones like a drumhead, is not white, but a nasty yellow. His nose is so little worth talking about that you can't see it side-face; and THE ABSENCE of that nose is a horrible thing TO LOOK AT. All the hair he has is three or four long dark locks on his forehead and behind his ears."

This chief scene-shifter was a serious, sober, steady man, very slow at imagining things. His words were received with interest and amazement; and soon there were other people to say that they too had met a man in dress-clothes with a death's head on his shoulders. Sensible men who had wind of the story began by saying that Joseph Buquet had been the victim of a joke played by one of his assistants. And then, one after the other, there came a series of incidents so curious and so inexplicable that the very shrewdest people began to feel uneasy.

For instance, a fireman is a brave fellow! He fears nothing, least of all fire! Well, the fireman in question, who had gone to make a round of inspection in the cellars and who, it seems, had ventured a little farther than usual, suddenly reappeared on the stage, pale, scared, trembling, with his eyes starting out of his head, and practically fainted in the arms of the proud mother of little Jammes.[1] And why? Because he had seen coming toward him, AT THE LEVEL OF HIS HEAD, BUT WITHOUT A BODY ATTACHED TO IT, A HEAD OF FIRE! And, as I said, a fireman is not afraid of fire.

The fireman's name was Pampin.

The corps de ballet was flung into consternation. At first sight, this fiery head in no way corresponded with Joseph Buquet's description of the ghost. But the young ladies soon persuaded themselves that the ghost had several heads, which he changed about as he pleased. And, of course, they at once imagined that they were in the greatest danger. Once a fireman did not hesitate to faint, leaders and front-row and back-row girls alike had plenty of excuses for the fright that made them quicken their pace when passing some dark corner or ill-lighted corridor. Sorelli herself, on the day after the adventure of the fireman, placed a horseshoe on the table in front of the stage-door-keeper's box, which every one who entered the Opera otherwise than as a spectator must touch before setting foot on the first tread of the staircase. This horse-shoe was not invented by me—any more than any other part of this story, alas!—and may still be seen on the table in the passage outside the stage-door-keeper's box, when you enter the Opera through the court known as the Cour de l'Administration.

To return to the evening in question.

"It's the ghost!" little Jammes had cried.

An agonizing silence now reigned in the dressing-room. Nothing was heard but the hard breathing of the girls. At last, Jammes, flinging herself upon the farthest corner of the wall, with every mark of real terror on her face, whispered:

"Listen!"

Everybody seemed to hear a rustling outside the door. There was no sound of footsteps. It was like light silk sliding over the panel. Then it stopped.

Sorelli tried to show more pluck than the others. She went up to the door and, in a quavering voice, asked:

"Who's there?"

But nobody answered. Then feeling all eyes upon her, watching her last movement, she made an effort to show courage, and said very loudly:

"Is there any one behind the door?"

"Oh, yes, yes! Of course there is!" cried that little dried plum of a Meg Giry, heroically holding Sorelli back by her gauze skirt. "Whatever you do, don't open the door! Oh, Lord, don't open the door!"

But Sorelli, armed with a dagger that never left her, turned the key and drew back the door, while the ballet-girls retreated to the inner dressing-room and Meg Giry sighed:

"Mother! Mother!"

Sorelli looked into the passage bravely. It was empty; a gas-flame, in its glass prison, cast a red and suspicious light into the surrounding darkness, without succeeding in dispelling it. And the dancer slammed the door again, with a deep sigh.

"No," she said, "there is no one there."

"Still, we saw him!" Jammes declared, returning with timid little steps to her place beside Sorelli. "He must be somewhere prowling about. I shan't go back to dress. We had better all go down to the foyer together, at once, for the 'speech,' and we will come up again together."

And the child reverently touched the little coral finger-ring which she wore as a charm against bad luck, while Sorelli, stealthily, with the tip of her pink right thumb-nail, made a St. Andrew's cross on the wooden ring which adorned the fourth finger of her left hand. She said to the little ballet-girls:

"Come, children, pull yourselves together! I dare say no one has ever seen the ghost."

"Yes, yes, we saw him—we saw him just now!" cried the girls. "He had his death's head and his dress-coat, just as when he appeared to Joseph Buquet!"

"And Gabriel saw him too!" said Jammes. "Only yesterday! Yesterday afternoon—in broad day-light——"

"Gabriel, the chorus-master?"

"Why, yes, didn't you know?"

"And he was wearing his dress-clothes, in broad daylight?"

"Who? Gabriel?"

"Why, no, the ghost!"

"Certainly! Gabriel told me so himself. That's what he knew him by. Gabriel was in the stage-manager's office. Suddenly the door opened and the Persian entered. You know the Persian has the evil eye——"

"Oh, yes!" answered the little ballet-girls in chorus, warding off ill-luck by pointing their forefinger and little finger at the absent Persian, while their second and third fingers were bent on the palm and held down by the thumb.

"And you know how superstitious Gabriel is," continued Jammes. "However, he is always polite. When he meets the Persian, he just puts his hand in his pocket and touches his keys. Well, the moment the Persian appeared in the doorway, Gabriel gave one jump from his chair to the lock of the cupboard, so as to touch iron! In doing so, he tore a whole skirt of his overcoat on a nail. Hurrying to get out of the room, he banged his forehead against a hat-peg and gave himself a huge bump; then, suddenly stepping back, he skinned his arm on the screen, near the piano; he tried to lean on the piano, but the lid fell on his hands and crushed his fingers; he rushed out of the office like a madman, slipped on the staircase and came down the whole of the first flight on his back. I was just passing with mother. We picked him up. He was covered with bruises and his face was all over blood. We were frightened out of our lives, but, all at once, he began to thank Providence that he had got off so cheaply. Then he told us what had frightened him. He had seen the ghost behind the Persian, THE GHOST WITH THE DEATH'S HEAD just like Joseph Buquet's description!"

Jammes had told her story ever so quickly, as though the ghost were at her heels, and was quite out of breath at the finish. A silence followed, while Sorelli polished her nails in great excitement. It was broken by little Giry, who said:

"Joseph Buquet would do better to hold his tongue."

"Why should he hold his tongue?" asked somebody.

"That's mother's opinion," replied Meg, lowering her voice and looking all about her as though fearing lest other ears than those present might overhear.

"And why is it your mother's opinion?"

"Hush! Mother says the ghost doesn't like being talked about."

"And why does your mother say so?"

"Because—because—nothing—"

This reticence exasperated the curiosity of the young ladies, who crowded round little Giry, begging her to explain herself. They were there, side by side, leaning forward simultaneously in one movement of entreaty and fear, communicating their terror to one another, taking a keen pleasure in feeling their blood freeze in their veins.

"I swore not to tell!" gasped Meg.

But they left her no peace and promised to keep the secret, until Meg, burning to say all she knew, began, with her eyes fixed on the door:

"Well, it's because of the private box."

"What private box?"

"The ghost's box!"

"Has the ghost a box? Oh, do tell us, do tell us!"

"Not so loud!" said Meg. "It's Box Five, you know, the box on the grand tier, next to the stage-box, on the left."

"Oh, nonsense!"

"I tell you it is. Mother has charge of it. But you swear you won't say a word?"

"Of course, of course."

"Well, that's the ghost's box. No one has had it for over a month, except the ghost, and orders have been given at the box-office that it must never be sold."

"And does the ghost really come there?"

"Yes."

"Then somebody does come?"

"Why, no! The ghost comes, but there is nobody there."

The little ballet-girls exchanged glances. If the ghost came to the box, he must be seen, because he wore a dress-coat and a death's head. This was what they tried to make Meg understand, but she replied:

"That's just it! The ghost is not seen. And he has no dress-coat and no head! All that talk about his death's head and his head of fire is nonsense! There's nothing in it. You only hear him when he is in the box. Mother has never seen him, but she has heard him. Mother knows, because she gives him his program."

Sorelli interfered.

"Giry, child, you're getting at us!"

Thereupon little Giry began to cry.

"I ought to have held my tongue—if mother ever came to know! But I was quite right, Joseph Buquet had no business to talk of things that don't concern him—it will bring him bad luck—mother was saying so last night——"

There was a sound of hurried and heavy footsteps in the passage and a breathless voice cried:

"Cecile! Cecile! Are you there?"

"It's mother's voice," said Jammes. "What's the matter?"

She opened the door. A respectable lady, built on the lines of a Pomeranian grenadier, burst into the dressing-room and dropped groaning into a vacant arm-chair. Her eyes rolled madly in her brick-dust colored face.

"How awful!" she said. "How awful!"

"What? What?"

"Joseph Buquet!"

"What about him?"

"Joseph Buquet is dead!"

The room became filled with exclamations, with astonished outcries, with scared requests for explanations.

"Yes, he was found hanging in the third-floor cellar!"

"It's the ghost!" little Giry blurted, as though in spite of herself; but she at once corrected herself, with her hands pressed to her mouth: "No, no!—I, didn't say it!—I didn't say it!——"

All around her, her panic-stricken companions repeated under their breaths:

"Yes—it must be the ghost!"

Sorelli was very pale.

"I shall never be able to recite my speech," she said.

Ma Jammes gave her opinion, while she emptied a glass of liqueur that happened to be standing on a table; the ghost must have something to do with it.

The truth is that no one ever knew how Joseph Buquet met his death. The verdict at the inquest was "natural suicide." In his Memoirs of Manager, M. Moncharmin, one of the joint managers who succeeded MM. Debienne and Poligny, describes the incident as follows:

"A grievous accident spoiled the little party which MM. Debienne and Poligny gave to celebrate their retirement. I was in the manager's office, when Mercier, the acting-manager, suddenly came darting in. He seemed half mad and told me that the body of a scene-shifter had been found hanging in the third cellar under the stage, between a farm-house and a scene from the Roi de Lahore. I shouted:

"'Come and cut him down!'

"By the time I had rushed down the staircase and the Jacob's ladder, the man was no longer hanging from his rope!"

So this is an event which M. Moncharmin thinks natural. A man hangs at the end of a rope; they go to cut him down; the rope has disappeared. Oh, M. Moncharmin found a very simple explanation! Listen to him:

"It was just after the ballet; and leaders and dancing-girls lost no time in taking their precautions against the evil eye."

There you are! Picture the corps de ballet scuttling down the Jacob's ladder and dividing the suicide's rope among themselves in less time than it takes to write! When, on the other hand, I think of the exact spot where the body was discovered—the third cellar underneath the stage!—imagine that SOMEBODY must have been interested in seeing that the rope disappeared after it had effected its purpose; and time will show if I am wrong.

The horrid news soon spread all over the Opera, where Joseph Buquet was very popular. The dressing-rooms emptied and the ballet-girls, crowding around Sorelli like timid sheep around their shepherdess, made for the foyer through the ill-lit passages and staircases, trotting as fast as their little pink legs could carry them.



[1] I have the anecdote, which is quite authentic, from M. Pedro Gailhard himself, the late manager of the Opera.




Chapter II The New Margarita

On the first landing, Sorelli ran against the Comte de Chagny, who was coming up-stairs. The count, who was generally so calm, seemed greatly excited.

"I was just going to you," he said, taking off his hat. "Oh, Sorelli, what an evening! And Christine Daae: what a triumph!"

"Impossible!" said Meg Giry. "Six months ago, she used to sing like a CROCK! But do let us get by, my dear count," continues the brat, with a saucy curtsey. "We are going to inquire after a poor man who was found hanging by the neck."

Just then the acting-manager came fussing past and stopped when he heard this remark.

"What!" he exclaimed roughly. "Have you girls heard already? Well, please forget about it for tonight—and above all don't let M. Debienne and M. Poligny hear; it would upset them too much on their last day."

They all went on to the foyer of the ballet, which was already full of people. The Comte de Chagny was right; no gala performance ever equalled this one. All the great composers of the day had conducted their own works in turns. Faure and Krauss had sung; and, on that evening, Christine Daae had revealed her true self, for the first time, to the astonished and enthusiastic audience. Gounod had conducted the Funeral March of a Marionnette; Reyer, his beautiful overture to Siguar; Saint Saens, the Danse Macabre and a Reverie Orientale; Massenet, an unpublished Hungarian march; Guiraud, his Carnaval; Delibes, the Valse Lente from Sylvia and the Pizzicati from Coppelia. Mlle. Krauss had sung the bolero in the Vespri Siciliani; and Mlle. Denise Bloch the drinking song in Lucrezia Borgia.

But the real triumph was reserved for Christine Daae, who had begun by singing a few passages from Romeo and Juliet. It was the first time that the young artist sang in this work of Gounod, which had not been transferred to the Opera and which was revived at the Opera Comique after it had been produced at the old Theatre Lyrique by Mme. Carvalho. Those who heard her say that her voice, in these passages, was seraphic; but this was nothing to the superhuman notes that she gave forth in the prison scene and the final trio in FAUST, which she sang in the place of La Carlotta, who was ill. No one had ever heard or seen anything like it.

Daae revealed a new Margarita that night, a Margarita of a splendor, a radiance hitherto unsuspected. The whole house went mad, rising to its feet, shouting, cheering, clapping, while Christine sobbed and fainted in the arms of her fellow-singers and had to be carried to her dressing-room. A few subscribers, however, protested. Why had so great a treasure been kept from them all that time? Till then, Christine Daae had played a good Siebel to Carlotta's rather too splendidly material Margarita. And it had needed Carlotta's incomprehensible and inexcusable absence from this gala night for the little Daae, at a moment's warning, to show all that she could do in a part of the program reserved for the Spanish diva! Well, what the subscribers wanted to know was, why had Debienne and Poligny applied to Daae, when Carlotta was taken ill? Did they know of her hidden genius? And, if they knew of it, why had they kept it hidden? And why had she kept it hidden? Oddly enough, she was not known to have a professor of singing at that moment. She had often said she meant to practise alone for the future. The whole thing was a mystery.

The Comte de Chagny, standing up in his box, listened to all this frenzy and took part in it by loudly applauding. Philippe Georges Marie Comte de Chagny was just forty-one years of age. He was a great aristocrat and a good-looking man, above middle height and with attractive features, in spite of his hard forehead and his rather cold eyes. He was exquisitely polite to the women and a little haughty to the men, who did not always forgive him for his successes in society. He had an excellent heart and an irreproachable conscience. On the death of old Count Philibert, he became the head of one of the oldest and most distinguished families in France, whose arms dated back to the fourteenth century. The Chagnys owned a great deal of property; and, when the old count, who was a widower, died, it was no easy task for Philippe to accept the management of so large an estate. His two sisters and his brother, Raoul, would not hear of a division and waived their claim to their shares, leaving themselves entirely in Philippe's hands, as though the right of primogeniture had never ceased to exist. When the two sisters married, on the same day, they received their portion from their brother, not as a thing rightfully belonging to them, but as a dowry for which they thanked him.

The Comtesse de Chagny, nee de Moerogis de La Martyniere, had died in giving birth to Raoul, who was born twenty years after his elder brother. At the time of the old count's death, Raoul was twelve years of age. Philippe busied himself actively with the youngster's education. He was admirably assisted in this work first by his sisters and afterward by an old aunt, the widow of a naval officer, who lived at Brest and gave young Raoul a taste for the sea. The lad entered the Borda training-ship, finished his course with honors and quietly made his trip round the world. Thanks to powerful influence, he had just been appointed a member of the official expedition on board the Requin, which was to be sent to the Arctic Circle in search of the survivors of the D'Artoi's expedition, of whom nothing had been heard for three years. Meanwhile, he was enjoying a long furlough which would not be over for six months; and already the dowagers of the Faubourg Saint-Germain were pitying the handsome and apparently delicate stripling for the hard work in store for him.

The shyness of the sailor-lad—I was almost saying his innocence—was remarkable. He seemed to have but just left the women's apron-strings. As a matter of fact, petted as he was by his two sisters and his old aunt, he had retained from this purely feminine education manners that were almost candid and stamped with a charm that nothing had yet been able to sully. He was a little over twenty-one years of age and looked eighteen. He had a small, fair mustache, beautiful blue eyes and a complexion like a girl's.

Philippe spoiled Raoul. To begin with, he was very proud of him and pleased to foresee a glorious career for his junior in the navy in which one of their ancestors, the famous Chagny de La Roche, had held the rank of admiral. He took advantage of the young man's leave of absence to show him Paris, with all its luxurious and artistic delights. The count considered that, at Raoul's age, it is not good to be too good. Philippe himself had a character that was very well-balanced in work and pleasure alike; his demeanor was always faultless; and he was incapable of setting his brother a bad example. He took him with him wherever he went. He even introduced him to the foyer of the ballet. I know that the count was said to be "on terms" with Sorelli. But it could hardly be reckoned as a crime for this nobleman, a bachelor, with plenty of leisure, especially since his sisters were settled, to come and spend an hour or two after dinner in the company of a dancer, who, though not so very, very witty, had the finest eyes that ever were seen! And, besides, there are places where a true Parisian, when he has the rank of the Comte de Chagny, is bound to show himself; and at that time the foyer of the ballet at the Opera was one of those places.

Lastly, Philippe would perhaps not have taken his brother behind the scenes of the Opera if Raoul had not been the first to ask him, repeatedly renewing his request with a gentle obstinacy which the count remembered at a later date.

On that evening, Philippe, after applauding the Daae, turned to Raoul and saw that he was quite pale.

"Don't you see," said Raoul, "that the woman's fainting?"

"You look like fainting yourself," said the count. "What's the matter?"

But Raoul had recovered himself and was standing up.

"Let's go and see," he said, "she never sang like that before."

The count gave his brother a curious smiling glance and seemed quite pleased. They were soon at the door leading from the house to the stage. Numbers of subscribers were slowly making their way through. Raoul tore his gloves without knowing what he was doing and Philippe had much too kind a heart to laugh at him for his impatience. But he now understood why Raoul was absent-minded when spoken to and why he always tried to turn every conversation to the subject of the Opera.

They reached the stage and pushed through the crowd of gentlemen, scene-shifters, supers and chorus-girls, Raoul leading the way, feeling that his heart no longer belonged to him, his face set with passion, while Count Philippe followed him with difficulty and continued to smile. At the back of the stage, Raoul had to stop before the inrush of the little troop of ballet-girls who blocked the passage which he was trying to enter. More than one chaffing phrase darted from little made-up lips, to which he did not reply; and at last he was able to pass, and dived into the semi-darkness of a corridor ringing with the name of "Daae! Daae!" The count was surprised to find that Raoul knew the way. He had never taken him to Christine's himself and came to the conclusion that Raoul must have gone there alone while the count stayed talking in the foyer with Sorelli, who often asked him to wait until it was her time to "go on" and sometimes handed him the little gaiters in which she ran down from her dressing-room to preserve the spotlessness of her satin dancing-shoes and her flesh-colored tights. Sorelli had an excuse; she had lost her mother.

Postponing his usual visit to Sorelli for a few minutes, the count followed his brother down the passage that led to Daae's dressing-room and saw that it had never been so crammed as on that evening, when the whole house seemed excited by her success and also by her fainting fit. For the girl had not yet come to; and the doctor of the theater had just arrived at the moment when Raoul entered at his heels. Christine, therefore, received the first aid of the one, while opening her eyes in the arms of the other. The count and many more remained crowding in the doorway.

"Don't you think, Doctor, that those gentlemen had better clear the room?" asked Raoul coolly. "There's no breathing here."

"You're quite right," said the doctor.

And he sent every one away, except Raoul and the maid, who looked at Raoul with eyes of the most undisguised astonishment. She had never seen him before and yet dared not question him; and the doctor imagined that the young man was only acting as he did because he had the right to. The viscount, therefore, remained in the room watching Christine as she slowly returned to life, while even the joint managers, Debienne and Poligny, who had come to offer their sympathy and congratulations, found themselves thrust into the passage among the crowd of dandies. The Comte de Chagny, who was one of those standing outside, laughed:

"Oh, the rogue, the rogue!" And he added, under his breath: "Those youngsters with their school-girl airs! So he's a Chagny after all!"

He turned to go to Sorelli's dressing-room, but met her on the way, with her little troop of trembling ballet-girls, as we have seen.

Meanwhile, Christine Daae uttered a deep sigh, which was answered by a groan. She turned her head, saw Raoul and started. She looked at the doctor, on whom she bestowed a smile, then at her maid, then at Raoul again.

"Monsieur," she said, in a voice not much above a whisper, "who are you?"

"Mademoiselle," replied the young man, kneeling on one knee and pressing a fervent kiss on the diva's hand, "I AM THE LITTLE BOY WHO WENT INTO THE SEA TO RESCUE YOUR SCARF."

Christine again looked at the doctor and the maid; and all three began to laugh.

Raoul turned very red and stood up.

"Mademoiselle," he said, "since you are pleased not to recognize me, I should like to say something to you in private, something very important."

"When I am better, do you mind?" And her voice shook. "You have been very good."

"Yes, you must go," said the doctor, with his pleasantest smile. "Leave me to attend to mademoiselle."

"I am not ill now," said Christine suddenly, with strange and unexpected energy.

She rose and passed her hand over her eyelids.

"Thank you, Doctor. I should like to be alone. Please go away, all of you. Leave me. I feel very restless this evening."

The doctor tried to make a short protest, but, perceiving the girl's evident agitation, he thought the best remedy was not to thwart her. And he went away, saying to Raoul, outside:

"She is not herself to-night. She is usually so gentle."

Then he said good night and Raoul was left alone. The whole of this part of the theater was now deserted. The farewell ceremony was no doubt taking place in the foyer of the ballet. Raoul thought that Daae might go to it and he waited in the silent solitude, even hiding in the favoring shadow of a doorway. He felt a terrible pain at his heart and it was of this that he wanted to speak to Daae without delay.

Suddenly the dressing-room door opened and the maid came out by herself, carrying bundles. He stopped her and asked how her mistress was. The woman laughed and said that she was quite well, but that he must not disturb her, for she wished to be left alone. And she passed on. One idea alone filled Raoul's burning brain: of course, Daae wished to be left alone FOR HIM! Had he not told her that he wanted to speak to her privately?

Hardly breathing, he went up to the dressing-room and, with his ear to the door to catch her reply, prepared to knock. But his hand dropped. He had heard A MAN'S VOICE in the dressing-room, saying, in a curiously masterful tone:

"Christine, you must love me!"

And Christine's voice, infinitely sad and trembling, as though accompanied by tears, replied:

"How can you talk like that? WHEN I SING ONLY FOR YOU!"

Raoul leaned against the panel to ease his pain. His heart, which had seemed gone for ever, returned to his breast and was throbbing loudly. The whole passage echoed with its beating and Raoul's ears were deafened. Surely, if his heart continued to make such a noise, they would hear it inside, they would open the door and the young man would be turned away in disgrace. What a position for a Chagny! To be caught listening behind a door! He took his heart in his two hands to make it stop.

The man's voice spoke again: "Are you very tired?"

"Oh, to-night I gave you my soul and I am dead!" Christine replied.

"Your soul is a beautiful thing, child," replied the grave man's voice, "and I thank you. No emperor ever received so fair a gift. THE ANGELS WEPT TONIGHT."

Raoul heard nothing after that. Nevertheless, he did not go away, but, as though he feared lest he should be caught, he returned to his dark corner, determined to wait for the man to leave the room. At one and the same time, he had learned what love meant, and hatred. He knew that he loved. He wanted to know whom he hated. To his great astonishment, the door opened and Christine Daae appeared, wrapped in furs, with her face hidden in a lace veil, alone. She closed the door behind her, but Raoul observed that she did not lock it. She passed him. He did not even follow her with his eyes, for his eyes were fixed on the door, which did not open again.

When the passage was once more deserted, he crossed it, opened the door of the dressing-room, went in and shut the door. He found himself in absolute darkness. The gas had been turned out.

"There is some one here!" said Raoul, with his back against the closed door, in a quivering voice. "What are you hiding for?"

All was darkness and silence. Raoul heard only the sound of his own breathing. He quite failed to see that the indiscretion of his conduct was exceeding all bounds.

"You shan't leave this until I let you!" he exclaimed. "If you don't answer, you are a coward! But I'll expose you!"

And he struck a match. The blaze lit up the room. There was no one in the room! Raoul, first turning the key in the door, lit the gas-jets. He went into the dressing-closet, opened the cupboards, hunted about, felt the walls with his moist hands. Nothing!

"Look here!" he said, aloud. "Am I going mad?"

He stood for ten minutes listening to the gas flaring in the silence of the empty room; lover though he was, he did not even think of stealing a ribbon that would have given him the perfume of the woman he loved. He went out, not knowing what he was doing nor where he was going. At a given moment in his wayward progress, an icy draft struck him in the face. He found himself at the bottom of a staircase, down which, behind him, a procession of workmen were carrying a sort of stretcher, covered with a white sheet.

"Which is the way out, please?" he asked of one of the men.

"Straight in front of you, the door is open. But let us pass."

Pointing to the stretcher, he asked mechanically: "What's that?"

The workmen answered:

"'That' is Joseph Buquet, who was found in the third cellar, hanging between a farm-house and a scene from the ROI DE LAHORE."

He took off his hat, fell back to make room for the procession and went out.




Chapter III The Mysterious Reason

During this time, the farewell ceremony was taking place. I have already said that this magnificent function was being given on the occasion of the retirement of M. Debienne and M. Poligny, who had determined to "die game," as we say nowadays. They had been assisted in the realization of their ideal, though melancholy, program by all that counted in the social and artistic world of Paris. All these people met, after the performance, in the foyer of the ballet, where Sorelli waited for the arrival of the retiring managers with a glass of champagne in her hand and a little prepared speech at the tip of her tongue. Behind her, the members of the Corps de Ballet, young and old, discussed the events of the day in whispers or exchanged discreet signals with their friends, a noisy crowd of whom surrounded the supper-tables arranged along the slanting floor.

A few of the dancers had already changed into ordinary dress; but most of them wore their skirts of gossamer gauze; and all had thought it the right thing to put on a special face for the occasion: all, that is, except little Jammes, whose fifteen summers—happy age!—seemed already to have forgotten the ghost and the death of Joseph Buquet. She never ceased to laugh and chatter, to hop about and play practical jokes, until Mm. Debienne and Poligny appeared on the steps of the foyer, when she was severely called to order by the impatient Sorelli.

Everybody remarked that the retiring managers looked cheerful, as is the Paris way. None will ever be a true Parisian who has not learned to wear a mask of gaiety over his sorrows and one of sadness, boredom or indifference over his inward joy. You know that one of your friends is in trouble; do not try to console him: he will tell you that he is already comforted; but, should he have met with good fortune, be careful how you congratulate him: he thinks it so natural that he is surprised that you should speak of it. In Paris, our lives are one masked ball; and the foyer of the ballet is the last place in which two men so "knowing" as M. Debienne and M. Poligny would have made the mistake of betraying their grief, however genuine it might be. And they were already smiling rather too broadly upon Sorelli, who had begun to recite her speech, when an exclamation from that little madcap of a Jammes broke the smile of the managers so brutally that the expression of distress and dismay that lay beneath it became apparent to all eyes:

"The Opera ghost!"

Jammes yelled these words in a tone of unspeakable terror; and her finger pointed, among the crowd of dandies, to a face so pallid, so lugubrious and so ugly, with two such deep black cavities under the straddling eyebrows, that the death's head in question immediately scored a huge success.

"The Opera ghost! The Opera ghost!" Everybody laughed and pushed his neighbor and wanted to offer the Opera ghost a drink, but he was gone. He had slipped through the crowd; and the others vainly hunted for him, while two old gentlemen tried to calm little Jammes and while little Giry stood screaming like a peacock.

Sorelli was furious; she had not been able to finish her speech; the managers, had kissed her, thanked her and run away as fast as the ghost himself. No one was surprised at this, for it was known that they were to go through the same ceremony on the floor above, in the foyer of the singers, and that finally they were themselves to receive their personal friends, for the last time, in the great lobby outside the managers' office, where a regular supper would be served.

Here they found the new managers, M. Armand Moncharmin and M. Firmin Richard, whom they hardly knew; nevertheless, they were lavish in protestations of friendship and received a thousand flattering compliments in reply, so that those of the guests who had feared that they had a rather tedious evening in store for them at once put on brighter faces. The supper was almost gay and a particularly clever speech of the representative of the government, mingling the glories of the past with the successes of the future, caused the greatest cordiality to prevail.

The retiring managers had already handed over to their successors the two tiny master-keys which opened all the doors—thousands of doors—of the Opera house. And those little keys, the object of general curiosity, were being passed from hand to hand, when the attention of some of the guests was diverted by their discovery, at the end of the table, of that strange, wan and fantastic face, with the hollow eyes, which had already appeared in the foyer of the ballet and been greeted by little Jammes' exclamation:

"The Opera ghost!"

There sat the ghost, as natural as could be, except that he neither ate nor drank. Those who began by looking at him with a smile ended by turning away their heads, for the sight of him at once provoked the most funereal thoughts. No one repeated the joke of the foyer, no one exclaimed:

"There's the Opera ghost!"

He himself did not speak a word and his very neighbors could not have stated at what precise moment he had sat down between them; but every one felt that if the dead did ever come and sit at the table of the living, they could not cut a more ghastly figure. The friends of Firmin Richard and Armand Moncharmin thought that this lean and skinny guest was an acquaintance of Debienne's or Poligny's, while Debienne's and Poligny's friends believed that the cadaverous individual belonged to Firmin Richard and Armand Moncharmin's party.

The result was that no request was made for an explanation; no unpleasant remark; no joke in bad taste, which might have offended this visitor from the tomb. A few of those present who knew the story of the ghost and the description of him given by the chief scene-shifter—they did not know of Joseph Buquet's death—thought, in their own minds, that the man at the end of the table might easily have passed for him; and yet, according to the story, the ghost had no nose and the person in question had. But M. Moncharmin declares, in his Memoirs, that the guest's nose was transparent: "long, thin and transparent" are his exact words. I, for my part, will add that this might very well apply to a false nose. M. Moncharmin may have taken for transparency what was only shininess. Everybody knows that orthopaedic science provides beautiful false noses for those who have lost their noses naturally or as the result of an operation.

Did the ghost really take a seat at the managers' supper-table that night, uninvited? And can we be sure that the figure was that of the Opera ghost himself? Who would venture to assert as much? I mention the incident, not because I wish for a second to make the reader believe—or even to try to make him believe—that the ghost was capable of such a sublime piece of impudence; but because, after all, the thing is impossible.

M. Armand Moncharmin, in chapter eleven of his Memoirs, says:

"When I think of this first evening, I can not separate the secret confided to us by MM. Debienne and Poligny in their office from the presence at our supper of that GHOSTLY person whom none of us knew."

What happened was this: Mm. Debienne and Poligny, sitting at the center of the table, had not seen the man with the death's head. Suddenly he began to speak.

"The ballet-girls are right," he said. "The death of that poor Buquet is perhaps not so natural as people think."

Debienne and Poligny gave a start.

"Is Buquet dead?" they cried.

"Yes," replied the man, or the shadow of a man, quietly. "He was found, this evening, hanging in the third cellar, between a farm-house and a scene from the Roi de Lahore."

The two managers, or rather ex-managers, at once rose and stared strangely at the speaker. They were more excited than they need have been, that is to say, more excited than any one need be by the announcement of the suicide of a chief scene-shifter. They looked at each other. They, had both turned whiter than the table-cloth. At last, Debienne made a sign to Mm. Richard and Moncharmin; Poligny muttered a few words of excuse to the guests; and all four went into the managers' office. I leave M. Moncharmin to complete the story. In his Memoirs, he says:

"Mm. Debienne and Poligny seemed to grow more and more excited, and they appeared to have something very difficult to tell us. First, they asked us if we knew the man, sitting at the end of the table, who had told them of the death of Joseph Buquet; and, when we answered in the negative, they looked still more concerned. They took the master-keys from our hands, stared at them for a moment and advised us to have new locks made, with the greatest secrecy, for the rooms, closets and presses that we might wish to have hermetically closed. They said this so funnily that we began to laugh and to ask if there were thieves at the Opera. They replied that there was something worse, which was the GHOST. We began to laugh again, feeling sure that they were indulging in some joke that was intended to crown our little entertainment. Then, at their request, we became 'serious,' resolving to humor them and to enter into the spirit of the game. They told us that they never would have spoken to us of the ghost, if they had not received formal orders from the ghost himself to ask us to be pleasant to him and to grant any request that he might make. However, in their relief at leaving a domain where that tyrannical shade held sway, they had hesitated until the last moment to tell us this curious story, which our skeptical minds were certainly not prepared to entertain. But the announcement of the death of Joseph Buquet had served them as a brutal reminder that, whenever they had disregarded the ghost's wishes, some fantastic or disastrous event had brought them to a sense of their dependence.

"During these unexpected utterances made in a tone of the most secret and important confidence, I looked at Richard. Richard, in his student days, had acquired a great reputation for practical joking, and he seemed to relish the dish which was being served up to him in his turn. He did not miss a morsel of it, though the seasoning was a little gruesome because of the death of Buquet. He nodded his head sadly, while the others spoke, and his features assumed the air of a man who bitterly regretted having taken over the Opera, now that he knew that there was a ghost mixed up in the business. I could think of nothing better than to give him a servile imitation of this attitude of despair. However, in spite of all our efforts, we could not, at the finish, help bursting out laughing in the faces of MM. Debienne and Poligny, who, seeing us pass straight from the gloomiest state of mind to one of the most insolent merriment, acted as though they thought that we had gone mad.

"The joke became a little tedious; and Richard asked half-seriously and half in jest:

"'But, after all, what does this ghost of yours want?'

"M. Poligny went to his desk and returned with a copy of the memorandum-book. The memorandum-book begins with the well-known words saying that 'the management of the Opera shall give to the performance of the National Academy of Music the splendor that becomes the first lyric stage in France' and ends with Clause 98, which says that the privilege can be withdrawn if the manager infringes the conditions stipulated in the memorandum-book. This is followed by the conditions, which are four in number.

"The copy produced by M. Poligny was written in black ink and exactly similar to that in our possession, except that, at the end, it contained a paragraph in red ink and in a queer, labored handwriting, as though it had been produced by dipping the heads of matches into the ink, the writing of a child that has never got beyond the down-strokes and has not learned to join its letters. This paragraph ran, word for word, as follows:

"'5. Or if the manager, in any month, delay for more than a fortnight the payment of the allowance which he shall make to the Opera ghost, an allowance of twenty thousand francs a month, say two hundred and forty thousand francs a year.'

"M. Poligny pointed with a hesitating finger to this last clause, which we certainly did not expect.

"'Is this all? Does he not want anything else?' asked Richard, with the greatest coolness.

"'Yes, he does,' replied Poligny.

"And he turned over the pages of the memorandum-book until he came to the clause specifying the days on which certain private boxes were to be reserved for the free use of the president of the republic, the ministers and so on. At the end of this clause, a line had been added, also in red ink:

"'Box Five on the grand tier shall be placed at the disposal of the Opera ghost for every performance.'

"When we saw this, there was nothing else for us to do but to rise from our chairs, shake our two predecessors warmly by the hand and congratulate them on thinking of this charming little joke, which proved that the old French sense of humor was never likely to become extinct. Richard added that he now understood why MM. Debienne and Poligny were retiring from the management of the National Academy of Music. Business was impossible with so unreasonable a ghost.

"'Certainly, two hundred and forty thousand francs are not be picked up for the asking,' said M. Poligny, without moving a muscle of his face. 'And have you considered what the loss over Box Five meant to us? We did not sell it once; and not only that, but we had to return the subscription: why, it's awful! We really can't work to keep ghosts! We prefer to go away!'

"'Yes,' echoed M. Debienne, 'we prefer to go away. Let us go.'"

"And he stood up. Richard said: 'But, after all all, it seems to me that you were much too kind to the ghost. If I had such a troublesome ghost as that, I should not hesitate to have him arrested.'

"'But how? Where?' they cried, in chorus. 'We have never seen him!'

"'But when he comes to his box?'

"'WE HAVE NEVER SEEN HIM IN HIS BOX.'

"'Then sell it.'

"'Sell the Opera ghost's box! Well, gentlemen, try it.'

"Thereupon we all four left the office. Richard and I had 'never laughed so much in our lives.'"




Chapter IV Box Five

Armand Moncharmin wrote such voluminous Memoirs during the fairly long period of his co-management that we may well ask if he ever found time to attend to the affairs of the Opera otherwise than by telling what went on there. M. Moncharmin did not know a note of music, but he called the minister of education and fine arts by his Christian name, had dabbled a little in society journalism and enjoyed a considerable private income. Lastly, he was a charming fellow and showed that he was not lacking in intelligence, for, as soon as he made up his mind to be a sleeping partner in the Opera, he selected the best possible active manager and went straight to Firmin Richard.

Firmin Richard was a very distinguished composer, who had published a number of successful pieces of all kinds and who liked nearly every form of music and every sort of musician. Clearly, therefore, it was the duty of every sort of musician to like M. Firmin Richard. The only things to be said against him were that he was rather masterful in his ways and endowed with a very hasty temper.

The first few days which the partners spent at the Opera were given over to the delight of finding themselves the head of so magnificent an enterprise; and they had forgotten all about that curious, fantastic story of the ghost, when an incident occurred that proved to them that the joke—if joke it were—was not over. M. Firmin Richard reached his office that morning at eleven o'clock. His secretary, M. Remy, showed him half a dozen letters which he had not opened because they were marked "private." One of the letters had at once attracted Richard's attention not only because the envelope was addressed in red ink, but because he seemed to have seen the writing before. He soon remembered that it was the red handwriting in which the memorandum-book had been so curiously completed. He recognized the clumsy childish hand. He opened the letter and read:

DEAR MR. MANAGER:

I am sorry to have to trouble you at a time when you must be so very busy, renewing important engagements, signing fresh ones and generally displaying your excellent taste. I know what you have done for Carlotta, Sorelli and little Jammes and for a few others whose admirable qualities of talent or genius you have suspected.

Of course, when I use these words, I do not mean to apply them to La Carlotta, who sings like a squirt and who ought never to have been allowed to leave the Ambassadeurs and the Cafe Jacquin; nor to La Sorelli, who owes her success mainly to the coach-builders; nor to little Jammes, who dances like a calf in a field. And I am not speaking of Christine Daae either, though her genius is certain, whereas your jealousy prevents her from creating any important part. When all is said, you are free to conduct your little business as you think best, are you not?

All the same, I should like to take advantage of the fact that you have not yet turned Christine Daae out of doors by hearing her this evening in the part of Siebel, as that of Margarita has been forbidden her since her triumph of the other evening; and I will ask you not to dispose of my box to-day nor on the FOLLOWING DAYS, for I can not end this letter without telling you how disagreeably surprised I have been once or twice, to hear, on arriving at the Opera, that my box had been sold, at the box-office, by your orders.

I did not protest, first, because I dislike scandal, and, second, because I thought that your predecessors, MM. Debienne and Poligny, who were always charming to me, had neglected, before leaving, to mention my little fads to you. I have now received a reply from those gentlemen to my letter asking for an explanation, and this reply proves that you know all about my Memorandum-Book and, consequently, that you are treating me with outrageous contempt. IF YOU WISH TO LIVE IN PEACE, YOU MUST NOT BEGIN BY TAKING AWAY MY PRIVATE BOX.

Believe me to be, dear Mr. Manager, without prejudice to these little observations,

Your Most Humble and Obedient Servant,
      OPERA GHOST.

The letter was accompanied by a cutting from the agony-column of the Revue Theatrale, which ran:

O. G.—There is no excuse for R. and M. We told them and left your memorandum-book in their hands. Kind regards.

M. Firmin Richard had hardly finished reading this letter when M. Armand Moncharmin entered, carrying one exactly similar. They looked at each other and burst out laughing.

"They are keeping up the joke," said M. Richard, "but I don't call it funny."

"What does it all mean?" asked M. Moncharmin. "Do they imagine that, because they have been managers of the Opera, we are going to let them have a box for an indefinite period?"

"I am not in the mood to let myself be laughed at long," said Firmin Richard.

"It's harmless enough," observed Armand Moncharmin. "What is it they really want? A box for to-night?"

M. Firmin Richard told his secretary to send Box Five on the grand tier to Mm. Debienne and Poligny, if it was not sold. It was not. It was sent off to them. Debienne lived at the corner of the Rue Scribe and the Boulevard des Capucines; Poligny, in the Rue Auber. O. Ghost's two letters had been posted at the Boulevard des Capucines post-office, as Moncharmin remarked after examining the envelopes.

"You see!" said Richard.

They shrugged their shoulders and regretted that two men of that age should amuse themselves with such childish tricks.

"They might have been civil, for all that!" said Moncharmin. "Did you notice how they treat us with regard to Carlotta, Sorelli and Little Jammes?"

"Why, my dear fellow, these two are mad with jealousy! To think that they went to the expense of, an advertisement in the Revue Theatrale! Have they nothing better to do?"

"By the way," said Moncharmin, "they seem to be greatly interested in that little Christine Daae!"

"You know as well as I do that she has the reputation of being quite good," said Richard.

"Reputations are easily obtained," replied Moncharmin. "Haven't I a reputation for knowing all about music? And I don't know one key from another."

"Don't be afraid: you never had that reputation," Richard declared.

Thereupon he ordered the artists to be shown in, who, for the last two hours, had been walking up and down outside the door behind which fame and fortune—or dismissal—awaited them.

The whole day was spent in discussing, negotiating, signing or cancelling contracts; and the two overworked managers went to bed early, without so much as casting a glance at Box Five to see whether M. Debienne and M. Poligny were enjoying the performance.

Next morning, the managers received a card of thanks from the ghost:

DEAR, MR. MANAGER:

Thanks. Charming evening. Daae exquisite. Choruses want waking up. Carlotta a splendid commonplace instrument. Will write you soon for the 240,000 francs, or 233,424 fr. 70 c., to be correct. Mm. Debienne and Poligny have sent me the 6,575 fr. 30 c. representing the first ten days of my allowance for the current year; their privileges finished on the evening of the tenth inst.

Kind regards. O. G.

On the other hand, there was a letter from Mm. Debienne and Poligny:

GENTLEMEN:

We are much obliged for your kind thought of us, but you will easily understand that the prospect of again hearing Faust, pleasant though it is to ex-managers of the Opera, can not make us forget that we have no right to occupy Box Five on the grand tier, which is the exclusive property of HIM of whom we spoke to you when we went through the memorandum-book with you for the last time. See Clause 98, final paragraph.

Accept, gentlemen, etc.

"Oh, those fellows are beginning to annoy me!" shouted Firmin Richard, snatching up the letter.

And that evening Box Five was sold.

The next morning, Mm. Richard and Moncharmin, on reaching their office, found an inspector's report relating to an incident that had happened, the night before, in Box Five. I give the essential part of the report:

I was obliged to call in a municipal guard twice, this evening, to clear Box Five on the grand tier, once at the beginning and once in the middle of the second act. The occupants, who arrived as the curtain rose on the second act, created a regular scandal by their laughter and their ridiculous observations. There were cries of "Hush!" all around them and the whole house was beginning to protest, when the box-keeper came to fetch me. I entered the box and said what I thought necessary. The people did not seem to me to be in their right mind; and they made stupid remarks. I said that, if the noise was repeated, I should be compelled to clear the box. The moment I left, I heard the laughing again, with fresh protests from the house. I returned with a municipal guard, who turned them out. They protested, still laughing, saying they would not go unless they had their money back. At last, they became quiet and I allowed them to enter the box again. The laughter at once recommenced; and, this time, I had them turned out definitely.

"Send for the inspector," said Richard to his secretary, who had already read the report and marked it with blue pencil.

M. Remy, the secretary, had foreseen the order and called the inspector at once.

"Tell us what happened," said Richard bluntly.

The inspector began to splutter and referred to the report.

"Well, but what were those people laughing at?" asked Moncharmin.

"They must have been dining, sir, and seemed more inclined to lark about than to listen to good music. The moment they entered the box, they came out again and called the box-keeper, who asked them what they wanted. They said, 'Look in the box: there's no one there, is there?' 'No,' said the woman. 'Well,' said they, 'when we went in, we heard a voice saying THAT THE BOX WAS TAKEN!'"

M. Moncharmin could not help smiling as he looked at M. Richard; but M. Richard did not smile. He himself had done too much in that way in his time not to recognize, in the inspector's story, all the marks of one of those practical jokes which begin by amusing and end by enraging the victims. The inspector, to curry favor with M. Moncharmin, who was smiling, thought it best to give a smile too. A most unfortunate smile! M. Richard glared at his subordinate, who thenceforth made it his business to display a face of utter consternation.

"However, when the people arrived," roared Richard, "there was no one in the box, was there?"

"Not a soul, sir, not a soul! Nor in the box on the right, nor in the box on the left: not a soul, sir, I swear! The box-keeper told it me often enough, which proves that it was all a joke."

"Oh, you agree, do you?" said Richard. "You agree! It's a joke! And you think it funny, no doubt?"

"I think it in very bad taste, sir."

"And what did the box-keeper say?"

"Oh, she just said that it was the Opera ghost. That's all she said!"

And the inspector grinned. But he soon found that he had made a mistake in grinning, for the words had no sooner left his mouth than M. Richard, from gloomy, became furious.

"Send for the box-keeper!" he shouted. "Send for her! This minute! This minute! And bring her in to me here! And turn all those people out!"

The inspector tried to protest, but Richard closed his mouth with an angry order to hold his tongue. Then, when the wretched man's lips seemed shut for ever, the manager commanded him to open them once more.

"Who is this 'Opera ghost?'" he snarled.

But the inspector was by this time incapable of speaking a word. He managed to convey, by a despairing gesture, that he knew nothing about it, or rather that he did not wish to know.

"Have you ever seen him, have you seen the Opera ghost?"

The inspector, by means of a vigorous shake of the head, denied ever having seen the ghost in question.

"Very well!" said M. Richard coldly.

The inspector's eyes started out of his head, as though to ask why the manager had uttered that ominous "Very well!"

"Because I'm going to settle the account of any one who has not seen him!" explained the manager. "As he seems to be everywhere, I can't have people telling me that they see him nowhere. I like people to work for me when I employ them!"

Having said this, M. Richard paid no attention to the inspector and discussed various matters of business with his acting-manager, who had entered the room meanwhile. The inspector thought he could go and was gently—oh, so gently!—sidling toward the door, when M. Richard nailed the man to the floor with a thundering:

"Stay where you are!"

M. Remy had sent for the box-keeper to the Rue de Provence, close to the Opera, where she was engaged as a porteress. She soon made her appearance.

"What's your name?"

"Mme. Giry. You know me well enough, sir; I'm the mother of little Giry, little Meg, what!"

This was said in so rough and solemn a tone that, for a moment, M. Richard was impressed. He looked at Mme. Giry, in her faded shawl, her worn shoes, her old taffeta dress and dingy bonnet. It was quite evident from the manager's attitude, that he either did not know or could not remember having met Mme. Giry, nor even little Giry, nor even "little Meg!" But Mme. Giry's pride was so great that the celebrated box-keeper imagined that everybody knew her.

"Never heard of her!" the manager declared. "But that's no reason, Mme. Giry, why I shouldn't ask you what happened last night to make you and the inspector call in a municipal guard."

"I was just wanting to see you, sir, and talk to you about it, so that you mightn't have the same unpleasantness as M. Debienne and M. Poligny. They wouldn't listen to me either, at first."

"I'm not asking you about all that. I'm asking what happened last night."

Mme. Giry turned purple with indignation. Never had she been spoken to like that. She rose as though to go, gathering up the folds of her skirt and waving the feathers of her dingy bonnet with dignity, but, changing her mind, she sat down again and said, in a haughty voice:

"I'll tell you what happened. The ghost was annoyed again!"

Thereupon, as M. Richard was on the point of bursting out, M. Moncharmin interfered and conducted the interrogatory, whence it appeared that Mme. Giry thought it quite natural that a voice should be heard to say that a box was taken, when there was nobody in the box. She was unable to explain this phenomenon, which was not new to her, except by the intervention of the ghost. Nobody could see the ghost in his box, but everybody could hear him. She had often heard him; and they could believe her, for she always spoke the truth. They could ask M. Debienne and M. Poligny, and anybody who knew her; and also M. Isidore Saack, who had had a leg broken by the ghost!

"Indeed!" said Moncharmin, interrupting her. "Did the ghost break poor Isidore Saack's leg?"

Mme. Giry opened her eyes with astonishment at such ignorance. However, she consented to enlighten those two poor innocents. The thing had happened in M. Debienne and M. Poligny's time, also in Box Five and also during a performance of FAUST. Mme. Giry coughed, cleared her throat—it sounded as though she were preparing to sing the whole of Gounod's score—and began:

"It was like this, sir. That night, M. Maniera and his lady, the jewelers in the Rue Mogador, were sitting in the front of the box, with their great friend, M. Isidore Saack, sitting behind Mme. Maniera. Mephistopheles was singing"—Mme. Giry here burst into song herself—"'Catarina, while you play at sleeping,' and then M. Maniera heard a voice in his right ear (his wife was on his left) saying, 'Ha, ha! Julie's not playing at sleeping!' His wife happened to be called Julie. So. M. Maniera turns to the right to see who was talking to him like that. Nobody there! He rubs his ear and asks himself, if he's dreaming. Then Mephistopheles went on with his serenade... But, perhaps I'm boring you gentlemen?"

"No, no, go on."

"You are too good, gentlemen," with a smirk. "Well, then, Mephistopheles went on with his serenade"—Mme. Giry, burst into song again—"'Saint, unclose thy portals holy and accord the bliss, to a mortal bending lowly, of a pardon-kiss.' And then M. Maniera again hears the voice in his right ear, saying, this time, 'Ha, ha! Julie wouldn't mind according a kiss to Isidore!' Then he turns round again, but, this time, to the left; and what do you think he sees? Isidore, who had taken his lady's hand and was covering it with kisses through the little round place in the glove—like this, gentlemen"—rapturously kissing the bit of palm left bare in the middle of her thread gloves. "Then they had a lively time between them! Bang! Bang! M. Maniera, who was big and strong, like you, M. Richard, gave two blows to M. Isidore Saack, who was small and weak like M. Moncharmin, saving his presence. There was a great uproar. People in the house shouted, 'That will do! Stop them! He'll kill him!' Then, at last, M. Isidore Saack managed to run away."

"Then the ghost had not broken his leg?" asked M. Moncharmin, a little vexed that his figure had made so little impression on Mme. Giry.

"He did break it for him, sir," replied Mme. Giry haughtily. "He broke it for him on the grand staircase, which he ran down too fast, sir, and it will be long before the poor gentleman will be able to go up it again!"

"Did the ghost tell you what he said in M. Maniera's right ear?" asked M. Moncharmin, with a gravity which he thought exceedingly humorous.

"No, sir, it was M. Maniera himself. So——"

"But you have spoken to the ghost, my good lady?"

"As I'm speaking to you now, my good sir!" Mme. Giry replied.

"And, when the ghost speaks to you, what does he say?"

"Well, he tells me to bring him a footstool!"

This time, Richard burst out laughing, as did Moncharmin and Remy, the secretary. Only the inspector, warned by experience, was careful not to laugh, while Mme. Giry ventured to adopt an attitude that was positively threatening.

"Instead of laughing," she cried indignantly, "you'd do better to do as M. Poligny did, who found out for himself."

"Found out about what?" asked Moncharmin, who had never been so much amused in his life.

"About the ghost, of course! ... Look here ..."

She suddenly calmed herself, feeling that this was a solemn moment in her life:

"LOOK HERE," she repeated. "They were playing La Juive. M. Poligny thought he would watch the performance from the ghost's box... Well, when Leopold cries, 'Let us fly!'—you know—and Eleazer stops them and says, 'Whither go ye?' ... well, M. Poligny—I was watching him from the back of the next box, which was empty—M. Poligny got up and walked out quite stiffly, like a statue, and before I had time to ask him, 'Whither go ye?' like Eleazer, he was down the staircase, but without breaking his leg.

"Still, that doesn't let us know how the Opera ghost came to ask you for a footstool," insisted M. Moncharmin.

"Well, from that evening, no one tried to take the ghost's private box from him. The manager gave orders that he was to have it at each performance. And, whenever he came, he asked me for a footstool."

"Tut, tut! A ghost asking for a footstool! Then this ghost of yours is a woman?"

"No, the ghost is a man."

"How do you know?"

"He has a man's voice, oh, such a lovely man's voice! This is what happens: When he comes to the opera, it's usually in the middle of the first act. He gives three little taps on the door of Box Five. The first time I heard those three taps, when I knew there was no one in the box, you can think how puzzled I was! I opened the door, listened, looked; nobody! And then I heard a voice say, 'Mme. Jules' my poor husband's name was Jules—'a footstool, please.' Saving your presence, gentlemen, it made me feel all-overish like. But the voice went on, 'Don't be frightened, Mme. Jules, I'm the Opera ghost!' And the voice was so soft and kind that I hardly felt frightened. THE VOICE WAS SITTING IN THE CORNER CHAIR, ON THE RIGHT, IN THE FRONT ROW."

"Was there any one in the box on the right of Box Five?" asked Moncharmin.

"No; Box Seven, and Box Three, the one on the left, were both empty. The curtain had only just gone up."

"And what did you do?"

"Well, I brought the footstool. Of course, it wasn't for himself he wanted it, but for his lady! But I never heard her nor saw her."

"Eh? What? So now the ghost is married!" The eyes of the two managers traveled from Mme. Giry to the inspector, who, standing behind the box-keeper, was waving his arms to attract their attention. He tapped his forehead with a distressful forefinger, to convey his opinion that the widow Jules Giry was most certainly mad, a piece of pantomime which confirmed M. Richard in his determination to get rid of an inspector who kept a lunatic in his service. Meanwhile, the worthy lady went on about her ghost, now painting his generosity:

"At the end of the performance, he always gives me two francs, sometimes five, sometimes even ten, when he has been many days without coming. Only, since people have begun to annoy him again, he gives me nothing at all.

"Excuse me, my good woman," said Moncharmin, while Mme. Giry tossed the feathers in her dingy hat at this persistent familiarity, "excuse me, how does the ghost manage to give you your two francs?"

"Why, he leaves them on the little shelf in the box, of course. I find them with the program, which I always give him. Some evenings, I find flowers in the box, a rose that must have dropped from his lady's bodice ... for he brings a lady with him sometimes; one day, they left a fan behind them."

"Oh, the ghost left a fan, did he? And what did you do with it?"

"Well, I brought it back to the box next night."

Here the inspector's voice was raised.

"You've broken the rules; I shall have to fine you, Mme. Giry."

"Hold your tongue, you fool!" muttered M. Firmin Richard.

"You brought back the fan. And then?"

"Well, then, they took it away with them, sir; it was not there at the end of the performance; and in its place they left me a box of English sweets, which I'm very fond of. That's one of the ghost's pretty thoughts."

"That will do, Mme. Giry. You can go."

When Mme. Giry had bowed herself out, with the dignity that never deserted her, the manager told the inspector that they had decided to dispense with that old madwoman's services; and, when he had gone in his turn, they instructed the acting-manager to make up the inspector's accounts. Left alone, the managers told each other of the idea which they both had in mind, which was that they should look into that little matter of Box Five themselves.




Chapter V The Enchanted Violin

Christine Daae, owing to intrigues to which I will return later, did not immediately continue her triumph at the Opera. After the famous gala night, she sang once at the Duchess de Zurich's; but this was the last occasion on which she was heard in private. She refused, without plausible excuse, to appear at a charity concert to which she had promised her assistance. She acted throughout as though she were no longer the mistress of her own destiny and as though she feared a fresh triumph.

She knew that the Comte de Chagny, to please his brother, had done his best on her behalf with M. Richard; and she wrote to thank him and also to ask him to cease speaking in her favor. Her reason for this curious attitude was never known. Some pretended that it was due to overweening pride; others spoke of her heavenly modesty. But people on the stage are not so modest as all that; and I think that I shall not be far from the truth if I ascribe her action simply to fear. Yes, I believe that Christine Daae was frightened by what had happened to her. I have a letter of Christine's (it forms part of the Persian's collection), relating to this period, which suggests a feeling of absolute dismay:

"I don't know myself when I sing," writes the poor child.

She showed herself nowhere; and the Vicomte de Chagny tried in vain to meet her. He wrote to her, asking to call upon her, but despaired of receiving a reply when, one morning, she sent him the following note:

MONSIEUR:

I have not forgotten the little boy who went into the sea to rescue my scarf. I feel that I must write to you to-day, when I am going to Perros, in fulfilment of a sacred duty. To-morrow is the anniversary of the death of my poor father, whom you knew and who was very fond of you. He is buried there, with his violin, in the graveyard of the little church, at the bottom of the slope where we used to play as children, beside the road where, when we were a little bigger, we said good-by for the last time.

The Vicomte de Chagny hurriedly consulted a railway guide, dressed as quickly as he could, wrote a few lines for his valet to take to his brother and jumped into a cab which brought him to the Gare Montparnasse just in time to miss the morning train. He spent a dismal day in town and did not recover his spirits until the evening, when he was seated in his compartment in the Brittany express. He read Christine's note over and over again, smelling its perfume, recalling the sweet pictures of his childhood, and spent the rest of that tedious night journey in feverish dreams that began and ended with Christine Daae. Day was breaking when he alighted at Lannion. He hurried to the diligence for Perros-Guirec. He was the only passenger. He questioned the driver and learned that, on the evening of the previous day, a young lady who looked like a Parisian had gone to Perros and put up at the inn known as the Setting Sun.

The nearer he drew to her, the more fondly he remembered the story of the little Swedish singer. Most of the details are still unknown to the public.

There was once, in a little market-town not far from Upsala, a peasant who lived there with his family, digging the earth during the week and singing in the choir on Sundays. This peasant had a little daughter to whom he taught the musical alphabet before she knew how to read. Daae's father was a great musician, perhaps without knowing it. Not a fiddler throughout the length and breadth of Scandinavia played as he did. His reputation was widespread and he was always invited to set the couples dancing at weddings and other festivals. His wife died when Christine was entering upon her sixth year. Then the father, who cared only for his daughter and his music, sold his patch of ground and went to Upsala in search of fame and fortune. He found nothing but poverty.

He returned to the country, wandering from fair to fair, strumming his Scandinavian melodies, while his child, who never left his side, listened to him in ecstasy or sang to his playing. One day, at Ljimby Fair, Professor Valerius heard them and took them to Gothenburg. He maintained that the father was the first violinist in the world and that the daughter had the making of a great artist. Her education and instruction were provided for. She made rapid progress and charmed everybody with her prettiness, her grace of manner and her genuine eagerness to please.

When Valerius and his wife went to settle in France, they took Daae and Christine with them. "Mamma" Valerius treated Christine as her daughter. As for Daae, he began to pine away with homesickness. He never went out of doors in Paris, but lived in a sort of dream which he kept up with his violin. For hours at a time, he remained locked up in his bedroom with his daughter, fiddling and singing, very, very softly. Sometimes Mamma Valerius would come and listen behind the door, wipe away a tear and go down-stairs again on tiptoe, sighing for her Scandinavian skies.

Daae seemed not to recover his strength until the summer, when the whole family went to stay at Perros-Guirec, in a far-away corner of Brittany, where the sea was of the same color as in his own country. Often he would play his saddest tunes on the beach and pretend that the sea stopped its roaring to listen to them. And then he induced Mamma Valerius to indulge a queer whim of his. At the time of the "pardons," or Breton pilgrimages, the village festival and dances, he went off with his fiddle, as in the old days, and was allowed to take his daughter with him for a week. They gave the smallest hamlets music to last them for a year and slept at night in a barn, refusing a bed at the inn, lying close together on the straw, as when they were so poor in Sweden. At the same time, they were very neatly dressed, made no collection, refused the halfpence offered them; and the people around could not understand the conduct of this rustic fiddler, who tramped the roads with that pretty child who sang like an angel from Heaven. They followed them from village to village.

One day, a little boy, who was out with his governess, made her take a longer walk than he intended, for he could not tear himself from the little girl whose pure, sweet voice seemed to bind him to her. They came to the shore of an inlet which is still called Trestraou, but which now, I believe, harbors a casino or something of the sort. At that time, there was nothing but sky and sea and a stretch of golden beach. Only, there was also a high wind, which blew Christine's scarf out to sea. Christine gave a cry and put out her arms, but the scarf was already far on the waves. Then she heard a voice say:

"It's all right, I'll go and fetch your scarf out of the sea."

And she saw a little boy running fast, in spite of the outcries and the indignant protests of a worthy lady in black. The little boy ran into the sea, dressed as he was, and brought her back her scarf. Boy and scarf were both soaked through. The lady in black made a great fuss, but Christine laughed merrily and kissed the little boy, who was none other than the Vicomte Raoul de Chagny, staying at Lannion with his aunt.

During the season, they saw each other and played together almost every day. At the aunt's request, seconded by Professor Valerius, Daae consented to give the young viscount some violin lessons. In this way, Raoul learned to love the same airs that had charmed Christine's childhood. They also both had the same calm and dreamy little cast of mind. They delighted in stories, in old Breton legends; and their favorite sport was to go and ask for them at the cottage-doors, like beggars:

"Ma'am ..." or, "Kind gentleman ... have you a little story to tell us, please?"

And it seldom happened that they did not have one "given" them; for nearly every old Breton grandame has, at least once in her life, seen the "korrigans" dance by moonlight on the heather.

But their great treat was, in the twilight, in the great silence of the evening, after the sun had set in the sea, when Daae came and sat down by them on the roadside and, in a low voice, as though fearing lest he should frighten the ghosts whom he evoked, told them the legends of the land of the North. And, the moment he stopped, the children would ask for more.

There was one story that began:

"A king sat in a little boat on one of those deep, still lakes that open like a bright eye in the midst of the Norwegian mountains ..."

And another:

"Little Lotte thought of everything and nothing. Her hair was golden as the sun's rays and her soul as clear and blue as her eyes. She wheedled her mother, was kind to her doll, took great care of her frock and her little red shoes and her fiddle, but most of all loved, when she went to sleep, to hear the Angel of Music."

While the old man told this story, Raoul looked at Christine's blue eyes and golden hair; and Christine thought that Lotte was very lucky to hear the Angel of Music when she went to sleep. The Angel of Music played a part in all Daddy Daae's tales; and he maintained that every great musician, every great artist received a visit from the Angel at least once in his life. Sometimes the Angel leans over their cradle, as happened to Lotte, and that is how there are little prodigies who play the fiddle at six better than men at fifty, which, you must admit, is very wonderful. Sometimes, the Angel comes much later, because the children are naughty and won't learn their lessons or practise their scales. And, sometimes, he does not come at all, because the children have a bad heart or a bad conscience.

No one ever sees the Angel; but he is heard by those who are meant to hear him. He often comes when they least expect him, when they are sad and disheartened. Then their ears suddenly perceive celestial harmonies, a divine voice, which they remember all their lives. Persons who are visited by the Angel quiver with a thrill unknown to the rest of mankind. And they can not touch an instrument, or open their mouths to sing, without producing sounds that put all other human sounds to shame. Then people who do not know that the Angel has visited those persons say that they have genius.

Little Christine asked her father if he had heard the Angel of Music. But Daddy Daae shook his head sadly; and then his eyes lit up, as he said:

"You will hear him one day, my child! When I am in Heaven, I will send him to you!"

Daddy was beginning to cough at that time.

Three years later, Raoul and Christine met again at Perros. Professor Valerius was dead, but his widow remained in France with Daddy Daae and his daughter, who continued to play the violin and sing, wrapping in their dream of harmony their kind patroness, who seemed henceforth to live on music alone. The young man, as he now was, had come to Perros on the chance of finding them and went straight to the house in which they used to stay. He first saw the old man; and then Christine entered, carrying the tea-tray. She flushed at the sight of Raoul, who went up to her and kissed her. She asked him a few questions, performed her duties as hostess prettily, took up the tray again and left the room. Then she ran into the garden and took refuge on a bench, a prey to feelings that stirred her young heart for the first time. Raoul followed her and they talked till the evening, very shyly. They were quite changed, cautious as two diplomatists, and told each other things that had nothing to do with their budding sentiments. When they took leave of each other by the roadside, Raoul, pressing a kiss on Christine's trembling hand, said:

"Mademoiselle, I shall never forget you!"

And he went away regretting his words, for he knew that Christine could not be the wife of the Vicomte de Chagny.

As for Christine, she tried not to think of him and devoted herself wholly to her art. She made wonderful progress and those who heard her prophesied that she would be the greatest singer in the world. Meanwhile, the father died; and, suddenly, she seemed to have lost, with him, her voice, her soul and her genius. She retained just, but only just, enough of this to enter the CONSERVATOIRE, where she did not distinguish herself at all, attending the classes without enthusiasm and taking a prize only to please old Mamma Valerius, with whom she continued to live.

The first time that Raoul saw Christine at the Opera, he was charmed by the girl's beauty and by the sweet images of the past which it evoked, but was rather surprised at the negative side of her art. He returned to listen to her. He followed her in the wings. He waited for her behind a Jacob's ladder. He tried to attract her attention. More than once, he walked after her to the door of her box, but she did not see him. She seemed, for that matter, to see nobody. She was all indifference. Raoul suffered, for she was very beautiful and he was shy and dared not confess his love, even to himself. And then came the lightning-flash of the gala performance: the heavens torn asunder and an angel's voice heard upon earth for the delight of mankind and the utter capture of his heart.

And then ... and then there was that man's voice behind the door—"You must love me!"—and no one in the room...

Why did she laugh when he reminded her of the incident of the scarf? Why did she not recognize him? And why had she written to him? ...

Perros was reached at last. Raoul walked into the smoky sitting-room of the Setting Sun and at once saw Christine standing before him, smiling and showing no astonishment.

"So you have come," she said. "I felt that I should find you here, when I came back from mass. Some one told me so, at the church."

"Who?" asked Raoul, taking her little hand in his.

"Why, my poor father, who is dead."

There was a silence; and then Raoul asked:

"Did your father tell you that I love you, Christine, and that I can not live without you?"

Christine blushed to the eyes and turned away her head. In a trembling voice, she said:

"Me? You are dreaming, my friend!"

And she burst out laughing, to put herself in countenance.

"Don't laugh, Christine; I am quite serious," Raoul answered.

And she replied gravely: "I did not make you come to tell me such things as that."

"You 'made me come,' Christine; you knew that your letter would not leave me indignant and that I should hasten to Perros. How can you have thought that, if you did not think I loved you?"

"I thought you would remember our games here, as children, in which my father so often joined. I really don't know what I thought... Perhaps I was wrong to write to you ... This anniversary and your sudden appearance in my room at the Opera, the other evening, reminded me of the time long past and made me write to you as the little girl that I then was..."

There was something in Christine's attitude that seemed to Raoul not natural. He did not feel any hostility in her; far from it: the distressed affection shining in her eyes told him that. But why was this affection distressed? That was what he wished to know and what was irritating him.

"When you saw me in your dressing-room, was that the first time you noticed me, Christine?"

She was incapable of lying.

"No," she said, "I had seen you several times in your brother's box. And also on the stage."

"I thought so!" said Raoul, compressing his lips. "But then why, when you saw me in your room, at your feet, reminding you that I had rescued your scarf from the sea, why did you answer as though you did not know me and also why did you laugh?"

The tone of these questions was so rough that Christine stared at Raoul without replying. The young man himself was aghast at the sudden quarrel which he had dared to raise at the very moment when he had resolved to speak words of gentleness, love and submission to Christine. A husband, a lover with all rights, would talk no differently to a wife, a mistress who had offended him. But he had gone too far and saw no other way out of the ridiculous position than to behave odiously.

"You don't answer!" he said angrily and unhappily. "Well, I will answer for you. It was because there was some one in the room who was in your way, Christine, some one that you did not wish to know that you could be interested in any one else!"

"If any one was in my way, my friend," Christine broke in coldly, "if any one was in my way, that evening, it was yourself, since I told you to leave the room!"

"Yes, so that you might remain with the other!"

"What are you saying, monsieur?" asked the girl excitedly. "And to what other do you refer?"

"To the man to whom you said, 'I sing only for you! ... to-night I gave you my soul and I am dead!'"

Christine seized Raoul's arm and clutched it with a strength which no one would have suspected in so frail a creature.

"Then you were listening behind the door?"

"Yes, because I love you everything ... And I heard everything ..."

"You heard what?"

And the young girl, becoming strangely calm, released Raoul's arm.

"He said to you, 'Christine, you must love me!'"

At these words, a deathly pallor spread over Christine's face, dark rings formed round her eyes, she staggered and seemed on the point of swooning. Raoul darted forward, with arms outstretched, but Christine had overcome her passing faintness and said, in a low voice:

"Go on! Go on! Tell me all you heard!"

At an utter loss to understand, Raoul answered: "I heard him reply, when you said you had given him your soul, 'Your soul is a beautiful thing, child, and I thank you. No emperor ever received so fair a gift. The angels wept tonight.'"

Christine carried her hand to her heart, a prey to indescribable emotion. Her eyes stared before her like a madwoman's. Raoul was terror-stricken. But suddenly Christine's eyes moistened and two great tears trickled, like two pearls, down her ivory cheeks.

"Christine!"

"Raoul!"

The young man tried to take her in his arms, but she escaped and fled in great disorder.

While Christine remained locked in her room, Raoul was at his wit's end what to do. He refused to breakfast. He was terribly concerned and bitterly grieved to see the hours, which he had hoped to find so sweet, slip past without the presence of the young Swedish girl. Why did she not come to roam with him through the country where they had so many memories in common? He heard that she had had a mass said, that morning, for the repose of her father's soul and spent a long time praying in the little church and on the fiddler's tomb. Then, as she seemed to have nothing more to do at Perros and, in fact, was doing nothing there, why did she not go back to Paris at once?

Raoul walked away, dejectedly, to the graveyard in which the church stood and was indeed alone among the tombs, reading the inscriptions; but, when he turned behind the apse, he was suddenly struck by the dazzling note of the flowers that straggled over the white ground. They were marvelous red roses that had blossomed in the morning, in the snow, giving a glimpse of life among the dead, for death was all around him. It also, like the flowers, issued from the ground, which had flung back a number of its corpses. Skeletons and skulls by the hundred were heaped against the wall of the church, held in position by a wire that left the whole gruesome stack visible. Dead men's bones, arranged in rows, like bricks, to form the first course upon which the walls of the sacristy had been built. The door of the sacristy opened in the middle of that bony structure, as is often seen in old Breton churches.

Raoul said a prayer for Daae and then, painfully impressed by all those eternal smiles on the mouths of skulls, he climbed the slope and sat down on the edge of the heath overlooking the sea. The wind fell with the evening. Raoul was surrounded by icy darkness, but he did not feel the cold. It was here, he remembered, that he used to come with little Christine to see the Korrigans dance at the rising of the moon. He had never seen any, though his eyes were good, whereas Christine, who was a little shortsighted, pretended that she had seen many. He smiled at the thought and then suddenly gave a start. A voice behind him said:

"Do you think the Korrigans will come this evening?"

It was Christine. He tried to speak. She put her gloved hand on his mouth.

"Listen, Raoul. I have decided to tell you something serious, very serious ... Do you remember the legend of the Angel of Music?"

"I do indeed," he said. "I believe it was here that your father first told it to us."

"And it was here that he said, 'When I am in Heaven, my child, I will send him to you.' Well, Raoul, my father is in Heaven, and I have been visited by the Angel of Music."

"I have no doubt of it," replied the young man gravely, for it seemed to him that his friend, in obedience to a pious thought, was connecting the memory of her father with the brilliancy of her last triumph.

Christine appeared astonished at the Vicomte de Chagny's coolness:

"How do you understand it?" she asked, bringing her pale face so close to his that he might have thought that Christine was going to give him a kiss; but she only wanted to read his eyes in spite of the dark.

"I understand," he said, "that no human being can sing as you sang the other evening without the intervention of some miracle. No professor on earth can teach you such accents as those. You have heard the Angel of Music, Christine."

"Yes," she said solemnly, "IN MY DRESSING-ROOM. That is where he comes to give me my lessons daily."

"In your dressing-room?" he echoed stupidly.

"Yes, that is where I have heard him; and I have not been the only one to hear him."

"Who else heard him, Christine?"

"You, my friend."

"I? I heard the Angel of Music?"

"Yes, the other evening, it was he who was talking when you were listening behind the door. It was he who said, 'You must love me.' But I then thought that I was the only one to hear his voice. Imagine my astonishment when you told me, this morning, that you could hear him too."

Raoul burst out laughing. The first rays of the moon came and shrouded the two young people in their light. Christine turned on Raoul with a hostile air. Her eyes, usually so gentle, flashed fire.

"What are you laughing at? YOU think you heard a man's voice, I suppose?"

"Well! ..." replied the young man, whose ideas began to grow confused in the face of Christine's determined attitude.

"It's you, Raoul, who say that? You, an old playfellow of my own! A friend of my father's! But you have changed since those days. What are you thinking of? I am an honest girl, M. le Vicomte de Chagny, and I don't lock myself up in my dressing-room with men's voices. If you had opened the door, you would have seen that there was nobody in the room!"

"That's true! I did open the door, when you were gone, and I found no one in the room."

"So you see! ... Well?"

The viscount summoned up all his courage.

"Well, Christine, I think that somebody is making game of you."

She gave a cry and ran away. He ran after her, but, in a tone of fierce anger, she called out: "Leave me! Leave me!" And she disappeared.

Raoul returned to the inn feeling very weary, very low-spirited and very sad. He was told that Christine had gone to her bedroom saying that she would not be down to dinner. Raoul dined alone, in a very gloomy mood. Then he went to his room and tried to read, went to bed and tried to sleep. There was no sound in the next room.

The hours passed slowly. It was about half-past eleven when he distinctly heard some one moving, with a light, stealthy step, in the room next to his. Then Christine had not gone to bed! Without troubling for a reason, Raoul dressed, taking care not to make a sound, and waited. Waited for what? How could he tell? But his heart thumped in his chest when he heard Christine's door turn slowly on its hinges. Where could she be going, at this hour, when every one was fast asleep at Perros? Softly opening the door, he saw Christine's white form, in the moonlight, slipping along the passage. She went down the stairs and he leaned over the baluster above her. Suddenly he heard two voices in rapid conversation. He caught one sentence: "Don't lose the key."

It was the landlady's voice. The door facing the sea was opened and locked again. Then all was still.

Raoul ran back to his room and threw back the window. Christine's white form stood on the deserted quay.

The first floor of the Setting Sun was at no great height and a tree growing against the wall held out its branches to Raoul's impatient arms and enabled him to climb down unknown to the landlady. Her amazement, therefore, was all the greater when, the next morning, the young man was brought back to her half frozen, more dead than alive, and when she learned that he had been found stretched at full length on the steps of the high altar of the little church. She ran at once to tell Christine, who hurried down and, with the help of the landlady, did her best to revive him. He soon opened his eyes and was not long in recovering when he saw his friend's charming face leaning over him.

A few weeks later, when the tragedy at the Opera compelled the intervention of the public prosecutor, M. Mifroid, the commissary of police, examined the Vicomte de Chagny touching the events of the night at Perros. I quote the questions and answers as given in the official report pp. 150 et seq.:

Q. "Did Mlle. Daae not see you come down from your room by the curious road which you selected?"

R. "No, monsieur, no, although, when walking behind her, I took no pains to deaden the sound of my footsteps. In fact, I was anxious that she should turn round and see me. I realized that I had no excuse for following her and that this way of spying on her was unworthy of me. But she seemed not to hear me and acted exactly as though I were not there. She quietly left the quay and then suddenly walked quickly up the road. The church-clock had struck a quarter to twelve and I thought that this must have made her hurry, for she began almost to run and continued hastening until she came to the church."

Q. "Was the gate open?"

R. "Yes, monsieur, and this surprised me, but did not seem to surprise Mlle. Daae."

Q. "Was there no one in the churchyard?"

R. "I did not see any one; and, if there had been, I must have seen him. The moon was shining on the snow and made the night quite light."

Q. "Was it possible for any one to hide behind the tombstones?"

R. "No, monsieur. They were quite small, poor tombstones, partly hidden under the snow, with their crosses just above the level of the ground. The only shadows were those of the crosses and ourselves. The church stood out quite brightly. I never saw so clear a night. It was very fine and very cold and one could see everything."

Q. "Are you at all superstitious?"

R. "No, monsieur, I am a practising Catholic,"

Q. "In what condition of mind were you?"

R. "Very healthy and peaceful, I assure you. Mlle. Daae's curious action in going out at that hour had worried me at first; but, as soon as I saw her go to the churchyard, I thought that she meant to fulfil some pious duty on her father's grave and I considered this so natural that I recovered all my calmness. I was only surprised that she had not heard me walking behind her, for my footsteps were quite audible on the hard snow. But she must have been taken up with her intentions and I resolved not to disturb her. She knelt down by her father's grave, made the sign of the cross and began to pray. At that moment, it struck midnight. At the last stroke, I saw Mlle. Daae life{sic} her eyes to the sky and stretch out her arms as though in ecstasy. I was wondering what the reason could be, when I myself raised my head and everything within me seemed drawn toward the invisible, WHICH WAS PLAYING THE MOST PERFECT MUSIC! Christine and I knew that music; we had heard it as children. But it had never been executed with such divine art, even by M. Daae. I remembered all that Christine had told me of the Angel of Music. The air was The Resurrection of Lazarus, which old M. Daae used to play to us in his hours of melancholy and of faith. If Christine's Angel had existed, he could not have played better, that night, on the late musician's violin. When the music stopped, I seemed to hear a noise from the skulls in the heap of bones; it was as though they were chuckling and I could not help shuddering."

Q. "Did it not occur to you that the musician might be hiding behind that very heap of bones?"

R. "It was the one thought that did occur to me, monsieur, so much so that I omitted to follow Mlle. Daae, when she stood up and walked slowly to the gate. She was so much absorbed just then that I am not surprised that she did not see me."

Q. "Then what happened that you were found in the morning lying half-dead on the steps of the high altar?"

R. "First a skull rolled to my feet ... then another ... then another ... It was as if I were the mark of that ghastly game of bowls. And I had an idea that false step must have destroyed the balance of the structure behind which our musician was concealed. This surmise seemed to be confirmed when I saw a shadow suddenly glide along the sacristy wall. I ran up. The shadow had already pushed open the door and entered the church. But I was quicker than the shadow and caught hold of a corner of its cloak. At that moment, we were just in front of the high altar; and the moonbeams fell straight upon us through the stained-glass windows of the apse. As I did not let go of the cloak, the shadow turned round; and I saw a terrible death's head, which darted a look at me from a pair of scorching eyes. I felt as if I were face to face with Satan; and, in the presence of this unearthly apparition, my heart gave way, my courage failed me ... and I remember nothing more until I recovered consciousness at the Setting Sun."




Chapter VI A Visit to Box Five

We left M. Firmin Richard and M. Armand Moncharmin at the moment when they were deciding "to look into that little matter of Box Five."

Leaving behind them the broad staircase which leads from the lobby outside the managers' offices to the stage and its dependencies, they crossed the stage, went out by the subscribers' door and entered the house through the first little passage on the left. Then they made their way through the front rows of stalls and looked at Box Five on the grand tier, They could not see it well, because it was half in darkness and because great covers were flung over the red velvet of the ledges of all the boxes.

They were almost alone in the huge, gloomy house; and a great silence surrounded them. It was the time when most of the stage-hands go out for a drink. The staff had left the boards for the moment, leaving a scene half set. A few rays of light, a wan, sinister light, that seemed to have been stolen from an expiring luminary, fell through some opening or other upon an old tower that raised its pasteboard battlements on the stage; everything, in this deceptive light, adopted a fantastic shape. In the orchestra stalls, the drugget covering them looked like an angry sea, whose glaucous waves had been suddenly rendered stationary by a secret order from the storm phantom, who, as everybody knows, is called Adamastor. MM. Moncharmin and Richard were the shipwrecked mariners amid this motionless turmoil of a calico sea. They made for the left boxes, plowing their way like sailors who leave their ship and try to struggle to the shore. The eight great polished columns stood up in the dusk like so many huge piles supporting the threatening, crumbling, big-bellied cliffs whose layers were represented by the circular, parallel, waving lines of the balconies of the grand, first and second tiers of boxes. At the top, right on top of the cliff, lost in M. Lenepveu's copper ceiling, figures grinned and grimaced, laughed and jeered at MM. Richard and Moncharmin's distress. And yet these figures were usually very serious. Their names were Isis, Amphitrite, Hebe, Pandora, Psyche, Thetis, Pomona, Daphne, Clytie, Galatea and Arethusa. Yes, Arethusa herself and Pandora, whom we all know by her box, looked down upon the two new managers of the Opera, who ended by clutching at some piece of wreckage and from there stared silently at Box Five on the grand tier.

I have said that they were distressed. At least, I presume so. M. Moncharmin, in any case, admits that he was impressed. To quote his own words, in his Memoirs:

"This moonshine about the Opera ghost in which, since we first took over the duties of MM. Poligny and Debienne, we had been so nicely steeped"—Moncharmin's style is not always irreproachable—"had no doubt ended by blinding my imaginative and also my visual faculties. It may be that the exceptional surroundings in which we found ourselves, in the midst of an incredible silence, impressed us to an unusual extent. It may be that we were the sport of a kind of hallucination brought about by the semi-darkness of the theater and the partial gloom that filled Box Five. At any rate, I saw and Richard also saw a shape in the box. Richard said nothing, nor I either. But we spontaneously seized each other's hand. We stood like that for some minutes, without moving, with our eyes fixed on the same point; but the figure had disappeared. Then we went out and, in the lobby, communicated our impressions to each other and talked about 'the shape.' The misfortune was that my shape was not in the least like Richard's. I had seen a thing like a death's head resting on the ledge of the box, whereas Richard saw the shape of an old woman who looked like Mme. Giry. We soon discovered that we had really been the victims of an illusion, whereupon, without further delay and laughing like madmen, we ran to Box Five on the grand tier, went inside and found no shape of any kind."

Box Five is just like all the other grand tier boxes. There is nothing to distinguish it from any of the others. M. Moncharmin and M. Richard, ostensibly highly amused and laughing at each other, moved the furniture of the box, lifted the cloths and the chairs and particularly examined the arm-chair in which "the man's voice" used to sit. But they saw that it was a respectable arm-chair, with no magic about it. Altogether, the box was the most ordinary box in the world, with its red hangings, its chairs, its carpet and its ledge covered in red velvet. After, feeling the carpet in the most serious manner possible, and discovering nothing more here or anywhere else, they went down to the corresponding box on the pit tier below. In Box Five on the pit tier, which is just inside the first exit from the stalls on the left, they found nothing worth mentioning either.

"Those people are all making fools of us!" Firmin Richard ended by exclaiming. "It will be FAUST on Saturday: let us both see the performance from Box Five on the grand tier!"




Chapter VII Faust and What Followed

On the Saturday morning, on reaching their office, the joint managers found a letter from O. G. worded in these terms:

MY DEAR MANAGERS:

So it is to be war between us?

If you still care for peace, here is my ultimatum. It consists of the four following conditions:

1. You must give me back my private box; and I wish it to be at my free disposal from henceforward.

2. The part of Margarita shall be sung this evening by Christine Daae. Never mind about Carlotta; she will be ill.

3. I absolutely insist upon the good and loyal services of Mme. Giry, my box-keeper, whom you will reinstate in her functions forthwith.

4. Let me know by a letter handed to Mme. Giry, who will see that it reaches me, that you accept, as your predecessors did, the conditions in my memorandum-book relating to my monthly allowance. I will inform you later how you are to pay it to me.

If you refuse, you will give FAUST to-night in a house with a curse upon it.

Take my advice and be warned in time. O. G.

"Look here, I'm getting sick of him, sick of him!" shouted Richard, bringing his fists down on his office-table.

Just then, Mercier, the acting-manager, entered.

"Lachenel would like to see one of you gentlemen," he said. "He says that his business is urgent and he seems quite upset."

"Who's Lachenel?" asked Richard.

"He's your stud-groom."

"What do you mean? My stud-groom?"

"Yes, sir," explained Mercier, "there are several grooms at the Opera and M. Lachenel is at the head of them."

"And what does this groom do?"

"He has the chief management of the stable."

"What stable?"

"Why, yours, sir, the stable of the Opera."

"Is there a stable at the Opera? Upon my word, I didn't know. Where is it?"

"In the cellars, on the Rotunda side. It's a very important department; we have twelve horses."

"Twelve horses! And what for, in Heaven's name?"

"Why, we want trained horses for the processions in the Juive, The Profeta and so on; horses 'used to the boards.' It is the grooms' business to teach them. M. Lachenel is very clever at it. He used to manage Franconi's stables."

"Very well ... but what does he want?"

"I don't know; I never saw him in such a state."

"He can come in."

M. Lachenel came in, carrying a riding-whip, with which he struck his right boot in an irritable manner.

"Good morning, M. Lachenel," said Richard, somewhat impressed. "To what do we owe the honor of your visit?"

"Mr. Manager, I have come to ask you to get rid of the whole stable."

"What, you want to get rid of our horses?"

"I'm not talking of the horses, but of the stablemen."

"How many stablemen have you, M. Lachenel?"

"Six stablemen! That's at least two too many."

"These are 'places,'" Mercier interposed, "created and forced upon us by the under-secretary for fine arts. They are filled by protegees of the government and, if I may venture to ..."

"I don't care a hang for the government!" roared Richard. "We don't need more than four stablemen for twelve horses."

"Eleven," said the head riding-master, correcting him.

"Twelve," repeated Richard.

"Eleven," repeated Lachenel.

"Oh, the acting-manager told me that you had twelve horses!"

"I did have twelve, but I have only eleven since Cesar was stolen."

And M. Lachenel gave himself a great smack on the boot with his whip.

"Has Cesar been stolen?" cried the acting-manager. "Cesar, the white horse in the Profeta?"

"There are not two Cesars," said the stud-groom dryly. "I was ten years at Franconi's and I have seen plenty of horses in my time. Well, there are not two Cesars. And he's been stolen."

"How?"

"I don't know. Nobody knows. That's why I have come to ask you to sack the whole stable."

"What do your stablemen say?"

"All sorts of nonsense. Some of them accuse the supers. Others pretend that it's the acting-manager's doorkeeper ..."

"My doorkeeper? I'll answer for him as I would for myself!" protested Mercier.

"But, after all, M. Lachenel," cried Richard, "you must have some idea."

"Yes, I have," M. Lachenel declared. "I have an idea and I'll tell you what it is. There's no doubt about it in my mind." He walked up to the two managers and whispered. "It's the ghost who did the trick!"

Richard gave a jump.

"What, you too! You too!"

"How do you mean, I too? Isn't it natural, after what I saw?"

"What did you see?"

"I saw, as clearly as I now see you, a black shadow riding a white horse that was as like Cesar as two peas!"

"And did you run after them?"

"I did and I shouted, but they were too fast for me and disappeared in the darkness of the underground gallery."

M. Richard rose. "That will do, M. Lachenel. You can go ... We will lodge a complaint against THE GHOST."

"And sack my stable?"

"Oh, of course! Good morning."

M. Lachenel bowed and withdrew. Richard foamed at the mouth.

"Settle that idiot's account at once, please."

"He is a friend of the government representative's!" Mercier ventured to say.

"And he takes his vermouth at Tortoni's with Lagrene, Scholl and Pertuiset, the lion-hunter," added Moncharmin. "We shall have the whole press against us! He'll tell the story of the ghost; and everybody will be laughing at our expense! We may as well be dead as ridiculous!"

"All right, say no more about it."

At that moment the door opened. It must have been deserted by its usual Cerberus, for Mme. Giry entered without ceremony, holding a letter in her hand, and said hurriedly:

"I beg your pardon, excuse me, gentlemen, but I had a letter this morning from the Opera ghost. He told me to come to you, that you had something to ..."

She did not complete the sentence. She saw Firmin Richard's face; and it was a terrible sight. He seemed ready to burst. He said nothing, he could not speak. But suddenly he acted. First, his left arm seized upon the quaint person of Mme. Giry and made her describe so unexpected a semicircle that she uttered a despairing cry. Next, his right foot imprinted its sole on the black taffeta of a skirt which certainly had never before undergone a similar outrage in a similar place. The thing happened so quickly that Mme. Giry, when in the passage, was still quite bewildered and seemed not to understand. But, suddenly, she understood; and the Opera rang with her indignant yells, her violent protests and threats.

About the same time, Carlotta, who had a small house of her own in the Rue du Faubourg St. Honore, rang for her maid, who brought her letters to her bed. Among them was an anonymous missive, written in red ink, in a hesitating, clumsy hand, which ran:

If you appear to-night, you must be prepared for a great misfortune at the moment when you open your mouth to sing ... a misfortune worse than death.

The letter took away Carlotta's appetite for breakfast. She pushed back her chocolate, sat up in bed and thought hard. It was not the first letter of the kind which she had received, but she never had one couched in such threatening terms.

She thought herself, at that time, the victim of a thousand jealous attempts and went about saying that she had a secret enemy who had sworn to ruin her. She pretended that a wicked plot was being hatched against her, a cabal which would come to a head one of those days; but she added that she was not the woman to be intimidated.

The truth is that, if there was a cabal, it was led by Carlotta herself against poor Christine, who had no suspicion of it. Carlotta had never forgiven Christine for the triumph which she had achieved when taking her place at a moment's notice. When Carlotta heard of the astounding reception bestowed upon her understudy, she was at once cured of an incipient attack of bronchitis and a bad fit of sulking against the management and lost the slightest inclination to shirk her duties. From that time, she worked with all her might to "smother" her rival, enlisting the services of influential friends to persuade the managers not to give Christine an opportunity for a fresh triumph. Certain newspapers which had begun to extol the talent of Christine now interested themselves only in the fame of Carlotta. Lastly, in the theater itself, the celebrated, but heartless and soulless diva made the most scandalous remarks about Christine and tried to cause her endless minor unpleasantnesses.

When Carlotta had finished thinking over the threat contained in the strange letter, she got up.

"We shall see," she said, adding a few oaths in her native Spanish with a very determined air.

The first thing she saw, when looking out of her window, was a hearse. She was very superstitious; and the hearse and the letter convinced her that she was running the most serious dangers that evening. She collected all her supporters, told them that she was threatened at that evening's performance with a plot organized by Christine Daae and declared that they must play a trick upon that chit by filling the house with her, Carlotta's, admirers. She had no lack of them, had she? She relied upon them to hold themselves prepared for any eventuality and to silence the adversaries, if, as she feared, they created a disturbance.

M. Richard's private secretary called to ask after the diva's health and returned with the assurance that she was perfectly well and that, "were she dying," she would sing the part of Margarita that evening. The secretary urged her, in his chief's name, to commit no imprudence, to stay at home all day and to be careful of drafts; and Carlotta could not help, after he had gone, comparing this unusual and unexpected advice with the threats contained in the letter.

It was five o'clock when the post brought a second anonymous letter in the same hand as the first. It was short and said simply:

You have a bad cold. If you are wise, you will see that it is madness to try to sing to-night.

Carlotta sneered, shrugged her handsome shoulders and sang two or three notes to reassure herself.

Her friends were faithful to their promise. They were all at the Opera that night, but looked round in vain for the fierce conspirators whom they were instructed to suppress. The only unusual thing was the presence of M. Richard and M. Moncharmin in Box Five. Carlotta's friends thought that, perhaps, the managers had wind, on their side, of the proposed disturbance and that they had determined to be in the house, so as to stop it then and there; but this was unjustifiable supposition, as the reader knows. M. Richard and M. Moncharmin were thinking of nothing but their ghost.

"Vain! In vain do I call, through my vigil weary, On creation and its Lord! Never reply will break the silence dreary! No sign! No single word!"

The famous baritone, Carolus Fonta, had hardly finished Doctor Faust's first appeal to the powers of darkness, when M. Firmin Richard, who was sitting in the ghost's own chair, the front chair on the right, leaned over to his partner and asked him chaffingly:

"Well, has the ghost whispered a word in your ear yet?"

"Wait, don't be in such a hurry," replied M. Armand Moncharmin, in the same gay tone. "The performance has only begun and you know that the ghost does not usually come until the middle of the first act."

The first act passed without incident, which did not surprise Carlotta's friends, because Margarita does not sing in this act. As for the managers, they looked at each other, when the curtain fell.

"That's one!" said Moncharmin.

"Yes, the ghost is late," said Firmin Richard.

"It's not a bad house," said Moncharmin, "for 'a house with a curse on it.'"

M. Richard smiled and pointed to a fat, rather vulgar woman, dressed in black, sitting in a stall in the middle of the auditorium with a man in a broadcloth frock-coat on either side of her.

"Who on earth are 'those?'" asked Moncharmin.

"'Those,' my dear fellow, are my concierge, her husband and her brother."

"Did you give them their tickets?"

"I did ... My concierge had never been to the Opera—this is, the first time—and, as she is now going to come every night, I wanted her to have a good seat, before spending her time showing other people to theirs."

Moncharmin asked what he meant and Richard answered that he had persuaded his concierge, in whom he had the greatest confidence, to come and take Mme. Giry's place. Yes, he would like to see if, with that woman instead of the old lunatic, Box Five would continue to astonish the natives?

"By the way," said Moncharmin, "you know that Mother Giry is going to lodge a complaint against you."

"With whom? The ghost?"

The ghost! Moncharmin had almost forgotten him. However, that mysterious person did nothing to bring himself to the memory of the managers; and they were just saying so to each other for the second time, when the door of the box suddenly opened to admit the startled stage-manager.

"What's the matter?" they both asked, amazed at seeing him there at such a time.

"It seems there's a plot got up by Christine Daae's friends against Carlotta. Carlotta's furious."

"What on earth ... ?" said Richard, knitting his brows.

But the curtain rose on the kermess scene and Richard made a sign to the stage-manager to go away. When the two were alone again, Moncharmin leaned over to Richard:

"Then Daae has friends?" he asked.

"Yes, she has."

"Whom?"

Richard glanced across at a box on the grand tier containing no one but two men.

"The Comte de Chagny?"

"Yes, he spoke to me in her favor with such warmth that, if I had not known him to be Sorelli's friend ..."

"Really? Really?" said Moncharmin. "And who is that pale young man beside him?"

"That's his brother, the viscount."

"He ought to be in his bed. He looks ill."

The stage rang with gay song:

"Red or white liquor,
Coarse or fine!
What can it matter,
So we have wine?"

Students, citizens, soldiers, girls and matrons whirled light-heartedly before the inn with the figure of Bacchus for a sign. Siebel made her entrance. Christine Daae looked charming in her boy's clothes; and Carlotta's partisans expected to hear her greeted with an ovation which would have enlightened them as to the intentions of her friends. But nothing happened.

On the other hand, when Margarita crossed the stage and sang the only two lines allotted her in this second act:

"No, my lord, not a lady am I, nor yet a beauty,
And do not need an arm to help me on my way,"

Carlotta was received with enthusiastic applause. It was so unexpected and so uncalled for that those who knew nothing about the rumors looked at one another and asked what was happening. And this act also was finished without incident.

Then everybody said: "Of course, it will be during the next act."

Some, who seemed to be better informed than the rest, declared that the "row" would begin with the ballad of the KING OF THULE and rushed to the subscribers' entrance to warn Carlotta. The managers left the box during the entr'acte to find out more about the cabal of which the stage-manager had spoken; but they soon returned to their seats, shrugging their shoulders and treating the whole affair as silly.

The first thing they saw, on entering the box, was a box of English sweets on the little shelf of the ledge. Who had put it there? They asked the box-keepers, but none of them knew. Then they went back to the shelf and, next to the box of sweets, found an opera glass. They looked at each other. They had no inclination to laugh. All that Mme. Giry had told them returned to their memory ... and then ... and then ... they seemed to feel a curious sort of draft around them ... They sat down in silence.

The scene represented Margarita's garden:

"Gentle flow'rs in the dew,
    Be message from me ..."

As she sang these first two lines, with her bunch of roses and lilacs in her hand, Christine, raising her head, saw the Vicomte de Chagny in his box; and, from that moment, her voice seemed less sure, less crystal-clear than usual. Something seemed to deaden and dull her singing...

"What a queer girl she is!" said one of Carlotta's friends in the stalls, almost aloud. "The other day she was divine; and to-night she's simply bleating. She has no experience, no training."

"Gentle flow'rs, lie ye there
    And tell her from me ..."

The viscount put his head under his hands and wept. The count, behind him, viciously gnawed his mustache, shrugged his shoulders and frowned. For him, usually so cold and correct, to betray his inner feelings like that, by outward signs, the count must be very angry. He was. He had seen his brother return from a rapid and mysterious journey in an alarming state of health. The explanation that followed was unsatisfactory and the count asked Christine Daae for an appointment. She had the audacity to reply that she could not see either him or his brother...

"Would she but deign to hear me
And with one smile to cheer me ..."

"The little baggage!" growled the count.

And he wondered what she wanted. What she was hoping for... She was a virtuous girl, she was said to have no friend, no protector of any sort ... That angel from the North must be very artful!

Raoul, behind the curtain of his hands that veiled his boyish tears, thought only of the letter which he received on his return to Paris, where Christine, fleeing from Perros like a thief in the night, had arrived before him:

MY DEAR LITTLE PLAYFELLOW:

You must have the courage not to see me again, not to speak of me again. If you love me just a little, do this for me, for me who will never forget you, my dear Raoul. My life depends upon it. Your life depends upon it. YOUR LITTLE CHRISTINE.

Thunders of applause. Carlotta made her entrance.

"I wish I could but know who was he
That addressed me,
If he was noble, or, at least, what his name is ..."

When Margarita had finished singing the ballad of the KING OF THULE, she was loudly cheered and again when she came to the end of the jewel song:

"Ah, the joy of past compare
These jewels bright to wear! ..."

Thenceforth, certain of herself, certain of her friends in the house, certain of her voice and her success, fearing nothing, Carlotta flung herself into her part without restraint of modesty ... She was no longer Margarita, she was Carmen. She was applauded all the more; and her debut with Faust seemed about to bring her a new success, when suddenly ... a terrible thing happened.

Faust had knelt on one knee:

"Let me gaze on the form below me,
    While from yonder ether blue
Look how the star of eve, bright and tender,
        lingers o'er me,
    To love thy beauty too!"

And Margarita replied:

"Oh, how strange!
      Like a spell does the evening bind me!
And a deep languid charm
I feel without alarm
      With its melody enwind me
And all my heart subdue."

At that moment, at that identical moment, the terrible thing happened... Carlotta croaked like a toad:

"Co-ack!"

There was consternation on Carlotta's face and consternation on the faces of all the audience. The two managers in their box could not suppress an exclamation of horror. Every one felt that the thing was not natural, that there was witchcraft behind it. That toad smelt of brimstone. Poor, wretched, despairing, crushed Carlotta!

The uproar in the house was indescribable. If the thing had happened to any one but Carlotta, she would have been hooted. But everybody knew how perfect an instrument her voice was; and there was no display of anger, but only of horror and dismay, the sort of dismay which men would have felt if they had witnessed the catastrophe that broke the arms of the Venus de Milo... And even then they would have seen ... and understood ...

But here that toad was incomprehensible! So much so that, after some seconds spent in asking herself if she had really heard that note, that sound, that infernal noise issue from her throat, she tried to persuade herself that it was not so, that she was the victim of an illusion, an illusion of the ear, and not of an act of treachery on the part of her voice....

Meanwhile, in Box Five, Moncharmin and Richard had turned very pale. This extraordinary and inexplicable incident filled them with a dread which was the more mysterious inasmuch as for some little while, they had fallen within the direct influence of the ghost. They had felt his breath. Moncharmin's hair stood on end. Richard wiped the perspiration from his forehead. Yes, the ghost was there, around them, behind them, beside them; they felt his presence without seeing him, they heard his breath, close, close, close to them! ... They were sure that there were three people in the box ... They trembled ... They thought of running away ... They dared not ... They dared not make a movement or exchange a word that would have told the ghost that they knew that he was there! ... What was going to happen?

This happened.

"Co-ack!" Their joint exclamation of horror was heard all over the house. THEY FELT THAT THEY WERE SMARTING UNDER THE GHOST'S ATTACKS. Leaning over the ledge of their box, they stared at Carlotta as though they did not recognize her. That infernal girl must have given the signal for some catastrophe. Ah, they were waiting for the catastrophe! The ghost had told them it would come! The house had a curse upon it! The two managers gasped and panted under the weight of the catastrophe. Richard's stifled voice was heard calling to Carlotta:

"Well, go on!"

No, Carlotta did not go on ... Bravely, heroically, she started afresh on the fatal line at the end of which the toad had appeared.

An awful silence succeeded the uproar. Carlotta's voice alone once more filled the resounding house:

"I feel without alarm ..."

The audience also felt, but not without alarm. ..

"I feel without alarm ...
I feel without alarm—co-ack!
With its melody enwind me—co-ack!
And all my heart sub—co-ack!"

The toad also had started afresh!

The house broke into a wild tumult. The two managers collapsed in their chairs and dared not even turn round; they had not the strength; the ghost was chuckling behind their backs! And, at last, they distinctly heard his voice in their right ears, the impossible voice, the mouthless voice, saying:

"SHE IS SINGING TO-NIGHT TO BRING THE CHANDELIER DOWN!"

With one accord, they raised their eyes to the ceiling and uttered a terrible cry. The chandelier, the immense mass of the chandelier was slipping down, coming toward them, at the call of that fiendish voice. Released from its hook, it plunged from the ceiling and came smashing into the middle of the stalls, amid a thousand shouts of terror. A wild rush for the doors followed.

The papers of the day state that there were numbers wounded and one killed. The chandelier had crashed down upon the head of the wretched woman who had come to the Opera for the first time in her life, the one whom M. Richard had appointed to succeed Mme. Giry, the ghost's box-keeper, in her functions! She died on the spot and, the next morning, a newspaper appeared with this heading:

TWO HUNDRED KILOS ON THE HEAD OF A CONCIERGE

That was her sole epitaph!




Chapter VIII The Mysterious Brougham

That tragic evening was bad for everybody. Carlotta fell ill. As for Christine Daae, she disappeared after the performance. A fortnight elapsed during which she was seen neither at the Opera nor outside.

Raoul, of course, was the first to be astonished at the prima donna's absence. He wrote to her at Mme. Valerius' flat and received no reply. His grief increased and he ended by being seriously alarmed at never seeing her name on the program. FAUST was played without her.

One afternoon he went to the managers' office to ask the reason of Christine's disappearance. He found them both looking extremely worried. Their own friends did not recognize them: they had lost all their gaiety and spirits. They were seen crossing the stage with hanging heads, care-worn brows, pale cheeks, as though pursued by some abominable thought or a prey to some persistent sport of fate.

The fall of the chandelier had involved them in no little responsibility; but it was difficult to make them speak about it. The inquest had ended in a verdict of accidental death, caused by the wear and tear of the chains by which the chandelier was hung from the ceiling; but it was the duty of both the old and the new managers to have discovered this wear and tear and to have remedied it in time. And I feel bound to say that MM. Richard and Moncharmin at this time appeared so changed, so absent-minded, so mysterious, so incomprehensible that many of the subscribers thought that some event even more horrible than the fall of the chandelier must have affected their state of mind.

In their daily intercourse, they showed themselves very impatient, except with Mme. Giry, who had been reinstated in her functions. And their reception of the Vicomte de Chagny, when he came to ask about Christine, was anything but cordial. They merely told him that she was taking a holiday. He asked how long the holiday was for, and they replied curtly that it was for an unlimited period, as Mlle. Daae had requested leave of absence for reasons of health.

"Then she is ill!" he cried. "What is the matter with her?"

"We don't know."

"Didn't you send the doctor of the Opera to see her?"

"No, she did not ask for him; and, as we trust her, we took her word."

Raoul left the building a prey to the gloomiest thoughts. He resolved, come what might, to go and inquire of Mamma Valerius. He remembered the strong phrases in Christine's letter, forbidding him to make any attempt to see her. But what he had seen at Perros, what he had heard behind the dressing-room door, his conversation with Christine at the edge of the moor made him suspect some machination which, devilish though it might be, was none the less human. The girl's highly strung imagination, her affectionate and credulous mind, the primitive education which had surrounded her childhood with a circle of legends, the constant brooding over her dead father and, above all, the state of sublime ecstasy into which music threw her from the moment that this art was made manifest to her in certain exceptional conditions, as in the churchyard at Perros; all this seemed to him to constitute a moral ground only too favorable for the malevolent designs of some mysterious and unscrupulous person. Of whom was Christine Daae the victim? This was the very reasonable question which Raoul put to himself as he hurried off to Mamma Valerius.

He trembled as he rang at a little flat in the Rue Notre-Dame-des-Victoires. The door was opened by the maid whom he had seen coming out of Christine's dressing-room one evening. He asked if he could speak to Mme. Valerius. He was told that she was ill in bed and was not receiving visitors.

"Take in my card, please," he said.

The maid soon returned and showed him into a small and scantily furnished drawing-room, in which portraits of Professor Valerius and old Daae hung on opposite walls.

"Madame begs Monsieur le Vicomte to excuse her," said the servant. "She can only see him in her bedroom, because she can no longer stand on her poor legs."

Five minutes later, Raoul was ushered into an ill-lit room where he at once recognized the good, kind face of Christine's benefactress in the semi-darkness of an alcove. Mamma Valerius' hair was now quite white, but her eyes had grown no older; never, on the contrary, had their expression been so bright, so pure, so child-like.

"M. de Chagny!" she cried gaily, putting out both her hands to her visitor. "Ah, it's Heaven that sends you here! ... We can talk of HER."

This last sentence sounded very gloomily in the young man's ears. He at once asked:

"Madame ... where is Christine?"

And the old lady replied calmly:

"She is with her good genius!"

"What good genius?" exclaimed poor Raoul.

"Why, the Angel of Music!"

The viscount dropped into a chair. Really? Christine was with the Angel of Music? And there lay Mamma Valerius in bed, smiling to him and putting her finger to her lips, to warn him to be silent! And she added:

"You must not tell anybody!"

"You can rely on me," said Raoul.

He hardly knew what he was saying, for his ideas about Christine, already greatly confused, were becoming more and more entangled; and it seemed as if everything was beginning to turn around him, around the room, around that extraordinary good lady with the white hair and forget-me-not eyes.

"I know! I know I can!" she said, with a happy laugh. "But why don't you come near me, as you used to do when you were a little boy? Give me your hands, as when you brought me the story of little Lotte, which Daddy Daae had told you. I am very fond of you, M. Raoul, you know. And so is Christine too!"

"She is fond of me!" sighed the young man. He found a difficulty in collecting his thoughts and bringing them to bear on Mamma Valerius' "good genius," on the Angel of Music of whom Christine had spoken to him so strangely, on the death's head which he had seen in a sort of nightmare on the high altar at Perros and also on the Opera ghost, whose fame had come to his ears one evening when he was standing behind the scenes, within hearing of a group of scene-shifters who were repeating the ghastly description which the hanged man, Joseph Buquet, had given of the ghost before his mysterious death.

He asked in a low voice: "What makes you think that Christine is fond of me, madame?"

"She used to speak of you every day."

"Really? ... And what did she tell you?"

"She told me that you had made her a proposal!"

And the good old lady began laughing wholeheartedly. Raoul sprang from his chair, flushing to the temples, suffering agonies.

"What's this? Where are you going? Sit down again at once, will you? ... Do you think I will let you go like that? ... If you're angry with me for laughing, I beg your pardon... After all, what has happened isn't your fault... Didn't you know? ... Did you think that Christine was free? ..."

"Is Christine engaged to be married?" the wretched Raoul asked, in a choking voice.

"Why no! Why no! ... You know as well as I do that Christine couldn't marry, even if she wanted to!"

"But I don't know anything about it! ... And why can't Christine marry?"

"Because of the Angel of Music, of course! ..."

"I don't follow ..."

"Yes, he forbids her to! ..."

"He forbids her! ... The Angel of Music forbids her to marry!"

"Oh, he forbids her ... without forbidding her. It's like this: he tells her that, if she got married, she would never hear him again. That's all! ... And that he would go away for ever! ... So, you understand, she can't let the Angel of Music go. It's quite natural."

"Yes, yes," echoed Raoul submissively, "it's quite natural."

"Besides, I thought Christine had told you all that, when she met you at Perros, where she went with her good genius."

"Oh, she went to Perros with her good genius, did she?"

"That is to say, he arranged to meet her down there, in Perros churchyard, at Daae's grave. He promised to play her The Resurrection of Lazarus on her father's violin!"

Raoul de Chagny rose and, with a very authoritative air, pronounced these peremptory words:

"Madame, you will have the goodness to tell me where that genius lives."

The old lady did not seem surprised at this indiscreet command. She raised her eyes and said:

"In Heaven!"

Such simplicity baffled him. He did not know what to say in the presence of this candid and perfect faith in a genius who came down nightly from Heaven to haunt the dressing-rooms at the Opera.

He now realized the possible state of mind of a girl brought up between a superstitious fiddler and a visionary old lady and he shuddered when he thought of the consequences of it all.

"Is Christine still a good girl?" he asked suddenly, in spite of himself.

"I swear it, as I hope to be saved!" exclaimed the old woman, who, this time, seemed to be incensed. "And, if you doubt it, sir, I don't know what you are here for!"

Raoul tore at his gloves.

"How long has she known this 'genius?'"

"About three months ... Yes, it's quite three months since he began to give her lessons."

The viscount threw up his arms with a gesture of despair.

"The genius gives her lessons! ... And where, pray?"

"Now that she has gone away with him, I can't say; but, up to a fortnight ago, it was in Christine's dressing-room. It would be impossible in this little flat. The whole house would hear them. Whereas, at the Opera, at eight o'clock in the morning, there is no one about, do you see!"

"Yes, I see! I see!" cried the viscount.

And he hurriedly took leave of Mme. Valerius, who asked herself if the young nobleman was not a little off his head.

He walked home to his brother's house in a pitiful state. He could have struck himself, banged his head against the walls! To think that he had believed in her innocence, in her purity! The Angel of Music! He knew him now! He saw him! It was beyond a doubt some unspeakable tenor, a good-looking jackanapes, who mouthed and simpered as he sang! He thought himself as absurd and as wretched as could be. Oh, what a miserable, little, insignificant, silly young man was M. le Vicomte de Chagny! thought Raoul, furiously. And she, what a bold and damnable sly creature!

His brother was waiting for him and Raoul fell into his arms, like a child. The count consoled him, without asking for explanations; and Raoul would certainly have long hesitated before telling him the story of the Angel of Music. His brother suggested taking him out to dinner. Overcome as he was with despair, Raoul would probably have refused any invitation that evening, if the count had not, as an inducement, told him that the lady of his thoughts had been seen, the night before, in company of the other sex in the Bois. At first, the viscount refused to believe; but he received such exact details that he ceased protesting. She had been seen, it appeared, driving in a brougham, with the window down. She seemed to be slowly taking in the icy night air. There was a glorious moon shining. She was recognized beyond a doubt. As for her companion, only his shadowy outline was distinguished leaning back in the dark. The carriage was going at a walking pace in a lonely drive behind the grand stand at Longchamp.

Raoul dressed in frantic haste, prepared to forget his distress by flinging himself, as people say, into "the vortex of pleasure." Alas, he was a very sorry guest and, leaving his brother early, found himself, by ten o'clock in the evening, in a cab, behind the Longchamp race-course.

It was bitterly cold. The road seemed deserted and very bright under the moonlight. He told the driver to wait for him patiently at the corner of a near turning and, hiding himself as well as he could, stood stamping his feet to keep warm. He had been indulging in this healthy exercise for half an hour or so, when a carriage turned the corner of the road and came quietly in his direction, at a walking pace.

As it approached, he saw that a woman was leaning her head from the window. And, suddenly, the moon shed a pale gleam over her features.

"Christine!"

The sacred name of his love had sprung from his heart and his lips. He could not keep it back... He would have given anything to withdraw it, for that name, proclaimed in the stillness of the night, had acted as though it were the preconcerted signal for a furious rush on the part of the whole turn-out, which dashed past him before he could put into execution his plan of leaping at the horses' heads. The carriage window had been closed and the girl's face had disappeared. And the brougham, behind which he was now running, was no more than a black spot on the white road.

He called out again: "Christine!"

No reply. And he stopped in the midst of the silence.

With a lack-luster eye, he stared down that cold, desolate road and into the pale, dead night. Nothing was colder than his heart, nothing half so dead: he had loved an angel and now he despised a woman!

Raoul, how that little fairy of the North has trifled with you! Was it really, was it really necessary to have so fresh and young a face, a forehead so shy and always ready to cover itself with the pink blush of modesty in order to pass in the lonely night, in a carriage and pair, accompanied by a mysterious lover? Surely there should be some limit to hypocrisy and lying! ...

She had passed without answering his cry ... And he was thinking of dying; and he was twenty years old! ...

His valet found him in the morning sitting on his bed. He had not undressed and the servant feared, at the sight of his face, that some disaster had occurred. Raoul snatched his letters from the man's hands. He had recognized Christine's paper and hand-writing. She said:

DEAR:

Go to the masked ball at the Opera on the night after to-morrow. At twelve o'clock, be in the little room behind the chimney-place of the big crush-room. Stand near the door that leads to the Rotunda. Don't mention this appointment to any one on earth. Wear a white domino and be carefully masked. As you love me, do not let yourself be recognized. CHRISTINE.




Chapter IX At the Masked Ball

The envelope was covered with mud and unstamped. It bore the words "To be handed to M. le Vicomte Raoul de Chagny," with the address in pencil. It must have been flung out in the hope that a passer-by would pick up the note and deliver it, which was what happened. The note had been picked up on the pavement of the Place de l'Opera.

Raoul read it over again with fevered eyes. No more was needed to revive his hope. The somber picture which he had for a moment imagined of a Christine forgetting her duty to herself made way for his original conception of an unfortunate, innocent child, the victim of imprudence and exaggerated sensibility. To what extent, at this time, was she really a victim? Whose prisoner was she? Into what whirlpool had she been dragged? He asked himself these questions with a cruel anguish; but even this pain seemed endurable beside the frenzy into which he was thrown at the thought of a lying and deceitful Christine. What had happened? What influence had she undergone? What monster had carried her off and by what means? ...

By what means indeed but that of music? He knew Christine's story. After her father's death, she acquired a distaste of everything in life, including her art. She went through the CONSERVATOIRE like a poor soulless singing-machine. And, suddenly, she awoke as though through the intervention of a god. The Angel of Music appeared upon the scene! She sang Margarita in FAUST and triumphed! ...

The Angel of Music! ... For three months the Angel of Music had been giving Christine lessons ... Ah, he was a punctual singing-master! ... And now he was taking her for drives in the Bois! ...

Raoul's fingers clutched at his flesh, above his jealous heart. In his inexperience, he now asked himself with terror what game the girl was playing? Up to what point could an opera-singer make a fool of a good-natured young man, quite new to love? O misery! ...

Thus did Raoul's thoughts fly from one extreme to the other. He no longer knew whether to pity Christine or to curse her; and he pitied and cursed her turn and turn about. At all events, he bought a white domino.

The hour of the appointment came at last. With his face in a mask trimmed with long, thick lace, looking like a pierrot in his white wrap, the viscount thought himself very ridiculous. Men of the world do not go to the Opera ball in fancy-dress! It was absurd. One thought, however, consoled the viscount: he would certainly never be recognized!

This ball was an exceptional affair, given some time before Shrovetide, in honor of the anniversary of the birth of a famous draftsman; and it was expected to be much gayer, noisier, more Bohemian than the ordinary masked ball. Numbers of artists had arranged to go, accompanied by a whole cohort of models and pupils, who, by midnight, began to create a tremendous din. Raoul climbed the grand staircase at five minutes to twelve, did not linger to look at the motley dresses displayed all the way up the marble steps, one of the richest settings in the world, allowed no facetious mask to draw him into a war of wits, replied to no jests and shook off the bold familiarity of a number of couples who had already become a trifle too gay. Crossing the big crush-room and escaping from a mad whirl of dancers in which he was caught for a moment, he at last entered the room mentioned in Christine's letter. He found it crammed; for this small space was the point where all those who were going to supper in the Rotunda crossed those who were returning from taking a glass of champagne. The fun, here, waxed fast and furious.

Raoul leaned against a door-post and waited. He did not wait long. A black domino passed and gave a quick squeeze to the tips of his fingers. He understood that it was she and followed her:

"Is that you, Christine?" he asked, between his teeth.

The black domino turned round promptly and raised her finger to her lips, no doubt to warn him not to mention her name again. Raoul continued to follow her in silence.

He was afraid of losing her, after meeting her again in such strange circumstances. His grudge against her was gone. He no longer doubted that she had "nothing to reproach herself with," however peculiar and inexplicable her conduct might seem. He was ready to make any display of clemency, forgiveness or cowardice. He was in love. And, no doubt, he would soon receive a very natural explanation of her curious absence.

The black domino turned back from time to time to see if the white domino was still following.

As Raoul once more passed through the great crush-room, this time in the wake of his guide, he could not help noticing a group crowding round a person whose disguise, eccentric air and gruesome appearance were causing a sensation. It was a man dressed all in scarlet, with a huge hat and feathers on the top of a wonderful death's head. From his shoulders hung an immense red-velvet cloak, which trailed along the floor like a king's train; and on this cloak was embroidered, in gold letters, which every one read and repeated aloud, "Don't touch me! I am Red Death stalking abroad!"

Then one, greatly daring, did try to touch him ... but a skeleton hand shot out of a crimson sleeve and violently seized the rash one's wrist; and he, feeling the clutch of the knucklebones, the furious grasp of Death, uttered a cry of pain and terror. When Red Death released him at last, he ran away like a very madman, pursued by the jeers of the bystanders.

It was at this moment that Raoul passed in front of the funereal masquerader, who had just happened to turn in his direction. And he nearly exclaimed:

"The death's head of Perros-Guirec!"

He had recognized him! ... He wanted to dart forward, forgetting Christine; but the black domino, who also seemed a prey to some strange excitement, caught him by the arm and dragged him from the crush-room, far from the mad crowd through which Red Death was stalking...

The black domino kept on turning back and, apparently, on two occasions saw something that startled her, for she hurried her pace and Raoul's as though they were being pursued.

They went up two floors. Here, the stairs and corridors were almost deserted. The black domino opened the door of a private box and beckoned to the white domino to follow her. Then Christine, whom he recognized by the sound of her voice, closed the door behind them and warned him, in a whisper, to remain at the back of the box and on no account to show himself. Raoul took off his mask. Christine kept hers on. And, when Raoul was about to ask her to remove it, he was surprised to see her put her ear to the partition and listen eagerly for a sound outside. Then she opened the door ajar, looked out into the corridor and, in a low voice, said:

"He must have gone up higher." Suddenly she exclaimed: "He is coming down again!"

She tried to close the door, but Raoul prevented her; for he had seen, on the top step of the staircase that led to the floor above, A RED FOOT, followed by another ... and slowly, majestically, the whole scarlet dress of Red Death met his eyes. And he once more saw the death's head of Perros-Guirec.

"It's he!" he exclaimed. "This time, he shall not escape me! ..."

But Christian{sic} had slammed the door at the moment when Raoul was on the point of rushing out. He tried to push her aside.

"Whom do you mean by 'he'?" she asked, in a changed voice. "Who shall not escape you?"

Raoul tried to overcome the girl's resistance by force, but she repelled him with a strength which he would not have suspected in her. He understood, or thought he understood, and at once lost his temper.

"Who?" he repeated angrily. "Why, he, the man who hides behind that hideous mask of death! ... The evil genius of the churchyard at Perros! ... Red Death! ... In a word, madam, your friend ... your Angel of Music! ... But I shall snatch off his mask, as I shall snatch off my own; and, this time, we shall look each other in the face, he and I, with no veil and no lies between us; and I shall know whom you love and who loves you!"

He burst into a mad laugh, while Christine gave a disconsolate moan behind her velvet mask. With a tragic gesture, she flung out her two arms, which fixed a barrier of white flesh against the door.

"In the name of our love, Raoul, you shall not pass! ..."

He stopped. What had she said? ... In the name of their love? ... Never before had she confessed that she loved him. And yet she had had opportunities enough ... Pooh, her only object was to gain a few seconds! ... She wished to give the Red Death time to escape ... And, in accents of childish hatred, he said:

"You lie, madam, for you do not love me and you have never loved me! What a poor fellow I must be to let you mock and flout me as you have done! Why did you give me every reason for hope, at Perros ... for honest hope, madam, for I am an honest man and I believed you to be an honest woman, when your only intention was to deceive me! Alas, you have deceived us all! You have taken a shameful advantage of the candid affection of your benefactress herself, who continues to believe in your sincerity while you go about the Opera ball with Red Death! ... I despise you! ..."

And he burst into tears. She allowed him to insult her. She thought of but one thing, to keep him from leaving the box.

"You will beg my pardon, one day, for all those ugly words, Raoul, and when you do I shall forgive you!"

He shook his head. "No, no, you have driven me mad! When I think that I had only one object in life: to give my name to an opera wench!"

"Raoul! ... How can you?"

"I shall die of shame!"

"No, dear, live!" said Christine's grave and changed voice. "And ... good-by. Good-by, Raoul ..."

The boy stepped forward, staggering as he went. He risked one more sarcasm:

"Oh, you must let me come and applaud you from time to time!"

"I shall never sing again, Raoul! ..."

"Really?" he replied, still more satirically. "So he is taking you off the stage: I congratulate you! ... But we shall meet in the Bois, one of these evenings!"

"Not in the Bois nor anywhere, Raoul: you shall not see me again ..."

"May one ask at least to what darkness you are returning? ... For what hell are you leaving, mysterious lady ... or for what paradise?"

"I came to tell you, dear, but I can't tell you now ... you would not believe me! You have lost faith in me, Raoul; it is finished!"

She spoke in such a despairing voice that the lad began to feel remorse for his cruelty.

"But look here!" he cried. "Can't you tell me what all this means! ... You are free, there is no one to interfere with you... You go about Paris ... You put on a domino to come to the ball... Why do you not go home? ... What have you been doing this past fortnight? ... What is this tale about the Angel of Music, which you have been telling Mamma Valerius? Some one may have taken you in, played upon your innocence. I was a witness of it myself, at Perros ... but you know what to believe now! You seem to me quite sensible, Christine. You know what you are doing ... And meanwhile Mamma Valerius lies waiting for you at home and appealing to your 'good genius!' ... Explain yourself, Christine, I beg of you! Any one might have been deceived as I was. What is this farce?"

Christine simply took off her mask and said: "Dear, it is a tragedy!"

Raoul now saw her face and could not restrain an exclamation of surprise and terror. The fresh complexion of former days was gone. A mortal pallor covered those features, which he had known so charming and so gentle, and sorrow had furrowed them with pitiless lines and traced dark and unspeakably sad shadows under her eyes.

"My dearest! My dearest!" he moaned, holding out his arms. "You promised to forgive me ..."

"Perhaps! ... Some day, perhaps!" she said, resuming her mask; and she went away, forbidding him, with a gesture, to follow her.

He tried to disobey her; but she turned round and repeated her gesture of farewell with such authority that he dared not move a step.

He watched her till she was out of sight. Then he also went down among the crowd, hardly knowing what he was doing, with throbbing temples and an aching heart; and, as he crossed the dancing-floor, he asked if anybody had seen Red Death. Yes, every one had seen Red Death; but Raoul could not find him; and, at two o'clock in the morning, he turned down the passage, behind the scenes, that led to Christine Daae's dressing-room.

His footsteps took him to that room where he had first known suffering. He tapped at the door. There was no answer. He entered, as he had entered when he looked everywhere for "the man's voice." The room was empty. A gas-jet was burning, turned down low. He saw some writing-paper on a little desk. He thought of writing to Christine, but he heard steps in the passage. He had only time to hide in the inner room, which was separated from the dressing-room by a curtain.

Christine entered, took off her mask with a weary movement and flung it on the table. She sighed and let her pretty head fall into her two hands. What was she thinking of? Of Raoul? No, for Raoul heard her murmur: "Poor Erik!"

At first, he thought he must be mistaken. To begin with, he was persuaded that, if any one was to be pitied, it was he, Raoul. It would have been quite natural if she had said, "Poor Raoul," after what had happened between them. But, shaking her head, she repeated: "Poor Erik!"

What had this Erik to do with Christine's sighs and why was she pitying Erik when Raoul was so unhappy?

Christine began to write, deliberately, calmly and so placidly that Raoul, who was still trembling from the effects of the tragedy that separated them, was painfully impressed.

"What coolness!" he said to himself.

She wrote on, filling two, three, four sheets. Suddenly, she raised her head and hid the sheets in her bodice ... She seemed to be listening ... Raoul also listened ... Whence came that strange sound, that distant rhythm? ... A faint singing seemed to issue from the walls ... yes, it was as though the walls themselves were singing! ... The song became plainer ... the words were now distinguishable ... he heard a voice, a very beautiful, very soft, very captivating voice ... but, for all its softness, it remained a male voice ... The voice came nearer and nearer ... it came through the wall ... it approached ... and now the voice was IN THE ROOM, in front of Christine. Christine rose and addressed the voice, as though speaking to some one:

"Here I am, Erik," she said. "I am ready. But you are late."

Raoul, peeping from behind the curtain, could not believe his eyes, which showed him nothing. Christine's face lit up. A smile of happiness appeared upon her bloodless lips, a smile like that of sick people when they receive the first hope of recovery.

The voice without a body went on singing; and certainly Raoul had never in his life heard anything more absolutely and heroically sweet, more gloriously insidious, more delicate, more powerful, in short, more irresistibly triumphant. He listened to it in a fever and he now began to understand how Christine Daae was able to appear one evening, before the stupefied audience, with accents of a beauty hitherto unknown, of a superhuman exaltation, while doubtless still under the influence of the mysterious and invisible master.

The voice was singing the Wedding-night Song from Romeo and Juliet. Raoul saw Christine stretch out her arms to the voice as she had done, in Perros churchyard, to the invisible violin playing The Resurrection of Lazarus. And nothing could describe the passion with which the voice sang:

"Fate links thee to me for ever and a day!"

The strains went through Raoul's heart. Struggling against the charm that seemed to deprive him of all his will and all his energy and of almost all his lucidity at the moment when he needed them most, he succeeded in drawing back the curtain that hid him and he walked to where Christine stood. She herself was moving to the back of the room, the whole wall of which was occupied by a great mirror that reflected her image, but not his, for he was just behind her and entirely covered by her.

"Fate links thee to me for ever and a day!"

Christine walked toward her image in the glass and the image came toward her. The two Christines—the real one and the reflection—ended by touching; and Raoul put out his arms to clasp the two in one embrace. But, by a sort of dazzling miracle that sent him staggering, Raoul was suddenly flung back, while an icy blast swept over his face; he saw, not two, but four, eight, twenty Christines spinning round him, laughing at him and fleeing so swiftly that he could not touch one of them. At last, everything stood still again; and he saw himself in the glass. But Christine had disappeared.

He rushed up to the glass. He struck at the walls. Nobody! And meanwhile the room still echoed with a distant passionate singing:

"Fate links thee to me for ever and a day!"

Which way, which way had Christine gone? ... Which way would she return? ...

Would she return? Alas, had she not declared to him that everything was finished? And was the voice not repeating:

"Fate links thee to me for ever and a day!"

To me? To whom?

Then, worn out, beaten, empty-brained, he sat down on the chair which Christine had just left. Like her, he let his head fall into his hands. When he raised it, the tears were streaming down his young cheeks, real, heavy tears like those which jealous children shed, tears that wept for a sorrow which was in no way fanciful, but which is common to all the lovers on earth and which he expressed aloud:

"Who is this Erik?" he said.




Chapter X Forget the Name of the Man's Voice

The day after Christine had vanished before his eyes in a sort of dazzlement that still made him doubt the evidence of his senses, M. le Vicomte de Chagny called to inquire at Mamma Valerius'. He came upon a charming picture. Christine herself was seated by the bedside of the old lady, who was sitting up against the pillows, knitting. The pink and white had returned to the young girl's cheeks. The dark rings round her eyes had disappeared. Raoul no longer recognized the tragic face of the day before. If the veil of melancholy over those adorable features had not still appeared to the young man as the last trace of the weird drama in whose toils that mysterious child was struggling, he could have believed that Christine was not its heroine at all.

She rose, without showing any emotion, and offered him her hand. But Raoul's stupefaction was so great that he stood there dumfounded, without a gesture, without a word.

"Well, M. de Chagny," exclaimed Mamma Valerius, "don't you know our Christine? Her good genius has sent her back to us!"

"Mamma!" the girl broke in promptly, while a deep blush mantled to her eyes. "I thought, mamma, that there was to be no more question of that! ... You know there is no such thing as the Angel of Music!"

"But, child, he gave you lessons for three months!"

"Mamma, I have promised to explain everything to you one of these days; and I hope to do so but you have promised me, until that day, to be silent and to ask me no more questions whatever!"

"Provided that you promised never to leave me again! But have you promised that, Christine?"

"Mamma, all this can not interest M. de Chagny."

"On the contrary, mademoiselle," said the young man, in a voice which he tried to make firm and brave, but which still trembled, "anything that concerns you interests me to an extent which perhaps you will one day understand. I do not deny that my surprise equals my pleasure at finding you with your adopted mother and that, after what happened between us yesterday, after what you said and what I was able to guess, I hardly expected to see you here so soon. I should be the first to delight at your return, if you were not so bent on preserving a secrecy that may be fatal to you ... and I have been your friend too long not to be alarmed, with Mme. Valerius, at a disastrous adventure which will remain dangerous so long as we have not unraveled its threads and of which you will certainly end by being the victim, Christine."

At these words, Mamma Valerius tossed about in her bed.

"What does this mean?" she cried. "Is Christine in danger?"

"Yes, madame," said Raoul courageously, notwithstanding the signs which Christine made to him.

"My God!" exclaimed the good, simple old woman, gasping for breath. "You must tell me everything, Christine! Why did you try to reassure me? And what danger is it, M. de Chagny?"

"An impostor is abusing her good faith."

"Is the Angel of Music an impostor?"

"She told you herself that there is no Angel of Music."

"But then what is it, in Heaven's name? You will be the death of me!"

"There is a terrible mystery around us, madame, around you, around Christine, a mystery much more to be feared than any number of ghosts or genii!"

Mamma Valerius turned a terrified face to Christine, who had already run to her adopted mother and was holding her in her arms.

"Don't believe him, mummy, don't believe him," she repeated.

"Then tell me that you will never leave me again," implored the widow.

Christine was silent and Raoul resumed.

"That is what you must promise, Christine. It is the only thing that can reassure your mother and me. We will undertake not to ask you a single question about the past, if you promise us to remain under our protection in future."

"That is an undertaking which I have not asked of you and a promise which I refuse to make you!" said the young girl haughtily. "I am mistress of my own actions, M. de Chagny: you have no right to control them, and I will beg you to desist henceforth. As to what I have done during the last fortnight, there is only one man in the world who has the right to demand an account of me: my husband! Well, I have no husband and I never mean to marry!"

She threw out her hands to emphasize her words and Raoul turned pale, not only because of the words which he had heard, but because he had caught sight of a plain gold ring on Christine's finger.

"You have no husband and yet you wear a wedding-ring."

He tried to seize her hand, but she swiftly drew it back.

"That's a present!" she said, blushing once more and vainly striving to hide her embarrassment.

"Christine! As you have no husband, that ring can only have been given by one who hopes to make you his wife! Why deceive us further? Why torture me still more? That ring is a promise; and that promise has been accepted!"

"That's what I said!" exclaimed the old lady.

"And what did she answer, madame?"

"What I chose," said Christine, driven to exasperation. "Don't you think, monsieur, that this cross-examination has lasted long enough? As far as I am concerned ..."

Raoul was afraid to let her finish her speech. He interrupted her:

"I beg your pardon for speaking as I did, mademoiselle. You know the good intentions that make me meddle, just now, in matters which, you no doubt think, have nothing to do with me. But allow me to tell you what I have seen—and I have seen more than you suspect, Christine—or what I thought I saw, for, to tell you the truth, I have sometimes been inclined to doubt the evidence of my eyes."

"Well, what did you see, sir, or think you saw?"

"I saw your ecstasy AT THE SOUND OF THE VOICE, Christine: the voice that came from the wall or the next room to yours ... yes, YOUR ECSTASY! And that is what makes me alarmed on your behalf. You are under a very dangerous spell. And yet it seems that you are aware of the imposture, because you say to-day THAT THERE IS NO ANGEL OF MUSIC! In that case, Christine, why did you follow him that time? Why did you stand up, with radiant features, as though you were really hearing angels? ... Ah, it is a very dangerous voice, Christine, for I myself, when I heard it, was so much fascinated by it that you vanished before my eyes without my seeing which way you passed! Christine, Christine, in the name of Heaven, in the name of your father who is in Heaven now and who loved you so dearly and who loved me too, Christine, tell us, tell your benefactress and me, to whom does that voice belong? If you do, we will save you in spite of yourself. Come, Christine, the name of the man! The name of the man who had the audacity to put a ring on your finger!"

"M. de Chagny," the girl declared coldly, "you shall never know!"

Thereupon, seeing the hostility with which her ward had addressed the viscount, Mamma Valerius suddenly took Christine's part.

"And, if she does love that man, Monsieur le Vicomte, even then it is no business of yours!"

"Alas, madame," Raoul humbly replied, unable to restrain his tears, "alas, I believe that Christine really does love him! ... But it is not only that which drives me to despair; for what I am not certain of, madame, is that the man whom Christine loves is worthy of her love!"

"It is for me to be the judge of that, monsieur!" said Christine, looking Raoul angrily in the face.

"When a man," continued Raoul, "adopts such romantic methods to entice a young girl's affections. .."

"The man must be either a villain, or the girl a fool: is that it?"

"Christine!"

"Raoul, why do you condemn a man whom you have never seen, whom no one knows and about whom you yourself know nothing?"

"Yes, Christine ... Yes ... I at least know the name that you thought to keep from me for ever ... The name of your Angel of Music, mademoiselle, is Erik!"

Christine at once betrayed herself. She turned as white as a sheet and stammered: "Who told you?"

"You yourself!"

"How do you mean?"

"By pitying him the other night, the night of the masked ball. When you went to your dressing-room, did you not say, 'Poor Erik?' Well, Christine, there was a poor Raoul who overheard you."

"This is the second time that you have listened behind the door, M. de Chagny!"

"I was not behind the door ... I was in the dressing-room, in the inner room, mademoiselle."

"Oh, unhappy man!" moaned the girl, showing every sign of unspeakable terror. "Unhappy man! Do you want to be killed?"

"Perhaps."

Raoul uttered this "perhaps" with so much love and despair in his voice that Christine could not keep back a sob. She took his hands and looked at him with all the pure affection of which she was capable:

"Raoul," she said, "forget THE MAN'S VOICE and do not even remember its name... You must never try to fathom the mystery of THE MAN'S VOICE."

"Is the mystery so very terrible?"

"There is no more awful mystery on this earth. Swear to me that you will make no attempt to find out," she insisted. "Swear to me that you will never come to my dressing-room, unless I send for you."

"Then you promise to send for me sometimes, Christine?"

"I promise."

"When?"

"To-morrow."

"Then I swear to do as you ask."

He kissed her hands and went away, cursing Erik and resolving to be patient.




Chapter XI Above the Trap-Doors

The next day, he saw her at the Opera. She was still wearing the plain gold ring. She was gentle and kind to him. She talked to him of the plans which he was forming, of his future, of his career.

He told her that the date of the Polar expedition had been put forward and that he would leave France in three weeks, or a month at latest. She suggested, almost gaily, that he must look upon the voyage with delight, as a stage toward his coming fame. And when he replied that fame without love was no attraction in his eyes, she treated him as a child whose sorrows were only short-lived.

"How can you speak so lightly of such serious things?" he asked. "Perhaps we shall never see each other again! I may die during that expedition."

"Or I," she said simply.

She no longer smiled or jested. She seemed to be thinking of some new thing that had entered her mind for the first time. Her eyes were all aglow with it.

"What are you thinking of, Christine?"

"I am thinking that we shall not see each other again ..."

"And does that make you so radiant?"

"And that, in a month, we shall have to say good-by for ever!"

"Unless, Christine, we pledge our faith and wait for each other for ever."

She put her hand on his mouth.

"Hush, Raoul! ... You know there is no question of that ... And we shall never be married: that is understood!"

She seemed suddenly almost unable to contain an overpowering gaiety. She clapped her hands with childish glee. Raoul stared at her in amazement.

"But ... but," she continued, holding out her two hands to Raoul, or rather giving them to him, as though she had suddenly resolved to make him a present of them, "but if we can not be married, we can ... we can be engaged! Nobody will know but ourselves, Raoul. There have been plenty of secret marriages: why not a secret engagement? ... We are engaged, dear, for a month! In a month, you will go away, and I can be happy at the thought of that month all my life long!"

She was enchanted with her inspiration. Then she became serious again.

"This," she said, "IS A HAPPINESS THAT WILL HARM NO ONE."

Raoul jumped at the idea. He bowed to Christine and said:

"Mademoiselle, I have the honor to ask for your hand."

"Why, you have both of them already, my dear betrothed! ... Oh, Raoul, how happy we shall be! ... We must play at being engaged all day long."

It was the prettiest game in the world and they enjoyed it like the children that they were. Oh, the wonderful speeches they made to each other and the eternal vows they exchanged! They played at hearts as other children might play at ball; only, as it was really their two hearts that they flung to and fro, they had to be very, very handy to catch them, each time, without hurting them.

One day, about a week after the game began, Raoul's heart was badly hurt and he stopped playing and uttered these wild words:

"I shan't go to the North Pole!"

Christine, who, in her innocence, had not dreamed of such a possibility, suddenly discovered the danger of the game and reproached herself bitterly. She did not say a word in reply to Raoul's remark and went straight home.

This happened in the afternoon, in the singer's dressing-room, where they met every day and where they amused themselves by dining on three biscuits, two glasses of port and a bunch of violets. In the evening, she did not sing; and he did not receive his usual letter, though they had arranged to write to each other daily during that month. The next morning, he ran off to Mamma Valerius, who told him that Christine had gone away for two days. She had left at five o'clock the day before.

Raoul was distracted. He hated Mamma Valerius for giving him such news as that with such stupefying calmness. He tried to sound her, but the old lady obviously knew nothing.

Christine returned on the following day. She returned in triumph. She renewed her extraordinary success of the gala performance. Since the adventure of the "toad," Carlotta had not been able to appear on the stage. The terror of a fresh "co-ack" filled her heart and deprived her of all her power of singing; and the theater that had witnessed her incomprehensible disgrace had become odious to her. She contrived to cancel her contract. Daae was offered the vacant place for the time. She received thunders of applause in the Juive.

The viscount, who, of course, was present, was the only one to suffer on hearing the thousand echoes of this fresh triumph; for Christine still wore her plain gold ring. A distant voice whispered in the young man's ear:

"She is wearing the ring again to-night; and you did not give it to her. She gave her soul again tonight and did not give it to you... If she will not tell you what she has been doing the past two days ... you must go and ask Erik!"

He ran behind the scenes and placed himself in her way. She saw him for her eyes were looking for him. She said:

"Quick! Quick! ... Come!"

And she dragged him to her dressing-room.

Raoul at once threw himself on his knees before her. He swore to her that he would go and he entreated her never again to withhold a single hour of the ideal happiness which she had promised him. She let her tears flow. They kissed like a despairing brother and sister who have been smitten with a common loss and who meet to mourn a dead parent.

Suddenly, she snatched herself from the young man's soft and timid embrace, seemed to listen to something, and, with a quick gesture, pointed to the door. When he was on the threshold, she said, in so low a voice that the viscount guessed rather than heard her words:

"To-morrow, my dear betrothed! And be happy, Raoul: I sang for you to-night!"

He returned the next day. But those two days of absence had broken the charm of their delightful make-believe. They looked at each other, in the dressing-room, with their sad eyes, without exchanging a word. Raoul had to restrain himself not to cry out:

"I am jealous! I am jealous! I am jealous!"

But she heard him all the same. Then she said:

"Come for a walk, dear. The air will do you good."

Raoul thought that she would propose a stroll in the country, far from that building which he detested as a prison whose jailer he could feel walking within the walls ... the jailer Erik ... But she took him to the stage and made him sit on the wooden curb of a well, in the doubtful peace and coolness of a first scene set for the evening's performance.

On another day, she wandered with him, hand in, hand, along the deserted paths of a garden whose creepers had been cut out by a decorator's skilful hands. It was as though the real sky, the real flowers, the real earth were forbidden her for all time and she condemned to breathe no other air than that of the theater. An occasional fireman passed, watching over their melancholy idyll from afar. And she would drag him up above the clouds, in the magnificent disorder of the grid, where she loved to make him giddy by running in front of him along the frail bridges, among the thousands of ropes fastened to the pulleys, the windlasses, the rollers, in the midst of a regular forest of yards and masts. If he hesitated, she said, with an adorable pout of her lips:

"You, a sailor!"

And then they returned to terra firma, that is to say, to some passage that led them to the little girls' dancing-school, where brats between six and ten were practising their steps, in the hope of becoming great dancers one day, "covered with diamonds ..." Meanwhile, Christine gave them sweets instead.

She took him to the wardrobe and property-rooms, took him all over her empire, which was artificial, but immense, covering seventeen stories from the ground-floor to the roof and inhabited by an army of subjects. She moved among them like a popular queen, encouraging them in their labors, sitting down in the workshops, giving words of advice to the workmen whose hands hesitated to cut into the rich stuffs that were to clothe heroes. There were inhabitants of that country who practised every trade. There were cobblers, there were goldsmiths. All had learned to know her and to love her, for she always interested herself in all their troubles and all their little hobbies.

She knew unsuspected corners that were secretly occupied by little old couples. She knocked at their door and introduced Raoul to them as a Prince Charming who had asked for her hand; and the two of them, sitting on some worm-eaten "property," would listen to the legends of the Opera, even as, in their childhood, they had listened to the old Breton tales. Those old people remembered nothing outside the Opera. They had lived there for years without number. Past managements had forgotten them; palace revolutions had taken no notice of them; the history of France had run its course unknown to them; and nobody recollected their existence.

The precious days sped in this way; and Raoul and Christine, by affecting excessive interest in outside matters, strove awkwardly to hide from each other the one thought of their hearts. One fact was certain, that Christine, who until then had shown herself the stronger of the two, became suddenly inexpressibly nervous. When on their expeditions, she would start running without reason or else suddenly stop; and her hand, turning ice-cold in a moment, would hold the young man back. Sometimes her eyes seemed to pursue imaginary shadows. She cried, "This way," and "This way," and "This way," laughing a breathless laugh that often ended in tears. Then Raoul tried to speak, to question her, in spite of his promises. But, even before he had worded his question, she answered feverishly:

"Nothing ... I swear it is nothing."

Once, when they were passing before an open trapdoor on the stage, Raoul stopped over the dark cavity.

"You have shown me over the upper part of your empire, Christine, but there are strange stories told of the lower part. Shall we go down?"

She caught him in her arms, as though she feared to see him disappear down the black hole, and, in a trembling voice, whispered:

"Never! ... I will not have you go there! ... Besides, it's not mine ... EVERYTHING THAT IS UNDERGROUND BELONGS TO HIM!"

Raoul looked her in the eyes and said roughly:

"So he lives down there, does he?"

"I never said so ... Who told you a thing like that? Come away! I sometimes wonder if you are quite sane, Raoul ... You always take things in such an impossible way ... Come along! Come!"

And she literally dragged him away, for he was obstinate and wanted to remain by the trap-door; that hole attracted him.

Suddenly, the trap-door was closed and so quickly that they did not even see the hand that worked it; and they remained quite dazed.

"Perhaps HE was there," Raoul said, at last.

She shrugged her shoulders, but did not seem easy.

"No, no, it was the 'trap-door-shutters.' They must do something, you know ... They open and shut the trap-doors without any particular reason ... It's like the 'door-shutters:' they must spend their time somehow."

"But suppose it were HE, Christine?"

"No, no! He has shut himself up, he is working."

"Oh, really! He's working, is he?"

"Yes, he can't open and shut the trap-doors and work at the same time." She shivered.

"What is he working at?"

"Oh, something terrible! ... But it's all the better for us... When he's working at that, he sees nothing; he does not eat, drink, or breathe for days and nights at a time ... he becomes a living dead man and has no time to amuse himself with the trap-doors." She shivered again. She was still holding him in her arms. Then she sighed and said, in her turn:

"Suppose it were HE!"

"Are you afraid of him?"

"No, no, of course not," she said.

For all that, on the next day and the following days, Christine was careful to avoid the trap-doors. Her agitation only increased as the hours passed. At last, one afternoon, she arrived very late, with her face so desperately pale and her eyes so desperately red, that Raoul resolved to go to all lengths, including that which he foreshadowed when he blurted out that he would not go on the North Pole expedition unless she first told him the secret of the man's voice.

"Hush! Hush, in Heaven's name! Suppose HE heard you, you unfortunate Raoul!"

And Christine's eyes stared wildly at everything around her.

"I will remove you from his power, Christine, I swear it. And you shall not think of him any more."

"Is it possible?"

She allowed herself this doubt, which was an encouragernent, while dragging the young man up to the topmost floor of the theater, far, very far from the trap-doors.

"I shall hide you in some unknown corner of the world, where HE can not come to look for you. You will be safe; and then I shall go away ... as you have sworn never to marry."

Christine seized Raoul's hands and squeezed them with incredible rapture. But, suddenly becoming alarmed again, she turned away her head.

"Higher!" was all she said. "Higher still!"

And she dragged him up toward the summit.

He had a difficulty in following her. They were soon under the very roof, in the maze of timber-work. They slipped through the buttresses, the rafters, the joists; they ran from beam to beam as they might have run from tree to tree in a forest.

And, despite the care which she took to look behind her at every moment, she failed to see a shadow which followed her like her own shadow, which stopped when she stopped, which started again when she did and which made no more noise than a well-conducted shadow should. As for Raoul, he saw nothing either; for, when he had Christine in front of him, nothing interested him that happened behind.




Chapter XII Apollo's Lyre

On this way, they reached the roof. Christine tripped over it as lightly as a swallow. Their eyes swept the empty space between the three domes and the triangular pediment. She breathed freely over Paris, the whole valley of which was seen at work below. She called Raoul to come quite close to her and they walked side by side along the zinc streets, in the leaden avenues; they looked at their twin shapes in the huge tanks, full of stagnant water, where, in the hot weather, the little boys of the ballet, a score or so, learn to swim and dive.

The shadow had followed behind them clinging to their steps; and the two children little suspected its presence when they at last sat down, trustingly, under the mighty protection of Apollo, who, with a great bronze gesture, lifted his huge lyre to the heart of a crimson sky.

It was a gorgeous spring evening. Clouds, which had just received their gossamer robe of gold and purple from the setting sun, drifted slowly by; and Christine said to Raoul:

"Soon we shall go farther and faster than the clouds, to the end of the world, and then you will leave me, Raoul. But, if, when the moment comes for you to take me away, I refuse to go with you—well you must carry me off by force!"

"Are you afraid that you will change your mind, Christine?"

"I don't know," she said, shaking her head in an odd fashion. "He is a demon!" And she shivered and nestled in his arms with a moan. "I am afraid now of going back to live with him ... in the ground!"

"What compels you to go back, Christine?"

"If I do not go back to him, terrible misfortunes may happen! ... But I can't do it, I can't do it! ... I know one ought to be sorry for people who live underground ... But he is too horrible! And yet the time is at hand; I have only a day left; and, if I do not go, he will come and fetch me with his voice. And he will drag me with him, underground, and go on his knees before me, with his death's head. And he will tell me that he loves me! And he will cry! Oh, those tears, Raoul, those tears in the two black eye-sockets of the death's head! I can not see those tears flow again!"

She wrung her hands in anguish, while Raoul pressed her to his heart.

"No, no, you shall never again hear him tell you that he loves you! You shall not see his tears! Let us fly, Christine, let us fly at once!"

And he tried to drag her away, then and there. But she stopped him.

"No, no," she said, shaking her head sadly. "Not now! ... It would be too cruel ... let him hear me sing to-morrow evening ... and then we will go away. You must come and fetch me in my dressing-room at midnight exactly. He will then be waiting for me in the dining-room by the lake ... we shall be free and you shall take me away ... You must promise me that, Raoul, even if I refuse; for I feel that, if I go back this time, I shall perhaps never return."

And she gave a sigh to which it seemed to her that another sigh, behind her, replied.

"Didn't you hear?"

Her teeth chattered.

"No," said Raoul, "I heard nothing."

"It is too terrible," she confessed, "to be always trembling like this! ... And yet we run no danger here; we are at home, in the sky, in the open air, in the light. The sun is flaming; and night-birds can not bear to look at the sun. I have never seen him by daylight ... it must be awful! ... Oh, the first time I saw him! ... I thought that he was going to die."

"Why?" asked Raoul, really frightened at the aspect which this strange confidence was taking.

"BECAUSE I HAD SEEN HIM!"

This time, Raoul and Christine turned round at the same time:

"There is some one in pain," said Raoul. "Perhaps some one has been hurt. Did you hear?"

"I can't say," Christine confessed. "Even when he is not there, my ears are full of his sighs. Still, if you heard ..."

They stood up and looked around them. They were quite alone on the immense lead roof. They sat down again and Raoul said:

"Tell me how you saw him first."

"I had heard him for three months without seeing him. The first time I heard it, I thought, as you did, that that adorable voice was singing in another room. I went out and looked everywhere; but, as you know, Raoul, my dressing-room is very much by itself; and I could not find the voice outside my room, whereas it went on steadily inside. And it not only sang, but it spoke to me and answered my questions, like a real man's voice, with this difference, that it was as beautiful as the voice of an angel. I had never got the Angel of Music whom my poor father had promised to send me as soon as he was dead. I really think that Mamma Valerius was a little bit to blame. I told her about it; and she at once said, 'It must be the Angel; at any rate, you can do no harm by asking him.' I did so; and the man's voice replied that, yes, it was the Angel's voice, the voice which I was expecting and which my father had promised me. From that time onward, the voice and I became great friends. It asked leave to give me lessons every day. I agreed and never failed to keep the appointment which it gave me in my dressing-room. You have no idea, though you have heard the voice, of what those lessons were like."

"No, I have no idea," said Raoul. "What was your accompaniment?"

"We were accompanied by a music which I do not know: it was behind the wall and wonderfully accurate. The voice seemed to understand mine exactly, to know precisely where my father had left off teaching me. In a few weeks' time, I hardly knew myself when I sang. I was even frightened. I seemed to dread a sort of witchcraft behind it; but Mamma Valerius reassured me. She said that she knew I was much too simple a girl to give the devil a hold on me ... My progress, by the voice's own order, was kept a secret between the voice, Mamma Valerius and myself. It was a curious thing, but, outside the dressing-room, I sang with my ordinary, every-day voice and nobody noticed anything. I did all that the voice asked. It said, 'Wait and see: we shall astonish Paris!' And I waited and lived on in a sort of ecstatic dream. It was then that I saw you for the first time one evening, in the house. I was so glad that I never thought of concealing my delight when I reached my dressing-room. Unfortunately, the voice was there before me and soon noticed, by my air, that something had happened. It asked what was the matter and I saw no reason for keeping our story secret or concealing the place which you filled in my heart. Then the voice was silent. I called to it, but it did not reply; I begged and entreated, but in vain. I was terrified lest it had gone for good. I wish to Heaven it had, dear! ... That night, I went home in a desperate condition. I told Mamma Valerius, who said, 'Why, of course, the voice is jealous!' And that, dear, first revealed to me that I loved you."

Christine stopped and laid her head on Raoul's shoulder. They sat like that for a moment, in silence, and they did not see, did not perceive the movement, at a few steps from them, of the creeping shadow of two great black wings, a shadow that came along the roof so near, so near them that it could have stifled them by closing over them.

"The next day," Christine continued, with a sigh, "I went back to my dressing-room in a very pensive frame of mind. The voice was there, spoke to me with great sadness and told me plainly that, if I must bestow my heart on earth, there was nothing for the voice to do but to go back to Heaven. And it said this with such an accent of HUMAN sorrow that I ought then and there to have suspected and begun to believe that I was the victim of my deluded senses. But my faith in the voice, with which the memory of my father was so closely intermingled, remained undisturbed. I feared nothing so much as that I might never hear it again; I had thought about my love for you and realized all the useless danger of it; and I did not even know if you remembered me. Whatever happened, your position in society forbade me to contemplate the possibility of ever marrying you; and I swore to the voice that you were no more than a brother to me nor ever would be and that my heart was incapable of any earthly love. And that, dear, was why I refused to recognize or see you when I met you on the stage or in the passages. Meanwhile, the hours during which the voice taught me were spent in a divine frenzy, until, at last, the voice said to me, 'You can now, Christine Daae, give to men a little of the music of Heaven.' I don't know how it was that Carlotta did not come to the theater that night nor why I was called upon to sing in her stead; but I sang with a rapture I had never known before and I felt for a moment as if my soul were leaving my body!"

"Oh, Christine," said Raoul, "my heart quivered that night at every accent of your voice. I saw the tears stream down your cheeks and I wept with you. How could you sing, sing like that while crying?"

"I felt myself fainting," said Christine, "I closed my eyes. When I opened them, you were by my side. But the voice was there also, Raoul! I was afraid for your sake and again I would not recognize you and began to laugh when you reminded me that you had picked up my scarf in the sea! ... Alas, there is no deceiving the voice! ... The voice recognized you and the voice was jealous! ... It said that, if I did not love you, I would not avoid you, but treat you like any other old friend. It made me scene upon scene. At last, I said to the voice, 'That will do! I am going to Perros to-morrow, to pray on my father's grave, and I shall ask M. Raoul de Chagny to go with me.' 'Do as you please,' replied the voice, 'but I shall be at Perros too, for I am wherever you are, Christine; and, if you are still worthy of me, if you have not lied to me, I will play you The Resurrection of Lazarus, on the stroke of midnight, on your father's tomb and on your father's violin.' That, dear, was how I came to write you the letter that brought you to Perros. How could I have been so beguiled? How was it, when I saw the personal, the selfish point of view of the voice, that I did not suspect some impostor? Alas, I was no longer mistress of myself: I had become his thing!"

"But, after all," cried Raoul, "you soon came to know the truth! Why did you not at once rid yourself of that abominable nightmare?"

"Know the truth, Raoul? Rid myself of that nightmare? But, my poor boy, I was not caught in the nightmare until the day when I learned the truth! ... Pity me, Raoul, pity me! ... You remember the terrible evening when Carlotta thought that she had been turned into a toad on the stage and when the house was suddenly plunged in darkness through the chandelier crashing to the floor? There were killed and wounded that night and the whole theater rang with terrified screams. My first thought was for you and the voice. I was at once easy, where you were concerned, for I had seen you in your brother's box and I knew that you were not in danger. But the voice had told me that it would be at the performance and I was really afraid for it, just as if it had been an ordinary person who was capable of dying. I thought to myself, 'The chandelier may have come down upon the voice.' I was then on the stage and was nearly running into the house, to look for the voice among the killed and wounded, when I thought that, if the voice was safe, it would be sure to be in my dressing-room and I rushed to my room. The voice was not there. I locked my door and, with tears in my eyes, besought it, if it were still alive, to manifest itself to me. The voice did not reply, but suddenly I heard a long, beautiful wail which I knew well. It is the plaint of Lazarus when, at the sound of the Redeemer's voice, he begins to open his eyes and see the light of day. It was the music which you and I, Raoul, heard at Perros. And then the voice began to sing the leading phrase, 'Come! And believe in me! Whoso believes in me shall live! Walk! Whoso hath believed in me shall never die! ...' I can not tell you the effect which that music had upon me. It seemed to command me, personally, to come, to stand up and come to it. It retreated and I followed. 'Come! And believe in me!' I believed in it, I came ... I came and—this was the extraordinary thing—my dressing-room, as I moved, seemed to lengthen out ... to lengthen out ... Evidently, it must have been an effect of mirrors ... for I had the mirror in front of me ... And, suddenly, I was outside the room without knowing how!"

"What! Without knowing how? Christine, Christine, you must really stop dreaming!"

"I was not dreaming, dear, I was outside my room without knowing how. You, who saw me disappear from my room one evening, may be able to explain it; but I can not. I can only tell you that, suddenly, there was no mirror before me and no dressing-room. I was in a dark passage, I was frightened and I cried out. It was quite dark, but for a faint red glimmer at a distant corner of the wall. I tried out. My voice was the only sound, for the singing and the violin had stopped. And, suddenly, a hand was laid on mine ... or rather a stone-cold, bony thing that seized my wrist and did not let go. I cried out again. An arm took me round the waist and supported me. I struggled for a little while and then gave up the attempt. I was dragged toward the little red light and then I saw that I was in the hands of a man wrapped in a large cloak and wearing a mask that hid his whole face. I made one last effort; my limbs stiffened, my mouth opened to scream, but a hand closed it, a hand which I felt on my lips, on my skin ... a hand that smelt of death. Then I fainted away.

"When I opened my eyes, we were still surrounded by darkness. A lantern, standing on the ground, showed a bubbling well. The water splashing from the well disappeared, almost at once, under the floor on which I was lying, with my head on the knee of the man in the black cloak and the black mask. He was bathing my temples and his hands smelt of death. I tried to push them away and asked, 'Who are you? Where is the voice?' His only answer was a sigh. Suddenly, a hot breath passed over my face and I perceived a white shape, beside the man's black shape, in the darkness. The black shape lifted me on to the white shape, a glad neighing greeted my astounded ears and I murmured, 'Cesar!' The animal quivered. Raoul, I was lying half back on a saddle and I had recognized the white horse out of the PROFETA, which I had so often fed with sugar and sweets. I remembered that, one evening, there was a rumor in the theater that the horse had disappeared and that it had been stolen by the Opera ghost. I believed in the voice, but had never believed in the ghost. Now, however, I began to wonder, with a shiver, whether I was the ghost's prisoner. I called upon the voice to help me, for I should never have imagined that the voice and the ghost were one. You have heard about the Opera ghost, have you not, Raoul?"

"Yes, but tell me what happened when you were on the white horse of the Profeta?"

"I made no movement and let myself go. The black shape held me up, and I made no effort to escape. A curious feeling of peacefulness came over me and I thought that I must be under the influence of some cordial. I had the full command of my senses; and my eyes became used to the darkness, which was lit, here and there, by fitful gleams. I calculated that we were in a narrow circular gallery, probably running all round the Opera, which is immense, underground. I had once been down into those cellars, but had stopped at the third floor, though there were two lower still, large enough to hold a town. But the figures of which I caught sight had made me run away. There are demons down there, quite black, standing in front of boilers, and they wield shovels and pitchforks and poke up fires and stir up flames and, if you come too near them, they frighten you by suddenly opening the red mouths of their furnaces ... Well, while Cesar was quietly carrying me on his back, I saw those black demons in the distance, looking quite small, in front of the red fires of their furnaces: they came into sight, disappeared and came into sight again, as we went on our winding way. At last, they disappeared altogether. The shape was still holding me up and Cesar walked on, unled and sure-footed. I could not tell you, even approximately, how long this ride lasted; I only know that we seemed to turn and turn and often went down a spiral stair into the very heart of the earth. Even then, it may be that my head was turning, but I don't think so: no, my mind was quite clear. At last, Cesar raised his nostrils, sniffed the air and quickened his pace a little. I felt a moistness in the air and Cesar stopped. The darkness had lifted. A sort of bluey light surrounded us. We were on the edge of a lake, whose leaden waters stretched into the distance, into the darkness; but the blue light lit up the bank and I saw a little boat fastened to an iron ring on the wharf!"

"A boat!"

"Yes, but I knew that all that existed and that there was nothing supernatural about that underground lake and boat. But think of the exceptional conditions in which I arrived upon that shore! I don't know whether the effects of the cordial had worn off when the man's shape lifted me into the boat, but my terror began all over again. My gruesome escort must have noticed it, for he sent Cesar back and I heard his hoofs trampling up a staircase while the man jumped into the boat, untied the rope that held it and seized the oars. He rowed with a quick, powerful stroke; and his eyes, under the mask, never left me. We slipped across the noiseless water in the bluey light which I told you of; then we were in the dark again and we touched shore. And I was once more taken up in the man's arms. I cried aloud. And then, suddenly, I was silent, dazed by the light... Yes, a dazzling light in the midst of which I had been put down. I sprang to my feet. I was in the middle of a drawing-room that seemed to me to be decorated, adorned and furnished with nothing but flowers, flowers both magnificent and stupid, because of the silk ribbons that tied them to baskets, like those which they sell in the shops on the boulevards. They were much too civilized flowers, like those which I used to find in my dressing-room after a first night. And, in the midst of all these flowers, stood the black shape of the man in the mask, with arms crossed, and he said, 'Don't be afraid, Christine; you are in no danger.' IT WAS THE VOICE!

"My anger equaled my amazement. I rushed at the mask and tried to snatch it away, so as to see the face of the voice. The man said, 'You are in no danger, so long as you do not touch the mask.' And, taking me gently by the wrists, he forced me into a chair and then went down on his knees before me and said nothing more! His humility gave me back some of my courage; and the light restored me to the realties of life. However extraordinary the adventure might be, I was now surrounded by mortal, visible, tangible things. The furniture, the hangings, the candles, the vases and the very flowers in their baskets, of which I could almost have told whence they came and what they cost, were bound to confine my imagination to the limits of a drawing-room quite as commonplace as any that, at least, had the excuse of not being in the cellars of the Opera. I had, no doubt, to do with a terrible, eccentric person, who, in some mysterious fashion, had succeeded in taking up his abode there, under the Opera house, five stories below the level of the ground. And the voice, the voice which I had recognized under the mask, was on its knees before me, WAS A MAN! And I began to cry... The man, still kneeling, must have understood the cause of my tears, for he said, 'It is true, Christine! ... I am not an Angel, nor a genius, nor a ghost ... I am Erik!'"

Christine's narrative was again interrupted. An echo behind them seemed to repeat the word after her.

"Erik!"

What echo? ... They both turned round and saw that night had fallen. Raoul made a movement as though to rise, but Christine kept him beside her.

"Don't go," she said. "I want you to know everything HERE!"

"But why here, Christine? I am afraid of your catching cold."

"We have nothing to fear except the trap-doors, dear, and here we are miles away from the trap-doors ... and I am not allowed to see you outside the theater. This is not the time to annoy him. We must not arouse his suspicion."

"Christine! Christine! Something tells me that we are wrong to wait till to-morrow evening and that we ought to fly at once."

"I tell you that, if he does not hear me sing tomorrow, it will cause him infinite pain."

"It is difficult not to cause him pain and yet to escape from him for good."

"You are right in that, Raoul, for certainly he will die of my flight." And she added in a dull voice, "But then it counts both ways ... for we risk his killing us."

"Does he love you so much?"

"He would commit murder for me."

"But one can find out where he lives. One can go in search of him. Now that we know that Erik is not a ghost, one can speak to him and force him to answer!"

Christine shook her head.

"No, no! There is nothing to be done with Erik except to run away!"

"Then why, when you were able to run away, did you go back to him?"

"Because I had to. And you will understand that when I tell you how I left him."

"Oh, I hate him!" cried Raoul. "And you, Christine, tell me, do you hate him too?"

"No," said Christine simply.

"No, of course not ... Why, you love him! Your fear, your terror, all of that is just love and love of the most exquisite kind, the kind which people do not admit even to themselves," said Raoul bitterly. "The kind that gives you a thrill, when you think of it... Picture it: a man who lives in a palace underground!" And he gave a leer.

"Then you want me to go back there?" said the young girl cruelly. "Take care, Raoul; I have told you: I should never return!"

There was an appalling silence between the three of them: the two who spoke and the shadow that listened, behind them.

"Before answering that," said Raoul, at last, speaking very slowly, "I should like to know with what feeling he inspires you, since you do not hate him."

"With horror!" she said. "That is the terrible thing about it. He fills me with horror and I do not hate him. How can I hate him, Raoul? Think of Erik at my feet, in the house on the lake, underground. He accuses himself, he curses himself, he implores my forgiveness! ... He confesses his cheat. He loves me! He lays at my feet an immense and tragic love... He has carried me off for love! ... He has imprisoned me with him, underground, for love! ... But he respects me: he crawls, he moans, he weeps! ... And, when I stood up, Raoul, and told him that I could only despise him if he did not, then and there, give me my liberty ... he offered it ... he offered to show me the mysterious road ... Only ... only he rose too ... and I was made to remember that, though he was not an angel, nor a ghost, nor a genius, he remained the voice ... for he sang. And I listened ... and stayed! ... That night, we did not exchange another word. He sang me to sleep.

"When I woke up, I was alone, lying on a sofa in a simply furnished little bedroom, with an ordinary mahogany bedstead, lit by a lamp standing on the marble top of an old Louis-Philippe chest of drawers. I soon discovered that I was a prisoner and that the only outlet from my room led to a very comfortable bath-room. On returning to the bedroom, I saw on the chest of drawers a note, in red ink, which said, 'My dear Christine, you need have no concern as to your fate. You have no better nor more respectful friend in the world than myself. You are alone, at present, in this home which is yours. I am going out shopping to fetch you all the things that you can need.' I felt sure that I had fallen into the hands of a madman. I ran round my little apartment, looking for a way of escape which I could not find. I upbraided myself for my absurd superstition, which had caused me to fall into the trap. I felt inclined to laugh and to cry at the same time.

"This was the state of mind in which Erik found me. After giving three taps on the wall, he walked in quietly through a door which I had not noticed and which he left open. He had his arms full of boxes and parcels and arranged them on the bed, in a leisurely fashion, while I overwhelmed him with abuse and called upon him to take off his mask, if it covered the face of an honest man. He replied serenely, 'You shall never see Erik's face.' And he reproached me with not having finished dressing at that time of day: he was good enough to tell me that it was two o'clock in the afternoon. He said he would give me half an hour and, while he spoke, wound up my watch and set it for me. After which, he asked me to come to the dining-room, where a nice lunch was waiting for us.

"I was very angry, slammed the door in his face and went to the bath-room ... When I came out again, feeling greatly refreshed, Erik said that he loved me, but that he would never tell me so except when I allowed him and that the rest of the time would be devoted to music. 'What do you mean by the rest of the time?' I asked. 'Five days,' he said, with decision. I asked him if I should then be free and he said, 'You will be free, Christine, for, when those five days are past, you will have learned not to see me; and then, from time to time, you will come to see your poor Erik!' He pointed to a chair opposite him, at a small table, and I sat down, feeling greatly perturbed. However, I ate a few prawns and the wing of a chicken and drank half a glass of tokay, which he had himself, he told me, brought from the Konigsberg cellars. Erik did not eat or drink. I asked him what his nationality was and if that name of Erik did not point to his Scandinavian origin. He said that he had no name and no country and that he had taken the name of Erik by accident.

"After lunch, he rose and gave me the tips of his fingers, saying he would like to show me over his flat; but I snatched away my hand and gave a cry. What I had touched was cold and, at the same time, bony; and I remembered that his hands smelt of death. 'Oh, forgive me!' he moaned. And he opened a door before me. 'This is my bedroom, if you care to see it. It is rather curious.' His manners, his words, his attitude gave me confidence and I went in without hesitation. I felt as if I were entering the room of a dead person. The walls were all hung with black, but, instead of the white trimmings that usually set off that funereal upholstery, there was an enormous stave of music with the notes of the DIES IRAE, many times repeated. In the middle of the room was a canopy, from which hung curtains of red brocaded stuff, and, under the canopy, an open coffin. 'That is where I sleep,' said Erik. 'One has to get used to everything in life, even to eternity.' The sight upset me so much that I turned away my head.

"Then I saw the keyboard of an organ which filled one whole side of the walls. On the desk was a music-book covered with red notes. I asked leave to look at it and read, 'Don Juan Triumphant.' 'Yes,' he said, 'I compose sometimes.' I began that work twenty years ago. When I have finished, I shall take it away with me in that coffin and never wake up again.' 'You must work at it as seldom as you can,' I said. He replied, 'I sometimes work at it for fourteen days and nights together, during which I live on music only, and then I rest for years at a time.' 'Will you play me something out of your Don Juan Triumphant?' I asked, thinking to please him. 'You must never ask me that,' he said, in a gloomy voice. 'I will play you Mozart, if you like, which will only make you weep; but my Don Juan, Christine, burns; and yet he is not struck by fire from Heaven.' Thereupon we returned to the drawing-room. I noticed that there was no mirror in the whole apartment. I was going to remark upon this, but Erik had already sat down to the piano. He said, 'You see, Christine, there is some music that is so terrible that it consumes all those who approach it. Fortunately, you have not come to that music yet, for you would lose all your pretty coloring and nobody would know you when you returned to Paris. Let us sing something from the Opera, Christine Daae.' He spoke these last words as though he were flinging an insult at me."

"What did you do?"

"I had no time to think about the meaning he put into his words. We at once began the duet in Othello and already the catastrophe was upon us. I sang Desdemona with a despair, a terror which I had never displayed before. As for him, his voice thundered forth his revengeful soul at every note. Love, jealousy, hatred, burst out around us in harrowing cries. Erik's black mask made me think of the natural mask of the Moor of Venice. He was Othello himself. Suddenly, I felt a need to see beneath the mask. I wanted to know the FACE of the voice, and, with a movement which I was utterly unable to control, swiftly my fingers tore away the mask. Oh, horror, horror, horror!"

Christine stopped, at the thought of the vision that had scared her, while the echoes of the night, which had repeated the name of Erik, now thrice moaned the cry:

"Horror! ... Horror! ... Horror!"

Raoul and Christine, clasping each other closely, raised their eyes to the stars that shone in a clear and peaceful sky. Raoul said:

"Strange, Christine, that this calm, soft night should be so full of plaintive sounds. One would think that it was sorrowing with us."

"When you know the secret, Raoul, your ears, like mine, will be full of lamentations."

She took Raoul's protecting hands in hers and, with a long shiver, continued:

"Yes, if I lived to be a hundred, I should always hear the superhuman cry of grief and rage which he uttered when the terrible sight appeared before my eyes ... Raoul, you have seen death's heads, when they have been dried and withered by the centuries, and, perhaps, if you were not the victim of a nightmare, you saw HIS death's head at Perros. And then you saw Red Death stalking about at the last masked ball. But all those death's heads were motionless and their dumb horror was not alive. But imagine, if you can, Red Death's mask suddenly coming to life in order to express, with the four black holes of its eyes, its nose, and its mouth, the extreme anger, the mighty fury of a demon; AND NOT A RAY OF LIGHT FROM THE SOCKETS, for, as I learned later, you can not see his blazing eyes except in the dark.

"I fell back against the wall and he came up to me, grinding his teeth, and, as I fell upon my knees, he hissed mad, incoherent words and curses at me. Leaning over me, he cried, 'Look! You want to see! See! Feast your eyes, glut your soul on my cursed ugliness! Look at Erik's face! Now you know the face of the voice! You were not content to hear me, eh? You wanted to know what I looked like! Oh, you women are so inquisitive! Well, are you satisfied? I'm a very good-looking fellow, eh? ... When a woman has seen me, as you have, she belongs to me. She loves me for ever. I am a kind of Don Juan, you know!' And, drawing himself up to his full height, with his hand on his hip, wagging the hideous thing that was his head on his shoulders, he roared, 'Look at me! I AM DON JUAN TRIUMPHANT!' And, when I turned away my head and begged for mercy, he drew it to him, brutally, twisting his dead fingers into my hair."

"Enough! Enough!" cried Raoul. "I will kill him. In Heaven's name, Christine, tell me where the dining-room on the lake is! I must kill him!"

"Oh, be quiet, Raoul, if you want to know!"

"Yes, I want to know how and why you went back; I must know! ... But, in any case, I will kill him!"

"Oh, Raoul, listen, listen! ... He dragged me by my hair and then ... and then ... Oh, it is too horrible!"

"Well, what? Out with it!" exclaimed Raoul fiercely. "Out with it, quick!"

"Then he hissed at me. 'Ah, I frighten you, do I? ... I dare say! ... Perhaps you think that I have another mask, eh, and that this ... this ... my head is a mask? Well,' he roared, 'tear it off as you did the other! Come! Come along! I insist! Your hands! Your hands! Give me your hands!' And he seized my hands and dug them into his awful face. He tore his flesh with my nails, tore his terrible dead flesh with my nails! ... 'Know,' he shouted, while his throat throbbed and panted like a furnace, 'know that I am built up of death from head to foot and that it is a corpse that loves you and adores you and will never, never leave you! ... Look, I am not laughing now, I am crying, crying for you, Christine, who have torn off my mask and who therefore can never leave me again! ... As long as you thought me handsome, you could have come back, I know you would have come back ... but, now that you know my hideousness, you would run away for good... So I shall keep you here! ... Why did you want to see me? Oh, mad Christine, who wanted to see me! ... When my own father never saw me and when my mother, so as not to see me, made me a present of my first mask!'

"He had let go of me at last and was dragging himself about on the floor, uttering terrible sobs. And then he crawled away like a snake, went into his room, closed the door and left me alone to my reflections. Presently I heard the sound of the organ; and then I began to understand Erik's contemptuous phrase when he spoke about Opera music. What I now heard was utterly different from what I had heard up to then. His Don Juan Triumphant (for I had not a doubt but that he had rushed to his masterpiece to forget the horror of the moment) seemed to me at first one long, awful, magnificent sob. But, little by little, it expressed every emotion, every suffering of which mankind is capable. It intoxicated me; and I opened the door that separated us. Erik rose, as I entered, BUT DARED NOT TURN IN MY DIRECTION. 'Erik,' I cried, 'show me your face without fear! I swear that you are the most unhappy and sublime of men; and, if ever again I shiver when I look at you, it will be because I am thinking of the splendor of your genius!' Then Erik turned round, for he believed me, and I also had faith in myself. He fell at my feet, with words of love ... with words of love in his dead mouth ... and the music had ceased ... He kissed the hem of my dress and did not see that I closed my eyes.

"What more can I tell you, dear? You now know the tragedy. It went on for a fortnight—a fortnight during which I lied to him. My lies were as hideous as the monster who inspired them; but they were the price of my liberty. I burned his mask; and I managed so well that, even when he was not singing, he tried to catch my eye, like a dog sitting by its master. He was my faithful slave and paid me endless little attentions. Gradually, I gave him such confidence that he ventured to take me walking on the banks of the lake and to row me in the boat on its leaden waters; toward the end of my captivity he let me out through the gates that closed the underground passages in the Rue Scribe. Here a carriage awaited us and took us to the Bois. The night when we met you was nearly fatal to me, for he is terribly jealous of you and I had to tell him that you were soon going away ... Then, at last, after a fortnight of that horrible captivity, during which I was filled with pity, enthusiasm, despair and horror by turns, he believed me when I said, 'I WILL COME BACK!'"

"And you went back, Christine," groaned Raoul.

"Yes, dear, and I must tell you that it was not his frightful threats when setting me free that helped me to keep my word, but the harrowing sob which he gave on the threshold of the tomb. ... That sob attached me to the unfortunate man more than I myself suspected when saying good-by to him. Poor Erik! Poor Erik!"

"Christine," said Raoul, rising, "you tell me that you love me; but you had recovered your liberty hardly a few hours before you returned to Erik! Remember the masked ball!"

"Yes; and do you remember those hours which I passed with you, Raoul ... to the great danger of both of us?"

"I doubted your love for me, during those hours."

"Do you doubt it still, Raoul? ... Then know that each of my visits to Erik increased my horror of him; for each of those visits, instead of calming him, as I hoped, made him mad with love! And I am so frightened, so frightened! ..."

"You are frightened ... but do you love me? If Erik were good-looking, would you love me, Christine?"

She rose in her turn, put her two trembling arms round the young man's neck and said:

"Oh, my betrothed of a day, if I did not love you, I would not give you my lips! Take them, for the first time and the last."

He kissed her lips; but the night that surrounded them was rent asunder, they fled as at the approach of a storm and their eyes, filled with dread of Erik, showed them, before they disappeared, high up above them, an immense night-bird that stared at them with its blazing eyes and seemed to cling to the string of Apollo's lyre.




Chapter XIII A Master-Stroke of the Trap-Door Lover

Raoul and Christine ran, eager to escape from the roof and the blazing eyes that showed only in the dark; and they did not stop before they came to the eighth floor on the way down.

There was no performance at the Opera that night and the passages were empty. Suddenly, a queer-looking form stood before them and blocked the road:

"No, not this way!"

And the form pointed to another passage by which they were to reach the wings. Raoul wanted to stop and ask for an explanation. But the form, which wore a sort of long frock-coat and a pointed cap, said:

"Quick! Go away quickly!"

Christine was already dragging Raoul, compelling him to start running again.

"But who is he? Who is that man?" he asked.

Christine replied: "It's the Persian."

"What's he doing here?"

"Nobody knows. He is always in the Opera."

"You are making me run away, for the first time in my life. If we really saw Erik, what I ought to have done was to nail him to Apollo's lyre, just as we nail the owls to the walls of our Breton farms; and there would have been no more question of him."

"My dear Raoul, you would first have had to climb up to Apollo's lyre: that is no easy matter."

"The blazing eyes were there!"

"Oh, you are getting like me now, seeing him everywhere! What I took for blazing eyes was probably a couple of stars shining through the strings of the lyre."

And Christine went down another floor, with Raoul following her.

"As you have quite made up your mind to go, Christine, I assure you it would be better to go at once. Why wait for to-morrow? He may have heard us to-night."

"No, no, he is working, I tell you, at his Don Juan Triumphant and not thinking of us."

"You're so sure of that you keep on looking behind you!"

"Come to my dressing-room."

"Hadn't we better meet outside the Opera?"

"Never, till we go away for good! It would bring us bad luck, if I did not keep my word. I promised him to see you only here."

"It's a good thing for me that he allowed you even that. Do you know," said Raoul bitterly, "that it was very plucky of you to let us play at being engaged?"

"Why, my dear, he knows all about it! He said, 'I trust you, Christine. M. de Chagny is in love with you and is going abroad. Before he goes, I want him to be as happy as I am.' Are people so unhappy when they love?"

"Yes, Christine, when they love and are not sure of being loved."

They came to Christine's dressing-room.

"Why do you think that you are safer in this room than on the stage?" asked Raoul. "You heard him through the walls here, therefore he can certainly hear us."

"No. He gave me his word not to be behind the walls of my dressing-room again and I believe Erik's word. This room and my bedroom on the lake are for me, exclusively, and not to be approached by him."

"How can you have gone from this room into that dark passage, Christine? Suppose we try to repeat your movements; shall we?"

"It is dangerous, dear, for the glass might carry me off again; and, instead of running away, I should be obliged to go to the end of the secret passage to the lake and there call Erik."

"Would he hear you?"

"Erik will hear me wherever I call him. He told me so. He is a very curious genius. You must not think, Raoul, that he is simply a man who amuses himself by living underground. He does things that no other man could do; he knows things which nobody in the world knows."

"Take care, Christine, you are making a ghost of him again!"

"No, he is not a ghost; he is a man of Heaven and earth, that is all."

"A man of Heaven and earth ... that is all! ... A nice way to speak of him! ... And are you still resolved to run away from him?"

"Yes, to-morrow."

"To-morrow, you will have no resolve left!"

"Then, Raoul, you must run away with me in spite of myself; is that understood?"

"I shall be here at twelve to-morrow night; I shall keep my promise, whatever happens. You say that, after listening to the performance, he is to wait for you in the dining-room on the lake?"

"Yes."

"And how are you to reach him, if you don't know how to go out by the glass?"

"Why, by going straight to the edge of the lake."

Christine opened a box, took out an enormous key and showed it to Raoul.

"What's that?" he asked.

"The key of the gate to the underground passage in the Rue Scribe."

"I understand, Christine. It leads straight to the lake. Give it to me, Christine, will you?"

"Never!" she said. "That would be treacherous!"

Suddenly Christine changed color. A mortal pallor overspread her features.

"Oh heavens!" she cried. "Erik! Erik! Have pity on me!"

"Hold your tongue!" said Raoul. "You told me he could hear you!"

But the singer's attitude became more and more inexplicable. She wrung her fingers, repeating, with a distraught air:

"Oh, Heaven! Oh, Heaven!"

"But what is it? What is it?" Raoul implored.

"The ring ... the gold ring he gave me."

"Oh, so Erik gave you that ring!"

"You know he did, Raoul! But what you don't know is that, when he gave it to me, he said, 'I give you back your liberty, Christine, on condition that this ring is always on your finger. As long as you keep it, you will be protected against all danger and Erik will remain your friend. But woe to you if you ever part with it, for Erik will have his revenge!' ... My dear, my dear, the ring is gone! ... Woe to us both!"

They both looked for the ring, but could not find it. Christine refused to be pacified.

"It was while I gave you that kiss, up above, under Apollo's lyre," she said. "The ring must have slipped from my finger and dropped into the street! We can never find it. And what misfortunes are in store for us now! Oh, to run away!"

"Let us run away at once," Raoul insisted, once more.

She hesitated. He thought that she was going to say yes... Then her bright pupils became dimmed and she said:

"No! To-morrow!"

And she left him hurriedly, still wringing and rubbing her fingers, as though she hoped to bring the ring back like that.

Raoul went home, greatly perturbed at all that he had heard.

[Illustration: They Sat Like that for a Moment in Silence]

"If I don't save her from the hands of that humbug," he said, aloud, as he went to bed, "she is lost. But I shall save her."

He put out his lamp and felt a need to insult Erik in the dark. Thrice over, he shouted:

"Humbug! ... Humbug! ... Humbug!"

But, suddenly, he raised himself on his elbow. A cold sweat poured from his temples. Two eyes, like blazing coals, had appeared at the foot of his bed. They stared at him fixedly, terribly, in the darkness of the night.

Raoul was no coward; and yet he trembled. He put out a groping, hesitating hand toward the table by his bedside. He found the matches and lit his candle. The eyes disappeared.

Still uneasy in his mind, he thought to himself:

"She told me that HIS eyes only showed in the dark. His eyes have disappeared in the light, but HE may be there still."

And he rose, hunted about, went round the room. He looked under his bed, like a child. Then he thought himself absurd, got into bed again and blew out the candle. The eyes reappeared.

He sat up and stared back at them with all the courage he possessed. Then he cried:

"Is that you, Erik? Man, genius, or ghost, is it you?"

He reflected: "If it's he, he's on the balcony!"

Then he ran to the chest of drawers and groped for his revolver. He opened the balcony window, looked out, saw nothing and closed the window again. He went back to bed, shivering, for the night was cold, and put the revolver on the table within his reach.

The eyes were still there, at the foot of the bed. Were they between the bed and the window-pane or behind the pane, that is to say, on the balcony? That was what Raoul wanted to know. He also wanted to know if those eyes belonged to a human being... He wanted to know everything. Then, patiently, calmly, he seized his revolver and took aim. He aimed a little above the two eyes. Surely, if they were eyes and if above those two eyes there was a forehead and if Raoul was not too clumsy ...

The shot made a terrible din amid the silence of the slumbering house. And, while footsteps came hurrying along the passages, Raoul sat up with outstretched arm, ready to fire again, if need be.

This time, the two eyes had disappeared.

Servants appeared, carrying lights; Count Philippe, terribly anxious:

"What is it?"

"I think I have been dreaming," replied the young man. "I fired at two stars that kept me from sleeping."

"You're raving! Are you ill? For God's sake, tell me, Raoul: what happened?"

And the count seized hold of the revolver.

"No, no, I'm not raving... Besides, we shall soon see ..."

He got out of bed, put on a dressing-gown and slippers, took a light from the hands of a servant and, opening the window, stepped out on the balcony.

The count saw that the window had been pierced by a bullet at a man's height. Raoul was leaning over the balcony with his candle: "Aha!" he said. "Blood! ... Blood! ... Here, there, more blood! ... That's a good thing! A ghost who bleeds is less dangerous!" he grinned.

"Raoul! Raoul! Raoul!"

The count was shaking him as though he were trying to waken a sleep-walker.

"But, my dear brother, I'm not asleep!" Raoul protested impatiently. "You can see the blood for yourself. I thought I had been dreaming and firing at two stars. It was Erik's eyes ... and here is his blood! ... After all, perhaps I was wrong to shoot; and Christine is quite capable of never forgiving me ... All this would not have happened if I had drawn the curtains before going to bed."

"Raoul, have you suddenly gone mad? Wake up!"

"What, still? You would do better to help me find Erik ... for, after all, a ghost who bleeds can always be found."

The count's valet said:

"That is so, sir; there is blood on the balcony."

The other man-servant brought a lamp, by the light of which they examined the balcony carefully. The marks of blood followed the rail till they reached a gutter-spout; then they went up the gutter-spout.

"My dear fellow," said Count Philippe, "you have fired at a cat."

"The misfortune is," said Raoul, with a grin, "that it's quite possible. With Erik, you never know. Is it Erik? Is it the cat? Is it the ghost? No, with Erik, you can't tell!"

Raoul went on making this strange sort of remarks which corresponded so intimately and logically with the preoccupation of his brain and which, at the same time, tended to persuade many people that his mind was unhinged. The count himself was seized with this idea; and, later, the examining magistrate, on receiving the report of the commissary of police, came to the same conclusion.

"Who is Erik?" asked the count, pressing his brother's hand.

"He is my rival. And, if he's not dead, it's a pity."

He dismissed the servants with a wave of the hand and the two Chagnys were left alone. But the men were not out of earshot before the count's valet heard Raoul say, distinctly and emphatically:

"I shall carry off Christine Daae to-night."

This phrase was afterward repeated to M. Faure, the examining-magistrate. But no one ever knew exactly what passed between the two brothers at this interview. The servants declared that this was not their first quarrel. Their voices penetrated the wall; and it was always an actress called Christine Daae that was in question.

At breakfast—the early morning breakfast, which the count took in his study—Philippe sent for his brother. Raoul arrived silent and gloomy. The scene was a very short one. Philippe handed his brother a copy of the Epoque and said:

"Read that!"

The viscount read:

"The latest news in the Faubourg is that there is a promise of marriage between Mlle. Christine Daae, the opera-singer, and M. le Vicomte Raoul de Chagny. If the gossips are to be credited, Count Philippe has sworn that, for the first time on record, the Chagnys shall not keep their promise. But, as love is all-powerful, at the Opera as—and even more than—elsewhere, we wonder how Count Philippe intends to prevent the viscount, his brother, from leading the new Margarita to the altar. The two brothers are said to adore each other; but the count is curiously mistaken if he imagines that brotherly love will triumph over love pure and simple."

"You see, Raoul," said the count, "you are making us ridiculous! That little girl has turned your head with her ghost-stories."

The viscount had evidently repeated Christine's narrative to his brother, during the night. All that he now said was:

"Good-by, Philippe."

"Have you quite made up your mind? You are going to-night? With her?"

No reply.

"Surely you will not do anything so foolish? I SHALL know how to prevent you!"

"Good-by, Philippe," said the viscount again and left the room.

This scene was described to the examining-magistrate by the count himself, who did not see Raoul again until that evening, at the Opera, a few minutes before Christine's disappearance.

Raoul, in fact, devoted the whole day to his preparations for the flight. The horses, the carriage, the coachman, the provisions, the luggage, the money required for the journey, the road to be taken (he had resolved not to go by train, so as to throw the ghost off the scent): all this had to be settled and provided for; and it occupied him until nine o'clock at night.

At nine o'clock, a sort of traveling-barouche with the curtains of its windows close-down, took its place in the rank on the Rotunda side. It was drawn by two powerful horses driven by a coachman whose face was almost concealed in the long folds of a muffler. In front of this traveling-carriage were three broughams, belonging respectively to Carlotta, who had suddenly returned to Paris, to Sorelli and, at the head of the rank, to Comte Philippe de Chagny. No one left the barouche. The coachman remained on his box, and the three other coachmen remained on theirs.

A shadow in a long black cloak and a soft black felt hat passed along the pavement between the Rotunda and the carriages, examined the barouche carefully, went up to the horses and the coachman and then moved away without saying a word, The magistrate afterward believed that this shadow was that of the Vicomte Raoul de Chagny; but I do not agree, seeing that that evening, as every evening, the Vicomte de Chagny was wearing a tall hat, which hat, besides, was subsequently found. I am more inclined to think that the shadow was that of the ghost, who knew all about the whole affair, as the reader will soon perceive.

They were giving FAUST, as it happened, before a splendid house. The Faubourg was magnificently represented; and the paragraph in that morning's EPOQUE had already produced its effect, for all eyes were turned to the box in which Count Philippe sat alone, apparently in a very indifferent and careless frame of mind. The feminine element in the brilliant audience seemed curiously puzzled; and the viscount's absence gave rise to any amount of whispering behind the fans. Christine Daae met with a rather cold reception. That special audience could not forgive her for aiming so high.

The singer noticed this unfavorable attitude of a portion of the house and was confused by it.

The regular frequenters of the Opera, who pretended to know the truth about the viscount's love-story, exchanged significant smiles at certain passages in Margarita's part; and they made a show of turning and looking at Philippe de Chagny's box when Christine sang:

"I wish I could but know who was he
That addressed me,
If he was noble, or, at least, what his name is."

The count sat with his chin on his hand and seemed to pay no attention to these manifestations. He kept his eyes fixed on the stage; but his thoughts appeared to be far away.

Christine lost her self-assurance more and more. She trembled. She felt on the verge of a breakdown ... Carolus Fonta wondered if she was ill, if she could keep the stage until the end of the Garden Act. In the front of the house, people remembered the catastrophe that had befallen Carlotta at the end of that act and the historic "co-ack" which had momentarily interrupted her career in Paris.

Just then, Carlotta made her entrance in a box facing the stage, a sensational entrance. Poor Christine raised her eyes upon this fresh subject of excitement. She recognized her rival. She thought she saw a sneer on her lips. That saved her. She forgot everything, in order to triumph once more.

From that moment the prima donna sang with all her heart and soul. She tried to surpass all that she had done till then; and she succeeded. In the last act when she began the invocation to the angels, she made all the members of the audience feel as though they too had wings.

In the center of the amphitheater a man stood up and remained standing, facing the singer. It was Raoul.

"Holy angel, in Heaven blessed ..."

And Christine, her arms outstretched, her throat filled with music, the glory of her hair falling over her bare shoulders, uttered the divine cry:

"My spirit longs with thee to rest!"

It was at that moment that the stage was suddenly plunged in darkness. It happened so quickly that the spectators hardly had time to utter a sound of stupefaction, for the gas at once lit up the stage again. But Christine Daae was no longer there!

What had become of her? What was that miracle? All exchanged glances without understanding, and the excitement at once reached its height. Nor was the tension any less great on the stage itself. Men rushed from the wings to the spot where Christine had been singing that very instant. The performance was interrupted amid the greatest disorder.

Where had Christine gone? What witchcraft had snatched her, away before the eyes of thousands of enthusiastic onlookers and from the arms of Carolus Fonta himself? It was as though the angels had really carried her up "to rest."

Raoul, still standing up in the amphitheater, had uttered a cry. Count Philippe had sprung to his feet in his box. People looked at the stage, at the count, at Raoul, and wondered if this curious event was connected in any way with the paragraph in that morning's paper. But Raoul hurriedly left his seat, the count disappeared from his box and, while the curtain was lowered, the subscribers rushed to the door that led behind the scenes. The rest of the audience waited amid an indescribable hubbub. Every one spoke at once. Every one tried to suggest an explanation of the extraordinary incident.

At last, the curtain rose slowly and Carolus Fonta stepped to the conductor's desk and, in a sad and serious voice, said:

"Ladies and gentlemen, an unprecedented event has taken place and thrown us into a state of the greatest alarm. Our sister-artist, Christine Daae, has disappeared before our eyes and nobody can tell us how!"




Chapter XIV The Singular Attitude of a Safety-Pin

Behind the curtain, there was an indescribable crowd. Artists, scene-shifters, dancers, supers, choristers, subscribers were all asking questions, shouting and hustling one another.

"What became of her?"

"She's run away."

"With the Vicomte de Chagny, of course!"

"No, with the count!"

"Ah, here's Carlotta! Carlotta did the trick!"

"No, it was the ghost!" And a few laughed, especially as a careful examination of the trap-doors and boards had put the idea of an accident out of the question.

Amid this noisy throng, three men stood talking in a low voice and with despairing gestures. They were Gabriel, the chorus-master; Mercier, the acting-manager; and Remy, the secretary. They retired to a corner of the lobby by which the stage communicates with the wide passage leading to the foyer of the ballet. Here they stood and argued behind some enormous "properties."

"I knocked at the door," said Remy. "They did not answer. Perhaps they are not in the office. In any case, it's impossible to find out, for they took the keys with them."

"They" were obviously the managers, who had given orders, during the last entr'acte, that they were not to be disturbed on any pretext whatever. They were not in to anybody.

"All the same," exclaimed Gabriel, "a singer isn't run away with, from the middle of the stage, every day!"

"Did you shout that to them?" asked Mercier, impatiently.

"I'll go back again," said Remy, and disappeared at a run.

Thereupon the stage-manager arrived.

"Well, M. Mercier, are you coming? What are you two doing here? You're wanted, Mr. Acting-Manager."

"I refuse to know or to do anything before the commissary arrives," declared Mercier. "I have sent for Mifroid. We shall see when he comes!"

"And I tell you that you ought to go down to the organ at once."

"Not before the commissary comes."

"I've been down to the organ myself already."

"Ah! And what did you see?"

"Well, I saw nobody! Do you hear—nobody!"

"What do you want me to do down there for{sic}?"

"You're right!" said the stage-manager, frantically pushing his hands through his rebellious hair. "You're right! But there might be some one at the organ who could tell us how the stage came to be suddenly darkened. Now Mauclair is nowhere to be found. Do you understand that?"

Mauclair was the gas-man, who dispensed day and night at will on the stage of the Opera.

"Mauclair is not to be found!" repeated Mercier, taken aback. "Well, what about his assistants?"

"There's no Mauclair and no assistants! No one at the lights, I tell you! You can imagine," roared the stage-manager, "that that little girl must have been carried off by somebody else: she didn't run away by herself! It was a calculated stroke and we have to find out about it ... And what are the managers doing all this time? ... I gave orders that no one was to go down to the lights and I posted a fireman in front of the gas-man's box beside the organ. Wasn't that right?"

"Yes, yes, quite right, quite right. And now let's wait for the commissary."

The stage-manager walked away, shrugging his shoulders, fuming, muttering insults at those milksops who remained quietly squatting in a corner while the whole theater was topsyturvy{sic}.

Gabriel and Mercier were not so quiet as all that. Only they had received an order that paralyzed them. The managers were not to be disturbed on any account. Remy had violated that order and met with no success.

At that moment he returned from his new expedition, wearing a curiously startled air.

"Well, have you seen them?" asked Mercier.

"Moncharmin opened the door at last. His eyes were starting out of his head. I thought he meant to strike me. I could not get a word in; and what do you think he shouted at me? 'Have you a safety-pin?' 'No!' 'Well, then, clear out!' I tried to tell him that an unheard-of thing had happened on the stage, but he roared, 'A safety-pin! Give me a safety-pin at once!' A boy heard him—he was bellowing like a bull—ran up with a safety-pin and gave it to him; whereupon Moncharmin slammed the door in my face, and there you are!"

"And couldn't you have said, 'Christine Daae.'"

"I should like to have seen you in my place. He was foaming at the mouth. He thought of nothing but his safety-pin. I believe, if they hadn't brought him one on the spot, he would have fallen down in a fit! ... Oh, all this isn't natural; and our managers are going mad! ... Besides, it can't go on like this! I'm not used to being treated in that fashion!"

Suddenly Gabriel whispered:

"It's another trick of O. G.'s."

Rimy gave a grin, Mercier a sigh and seemed about to speak ... but, meeting Gabriel's eye, said nothing.

However, Mercier felt his responsibility increased as the minutes passed without the managers' appearing; and, at last, he could stand it no longer.

"Look here, I'll go and hunt them out myself!"

Gabriel, turning very gloomy and serious, stopped him.

"Be careful what you're doing, Mercier! If they're staying in their office, it's probably because they have to! O. G. has more than one trick in his bag!"

But Mercier shook his head.

"That's their lookout! I'm going! If people had listened to me, the police would have known everything long ago!"

And he went.

"What's everything?" asked Remy. "What was there to tell the police? Why don't you answer, Gabriel? ... Ah, so you know something! Well, you would do better to tell me, too, if you don't want me to shout out that you are all going mad! ... Yes, that's what you are: mad!"

Gabriel put on a stupid look and pretended not to understand the private secretary's unseemly outburst.

"What 'something' am I supposed to know?" he said. "I don't know what you mean."

Remy began to lose his temper.

"This evening, Richard and Moncharmin were behaving like lunatics, here, between the acts."

"I never noticed it," growled Gabriel, very much annoyed.

"Then you're the only one! ... Do you think that I didn't see them? ... And that M. Parabise, the manager of the Credit Central, noticed nothing? ... And that M. de La Borderie, the ambassador, has no eyes to see with? ... Why, all the subscribers were pointing at our managers!"

"But what were our managers doing?" asked Gabriel, putting on his most innocent air.

"What were they doing? You know better than any one what they were doing! ... You were there! ... And you were watching them, you and Mercier! ... And you were the only two who didn't laugh."

"I don't understand!"

Gabriel raised his arms and dropped them to his sides again, which gesture was meant to convey that the question did not interest him in the least. Remy continued:

"What is the sense of this new mania of theirs? WHY WON'T THEY HAVE ANY ONE COME NEAR THEM NOW?"

"What? WON'T THEY HAVE ANY ONE COME NEAR THEM?"

"AND THEY WON'T LET ANY ONE TOUCH THEM!"

"Really? Have you noticed THAT THEY WON'T LET ANY ONE TOUCH THEM? That is certainly odd!"

"Oh, so you admit it! And high time, too! And THEN, THEY WALK BACKWARD!"

"BACKWARD! You have seen our managers WALK BACKWARD? Why, I thought that only crabs walked backward!"

"Don't laugh, Gabriel; don't laugh!"

"I'm not laughing," protested Gabriel, looking as solemn as a judge.

"Perhaps you can tell me this, Gabriel, as you're an intimate friend of the management: When I went up to M. Richard, outside the foyer, during the Garden interval, with my hand out before me, why did M. Moncharmin hurriedly whisper to me, 'Go away! Go away! Whatever you do, don't touch M. le Directeur!' Am I supposed to have an infectious disease?"

"It's incredible!"

"And, a little later, when M. de La Borderie went up to M. Richard, didn't you see M. Moncharmin fling himself between them and hear him exclaim, 'M. l'Ambassadeur I entreat you not to touch M. le Directeur'?"

"It's terrible! ... And what was Richard doing meanwhile?"

"What was he doing? Why, you saw him! He turned about, BOWED IN FRONT OF HIM, THOUGH THERE WAS NOBODY IN FRONT OF HIM, AND WITHDREW BACKWARD."

"BACKWARD?"

"And Moncharmin, behind Richard, also turned about; that is, he described a semicircle behind Richard and also WALKED BACKWARD! ... And they went LIKE THAT to the staircase leading to the managers' office: BACKWARD, BACKWARD, BACKWARD! ... Well, if they are not mad, will you explain what it means?"

"Perhaps they were practising a figure in the ballet," suggested Gabriel, without much conviction in his voice.

The secretary was furious at this wretched joke, made at so dramatic a moment. He knit his brows and contracted his lips. Then he put his mouth to Gabriel's ear:

"Don't be so sly, Gabriel. There are things going on for which you and Mercier are partly responsible."

"What do you mean?" asked Gabriel.

"Christine Daae is not the only one who suddenly disappeared to-night."

"Oh, nonsense!"

"There's no nonsense about it. Perhaps you can tell me why, when Mother Giry came down to the foyer just now, Mercier took her by the hand and hurried her away with him?"

"Really?" said Gabriel, "I never saw it."

"You did see it, Gabriel, for you went with Mercier and Mother Giry to Mercier's office. Since then, you and Mercier have been seen, but no one has seen Mother Giry."

"Do you think we've eaten her?"

"No, but you've locked her up in the office; and any one passing the office can hear her yelling, 'Oh, the scoundrels! Oh, the scoundrels!'"

At this point of this singular conversation, Mercier arrived, all out of breath.

"There!" he said, in a gloomy voice. "It's worse than ever! ... I shouted, 'It's a serious matter! Open the door! It's I, Mercier.' I heard footsteps. The door opened and Moncharmin appeared. He was very pale. He said, 'What do you want?' I answered, 'Some one has run away with Christine Daae.' What do you think he said? 'And a good job, too!' And he shut the door, after putting this in my hand."

Mercier opened his hand; Remy and Gabriel looked.

"The safety-pin!" cried Remy.

"Strange! Strange!" muttered Gabriel, who could not help shivering.

Suddenly a voice made them all three turn round.

"I beg your pardon, gentlemen. Could you tell me where Christine Daae is?"

In spite of the seriousness of the circumstances, the absurdity of the question would have made them roar with laughter, if they had not caught sight of a face so sorrow-stricken that they were at once seized with pity. It was the Vicomte Raoul de Chagny.




Chapter XV Christine! Christine!

Raoul's first thought, after Christine Daae's fantastic disappearance, was to accuse Erik. He no longer doubted the almost supernatural powers of the Angel of Music, in this domain of the Opera in which he had set up his empire. And Raoul rushed on the stage, in a mad fit of love and despair.

"Christine! Christine!" he moaned, calling to her as he felt that she must be calling to him from the depths of that dark pit to which the monster had carried her. "Christine! Christine!"

And he seemed to hear the girl's screams through the frail boards that separated him from her. He bent forward, he listened, ... he wandered over the stage like a madman. Ah, to descend, to descend into that pit of darkness every entrance to which was closed to him, ... for the stairs that led below the stage were forbidden to one and all that night!

"Christine! Christine! ..."

People pushed him aside, laughing. They made fun of him. They thought the poor lover's brain was gone!

By what mad road, through what passages of mystery and darkness known to him alone had Erik dragged that pure-souled child to the awful haunt, with the Louis-Philippe room, opening out on the lake?

"Christine! Christine! ... Why don't you answer? ... Are you alive? ..."

Hideous thoughts flashed through Raoul's congested brain. Of course, Erik must have discovered their secret, must have known that Christine had played him false. What a vengeance would be his!

And Raoul thought again of the yellow stars that had come, the night before, and roamed over his balcony. Why had he not put them out for good? There were some men's eyes that dilated in the darkness and shone like stars or like cats' eyes. Certainly Albinos, who seemed to have rabbits' eyes by day, had cats' eyes at night: everybody knew that! ... Yes, yes, he had undoubtedly fired at Erik. Why had he not killed him? The monster had fled up the gutter-spout like a cat or a convict who—everybody knew that also—would scale the very skies, with the help of a gutter-spout ... No doubt Erik was at that time contemplating some decisive step against Raoul, but he had been wounded and had escaped to turn against poor Christine instead.

Such were the cruel thoughts that haunted Raoul as he ran to the singer's dressing-room.

"Christine! Christine!"

Bitter tears scorched the boy's eyelids as he saw scattered over the furniture the clothes which his beautiful bride was to have worn at the hour of their flight. Oh, why had she refused to leave earlier?

Why had she toyed with the threatening catastrophe? Why toyed with the monster's heart? Why, in a final access of pity, had she insisted on flinging, as a last sop to that demon's soul, her divine song:

"Holy angel, in Heaven blessed,
My spirit longs with thee to rest!"

Raoul, his throat filled with sobs, oaths and insults, fumbled awkwardly at the great mirror that had opened one night, before his eyes, to let Christine pass to the murky dwelling below. He pushed, pressed, groped about, but the glass apparently obeyed no one but Erik ... Perhaps actions were not enough with a glass of the kind? Perhaps he was expected to utter certain words? When he was a little boy, he had heard that there were things that obeyed the spoken word!

Suddenly, Raoul remembered something about a gate opening into the Rue Scribe, an underground passage running straight to the Rue Scribe from the lake ... Yes, Christine had told him about that... And, when he found that the key was no longer in the box, he nevertheless ran to the Rue Scribe. Outside, in the street, he passed his trembling hands over the huge stones, felt for outlets ... met with iron bars ... were those they? ... Or these? ... Or could it be that air-hole? ... He plunged his useless eyes through the bars ... How dark it was in there! ... He listened ... All was silence! ... He went round the building ... and came to bigger bars, immense gates! ... It was the entrance to the Cour de l'Administration.

Raoul rushed into the doorkeeper's lodge.

"I beg your pardon, madame, could you tell me where to find a gate or door, made of bars, iron bars, opening into the Rue Scribe ... and leading to the lake? ... You know the lake I mean? ... Yes, the underground lake ... under the Opera."

"Yes, sir, I know there is a lake under the Opera, but I don't know which door leads to it. I have never been there!"

"And the Rue Scribe, madame, the Rue Scribe? Have you never been to the Rue Scribe?"

The woman laughed, screamed with laughter! Raoul darted away, roaring with anger, ran up-stairs, four stairs at a time, down-stairs, rushed through the whole of the business side of the opera-house, found himself once more in the light of the stage.

He stopped, with his heart thumping in his chest: suppose Christine Daae had been found? He saw a group of men and asked:

"I beg your pardon, gentlemen. Could you tell me where Christine Daae is?"

And somebody laughed.

At the same moment the stage buzzed with a new sound and, amid a crowd of men in evening-dress, all talking and gesticulating together, appeared a man who seemed very calm and displayed a pleasant face, all pink and chubby-cheeked, crowned with curly hair and lit up by a pair of wonderfully serene blue eyes. Mercier, the acting-manager, called the Vicomte de Chagny's attention to him and said:

"This is the gentleman to whom you should put your question, monsieur. Let me introduce Mifroid, the commissary of police."

"Ah, M. le Vicomte de Chagny! Delighted to meet you, monsieur," said the commissary. "Would you mind coming with me? ... And now where are the managers? ... Where are the managers?"

Mercier did not answer, and Remy, the secretary, volunteered the information that the managers were locked up in their office and that they knew nothing as yet of what had happened.

"You don't mean to say so! Let us go up to the office!"

And M. Mifroid, followed by an ever-increasing crowd, turned toward the business side of the building. Mercier took advantage of the confusion to slip a key into Gabriel's hand:

"This is all going very badly," he whispered. "You had better let Mother Giry out."

And Gabriel moved away.

They soon came to the managers' door. Mercier stormed in vain: the door remained closed.

"Open in the name of the law!" commanded M. Mifroid, in a loud and rather anxious voice.

At last the door was opened. All rushed in to the office, on the commissary's heels.

Raoul was the last to enter. As he was about to follow the rest into the room, a hand was laid on his shoulder and he heard these words spoken in his ear:

"ERIK'S SECRETS CONCERN NO ONE BUT HIMSELF!"

He turned around, with a stifled exclamation. The hand that was laid on his shoulder was now placed on the lips of a person with an ebony skin, with eyes of jade and with an astrakhan cap on his head: the Persian! The stranger kept up the gesture that recommended discretion and then, at the moment when the astonished viscount was about to ask the reason of his mysterious intervention, bowed and disappeared.




Chapter XVI Mme. Giry's Astounding Revelations
as to Her Personal Relations with the Opera Ghost

Before following the commissary into the manager's office I must describe certain extraordinary occurrences that took place in that office which Remy and Mercier had vainly tried to enter and into which MM. Richard and Moncharmin had locked themselves with an object which the reader does not yet know, but which it is my duty, as an historian, to reveal without further postponement.

I have had occasion to say that the managers' mood had undergone a disagreeable change for some time past and to convey the fact that this change was due not only to the fall of the chandelier on the famous night of the gala performance.

The reader must know that the ghost had calmly been paid his first twenty thousand francs. Oh, there had been wailing and gnashing of teeth, indeed! And yet the thing had happened as simply as could be.

One morning, the managers found on their table an envelope addressed to "Monsieur O. G. (private)" and accompanied by a note from O. G. himself:

The time has come to carry out the clause in the memorandum-book. Please put twenty notes of a thousand francs each into this envelope, seal it with your own seal and hand it to Mme. Giry, who will do what is necessary.

The managers did not hesitate; without wasting time in asking how these confounded communications came to be delivered in an office which they were careful to keep locked, they seized this opportunity of laying hands, on the mysterious blackmailer. And, after telling the whole story, under the promise of secrecy, to Gabriel and Mercier, they put the twenty thousand francs into the envelope and without asking for explanations, handed it to Mme. Giry, who had been reinstated in her functions. The box-keeper displayed no astonishment. I need hardly say that she was well watched. She went straight to the ghost's box and placed the precious envelope on the little shelf attached to the ledge. The two managers, as well as Gabriel and Mercier, were hidden in such a way that they did not lose sight of the envelope for a second during the performance and even afterward, for, as the envelope had not moved, those who watched it did not move either; and Mme. Giry went away while the managers, Gabriel and Mercier were still there. At last, they became tired of waiting and opened the envelope, after ascertaining that the seals had not been broken.

At first sight, Richard and Moncharmin thought that the notes were still there; but soon they perceived that they were not the same. The twenty real notes were gone and had been replaced by twenty notes, of the "Bank of St. Farce"![1]

The managers' rage and fright were unmistakable. Moncharmin wanted to send for the commissary of police, but Richard objected. He no doubt had a plan, for he said:

"Don't let us make ourselves ridiculous! All Paris would laugh at us. O. G. has won the first game: we will win the second."

He was thinking of the next month's allowance.

Nevertheless, they had been so absolutely tricked that they were bound to suffer a certain dejection. And, upon my word, it was not difficult to understand. We must not forget that the managers had an idea at the back of their minds, all the time, that this strange incident might be an unpleasant practical joke on the part of their predecessors and that it would not do to divulge it prematurely. On the other hand, Moncharmin was sometimes troubled with a suspicion of Richard himself, who occasionally took fanciful whims into his head. And so they were content to await events, while keeping an eye on Mother Giry. Richard would not have her spoken to.

"If she is a confederate," he said, "the notes are gone long ago. But, in my opinion, she is merely an idiot."

"She's not the only idiot in this business," said Moncharmin pensively.

"Well, who could have thought it?" moaned Richard. "But don't be afraid ... next time, I shall have taken my precautions."

The next time fell on the same day that beheld the disappearance of Christine Daae. In the morning, a note from the ghost reminded them that the money was due. It read:

Do just as you did last time. It went very well. Put the twenty thousand in the envelope and hand it to our excellent Mme. Giry.

And the note was accompanied by the usual envelope. They had only to insert the notes.

This was done about half an hour before the curtain rose on the first act of Faust. Richard showed the envelope to Moncharmin. Then he counted the twenty thousand-franc notes in front of him and put the notes into the envelope, but without closing it.

"And now," he said, "let's have Mother Giry in."

The old woman was sent for. She entered with a sweeping courtesy. She still wore her black taffeta dress, the color of which was rapidly turning to rust and lilac, to say nothing of the dingy bonnet. She seemed in a good temper. She at once said:

"Good evening, gentlemen! It's for the envelope, I suppose?"

"Yes, Mme. Giry," said Richard, most amiably. "For the envelope ... and something else besides."

"At your service, M. Richard, at your service. And what is the something else, please?"

"First of all, Mme. Giry, I have a little question to put to you."

"By all means, M. Richard: Mme. Giry is here to answer you."

"Are you still on good terms with the ghost?"

"Couldn't be better, sir; couldn't be better."

"Ah, we are delighted ... Look here, Mme. Giry," said Richard, in the tone of making an important confidence. "We may just as well tell you, among ourselves ... you're no fool!"

"Why, sir," exclaimed the box-keeper, stopping the pleasant nodding of the black feathers in her dingy bonnet, "I assure you no one has ever doubted that!"

"We are quite agreed and we shall soon understand one another. The story of the ghost is all humbug, isn't it? ... Well, still between ourselves, ... it has lasted long enough."

Mme. Giry looked at the managers as though they were talking Chinese. She walked up to Richard's table and asked, rather anxiously:

"What do you mean? I don't understand."

"Oh, you, understand quite well. In any case, you've got to understand... And, first of all, tell us his name."

"Whose name?"

"The name of the man whose accomplice you are, Mme. Giry!"

"I am the ghost's accomplice? I? ... His accomplice in what, pray?"

"You do all he wants."

"Oh! He's not very troublesome, you know."

"And does he still tip you?"

"I mustn't complain."

"How much does he give you for bringing him that envelope?"

"Ten francs."

"You poor thing! That's not much, is it?

"Why?"

"I'll tell you that presently, Mme. Giry. Just now we should like to know for what extraordinary reason you have given yourself body and soul, to this ghost ... Mme. Giry's friendship and devotion are not to be bought for five francs or ten francs."

"That's true enough ... And I can tell you the reason, sir. There's no disgrace about it... on the contrary."

"We're quite sure of that, Mme. Giry!"

"Well, it's like this ... only the ghost doesn't like me to talk about his business."

"Indeed?" sneered Richard.

"But this is a matter that concerns myself alone ... Well, it was in Box Five one evening, I found a letter addressed to myself, a sort of note written in red ink. I needn't read the letter to you sir; I know it by heart, and I shall never forget it if I live to be a hundred!"

And Mme. Giry, drawing herself up, recited the letter with touching eloquence:

MADAM:

1825. Mlle. Menetrier, leader of the ballet, became Marquise de Cussy.

1832. Mlle. Marie Taglioni, a dancer, became Comtesse Gilbert des Voisins.

1846. La Sota, a dancer, married a brother of the King of Spain.

1847. Lola Montes, a dancer, became the morganatic wife of King Louis of Bavaria and was created Countess of Landsfeld.

1848. Mlle. Maria, a dancer, became Baronne d'Herneville.

1870. Theresa Hessier, a dancer, married Dom Fernando, brother to the King of Portugal.

Richard and Moncharmin listened to the old woman, who, as she proceeded with the enumeration of these glorious nuptials, swelled out, took courage and, at last, in a voice bursting with pride, flung out the last sentence of the prophetic letter:

1885. Meg Giry, Empress!

Exhausted by this supreme effort, the box-keeper fell into a chair, saying:

"Gentlemen, the letter was signed, 'Opera Ghost.' I had heard much of the ghost, but only half believed in him. From the day when he declared that my little Meg, the flesh of my flesh, the fruit of my womb, would be empress, I believed in him altogether."

And really it was not necessary to make a long study of Mme. Giry's excited features to understand what could be got out of that fine intellect with the two words "ghost" and "empress."

But who pulled the strings of that extraordinary puppet? That was the question.

"You have never seen him; he speaks to you and you believe all he says?" asked Moncharmin.

"Yes. To begin with, I owe it to him that my little Meg was promoted to be the leader of a row. I said to the ghost, 'If she is to be empress in 1885, there is no time to lose; she must become a leader at once.' He said, 'Look upon it as done.' And he had only a word to say to M. Poligny and the thing was done."

"So you see that M. Poligny saw him!"

"No, not any more than I did; but he heard him. The ghost said a word in his ear, you know, on the evening when he left Box Five, looking so dreadfully pale."

Moncharmin heaved a sigh. "What a business!" he groaned.

"Ah!" said Mme. Giry. "I always thought there were secrets between the ghost and M. Poligny. Anything that the ghost asked M. Poligny to do M. Poligny did. M. Poligny could refuse the ghost nothing."

"You hear, Richard: Poligny could refuse the ghost nothing."

"Yes, yes, I hear!" said Richard. "M. Poligny is a friend of the ghost; and, as Mme. Giry is a friend of M. Poligny, there we are! ... But I don't care a hang about M. Poligny," he added roughly. "The only person whose fate really interests me is Mme. Giry... Mme. Giry, do you know what is in this envelope?"

"Why, of course not," she said.

"Well, look."

Mine. Giry looked into the envelope with a lackluster eye, which soon recovered its brilliancy.

"Thousand-franc notes!" she cried.

"Yes, Mme. Giry, thousand-franc notes! And you knew it!"

"I, sir? I? ... I swear ..."

"Don't swear, Mme. Giry! ... And now I will tell you the second reason why I sent for you. Mme. Giry, I am going to have you arrested."

The two black feathers on the dingy bonnet, which usually affected the attitude of two notes of interrogation, changed into two notes of exclamation; as for the bonnet itself, it swayed in menace on the old lady's tempestuous chignon. Surprise, indignation, protest and dismay were furthermore displayed by little Meg's mother in a sort of extravagant movement of offended virtue, half bound, half slide, that brought her right under the nose of M. Richard, who could not help pushing back his chair.

"HAVE ME ARRESTED!"

The mouth that spoke those words seemed to spit the three teeth that were left to it into Richard's face.

M. Richard behaved like a hero. He retreated no farther. His threatening forefinger seemed already to be pointing out the keeper of Box Five to the absent magistrates.

"I am going to have you arrested, Mme. Giry, as a thief!"

"Say that again!"

And Mme. Giry caught Mr. Manager Richard a mighty box on the ear, before Mr. Manager Moncharmin had time to intervene. But it was not the withered hand of the angry old beldame that fell on the managerial ear, but the envelope itself, the cause of all the trouble, the magic envelope that opened with the blow, scattering the bank-notes, which escaped in a fantastic whirl of giant butterflies.

The two managers gave a shout, and the same thought made them both go on their knees, feverishly, picking up and hurriedly examining the precious scraps of paper.

"Are they still genuine, Moncharmin?"

"Are they still genuine, Richard?"

"Yes, they are still genuine!"

Above their heads, Mme. Giry's three teeth were clashing in a noisy contest, full of hideous interjections. But all that could be clearly distinguished was this LEIT-MOTIF:

"I, a thief! ... I, a thief, I?"

She choked with rage. She shouted:

"I never heard of such a thing!"

And, suddenly, she darted up to Richard again.

"In any case," she yelped, "you, M. Richard, ought to know better than I where the twenty thousand francs went to!"

"I?" asked Richard, astounded. "And how should I know?"

Moncharmin, looking severe and dissatisfied, at once insisted that the good lady should explain herself.

"What does this mean, Mme. Giry?" he asked. "And why do you say that M. Richard ought to know better than you where the twenty-thousand francs went to?"

As for Richard, who felt himself turning red under Moncharmin's eyes, he took Mme. Giry by the wrist and shook it violently. In a voice growling and rolling like thunder, he roared:

"Why should I know better than you where the twenty-thousand francs went to? Why? Answer me!"

"Because they went into your pocket!" gasped the old woman, looking at him as if he were the devil incarnate.

Richard would have rushed upon Mme. Giry, if Moncharmin had not stayed his avenging hand and hastened to ask her, more gently:

"How can you suspect my partner, M. Richard, of putting twenty-thousand francs in his pocket?"

"I never said that," declared Mme. Giry, "seeing that it was myself who put the twenty-thousand francs into M. Richard's pocket." And she added, under her voice, "There! It's out! ... And may the ghost forgive me!"

Richard began bellowing anew, but Moncharmin authoritatively ordered him to be silent.

"Allow me! Allow me! Let the woman explain herself. Let me question her." And he added: "It is really astonishing that you should take up such a tone! ... We are on the verge of clearing up the whole mystery. And you're in a rage! ... You're wrong to behave like that... I'm enjoying myself immensely."

Mme. Giry, like the martyr that she was, raised her head, her face beaming with faith in her own innocence.

"You tell me there were twenty-thousand francs in the envelope which I put into M. Richard's pocket; but I tell you again that I knew nothing about it ... Nor M. Richard either, for that matter!"

"Aha!" said Richard, suddenly assuming a swaggering air which Moncharmin did not like. "I knew nothing either! You put twenty-thousand francs in my pocket and I knew nothing either! I am very glad to hear it, Mme. Giry!"

"Yes," the terrible dame agreed, "yes, it's true. We neither of us knew anything. But you, you must have ended by finding out!"

Richard would certainly have swallowed Mme. Giry alive, if Moncharmin had not been there! But Moncharmin protected her. He resumed his questions:

"What sort of envelope did you put in M. Richard's pocket? It was not the one which we gave you, the one which you took to Box Five before our eyes; and yet that was the one which contained the twenty-thousand francs."

"I beg your pardon. The envelope which M. le Directeur gave me was the one which I slipped into M. le Directeur's pocket," explained Mme. Giry. "The one which I took to the ghost's box was another envelope, just like it, which the ghost gave me beforehand and which I hid up my sleeve."

So saying, Mme. Giry took from her sleeve an envelope ready prepared and similarly addressed to that containing the twenty-thousand francs. The managers took it from her. They examined it and saw that it was fastened with seals stamped with their own managerial seal. They opened it. It contained twenty Bank of St. Farce notes like those which had so much astounded them the month before.

"How simple!" said Richard.

"How simple!" repeated Moncharmin. And he continued with his eyes fixed upon Mme. Giry, as though trying to hypnotize her.

"So it was the ghost who gave you this envelope and told you to substitute it for the one which we gave you? And it was the ghost who told you to put the other into M. Richard's pocket?"

"Yes, it was the ghost."

"Then would you mind giving us a specimen of your little talents? Here is the envelope. Act as though we knew nothing."

"As you please, gentlemen."

Mme. Giry took the envelope with the twenty notes inside it and made for the door. She was on the point of going out when the two managers rushed at her:

"Oh, no! Oh, no! We're not going to be 'done' a second time! Once bitten, twice shy!"

"I beg your pardon, gentlemen," said the old woman, in self-excuse, "you told me to act as though you knew nothing ... Well, if you knew nothing, I should go away with your envelope!"

"And then how would you slip it into my pocket?" argued Richard, whom Moncharmin fixed with his left eye, while keeping his right on Mme. Giry: a proceeding likely to strain his sight, but Moncharmin was prepared to go to any length to discover the truth.

"I am to slip it into your pocket when you least expect it, sir. You know that I always take a little turn behind the scenes, in the course of the evening, and I often go with my daughter to the ballet-foyer, which I am entitled to do, as her mother; I bring her her shoes, when the ballet is about to begin ... in fact, I come and go as I please ... The subscribers come and go too... So do you, sir ... There are lots of people about ... I go behind you and slip the envelope into the tail-pocket of your dress-coat ... There's no witchcraft about that!"

"No witchcraft!" growled Richard, rolling his eyes like Jupiter Tonans. "No witchcraft! Why, I've just caught you in a lie, you old witch!"

Mme. Giry bristled, with her three teeth sticking out of her mouth.

"And why, may I ask?"

"Because I spent that evening watching Box Five and the sham envelope which you put there. I did not go to the ballet-foyer for a second."

"No, sir, and I did not give you the envelope that evening, but at the next performance ... on the evening when the under-secretary of state for fine arts ..."

At these words, M. Richard suddenly interrupted Mme. Giry:

"Yes, that's true, I remember now! The under-secretary went behind the scenes. He asked for me. I went down to the ballet-foyer for a moment. I was on the foyer steps ... The under-secretary and his chief clerk were in the foyer itself. I suddenly turned around ... you had passed behind me, Mme. Giry ... You seemed to push against me ... Oh, I can see you still, I can see you still!"

"Yes, that's it, sir, that's it. I had just finished my little business. That pocket of yours, sir, is very handy!"

And Mme. Giry once more suited the action to the word, She passed behind M. Richard and, so nimbly that Moncharmin himself was impressed by it, slipped the envelope into the pocket of one of the tails of M. Richard's dress-coat.

"Of course!" exclaimed Richard, looking a little pale. "It's very clever of O. G. The problem which he had to solve was this: how to do away with any dangerous intermediary between the man who gives the twenty-thousand francs and the man who receives it. And by far the best thing he could hit upon was to come and take the money from my pocket without my noticing it, as I myself did not know that it was there. It's wonderful!"

"Oh, wonderful, no doubt!" Moncharmin agreed. "Only, you forget, Richard, that I provided ten-thousand francs of the twenty and that nobody put anything in my pocket!"



[1] Flash notes drawn on the "Bank of St. Farce" in France correspond with those drawn on the "Bank of Engraving" in England.—Translator's Note.




Chapter XVII The Safety-Pin Again

Moncharmin's last phrase so dearly expressed the suspicion in which he now held his partner that it was bound to cause a stormy explanation, at the end of which it was agreed that Richard should yield to all Moncharmin's wishes, with the object of helping him to discover the miscreant who was victimizing them.

This brings us to the interval after the Garden Act, with the strange conduct observed by M. Remy and those curious lapses from the dignity that might be expected of the managers. It was arranged between Richard and Moncharmin, first, that Richard should repeat the exact movements which he had made on the night of the disappearance of the first twenty-thousand francs; and, second, that Moncharmin should not for an instant lose sight of Richard's coat-tail pocket, into which Mme. Giry was to slip the twenty-thousand francs.

M. Richard went and placed himself at the identical spot where he had stood when he bowed to the under-secretary for fine arts. M. Moncharmin took up his position a few steps behind him.

Mme. Giry passed, rubbed up against M. Richard, got rid of her twenty-thousand francs in the manager's coat-tail pocket and disappeared ... Or rather she was conjured away. In accordance with the instructions received from Moncharmin a few minutes earlier, Mercier took the good lady to the acting-manager's office and turned the key on her, thus making it impossible for her to communicate with her ghost.

Meanwhile, M. Richard was bending and bowing and scraping and walking backward, just as if he had that high and mighty minister, the under-secretary for fine arts, before him. Only, though these marks of politeness would have created no astonishment if the under-secretary of state had really been in front of M. Richard, they caused an easily comprehensible amazement to the spectators of this very natural but quite inexplicable scene when M. Richard had no body in front of him.

M. Richard bowed ... to nobody; bent his back ... before nobody; and walked backward ... before nobody ... And, a few steps behind him, M. Moncharmin did the same thing that he was doing in addition to pushing away M. Remy and begging M. de La Borderie, the ambassador, and the manager of the Credit Central "not to touch M. le Directeur."

Moncharmin, who had his own ideas, did not want Richard to come to him presently, when the twenty-thousand francs were gone, and say:

"Perhaps it was the ambassador ... or the manager of the Credit Central ... or Remy."

The more so as, at the time of the first scene, as Richard himself admitted, Richard had met nobody in that part of the theater after Mme. Giry had brushed up against him...

Having begun by walking backward in order to bow, Richard continued to do so from prudence, until he reached the passage leading to the offices of the management. In this way, he was constantly watched by Moncharmin from behind and himself kept an eye on any one approaching from the front. Once more, this novel method of walking behind the scenes, adopted by the managers of our National Academy of Music, attracted attention; but the managers themselves thought of nothing but their twenty-thousand francs.

On reaching the half-dark passage, Richard said to Moncharmin, in a low voice:

"I am sure that nobody has touched me ... You had now better keep at some distance from me and watch me till I come to door of the office: it is better not to arouse suspicion and we can see anything that happens."

But Moncharmin replied. "No, Richard, no! You walk ahead and I'll walk immediately behind you! I won't leave you by a step!"

"But, in that case," exclaimed Richard, "they will never steal our twenty-thousand francs!"

"I should hope not, indeed!" declared Moncharmin.

"Then what we are doing is absurd!"

"We are doing exactly what we did last time ... Last time, I joined you as you were leaving the stage and followed close behind you down this passage."

"That's true!" sighed Richard, shaking his head and passively obeying Moncharmin.

Two minutes later, the joint managers locked themselves into their office. Moncharmin himself put the key in his pocket:

"We remained locked up like this, last time," he said, "until you left the Opera to go home."

"That's so. No one came and disturbed us, I suppose?"

"No one."

"Then," said Richard, who was trying to collect his memory, "then I must certainly have been robbed on my way home from the Opera."

"No," said Moncharmin in a drier tone than ever, "no, that's impossible. For I dropped you in my cab. The twenty-thousand francs disappeared at your place: there's not a shadow of a doubt about that."

"It's incredible!" protested Richard. "I am sure of my servants ... and if one of them had done it, he would have disappeared since."

Moncharmin shrugged his shoulders, as though to say that he did not wish to enter into details, and Richard began to think that Moncharmin was treating him in a very insupportable fashion.

"Moncharmin, I've had enough of this!"

"Richard, I've had too much of it!"

"Do you dare to suspect me?"

"Yes, of a silly joke."

"One doesn't joke with twenty-thousand francs."

"That's what I think," declared Moncharmin, unfolding a newspaper and ostentatiously studying its contents.

"What are you doing?" asked Richard. "Are you going to read the paper next?"

"Yes, Richard, until I take you home."

"Like last time?"

"Yes, like last time."

Richard snatched the paper from Moncharmin's hands. Moncharmin stood up, more irritated than ever, and found himself faced by an exasperated Richard, who, crossing his arms on his chest, said:

"Look here, I'm thinking of this, I'M THINKING OF WHAT I MIGHT THINK if, like last time, after my spending the evening alone with you, you brought me home and if, at the moment of parting, I perceived that twenty-thousand francs had disappeared from my coat-pocket ... like last time."

"And what might you think?" asked Moncharmin, crimson with rage.

"I might think that, as you hadn't left me by a foot's breadth and as, by your own wish, you were the only one to approach me, like last time, I might think that, if that twenty-thousand francs was no longer in my pocket, it stood a very good chance of being in yours!"

Moncharmin leaped up at the suggestion.

"Oh!" he shouted. "A safety-pin!"

"What do you want a safety-pin for?"

"To fasten you up with! ... A safety-pin! ... A safety-pin!"

"You want to fasten me with a safety-pin?"

"Yes, to fasten you to the twenty-thousand francs! Then, whether it's here, or on the drive from here to your place, or at your place, you will feel the hand that pulls at your pocket and you will see if it's mine! Oh, so you're suspecting me now, are you? A safety-pin!"

And that was the moment when Moncharmin opened the door on the passage and shouted:

"A safety-pin! ... somebody give me a safety-pin!"

And we also know how, at the same moment, Remy, who had no safety-pin, was received by Moncharmin, while a boy procured the pin so eagerly longed for. And what happened was this: Moncharmin first locked the door again. Then he knelt down behind Richard's back.

"I hope," he said, "that the notes are still there?"

"So do I," said Richard.

"The real ones?" asked Moncharmin, resolved not to be "had" this time.

"Look for yourself," said Richard. "I refuse to touch them."

Moncharmin took the envelope from Richard's pocket and drew out the bank-notes with a trembling hand, for, this time, in order frequently to make sure of the presence of the notes, he had not sealed the envelope nor even fastened it. He felt reassured on finding that they were all there and quite genuine. He put them back in the tail-pocket and pinned them with great care. Then he sat down behind Richard's coat-tails and kept his eyes fixed on them, while Richard, sitting at his writing-table, did not stir.

"A little patience, Richard," said Moncharmin. "We have only a few minutes to wait ... The clock will soon strike twelve. Last time, we left at the last stroke of twelve."

"Oh, I shall have all the patience necessary!"

The time passed, slow, heavy, mysterious, stifling. Richard tried to laugh.

"I shall end by believing in the omnipotence of the ghost," he said. "Just now, don't you find something uncomfortable, disquieting, alarming in the atmosphere of this room?"

"You're quite right," said Moncharmin, who was really impressed.

"The ghost!" continued Richard, in a low voice, as though fearing lest he should be overheard by invisible ears. "The ghost! Suppose, all the same, it were a ghost who puts the magic envelopes on the table ... who talks in Box Five ... who killed Joseph Buquet ... who unhooked the chandelier ... and who robs us! For, after all, after all, after all, there is no one here except you and me, and, if the notes disappear and neither you nor I have anything to do with it, well, we shall have to believe in the ghost ... in the ghost."

At that moment, the clock on the mantlepiece gave its warning click and the first stroke of twelve struck.

The two managers shuddered. The perspiration streamed from their foreheads. The twelfth stroke sounded strangely in their ears.

When the clock stopped, they gave a sigh and rose from their chairs.

"I think we can go now," said Moncharmin.

"I think so," Richard a agreed.

"Before we go, do you mind if I look in your pocket?"

"But, of course, Moncharmin, YOU MUST! ... Well?" he asked, as Moncharmin was feeling at the pocket.

"Well, I can feel the pin."

"Of course, as you said, we can't be robbed without noticing it."

But Moncharmin, whose hands were still fumbling, bellowed:

"I can feel the pin, but I can't feel the notes!"

"Come, no joking, Moncharmin! ... This isn't the time for it."

"Well, feel for yourself."

Richard tore off his coat. The two managers turned the pocket inside out. THE POCKET WAS EMPTY. And the curious thing was that the pin remained, stuck in the same place.

Richard and Moncharmin turned pale. There was no longer any doubt about the witchcraft.

"The ghost!" muttered Moncharmin.

But Richard suddenly sprang upon his partner.

"No one but you has touched my pocket! Give me back my twenty-thousand francs! ... Give me back my twenty-thousand francs! ..."

"On my soul," sighed Moncharmin, who was ready to swoon, "on my soul, I swear that I haven't got it!"

Then somebody knocked at the door. Moncharmin opened it automatically, seemed hardly to recognize Mercier, his business-manager, exchanged a few words with him, without knowing what he was saying and, with an unconscious movement, put the safety-pin, for which he had no further use, into the hands of his bewildered subordinate ...




Chapter XVIII The Commissary, The Viscount and the Persian

The first words of the commissary of police, on entering the managers' office, were to ask after the missing prima donna.

"Is Christine Daae here?"

"Christine Daae here?" echoed Richard. "No. Why?"

As for Moncharmin, he had not the strength left to utter a word.

Richard repeated, for the commissary and the compact crowd which had followed him into the office observed an impressive silence.

"Why do you ask if Christine Daae is here, M. LE COMMISSAIRE?"

"Because she has to be found," declared the commissary of police solemnly.

"What do you mean, she has to be found? Has she disappeared?"

"In the middle of the performance!"

"In the middle of the performance? This is extraordinary!"

"Isn't it? And what is quite as extraordinary is that you should first learn it from me!"

"Yes," said Richard, taking his head in his hands and muttering. "What is this new business? Oh, it's enough to make a man send in his resignation!"

And he pulled a few hairs out of his mustache without even knowing what he was doing.

"So she ... so she disappeared in the middle of the performance?" he repeated.

"Yes, she was carried off in the Prison Act, at the moment when she was invoking the aid of the angels; but I doubt if she was carried off by an angel."

"And I am sure that she was!"

Everybody looked round. A young man, pale and trembling with excitement, repeated:

"I am sure of it!"

"Sure of what?" asked Mifroid.

"That Christine Daae was carried off by an angel, M. LE COMMISSAIRE and I can tell you his name."

"Aha, M. le Vicomte de Chagny! So you maintain that Christine Daae was carried off by an angel: an angel of the Opera, no doubt?"

"Yes, monsieur, by an angel of the Opera; and I will tell you where he lives ... when we are alone."

"You are right, monsieur."

And the commissary of police, inviting Raoul to take a chair, cleared the room of all the rest, excepting the managers.

Then Raoul spoke:

"M. le Commissaire, the angel is called Erik, he lives in the Opera and he is the Angel of Music!"

"The Angel of Music! Really! That is very curious! ... The Angel of Music!" And, turning to the managers, M. Mifroid asked, "Have you an Angel of Music on the premises, gentlemen?"

Richard and Moncharmin shook their heads, without even speaking.

"Oh," said the viscount, "those gentlemen have heard of the Opera ghost. Well, I am in a position to state that the Opera ghost and the Angel of Music are one and the same person; and his real name is Erik."

M. Mifroid rose and looked at Raoul attentively.

"I beg your pardon, monsieur but is it your intention to make fun of the law? And, if not, what is all this about the Opera ghost?"

"I say that these gentlemen have heard of him."

"Gentlemen, it appears that you know the Opera ghost?"

Richard rose, with the remaining hairs of his mustache in his hand.

"No, M. Commissary, no, we do not know him, but we wish that we did, for this very evening he has robbed us of twenty-thousand francs!"

And Richard turned a terrible look on Moncharmin, which seemed to say:

"Give me back the twenty-thousand francs, or I'll tell the whole story."

Moncharmin understood what he meant, for, with a distracted gesture, he said:

"Oh, tell everything and have done with it!"

As for Mifroid, he looked at the managers and at Raoul by turns and wondered whether he had strayed into a lunatic asylum. He passed his hand through his hair.

"A ghost," he said, "who, on the same evening, carries off an opera-singer and steals twenty-thousand francs is a ghost who must have his hands very full! If you don't mind, we will take the questions in order. The singer first, the twenty-thousand francs after. Come, M. de Chagny, let us try to talk seriously. You believe that Mlle. Christine Daae has been carried off by an individual called Erik. Do you know this person? Have you seen him?"

"Yes."

"Where?"

"In a church yard."

M. Mifroid gave a start, began to scrutinize Raoul again and said:

"Of course! ... That's where ghosts usually hang out! ... And what were you doing in that churchyard?"

"Monsieur," said Raoul, "I can quite understand how absurd my replies must seem to you. But I beg you to believe that I am in full possession of my faculties. The safety of the person dearest to me in the world is at stake. I should like to convince you in a few words, for time is pressing and every minute is valuable. Unfortunately, if I do not tell you the strangest story that ever was from the beginning, you will not believe me. I will tell you all I know about the Opera ghost, M. Commissary. Alas, I do not know much! ..."

"Never mind, go on, go on!" exclaimed Richard and Moncharmin, suddenly greatly interested.

Unfortunately for their hopes of learning some detail that could put them on the track of their hoaxer, they were soon compelled to accept the fact that M. Raoul de Chagny had completely lost his head. All that story about Perros-Guirec, death's heads and enchanted violins, could only have taken birth in the disordered brain of a youth mad with love. It was evident, also, that Mr. Commissary Mifroid shared their view; and the magistrate would certainly have cut short the incoherent narrative if circumstances had not taken it upon themselves to interrupt it.

The door opened and a man entered, curiously dressed in an enormous frock-coat and a tall hat, at once shabby and shiny, that came down to his ears. He went up to the commissary and spoke to him in a whisper. It was doubtless a detective come to deliver an important communication.

During this conversation, M. Mifroid did not take his eyes off Raoul. At last, addressing him, he said:

"Monsieur, we have talked enough about the ghost. We will now talk about yourself a little, if you have no objection: you were to carry off Mlle. Christine Daae to-night?"

"Yes, M. le Commissaire."

"After the performance?"

"Yes, M. le Commissaire."

"All your arrangements were made?"

"Yes, M. le Commissaire."

"The carriage that brought you was to take you both away... There were fresh horses in readiness at every stage ..."

"That is true, M. le Commissaire."

"And nevertheless your carriage is still outside the Rotunda awaiting your orders, is it not?"

"Yes, M. le Commissaire."

"Did you know that there were three other carriages there, in addition to yours?"

"I did not pay the least attention."

"They were the carriages of Mlle. Sorelli, which could not find room in the Cour de l'Administration; of Carlotta; and of your brother, M. le Comte de Chagny..."

"Very likely..."

"What is certain is that, though your carriage and Sorelli's and Carlotta's are still there, by the Rotunda pavement, M. le Comte de Chagny's carriage is gone."

"This has nothing to say to ..."

"I beg your pardon. Was not M. le Comte opposed to your marriage with Mlle. Daae?"

"That is a matter that only concerns the family."

"You have answered my question: he was opposed to it ... and that was why you were carrying Christine Daae out of your brother's reach... Well, M. de Chagny, allow me to inform you that your brother has been smarter than you! It is he who has carried off Christine Daae!"

"Oh, impossible!" moaned Raoul, pressing his hand to his heart. "Are you sure?"

"Immediately after the artist's disappearance, which was procured by means which we have still to ascertain, he flung into his carriage, which drove right across Paris at a furious pace."

"Across Paris?" asked poor Raoul, in a hoarse voice. "What do you mean by across Paris?"

"Across Paris and out of Paris ... by the Brussels road."

"Oh," cried the young man, "I shall catch them!" And he rushed out of the office.

"And bring her back to us!" cried the commisary gaily ... "Ah, that's a trick worth two of the Angel of Music's!"

And, turning to his audience, M. Mifroid delivered a little lecture on police methods.

"I don't know for a moment whether M. le Comte de Chagny has really carried Christine Daae off or not ... but I want to know and I believe that, at this moment, no one is more anxious to inform us than his brother ... And now he is flying in pursuit of him! He is my chief auxiliary! This, gentlemen, is the art of the police, which is believed to be so complicated and which, nevertheless appears so simple as soon its you see that it consists in getting your work done by people who have nothing to do with the police."

But M. le Commissaire de Police Mifroid would not have been quite so satisfied with himself if he had known that the rush of his rapid emissary was stopped at the entrance to the very first corridor. A tall figure blocked Raoul's way.

"Where are you going so fast, M. de Chagny?" asked a voice.

Raoul impatiently raised his eyes and recognized the astrakhan cap of an hour ago. He stopped:

"It's you!" he cried, in a feverish voice. "You, who know Erik's secrets and don't want me to speak of them. Who are you?"

"You know who I am! ... I am the Persian!"




Chapter XIX The Viscount and the Persian

Raoul now remembered that his brother had once shown him that mysterious person, of whom nothing was known except that he was a Persian and that he lived in a little old-fashioned flat in the Rue de Rivoli.

The man with the ebony skin, the eyes of jade and the astrakhan cap bent over Raoul.

"I hope, M. de Chagny," he said, "that you have not betrayed Erik's secret?"

"And why should I hesitate to betray that monster, sir?" Raoul rejoined haughtily, trying to shake off the intruder. "Is he your friend, by any chance?"

"I hope that you said nothing about Erik, sir, because Erik's secret is also Christine Daae's and to talk about one is to talk about the other!"

"Oh, sir," said Raoul, becoming more and more impatient, "you seem to know about many things that interest me; and yet I have no time to listen to you!"

"Once more, M. de Chagny, where are you going so fast?"

"Can not you guess? To Christine Daae's assistance..."

"Then, sir, stay here, for Christine Daae is here!"

"With Erik?"

"With Erik."

"How do you know?"

"I was at the performance and no one in the world but Erik could contrive an abduction like that! ... Oh," he said, with a deep sigh, "I recognized the monster's touch! ..."

"You know him then?"

The Persian did not reply, but heaved a fresh sigh.

"Sir," said Raoul, "I do not know what your intentions are, but can you do anything to help me? I mean, to help Christine Daae?"

"I think so, M. de Chagny, and that is why I spoke to you."

"What can you do?"

"Try to take you to her ... and to him."

"If you can do me that service, sir, my life is yours! ... One word more: the commissary of police tells me that Christine Daae has been carried off by my brother, Count Philippe."

"Oh, M. de Chagny, I don't believe a word of it."

"It's not possible, is it?"

"I don't know if it is possible or not; but there are ways and ways of carrying people off; and M. le Comte Philippe has never, as far as I know, had anything to do with witchcraft."

"Your arguments are convincing, sir, and I am a fool! ... Oh, let us make haste! I place myself entirely in your hands! ... How should I not believe you, when you are the only one to believe me ... when you are the only one not to smile when Erik's name is mentioned?"

And the young man impetuously seized the Persian's hands. They were ice-cold.

"Silence!" said the Persian, stopping and listening to the distant sounds of the theater. "We must not mention that name here. Let us say 'he' and 'him;' then there will be less danger of attracting his attention."

"Do you think he is near us?"

"It is quite possible, Sir, if he is not, at this moment, with his victim, IN THE HOUSE ON THE LAKE."

"Ah, so you know that house too?"

"If he is not there, he may be here, in this wall, in this floor, in this ceiling! ... Come!"

And the Persian, asking Raoul to deaden the sound of his footsteps, led him down passages which Raoul had never seen before, even at the time when Christine used to take him for walks through that labyrinth.

"If only Darius has come!" said the Persian.

"Who is Darius?"

"Darius? My servant."

They were now in the center of a real deserted square, an immense apartment ill-lit by a small lamp. The Persian stopped Raoul and, in the softest of whispers, asked:

"What did you say to the commissary?"

"I said that Christine Daae's abductor was the Angel of Music, ALIAS the Opera ghost, and that the real name was ..."

"Hush! ... And did he believe you?"

"No."

"He attached no importance to what you said?"

"No."

"He took you for a bit of a madman?"

"Yes."

"So much the better!" sighed the Persian.

And they continued their road. After going up and down several staircases which Raoul had never seen before, the two men found themselves in front of a door which the Persian opened with a master-key. The Persian and Raoul were both, of course, in dress-clothes; but, whereas Raoul had a tall hat, the Persian wore the astrakhan cap which I have already mentioned. It was an infringement of the rule which insists upon the tall hat behind the scenes; but in France foreigners are allowed every license: the Englishman his traveling-cap, the Persian his cap of astrakhan.

"Sir," said the Persian, "your tall hat will be in your way: you would do well to leave it in the dressing-room."

"What dressing-room?" asked Raoul.

"Christine Daae's."

And the Persian, letting Raoul through the door which he had just opened, showed him the actress' room opposite. They were at the end of the passage the whole length of which Raoul had been accustomed to traverse before knocking at Christine's door.

"How well you know the Opera, sir!"

"Not so well as 'he' does!" said the Persian modestly.

And he pushed the young man into Christine's dressing-room, which was as Raoul had left it a few minutes earlier.

Closing the door, the Persian went to a very thin partition that separated the dressing-room from a big lumber-room next to it. He listened and then coughed loudly.

There was a sound of some one stirring in the lumber-room; and, a few seconds later, a finger tapped at the door.

"Come in," said the Persian.

A man entered, also wearing an astrakhan cap and dressed in a long overcoat. He bowed and took a richly carved case from under his coat, put it on the dressing-table, bowed once again and went to the door.

"Did no one see you come in, Darius?"

"No, master."

"Let no one see you go out."

The servant glanced down the passage and swiftly disappeared.

The Persian opened the case. It contained a pair of long pistols.

"When Christine Daae was carried off, sir, I sent word to my servant to bring me these pistols. I have had them a long time and they can be relied upon."

"Do you mean to fight a duel?" asked the young man.

"It will certainly be a duel which we shall have to fight," said the other, examining the priming of his pistols. "And what a duel!" Handing one of the pistols to Raoul, he added, "In this duel, we shall be two to one; but you must be prepared for everything, for we shall be fighting the most terrible adversary that you can imagine. But you love Christine Daae, do you not?"

"I worship the ground she stands on! But you, sir, who do not love her, tell me why I find you ready to risk your life for her! You must certainly hate Erik!"

"No, sir," said the Persian sadly, "I do not hate him. If I hated him, he would long ago have ceased doing harm."

"Has he done you harm?"

"I have forgiven him the harm which he has done me."

"I do not understand you. You treat him as a monster, you speak of his crime, he has done you harm and I find in you the same inexplicable pity that drove me to despair when I saw it in Christine!"

The Persian did not reply. He fetched a stool and set it against the wall facing the great mirror that filled the whole of the wall-space opposite. Then he climbed on the stool and, with his nose to the wallpaper, seemed to be looking for something.

"Ah," he said, after a long search, "I have it!" And, raising his finger above his head, he pressed against a corner in the pattern of the paper. Then he turned round and jumped off the stool:

"In half a minute," he said, "he shall be ON HIS ROAD!" and crossing the whole of the dressing-room he felt the great mirror.

"No, it is not yielding yet," he muttered.

"Oh, are we going out by the mirror?" asked Raoul. "Like Christine Daae."

"So you knew that Christine Daae went out by that mirror?"

"She did so before my eyes, sir! I was hidden behind the curtain of the inner room and I saw her vanish not by the glass, but in the glass!"

"And what did you do?"

"I thought it was an aberration of my senses, a mad dream.

"Or some new fancy of the ghost's!" chuckled the Persian. "Ah, M. de Chagny," he continued, still with his hand on the mirror, "would that we had to do with a ghost! We could then leave our pistols in their case ... Put down your hat, please ... there ... and now cover your shirt-front as much as you can with your coat ... as I am doing ... Bring the lapels forward ... turn up the collar ... We must make ourselves as invisible as possible."

Bearing against the mirror, after a short silence, he said:

"It takes some time to release the counterbalance, when you press on the spring from the inside of the room. It is different when you are behind the wall and can act directly on the counterbalance. Then the mirror turns at once and is moved with incredible rapidity."

"What counterbalance?" asked Raoul.

"Why, the counterbalance that lifts the whole of this wall on to its pivot. You surely don't expect it to move of itself, by enchantment! If you watch, you will see the mirror first rise an inch or two and then shift an inch or two from left to right. It will then be on a pivot and will swing round."

"It's not turning!" said Raoul impatiently.

"Oh, wait! You have time enough to be impatient, sir! The mechanism has obviously become rusty, or else the spring isn't working... Unless it is something else," added the Persian, anxiously.

"What?"

"He may simply have cut the cord of the counterbalance and blocked the whole apparatus."

"Why should he? He does not know that we are coming this way!"

"I dare say he suspects it, for he knows that I understand the system."

"It's not turning! ... And Christine, sir, Christine?"

The Persian said coldly:

"We shall do all that it is humanly possible to do! ... But he may stop us at the first step! ... He commands the walls, the doors and the trapdoors. In my country, he was known by a name which means the 'trap-door lover.'"

"But why do these walls obey him alone? He did not build them!"

"Yes, sir, that is just what he did!"

Raoul looked at him in amazement; but the Persian made a sign to him to be silent and pointed to the glass ... There was a sort of shivering reflection. Their image was troubled as in a rippling sheet of water and then all became stationary again.

"You see, sir, that it is not turning! Let us take another road!"

"To-night, there is no other!" declared the Persian, in a singularly mournful voice. "And now, look out! And be ready to fire."

He himself raised his pistol opposite the glass. Raoul imitated his movement. With his free arm, the Persian drew the young man to his chest and, suddenly, the mirror turned, in a blinding daze of cross-lights: it turned like one of those revolving doors which have lately been fixed to the entrances of most restaurants, it turned, carrying Raoul and the Persian with it and suddenly hurling them from the full light into the deepest darkness.




Chapter XX In the Cellars of the Opera

"Your hand high, ready to fire!" repeated Raoul's companion quickly.

The wall, behind them, having completed the circle which it described upon itself, closed again; and the two men stood motionless for a moment, holding their breath.

At last, the Persian decided to make a movement; and Raoul heard him slip on his knees and feel for something in the dark with his groping hands. Suddenly, the darkness was made visible by a small dark lantern and Raoul instinctively stepped backward as though to escape the scrutiny of a secret enemy. But he soon perceived that the light belonged to the Persian, whose movements he was closely observing. The little red disk was turned in every direction and Raoul saw that the floor, the walls and the ceiling were all formed of planking. It must have been the ordinary road taken by Erik to reach Christine's dressing-room and impose upon her innocence. And Raoul, remembering the Persian's remark, thought that it had been mysteriously constructed by the ghost himself. Later, he learned that Erik had found, all prepared for him, a secret passage, long known to himself alone and contrived at the time of the Paris Commune to allow the jailers to convey their prisoners straight to the dungeons that had been constructed for them in the cellars; for the Federates had occupied the opera-house immediately after the eighteenth of March and had made a starting-place right at the top for their Mongolfier balloons, which carried their incendiary proclamations to the departments, and a state prison right at the bottom.

The Persian went on his knees and put his lantern on the ground. He seemed to be working at the floor; and suddenly he turned off his light. Then Raoul heard a faint click and saw a very pale luminous square in the floor of the passage. It was as though a window had opened on the Opera cellars, which were still lit. Raoul no longer saw the Persian, but he suddenly felt him by his side and heard him whisper:

"Follow me and do all that I do."

Raoul turned to the luminous aperture. Then he saw the Persian, who was still on his knees, hang by his hands from the rim of the opening, with his pistol between his teeth, and slide into the cellar below.

Curiously enough, the viscount had absolute confidence in the Persian, though he knew nothing about him. His emotion when speaking of the "monster" struck him as sincere; and, if the Persian had cherished any sinister designs against him, he would not have armed him with his own hands. Besides, Raoul must reach Christine at all costs. He therefore went on his knees also and hung from the trap with both hands.

"Let go!" said a voice.

And he dropped into the arms of the Persian, who told him to lie down flat, closed the trap-door above him and crouched down beside him. Raoul tried to ask a question, but the Persian's hand was on his mouth and he heard a voice which he recognized as that of the commissary of police.

Raoul and the Persian were completely hidden behind a wooden partition. Near them, a small staircase led to a little room in which the commissary appeared to be walking up and down, asking questions. The faint light was just enough to enable Raoul to distinguish the shape of things around him. And he could not restrain a dull cry: there were three corpses there.

The first lay on the narrow landing of the little staircase; the two others had rolled to the bottom of the staircase. Raoul could have touched one of the two poor wretches by passing his fingers through the partition.

"Silence!" whispered the Persian.

He too had seen the bodies and he gave one word in explanation:

"HE!"

The commissary's voice was now heard more distinctly. He was asking for information about the system of lighting, which the stage-manager supplied. The commissary therefore must be in the "organ" or its immediate neighborhood.

Contrary to what one might think, especially in connection with an opera-house, the "organ" is not a musical instrument. At that time, electricity was employed only for a very few scenic effects and for the bells. The immense building and the stage itself were still lit by gas; hydrogen was used to regulate and modify the lighting of a scene; and this was done by means of a special apparatus which, because of the multiplicity of its pipes, was known as the "organ." A box beside the prompter's box was reserved for the chief gas-man, who from there gave his orders to his assistants and saw that they were executed. Mauclair stayed in this box during all the performances.

But now Mauclair was not in his box and his assistants not in their places.

"Mauclair! Mauclair!"

The stage-manager's voice echoed through the cellars. But Mauclair did not reply.

I have said that a door opened on a little staircase that led to the second cellar. The commissary pushed it, but it resisted.

"I say," he said to the stage-manager, "I can't open this door: is it always so difficult?"

The stage-manager forced it open with his shoulder. He saw that, at the same time, he was pushing a human body and he could not keep back an exclamation, for he recognized the body at once:

"Mauclair! Poor devil! He is dead!"

But Mr. Commissary Mifroid, whom nothing surprised, was stooping over that big body.

"No," he said, "he is dead-drunk, which is not quite the same thing."

"It's the first time, if so," said the stage-manager

"Then some one has given him a narcotic. That is quite possible."

Mifroid went down a few steps and said:

"Look!"

By the light of a little red lantern, at the foot of the stairs, they saw two other bodies. The stage-manager recognized Mauclair's assistants. Mifroid went down and listened to their breathing.

"They are sound asleep," he said. "Very curious business! Some person unknown must have interfered with the gas-man and his staff ... and that person unknown was obviously working on behalf of the kidnapper ... But what a funny idea to kidnap a performer on the stage! ... Send for the doctor of the theater, please." And Mifroid repeated, "Curious, decidedly curious business!"

Then he turned to the little room, addressing the people whom Raoul and the Persian were unable to see from where they lay.

"What do you say to all this, gentlemen? You are the only ones who have not given your views. And yet you must have an opinion of some sort."

Thereupon, Raoul and the Persian saw the startled faces of the joint managers appear above the landing—and they heard Moncharmin's excited voice:

"There are things happening here, Mr. Commissary, which we are unable to explain."

And the two faces disappeared.

"Thank you for the information, gentlemen," said Mifroid, with a jeer.

But the stage-manager, holding his chin in the hollow of his right hand, which is the attitude of profound thought, said:

"It is not the first time that Mauclair has fallen asleep in the theater. I remember finding him, one evening, snoring in his little recess, with his snuff-box beside him."

"Is that long ago?" asked M. Mifroid, carefully wiping his eye-glasses.

"No, not so very long ago ... Wait a bit! ... It was the night ... of course, yes ... It was the night when Carlotta—you know, Mr. Commissary—gave her famous 'co-ack'!"

"Really? The night when Carlotta gave her famous 'co-ack'?"

And M. Mifroid, replacing his gleaming glasses on his nose, fixed the stage-manager with a contemplative stare.

"So Mauclair takes snuff, does he?" he asked carelessly.

"'Yes, Mr. Commissary ... Look, there is his snuff-box on that little shelf ... Oh! he's a great snuff-taker!"

"So am I," said Mifroid and put the snuff-box in his pocket.

Raoul and the Persian, themselves unobserved, watched the removal of the three bodies by a number of scene-shifters, who were followed by the commissary and all the people with him. Their steps were heard for a few minutes on the stage above. When they were alone the Persian made a sign to Raoul to stand up. Raoul did so; but, as he did not lift his hand in front of his eyes, ready to fire, the Persian told him to resume that attitude and to continue it, whatever happened.

"But it tires the hand unnecessarily," whispered Raoul. "If I do fire, I shan't be sure of my aim."

"Then shift your pistol to the other hand," said the Persian.

"I can't shoot with my left hand."

Thereupon, the Persian made this queer reply, which was certainly not calculated to throw light into the young man's flurried brain:

"It's not a question of shooting with the right hand or the left; it's a question of holding one of your hands as though you were going to pull the trigger of a pistol with your arm bent. As for the pistol itself, when all is said, you can put that in your pocket!" And he added, "Let this be clearly understood, or I will answer for nothing. It is a matter of life and death. And now, silence and follow me!"

The cellars of the Opera are enormous and they are five in number. Raoul followed the Persian and wondered what he would have done without his companion in that extraordinary labyrinth. They went down to the third cellar; and their progress was still lit by some distant lamp.

The lower they went, the more precautions the Persian seemed to take. He kept on turning to Raoul to see if he was holding his arm properly, showing him how he himself carried his hand as if always ready to fire, though the pistol was in his pocket.

Suddenly, a loud voice made them stop. Some one above them shouted:

"All the door-shutters on the stage! The commissary of police wants them!"

Steps were heard and shadows glided through the darkness. The Persian drew Raoul behind a set piece. They saw passing before and above them old men bent by age and the past burden of opera-scenery. Some could hardly drag themselves along; others, from habit, with stooping bodies and outstretched hands, looked for doors to shut.

They were the door-shutters, the old, worn-out scene-shifters, on whom a charitable management had taken pity, giving them the job of shutting doors above and below the stage. They went about incessantly, from top to bottom of the building, shutting the doors; and they were also called "The draft-expellers," at least at that time, for I have little doubt that by now they are all dead. Drafts are very bad for the voice, wherever they may come from.[1]

The two men might have stumbled over them, waking them up and provoking a request for explanations. For the moment, M. Mifroid's inquiry saved them from any such unpleasant encounters.

The Persian and Raoul welcomed this incident, which relieved them of inconvenient witnesses, for some of those door-shutters, having nothing else to do or nowhere to lay their heads, stayed at the Opera, from idleness or necessity, and spent the night there.

But they were not left to enjoy their solitude for long. Other shades now came down by the same way by which the door-shutters had gone up. Each of these shades carried a little lantern and moved it about, above, below and all around, as though looking for something or somebody.

"Hang it!" muttered the Persian. "I don't know what they are looking for, but they might easily find us ... Let us get away, quick! ... Your hand up, sir, ready to fire! ... Bend your arm ... more ... that's it! ... Hand at the level of your eye, as though you were fighting a duel and waiting for the word to fire! Oh, leave your pistol in your pocket. Quick, come along, down-stairs. Level of your eye! Question of life or death! ... Here, this way, these stairs!" They reached the fifth cellar. "Oh, what a duel, sir, what a duel!"

Once in the fifth cellar, the Persian drew breath. He seemed to enjoy a rather greater sense of security than he had displayed when they both stopped in the third; but he never altered the attitude of his hand. And Raoul, remembering the Persian's observation—"I know these pistols can be relied upon"—was more and more astonished, wondering why any one should be so gratified at being able to rely upon a pistol which he did not intend to use!

But the Persian left him no time for reflection. Telling Raoul to stay where he was, he ran up a few steps of the staircase which they had just left and then returned.

"How stupid of us!" he whispered. "We shall soon have seen the end of those men with their lanterns. It is the firemen going their rounds."[2]

The two men waited five minutes longer. Then the Persian took Raoul up the stairs again; but suddenly he stopped him with a gesture. Something moved in the darkness before them.

"Flat on your stomach!" whispered the Persian.

The two men lay flat on the floor.

They were only just in time. A shade, this time carrying no light, just a shade in the shade, passed. It passed close to them, near enough to touch them.

They felt the warmth of its cloak upon them. For they could distinguish the shade sufficiently to see that it wore a cloak which shrouded it from head to foot. On its head it had a soft felt hat ...

It moved away, drawing its feet against the walls and sometimes giving a kick into a corner.

"Whew!" said the Persian. "We've had a narrow escape; that shade knows me and has twice taken me to the managers' office."

"Is it some one belonging to the theater police?" asked Raoul.

"It's some one much worse than that!" replied the Persian, without giving any further explanation.[3]

"It's not ... he?"

"He? ... If he does not come behind us, we shall always see his yellow eyes! That is more or less our safeguard to-night. But he may come from behind, stealing up; and we are dead men if we do not keep our hands as though about to fire, at the level of our eyes, in front!"

The Persian had hardly finished speaking, when a fantastic face came in sight ... a whole fiery face, not only two yellow eyes!

Yes, a head of fire came toward them, at a man's height, but with no body attached to it. The face shed fire, looked in the darkness like a flame shaped as a man's face.

"Oh," said the Persian, between his teeth. "I have never seen this before! ... Pampin was not mad, after all: he had seen it! ... What can that flame be? It is not HE, but he may have sent it! ... Take care! ... Take care! Your hand at the level of your eyes, in Heaven's name, at the level of your eyes! ... know most of his tricks ... but not this one ... Come, let us run ... it is safer. Hand at the level of your eyes!"

And they fled down the long passage that opened before them.

After a few seconds, that seemed to them like long minutes, they stopped.

"He doesn't often come this way," said the Persian. "This side has nothing to do with him. This side does not lead to the lake nor to the house on the lake ... But perhaps he knows that we are at his heels ... although I promised him to leave him alone and never to meddle in his business again!"

So saying, he turned his head and Raoul also turned his head; and they again saw the head of fire behind their two heads. It had followed them. And it must have run also, and perhaps faster than they, for it seemed to be nearer to them.

At the same time, they began to perceive a certain noise of which they could not guess the nature. They simply noticed that the sound seemed to move and to approach with the fiery face. It was a noise as though thousands of nails had been scraped against a blackboard, the perfectly unendurable noise that is sometimes made by a little stone inside the chalk that grates on the blackboard.

They continued to retreat, but the fiery face came on, came on, gaining on them. They could see its features clearly now. The eyes were round and staring, the nose a little crooked and the mouth large, with a hanging lower lip, very like the eyes, nose and lip of the moon, when the moon is quite red, bright red.

How did that red moon manage to glide through the darkness, at a man's height, with nothing to support it, at least apparently? And how did it go so fast, so straight ahead, with such staring, staring eyes? And what was that scratching, scraping, grating sound which it brought with it?

The Persian and Raoul could retreat no farther and flattened themselves against the wall, not knowing what was going to happen because of that incomprehensible head of fire, and especially now, because of the more intense, swarming, living, "numerous" sound, for the sound was certainly made up of hundreds of little sounds that moved in the darkness, under the fiery face.

And the fiery face came on ... with its noise ... came level with them! ...

And the two companions, flat against their wall, felt their hair stand on end with horror, for they now knew what the thousand noises meant. They came in a troop, hustled along in the shadow by innumerable little hurried waves, swifter than the waves that rush over the sands at high tide, little night-waves foaming under the moon, under the fiery head that was like a moon. And the little waves passed between their legs, climbing up their legs, irresistibly, and Raoul and the Persian could no longer restrain their cries of horror, dismay and pain. Nor could they continue to hold their hands at the level of their eyes: their hands went down to their legs to push back the waves, which were full of little legs and nails and claws and teeth.

Yes, Raoul and the Persian were ready to faint, like Pampin the fireman. But the head of fire turned round in answer to their cries, and spoke to them:

"Don't move! Don't move! ... Whatever you do, don't come after me! ... I am the rat-catcher! ... Let me pass, with my rats! ..."

And the head of fire disappeared, vanished in the darkness, while the passage in front of it lit up, as the result of the change which the rat-catcher had made in his dark lantern. Before, so as not to scare the rats in front of him, he had turned his dark lantern on himself, lighting up his own head; now, to hasten their flight, he lit the dark space in front of him. And he jumped along, dragging with him the waves of scratching rats, all the thousand sounds.

Raoul and the Persian breathed again, though still trembling.

"I ought to have remembered that Erik talked to me about the rat-catcher," said the Persian. "But he never told me that he looked like that ... and it's funny that I should never have met him before ... Of course, Erik never comes to this part!"

[Illustration: two page color illustration]

"Are we very far from the lake, sir?" asked Raoul. "When shall we get there? ... Take me to the lake, oh, take me to the lake! ... When we are at the lake, we will call out! ... Christine will hear us! ... And HE will hear us, too! ... And, as you know him, we shall talk to him!" "Baby!" said the Persian. "We shall never enter the house on the lake by the lake! ... I myself have never landed on the other bank ... the bank on which the house stands. ... You have to cross the lake first ... and it is well guarded! ... I fear that more than one of those men—old scene-shifters, old door-shutters—who have never been seen again were simply tempted to cross the lake ... It is terrible ... I myself would have been nearly killed there ... if the monster had not recognized me in time! ... One piece of advice, sir; never go near the lake... And, above all, shut your ears if you hear the voice singing under the water, the siren's voice!"

"But then, what are we here for?" asked Raoul, in a transport of fever, impatience and rage. "If you can do nothing for Christine, at least let me die for her!" The Persian tried to calm the young man.

"We have only one means of saving Christine Daae, believe me, which is to enter the house unperceived by the monster."

"And is there any hope of that, sir?"

"Ah, if I had not that hope, I would not have come to fetch you!"

"And how can one enter the house on the lake without crossing the lake?"

"From the third cellar, from which we were so unluckily driven away. We will go back there now ... I will tell you," said the Persian, with a sudden change in his voice, "I will tell you the exact place, sir: it is between a set piece and a discarded scene from ROI DE LAHORE, exactly at the spot where Joseph Buquet died... Come, sir, take courage and follow me! And hold your hand at the level of your eyes! ... But where are we?"

The Persian lit his lamp again and flung its rays down two enormous corridors that crossed each other at right angles.

"We must be," he said, "in the part used more particularly for the waterworks. I see no fire coming from the furnaces."

He went in front of Raoul, seeking his road, stopping abruptly when he was afraid of meeting some waterman. Then they had to protect themselves against the glow of a sort of underground forge, which the men were extinguishing, and at which Raoul recognized the demons whom Christine had seen at the time of her first captivity.

In this way, they gradually arrived beneath the huge cellars below the stage. They must at this time have been at the very bottom of the "tub" and at an extremely great depth, when we remember that the earth was dug out at fifty feet below the water that lay under the whole of that part of Paris.[4]

The Persian touched a partition-wall and said:

"If I am not mistaken, this is a wall that might easily belong to the house on the lake."

He was striking a partition-wall of the "tub," and perhaps it would be as well for the reader to know how the bottom and the partition-walls of the tub were built. In order to prevent the water surrounding the building-operations from remaining in immediate contact with the walls supporting the whole of the theatrical machinery, the architect was obliged to build a double case in every direction. The work of constructing this double case took a whole year. It was the wall of the first inner case that the Persian struck when speaking to Raoul of the house on the lake. To any one understanding the architecture of the edifice, the Persian's action would seem to indicate that Erik's mysterious house had been built in the double case, formed of a thick wall constructed as an embankment or dam, then of a brick wall, a tremendous layer of cement and another wall several yards in thickness.

At the Persian's words, Raoul flung himself against the wall and listened eagerly. But he heard nothing ... nothing ... except distant steps sounding on the floor of the upper portions of the theater.

The Persian darkened his lantern again.

"Look out!" he said. "Keep your hand up! And silence! For we shall try another way of getting in."

And he led him to the little staircase by which they had come down lately.

They went up, stopping at each step, peering into the darkness and the silence, till they came to the third cellar. Here the Persian motioned to Raoul to go on his knees; and, in this way, crawling on both knees and one hand—for the other hand was held in the position indicated—they reached the end wall.

Against this wall stood a large discarded scene from the ROI DE LAHORE. Close to this scene was a set piece. Between the scene and the set piece there was just room for a body ... for a body which one day was found hanging there. The body of Joseph Buquet.

The Persian, still kneeling, stopped and listened. For a moment, he seemed to hesitate and looked at Raoul; then he turned his eyes upward, toward the second cellar, which sent down the faint glimmer of a lantern, through a cranny between two boards. This glimmer seemed to trouble the Persian.

At last, he tossed his head and made up his mind to act. He slipped between the set piece and the scene from the ROI DE LAHORE, with Raoul close upon his heels. With his free hand, the Persian felt the wall. Raoul saw him bear heavily upon the wall, just as he had pressed against the wall in Christine's dressing-room. Then a stone gave way, leaving a hole in the wall.

This time, the Persian took his pistol from his pocket and made a sign to Raoul to do as he did. He cocked the pistol.

And, resolutely, still on his knees, he wiggled through the hole in the wall. Raoul, who had wished to pass first, had to be content to follow him.

The hole was very narrow. The Persian stopped almost at once. Raoul heard him feeling the stones around him. Then the Persian took out his dark lantern again, stooped forward, examined something beneath him and immediately extinguished his lantern. Raoul heard him say, in a whisper:

"We shall have to drop a few yards, without making a noise; take off your boots."

The Persian handed his own shoes to Raoul.

"Put them outside the wall," he said. "We shall find them there when we leave."[5]

He crawled a little farther on his knees, then turned right round and said:

"I am going to hang by my hands from the edge of the stone and let myself drop INTO HIS HOUSE. You must do exactly the same. Do not be afraid. I will catch you in my arms."

Raoul soon heard a dull sound, evidently produced by the fall of the Persian, and then dropped down.

He felt himself clasped in the Persian's arms.

"Hush!" said the Persian.

And they stood motionless, listening.

The darkness was thick around them, the silence heavy and terrible.

Then the Persian began to make play with the dark lantern again, turning the rays over their heads, looking for the hole through which they had come, and failing to find it:

"Oh!" he said. "The stone has closed of itself!"

And the light of the lantern swept down the wall and over the floor.

The Persian stooped and picked up something, a sort of cord, which he examined for a second and flung away with horror.

"The Punjab lasso!" he muttered.

"What is it?" asked Raoul.

The Persian shivered. "It might very well be the rope by which the man was hanged, and which was looked for so long."

And, suddenly seized with fresh anxiety, he moved the little red disk of his lantern over the walls. In this way, he lit up a curious thing: the trunk of a tree, which seemed still quite alive, with its leaves; and the branches of that tree ran right up the walls and disappeared in the ceiling.

Because of the smallness of the luminous disk, it was difficult at first to make out the appearance of things: they saw a corner of a branch ... and a leaf ... and another leaf ... and, next to it, nothing at all, nothing but the ray of light that seemed to reflect itself ... Raoul passed his hand over that nothing, over that reflection.

"Hullo!" he said. "The wall is a looking-glass!"

"Yes, a looking-glass!" said the Persian, in a tone of deep emotion. And, passing the hand that held the pistol over his moist forehead, he added, "We have dropped into the torture-chamber!"

What the Persian knew of this torture-chamber and what there befell him and his companion shall be told in his own words, as set down in a manuscript which he left behind him, and which I copy VERBATIM.



[1] M. Pedro Gailhard has himself told me that he created a few additional posts as door-shutters for old stage-carpenters whom he was unwilling to dismiss from the service of the Opera.

[2] In those days, it was still part of the firemen's duty to watch over the safety of the Opera house outside the performances; but this service has since been suppressed. I asked M. Pedro Gailhard the reason, and he replied:

"It was because the management was afraid that, in their utter inexperience of the cellars of the Opera, the firemen might set fire to the building!"

[3] Like the Persian, I can give no further explanation touching the apparition of this shade. Whereas, in this historic narrative, everything else will be normally explained, however abnormal the course of events may seem, I can not give the reader expressly to understand what the Persian meant by the words, "It is some one much worse than that!" The reader must try to guess for himself, for I promised M. Pedro Gailhard, the former manager of the Opera, to keep his secret regarding the extremely interesting and useful personality of the wandering, cloaked shade which, while condemning itself to live in the cellars of the Opera, rendered such immense services to those who, on gala evenings, for instance, venture to stray away from the stage. I am speaking of state services; and, upon my word of honor, I can say no more.

[4] All the water had to be exhausted, in the building of the Opera. To give an idea of the amount of water that was pumped up, I can tell the reader that it represented the area of the courtyard of the Louvre and a height half as deep again as the towers of Notre Dame. And nevertheless the engineers had to leave a lake.

[5] These two pairs of boots, which were placed, according to the Persian's papers, just between the set piece and the scene from the ROI DE LAHORE, on the spot where Joseph Buquet was found hanging, were never discovered. They must have been taken by some stage-carpenter or "door-shutter."




Chapter XXI Interesting and Instructive Vicissitudes
of a Persian in the Cellars of the Opera

THE PERSIAN'S NARRATIVE

It was the first time that I entered the house on the lake. I had often begged the "trap-door lover," as we used to call Erik in my country, to open its mysterious doors to me. He always refused. I made very many attempts, but in vain, to obtain admittance. Watch him as I might, after I first learned that he had taken up his permanent abode at the Opera, the darkness was always too thick to enable me to see how he worked the door in the wall on the lake. One day, when I thought myself alone, I stepped into the boat and rowed toward that part of the wall through which I had seen Erik disappear. It was then that I came into contact with the siren who guarded the approach and whose charm was very nearly fatal to me.

I had no sooner put off from the bank than the silence amid which I floated on the water was disturbed by a sort of whispered singing that hovered all around me. It was half breath, half music; it rose softly from the waters of the lake; and I was surrounded by it through I knew not what artifice. It followed me, moved with me and was so soft that it did not alarm me. On the contrary, in my longing to approach the source of that sweet and enticing harmony, I leaned out of my little boat over the water, for there was no doubt in my mind that the singing came from the water itself. By this time, I was alone in the boat in the middle of the lake; the voice—for it was now distinctly a voice—was beside me, on the water. I leaned over, leaned still farther. The lake was perfectly calm, and a moonbeam that passed through the air hole in the Rue Scribe showed me absolutely nothing on its surface, which was smooth and black as ink. I shook my ears to get rid of a possible humming; but I soon had to accept the fact that there was no humming in the ears so harmonious as the singing whisper that followed and now attracted me.

Had I been inclined to superstition, I should have certainly thought that I had to do with some siren whose business it was to confound the traveler who should venture on the waters of the house on the lake. Fortunately, I come from a country where we are too fond of fantastic things not to know them through and through; and I had no doubt but that I was face to face with some new invention of Erik's. But this invention was so perfect that, as I leaned out of the boat, I was impelled less by a desire to discover its trick than to enjoy its charm; and I leaned out, leaned out until I almost overturned the boat.

Suddenly, two monstrous arms issued from the bosom of the waters and seized me by the neck, dragging me down to the depths with irresistible force. I should certainly have been lost, if I had not had time to give a cry by which Erik knew me. For it was he; and, instead of drowning me, as was certainly his first intention, he swam with me and laid me gently on the bank:

"How imprudent you are!" he said, as he stood before me, dripping with water. "Why try to enter my house? I never invited you! I don't want you there, nor anybody! Did you save my life only to make it unbearable to me? However great the service you rendered him, Erik may end by forgetting it; and you know that nothing can restrain Erik, not even Erik himself."

He spoke, but I had now no other wish than to know what I already called the trick of the siren. He satisfied my curiosity, for Erik, who is a real monster—I have seen him at work in Persia, alas—is also, in certain respects, a regular child, vain and self-conceited, and there is nothing he loves so much, after astonishing people, as to prove all the really miraculous ingenuity of his mind.

He laughed and showed me a long reed.

"It's the silliest trick you ever saw," he said, "but it's very useful for breathing and singing in the water. I learned it from the Tonkin pirates, who are able to remain hidden for hours in the beds of the rivers."[1]

I spoke to him severely.

"It's a trick that nearly killed me!" I said. "And it may have been fatal to others! You know what you promised me, Erik? No more murders!"

"Have I really committed murders?" he asked, putting on his most amiable air.

"Wretched man!" I cried. "Have you forgotten the rosy hours of Mazenderan?"

"Yes," he replied, in a sadder tone, "I prefer to forget them. I used to make the little sultana laugh, though!"

"All that belongs to the past," I declared; "but there is the present ... and you are responsible to me for the present, because, if I had wished, there would have been none at all for you. Remember that, Erik: I saved your life!"

And I took advantage of the turn of conversation to speak to him of something that had long been on my mind:

"Erik," I asked, "Erik, swear that ..."

"What?" he retorted. "You know I never keep my oaths. Oaths are made to catch gulls with."

"Tell me ... you can tell me, at any rate..."

"Well?"

"Well, the chandelier ... the chandelier, Erik? ..."

"What about the chandelier?"

"You know what I mean."

"Oh," he sniggered, "I don't mind telling you about the chandelier! ... IT WASN'T I! ... The chandelier was very old and worn."

When Erik laughed, he was more terrible than ever. He jumped into the boat, chuckling so horribly that I could not help trembling.

"Very old and worn, my dear daroga![2] Very old and worn, the chandelier! ... It fell of itself! ... It came down with a smash! ... And now, daroga, take my advice and go and dry yourself, or you'll catch a cold in the head! ... And never get into my boat again ... And, whatever you do, don't try to enter my house: I'm not always there ... daroga! And I should be sorry to have to dedicate my Requiem Mass to you!"

So saying, swinging to and fro, like a monkey, and still chuckling, he pushed off and soon disappeared in the darkness of the lake.

From that day, I gave up all thought of penetrating into his house by the lake. That entrance was obviously too well guarded, especially since he had learned that I knew about it. But I felt that there must be another entrance, for I had often seen Erik disappear in the third cellar, when I was watching him, though I could not imagine how.

Ever since I had discovered Erik installed in the Opera, I lived in a perpetual terror of his horrible fancies, not in so far as I was concerned, but I dreaded everything for others.[3]

And whenever some accident, some fatal event happened, I always thought to myself, "I should not be surprised if that were Erik," even as others used to say, "It's the ghost!" How often have I not heard people utter that phrase with a smile! Poor devils! If they had known that the ghost existed in the flesh, I swear they would not have laughed!

Although Erik announced to me very solemnly that he had changed and that he had become the most virtuous of men SINCE HE WAS LOVED FOR HIMSELF—a sentence that, at first, perplexed me most terribly—I could not help shuddering when I thought of the monster. His horrible, unparalleled and repulsive ugliness put him without the pale of humanity; and it often seemed to me that, for this reason, he no longer believed that he had any duty toward the human race. The way in which he spoke of his love affairs only increased my alarm, for I foresaw the cause of fresh and more hideous tragedies in this event to which he alluded so boastfully.

On the other hand, I soon discovered the curious moral traffic established between the monster and Christine Daae. Hiding in the lumber-room next to the young prima donna's dressing-room, I listened to wonderful musical displays that evidently flung Christine into marvelous ecstasy; but, all the same, I would never have thought that Erik's voice—which was loud as thunder or soft as angels' voices, at will—could have made her forget his ugliness. I understood all when I learned that Christine had not yet seen him! I had occasion to go to the dressing-room and, remembering the lessons he had once given me, I had no difficulty in discovering the trick that made the wall with the mirror swing round and I ascertained the means of hollow bricks and so on—by which he made his voice carry to Christine as though she heard it close beside her. In this way also I discovered the road that led to the well and the dungeon—the Communists' dungeon—and also the trap-door that enabled Erik to go straight to the cellars below the stage.

A few days later, what was not my amazement to learn by my own eyes and ears that Erik and Christine Daae saw each other and to catch the monster stooping over the little well, in the Communists' road and sprinkling the forehead of Christine Daae, who had fainted. A white horse, the horse out of the PROFETA, which had disappeared from the stables under the Opera, was standing quietly beside them. I showed myself. It was terrible. I saw sparks fly from those yellow eyes and, before I had time to say a word, I received a blow on the head that stunned me.

When I came to myself, Erik, Christine and the white horse had disappeared. I felt sure that the poor girl was a prisoner in the house on the lake. Without hesitation, I resolved to return to the bank, notwithstanding the attendant danger. For twenty-four hours, I lay in wait for the monster to appear; for I felt that he must go out, driven by the need of obtaining provisions. And, in this connection, I may say, that, when he went out in the streets or ventured to show himself in public, he wore a pasteboard nose, with a mustache attached to it, instead of his own horrible hole of a nose. This did not quite take away his corpse-like air, but it made him almost, I say almost, endurable to look at.

I therefore watched on the bank of the lake and, weary of long waiting, was beginning to think that he had gone through the other door, the door in the third cellar, when I heard a slight splashing in the dark, I saw the two yellow eyes shining like candles and soon the boat touched shore. Erik jumped out and walked up to me:

"You've been here for twenty-four hours," he said, "and you're annoying me. I tell you, all this will end very badly. And you will have brought it upon yourself; for I have been extraordinarily patient with you. You think you are following me, you great booby, whereas it's I who am following you; and I know all that you know about me, here. I spared you yesterday, in MY COMMUNISTS' ROAD; but I warn you, seriously, don't let me catch you there again! Upon my word, you don't seem able to take a hint!"

He was so furious that I did not think, for the moment, of interrupting him. After puffing and blowing like a walrus, he put his horrible thought into words:

"Yes, you must learn, once and for all—once and for all, I say—to take a hint! I tell you that, with your recklessness—for you have already been twice arrested by the shade in the felt hat, who did not know what you were doing in the cellars and took you to the managers, who looked upon you as an eccentric Persian interested in stage mechanism and life behind the scenes: I know all about it, I was there, in the office; you know I am everywhere—well, I tell you that, with your recklessness, they will end by wondering what you are after here ... and they will end by knowing that you are after Erik ... and then they will be after Erik themselves and they will discover the house on the lake ... If they do, it will be a bad lookout for you, old chap, a bad lookout! ... I won't answer for anything."

Again he puffed and blew like a walrus.

"I won't answer for anything! ... If Erik's secrets cease to be Erik's secrets, IT WILL BE A BAD LOOKOUT FOR A GOODLY NUMBER OF THE HUMAN RACE! That's all I have to tell you, and unless you are a great booby, it ought to be enough for you ... except that you don't know how to take a hint."

He had sat down on the stern of his boat and was kicking his heels against the planks, waiting to hear what I had to answer. I simply said:

"It's not Erik that I'm after here!"

"Who then?"

"You know as well as I do: it's Christine Daae," I answered.

He retorted: "I have every right to see her in my own house. I am loved for my own sake."

"That's not true," I said. "You have carried her off and are keeping her locked up."

"Listen," he said. "Will you promise never to meddle with my affairs again, if I prove to you that I am loved for my own sake?"

"Yes, I promise you," I replied, without hesitation, for I felt convinced that for such a monster the proof was impossible.

"Well, then, it's quite simple ... Christine Daae shall leave this as she pleases and come back again! ... Yes, come back again, because she wishes ... come back of herself, because she loves me for myself! ..."

"Oh, I doubt if she will come back! ... But it is your duty to let her go." "My duty, you great booby! ... It is my wish ... my wish to let her go; and she will come back again ... for she loves me! ... All this will end in a marriage ... a marriage at the Madeleine, you great booby! Do you believe me now? When I tell you that my nuptial mass is written ... wait till you hear the KYRIE..."

He beat time with his heels on the planks of the boat and sang:

"KYRIE! ... KYRIE! ... KYRIE ELEISON! ... Wait till you hear, wait till you hear that mass."

"Look here," I said. "I shall believe you if I see Christine Daae come out of the house on the lake and go back to it of her own accord."

"And you won't meddle any more in my affairs?"

"No."

"Very well, you shall see that to-night. Come to the masked ball. Christine and I will go and have a look round. Then you can hide in the lumber-room and you shall see Christine, who will have gone to her dressing-room, delighted to come back by the Communists' road... And, now, be off, for I must go and do some shopping!"

To my intense astonishment, things happened as he had announced. Christine Daae left the house on the lake and returned to it several times, without, apparently, being forced to do so. It was very difficult for me to clear my mind of Erik. However, I resolved to be extremely prudent, and did not make the mistake of returning to the shore of the lake, or of going by the Communists' road. But the idea of the secret entrance in the third cellar haunted me, and I repeatedly went and waited for hours behind a scene from the Roi de Lahore, which had been left there for some reason or other. At last my patience was rewarded. One day, I saw the monster come toward me, on his knees. I was certain that he could not see me. He passed between the scene behind which I stood and a set piece, went to the wall and pressed on a spring that moved a stone and afforded him an ingress. He passed through this, and the stone closed behind him.

I waited for at least thirty minutes and then pressed the spring in my turn. Everything happened as with Erik. But I was careful not to go through the hole myself, for I knew that Erik was inside. On the other hand, the idea that I might be caught by Erik suddenly made me think of the death of Joseph Buquet. I did not wish to jeopardize the advantages of so great a discovery which might be useful to many people, "to a goodly number of the human race," in Erik's words; and I left the cellars of the Opera after carefully replacing the stone.

I continued to be greatly interested in the relations between Erik and Christine Daae, not from any morbid curiosity, but because of the terrible thought which obsessed my mind that Erik was capable of anything, if he once discovered that he was not loved for his own sake, as he imagined. I continued to wander, very cautiously, about the Opera and soon learned the truth about the monster's dreary love-affair.

He filled Christine's mind, through the terror with which he inspired her, but the dear child's heart belonged wholly to the Vicomte Raoul de Chagny. While they played about, like an innocent engaged couple, on the upper floors of the Opera, to avoid the monster, they little suspected that some one was watching over them. I was prepared to do anything: to kill the monster, if necessary, and explain to the police afterward. But Erik did not show himself; and I felt none the more comfortable for that.

I must explain my whole plan. I thought that the monster, being driven from his house by jealousy, would thus enable me to enter it, without danger, through the passage in the third cellar. It was important, for everybody's sake, that I should know exactly what was inside. One day, tired of waiting for an opportunity, I moved the stone and at once heard an astounding music: the monster was working at his Don Juan Triumphant, with every door in his house wide open. I knew that this was the work of his life. I was careful not to stir and remained prudently in my dark hole.

He stopped playing, for a moment, and began walking about his place, like a madman. And he said aloud, at the top of his voice:

"It must be finished FIRST! Quite finished!"

This speech was not calculated to reassure me and, when the music recommenced, I closed the stone very softly.

On the day of the abduction of Christine Daae, I did not come to the theater until rather late in the evening, trembling lest I should hear bad news. I had spent a horrible day, for, after reading in a morning paper the announcement of a forthcoming marriage between Christine and the Vicomte de Chagny, I wondered whether, after all, I should not do better to denounce the monster. But reason returned to me, and I was persuaded that this action could only precipitate a possible catastrophe.

When, my cab set me down before the Opera, I was really almost astonished to see it still standing! But I am something of a fatalist, like all good Orientals, and I entered ready, for anything.

Christine Daae's abduction in the Prison Act, which naturally surprised everybody, found me prepared. I was quite certain that she had been juggled away by Erik, that prince of conjurers. And I thought positively that this was the end of Christine and perhaps of everybody, so much so that I thought of advising all these people who were staying on at the theater to make good their escape. I felt, however, that they would be sure to look upon me as mad and I refrained.

On the other hand, I resolved to act without further delay, as far as I was concerned. The chances were in my favor that Erik, at that moment, was thinking only of his captive. This was the moment to enter his house through the third cellar; and I resolved to take with me that poor little desperate viscount, who, at the first suggestion, accepted, with an amount of confidence in myself that touched me profoundly. I had sent my servant for my pistols. I gave one to the viscount and advised him to hold himself ready to fire, for, after all, Erik might be waiting for us behind the wall. We were to go by the Communists' road and through the trap-door.

Seeing my pistols, the little viscount asked me if we were going to fight a duel. I said:

"Yes; and what a duel!" But, of course, I had no time to explain anything to him. The little viscount is a brave fellow, but he knew hardly anything about his adversary; and it was so much the better. My great fear was that he was already somewhere near us, preparing the Punjab lasso. No one knows better than he how to throw the Punjab lasso, for he is the king of stranglers even as he is the prince of conjurors. When he had finished making the little sultana laugh, at the time of the "rosy hours of Mazenderan," she herself used to ask him to amuse her by giving her a thrill. It was then that he introduced the sport of the Punjab lasso.

He had lived in India and acquired an incredible skill in the art of strangulation. He would make them lock him into a courtyard to which they brought a warrior—usually, a man condemned to death—armed with a long pike and broadsword. Erik had only his lasso; and it was always just when the warrior thought that he was going to fell Erik with a tremendous blow that we heard the lasso whistle through the air. With a turn of the wrist, Erik tightened the noose round his adversary's neck and, in this fashion, dragged him before the little sultana and her women, who sat looking from a window and applauding. The little sultana herself learned to wield the Punjab lasso and killed several of her women and even of the friends who visited her. But I prefer to drop this terrible subject of the rosy hours of Mazenderan. I have mentioned it only to explain why, on arriving with the Vicomte de Chagny in the cellars of the Opera, I was bound to protect my companion against the ever-threatening danger of death by strangling. My pistols could serve no purpose, for Erik was not likely to show himself; but Erik could always strangle us. I had no time to explain all this to the viscount; besides, there was nothing to be gained by complicating the position. I simply told M. de Chagny to keep his hand at the level of his eyes, with the arm bent, as though waiting for the command to fire. With his victim in this attitude, it is impossible even for the most expert strangler to throw the lasso with advantage. It catches you not only round the neck, but also round the arm or hand. This enables you easily to unloose the lasso, which then becomes harmless.

After avoiding the commissary of police, a number of door-shutters and the firemen, after meeting the rat-catcher and passing the man in the felt hat unperceived, the viscount and I arrived without obstacle in the third cellar, between the set piece and the scene from the Roi de Lahore. I worked the stone, and we jumped into the house which Erik had built himself in the double case of the foundation-walls of the Opera. And this was the easiest thing in the world for him to do, because Erik was one of the chief contractors under Philippe Garnier, the architect of the Opera, and continued to work by himself when the works were officially suspended, during the war, the siege of Paris and the Commune.

I knew my Erik too well to feel at all comfortable on jumping into his house. I knew what he had made of a certain palace at Mazenderan. From being the most honest building conceivable, he soon turned it into a house of the very devil, where you could not utter a word but it was overheard or repeated by an echo. With his trap-doors the monster was responsible for endless tragedies of all kinds. He hit upon astonishing inventions. Of these, the most curious, horrible and dangerous was the so-called torture-chamber. Except in special cases, when the little sultana amused herself by inflicting suffering upon some unoffending citizen, no one was let into it but wretches condemned to death. And, even then, when these had "had enough," they were always at liberty to put an end to themselves with a Punjab lasso or bowstring, left for their use at the foot of an iron tree.

My alarm, therefore, was great when I saw that the room into which M. le Vicomte de Chagny and I had dropped was an exact copy of the torture-chamber of the rosy hours of Mazenderan. At our feet, I found the Punjab lasso which I had been dreading all the evening. I was convinced that this rope had already done duty for Joseph Buquet, who, like myself, must have caught Erik one evening working the stone in the third cellar. He probably tried it in his turn, fell into the torture-chamber and only left it hanged. I can well imagine Erik dragging the body, in order to get rid of it, to the scene from the Roi de Lahore, and hanging it there as an example, or to increase the superstitious terror that was to help him in guarding the approaches to his lair! Then, upon reflection, Erik went back to fetch the Punjab lasso, which is very curiously made out of catgut, and which might have set an examining magistrate thinking. This explains the disappearance of the rope.

And now I discovered the lasso, at our feet, in the torture-chamber! ... I am no coward, but a cold sweat covered my forehead as I moved the little red disk of my lantern over the walls.

M. de Chagny noticed it and asked:

"What is the matter, sir?"

I made him a violent sign to be silent.



[1] An official report from Tonkin, received in Paris at the end of July, 1909, relates how the famous pirate chief De Tham was tracked, together with his men, by our soldiers; and how all of them succeeded in escaping, thanks to this trick of the reeds.

[2] DAROGA is Persian for chief of police.

[3] The Persian might easily have admitted that Erik's fate also interested himself, for he was well aware that, if the government of Teheran had learned that Erik was still alive, it would have been all up with the modest pension of the erstwhile daroga. It is only fair, however, to add that the Persian had a noble and generous heart; and I do not doubt for a moment that the catastrophes which he feared for others greatly occupied his mind. His conduct, throughout this business, proves it and is above all praise.




Chapter XXII In the Torture Chamber

THE PERSIAN'S NARRATIVE CONTINUED

We were in the middle of a little six-cornered room, the sides of which were covered with mirrors from top to bottom. In the corners, we could clearly see the "joins" in the glasses, the segments intended to turn on their gear; yes, I recognized them and I recognized the iron tree in the corner, at the bottom of one of those segments ... the iron tree, with its iron branch, for the hanged men.

I seized my companion's arm: the Vicomte de Chagny was all a-quiver, eager to shout to his betrothed that he was bringing her help. I feared that he would not be able to contain himself.

Suddenly, we heard a noise on our left. It sounded at first like a door opening and shutting in the next room; and then there was a dull moan. I clutched M. de Chagny's arm more firmly still; and then we distinctly heard these words:

"You must make your choice! The wedding mass or the requiem mass!" I recognized the voice of the monster.

There was another moan, followed by a long silence.

I was persuaded by now that the monster was unaware of our presence in his house, for otherwise he would certainly have managed not to let us hear him. He would only have had to close the little invisible window through which the torture-lovers look down into the torture-chamber. Besides, I was certain that, if he had known of our presence, the tortures would have begun at once.

The important thing was not to let him know; and I dreaded nothing so much as the impulsiveness of the Vicomte de Chagny, who wanted to rush through the walls to Christine Daae, whose moans we continued to hear at intervals.

"The requiem mass is not at all gay," Erik's voice resumed, "whereas the wedding mass—you can take my word for it—is magnificent! You must take a resolution and know your own mind! I can't go on living like this, like a mole in a burrow! Don Juan Triumphant is finished; and now I want to live like everybody else. I want to have a wife like everybody else and to take her out on Sundays. I have invented a mask that makes me look like anybody. People will not even turn round in the streets. You will be the happiest of women. And we will sing, all by ourselves, till we swoon away with delight. You are crying! You are afraid of me! And yet I am not really wicked. Love me and you shall see! All I wanted was to be loved for myself. If you loved me I should be as gentle as a lamb; and you could do anything with me that you pleased."

Soon the moans that accompanied this sort of love's litany increased and increased. I have never heard anything more despairing; and M. de Chagny and I recognized that this terrible lamentation came from Erik himself. Christine seemed to be standing dumb with horror, without the strength to cry out, while the monster was on his knees before her.

Three times over, Erik fiercely bewailed his fate:

"You don't love me! You don't love me! You don't love me!"

And then, more gently:

"Why do you cry? You know it gives me pain to see you cry!"

A silence.

Each silence gave us fresh hope. We said to ourselves:

"Perhaps he has left Christine behind the wall."

And we thought only of the possibility of warning Christine Daae of our presence, unknown to the monster. We were unable to leave the torture-chamber now, unless Christine opened the door to us; and it was only on this condition that we could hope to help her, for we did not even know where the door might be.

Suddenly, the silence in the next room was disturbed by the ringing of an electric bell. There was a bound on the other side of the wall and Erik's voice of thunder:

"Somebody ringing! Walk in, please!"

A sinister chuckle.

"Who has come bothering now? Wait for me here ... I AM GOING TO TELL THE SIREN TO OPEN THE DOOR."

Steps moved away, a door closed. I had no time to think of the fresh horror that was preparing; I forgot that the monster was only going out perhaps to perpetrate a fresh crime; I understood but one thing: Christine was alone behind the wall!

The Vicomte de Chagny was already calling to her:

"Christine! Christine!"

As we could hear what was said in the next room, there was no reason why my companion should not be heard in his turn. Nevertheless, the viscount had to repeat his cry time after time.

At last, a faint voice reached us.

"I am dreaming!" it said.

"Christine, Christine, it is I, Raoul!"

A silence.

"But answer me, Christine! ... In Heaven's name, if you are alone, answer me!"

Then Christine's voice whispered Raoul's name.

"Yes! Yes! It is I! It is not a dream! ... Christine, trust me! ... We are here to save you ... but be prudent! When you hear the monster, warn us!"

Then Christine gave way to fear. She trembled lest Erik should discover where Raoul was hidden; she told us in a few hurried words that Erik had gone quite mad with love and that he had decided TO KILL EVERYBODY AND HIMSELF WITH EVERYBODY if she did not consent to become his wife. He had given her till eleven o'clock the next evening for reflection. It was the last respite. She must choose, as he said, between the wedding mass and the requiem.

And Erik had then uttered a phrase which Christine did not quite understand:

"Yes or no! If your answer is no, everybody will be dead AND BURIED!"

But I understood the sentence perfectly, for it corresponded in a terrible manner with my own dreadful thought.

"Can you tell us where Erik is?" I asked.

She replied that he must have left the house.

"Could you make sure?"

"No. I am fastened. I can not stir a limb."

When we heard this, M. de Chagny and I gave a yell of fury. Our safety, the safety of all three of us, depended on the girl's liberty of movement.

"But where are you?" asked Christine. "There are only two doors in my room, the Louis-Philippe room of which I told you, Raoul; a door through which Erik comes and goes, and another which he has never opened before me and which he has forbidden me ever to go through, because he says it is the most dangerous of the doors, the door of the torture-chamber!"

"Christine, that is where we are!"

"You are in the torture-chamber?"

"Yes, but we can not see the door."

"Oh, if I could only drag myself so far! I would knock at the door and that would tell you where it is."

"Is it a door with a lock to it?" I asked.

"Yes, with a lock."

"Mademoiselle," I said, "it is absolutely necessary, that you should open that door to us!"

"But how?" asked the poor girl tearfully.

We heard her straining, trying to free herself from the bonds that held her.

"I know where the key is," she said, in a voice that seemed exhausted by the effort she had made. "But I am fastened so tight ... Oh, the wretch!"

And she gave a sob.

"Where is the key?" I asked, signing to M. de Chagny not to speak and to leave the business to me, for we had not a moment to lose.

"In the next room, near the organ, with another little bronze key, which he also forbade me to touch. They are both in a little leather bag which he calls the bag of life and death... Raoul! Raoul! Fly! Everything is mysterious and terrible here, and Erik will soon have gone quite mad, and you are in the torture-chamber! ... Go back by the way you came. There must be a reason why the room is called by that name!"

"Christine," said the young man. "We will go from here together or die together!"

"We must keep cool," I whispered. "Why has he fastened you, mademoiselle? You can't escape from his house; and he knows it!"

"I tried to commit suicide! The monster went out last night, after carrying me here fainting and half chloroformed. He was going TO HIS BANKER, so he said! ... When he returned he found me with my face covered with blood ... I had tried to kill myself by striking my forehead against the walls."

"Christine!" groaned Raoul; and he began to sob.

"Then he bound me ... I am not allowed to die until eleven o'clock to-morrow evening."

"Mademoiselle," I declared, "the monster bound you ... and he shall unbind you. You have only to play the necessary part! Remember that he loves you!"

"Alas!" we heard. "Am I likely to forget it!"

"Remember it and smile to him ... entreat him ... tell him that your bonds hurt you."

But Christine Daae said:

"Hush! ... I hear something in the wall on the lake! ... It is he! ... Go away! Go away! Go away!"

"We could not go away, even if we wanted to," I said, as impressively as I could. "We can not leave this! And we are in the torture-chamber!"

"Hush!" whispered Christine again.

Heavy steps sounded slowly behind the wall, then stopped and made the floor creak once more. Next came a tremendous sigh, followed by a cry of horror from Christine, and we heard Erik's voice:

"I beg your pardon for letting you see a face like this! What a state I am in, am I not? It's THE OTHER ONE'S FAULT! Why did he ring? Do I ask people who pass to tell me the time? He will never ask anybody the time again! It is the siren's fault."

[Illustration: two page color illustration]

Another sigh, deeper, more tremendous still, came from the abysmal depths of a soul.

"Why did you cry out, Christine?"

"Because I am in pain, Erik."

"I thought I had frightened you."

"Erik, unloose my bonds ... Am I not your prisoner?"

"You will try to kill yourself again."

"You have given me till eleven o'clock to-morrow evening, Erik."

The footsteps dragged along the floor again.

"After all, as we are to die together ... and I am just as eager as you ... yes, I have had enough of this life, you know... Wait, don't move, I will release you ... You have only one word to say: 'NO!' And it will at once be over WITH EVERYBODY! ... You are right, you are right; why wait till eleven o'clock to-morrow evening? True, it would have been grander, finer ... But that is childish nonsense ... We should only think of ourselves in this life, of our own death ... the rest doesn't matter... YOU'RE LOOKING AT ME BECAUSE I AM ALL WET? ... Oh, my dear, it's raining cats and dogs outside! ... Apart from that, Christine, I think I am subject to hallucinations ... You know, the man who rang at the siren's door just now—go and look if he's ringing at the bottom of the lake-well, he was rather like... There, turn round ... are you glad? You're free now... Oh, my poor Christine, look at your wrists: tell me, have I hurt them? ... That alone deserves death ... Talking of death, I MUST SING HIS REQUIEM!"

Hearing these terrible remarks, I received an awful presentiment ... I too had once rung at the monster's door ... and, without knowing it, must have set some warning current in motion.

And I remembered the two arms that had emerged from the inky waters... What poor wretch had strayed to that shore this time? Who was 'the other one,' the one whose requiem we now heard sung?

Erik sang like the god of thunder, sang a DIES IRAE that enveloped us as in a storm. The elements seemed to rage around us. Suddenly, the organ and the voice ceased so suddenly that M. de Chagny sprang back, on the other side of the wall, with emotion. And the voice, changed and transformed, distinctly grated out these metallic syllables: "WHAT HAVE YOU DONE WITH MY BAG?"




Chapter XXIII The Tortures Begin

THE PERSIAN'S NARRATIVE CONTINUED.

The voice repeated angrily: "What have you done with my bag? So it was to take my bag that you asked me to release you!"

We heard hurried steps, Christine running back to the Louis-Philippe room, as though to seek shelter on the other side of our wall.

"What are you running away for?" asked the furious voice, which had followed her. "Give me back my bag, will you? Don't you know that it is the bag of life and death?"

"Listen to me, Erik," sighed the girl. "As it is settled that we are to live together ... what difference can it make to you?"

"You know there are only two keys in it," said the monster. "What do you want to do?"

"I want to look at this room which I have never seen and which you have always kept from me ... It's woman's curiosity!" she said, in a tone which she tried to render playful.

But the trick was too childish for Erik to be taken in by it.

"I don't like curious women," he retorted, "and you had better remember the story of BLUE-BEARD and be careful ... Come, give me back my bag! ... Give me back my bag! ... Leave the key alone, will you, you inquisitive little thing?"

And he chuckled, while Christine gave a cry of pain. Erik had evidently recovered the bag from her.

At that moment, the viscount could not help uttering an exclamation of impotent rage.

"Why, what's that?" said the monster. "Did you hear, Christine?"

"No, no," replied the poor girl. "I heard nothing."

"I thought I heard a cry."

"A cry! Are you going mad, Erik? Whom do you expect to give a cry, in this house? ... I cried out, because you hurt me! I heard nothing."

"I don't like the way you said that! ... You're trembling... You're quite excited ... You're lying! ... That was a cry, there was a cry! ... There is some one in the torture-chamber! ... Ah, I understand now!"

"There is no one there, Erik!"

"I understand!"

"No one!"

"The man you want to marry, perhaps!"

"I don't want to marry anybody, you know I don't."

Another nasty chuckle. "Well, it won't take long to find out. Christine, my love, we need not open the door to see what is happening in the torture-chamber. Would you like to see? Would you like to see? Look here! If there is some one, if there is really some one there, you will see the invisible window light up at the top, near the ceiling. We need only draw the black curtain and put out the light in here. There, that's it ... Let's put out the light! You're not afraid of the dark, when you're with your little husband!"

Then we heard Christine's voice of anguish:

"No! ... I'm frightened! ... I tell you, I'm afraid of the dark! ... I don't care about that room now ... You're always frightening me, like a child, with your torture-chamber! ... And so I became inquisitive... But I don't care about it now ... not a bit ... not a bit!"

And that which I feared above all things began, AUTOMATICALLY. We were suddenly flooded with light! Yes, on our side of the wall, everything seemed aglow. The Vicomte de Chagny was so much taken aback that he staggered. And the angry voice roared:

"I told you there was some one! Do you see the window now? The lighted window, right up there? The man behind the wall can't see it! But you shall go up the folding steps: that is what they are there for! ... You have often asked me to tell you; and now you know! ... They are there to give a peep into the torture-chamber ... you inquisitive little thing!"

"What tortures? ... Who is being tortured? ... Erik, Erik, say you are only trying to frighten me! ... Say it, if you love me, Erik! ... There are no tortures, are there?"

"Go and look at the little window, dear!"

I do not know if the viscount heard the girl's swooning voice, for he was too much occupied by the astounding spectacle that now appeared before his distracted gaze. As for me, I had seen that sight too often, through the little window, at the time of the rosy hours of Mazenderan; and I cared only for what was being said next door, seeking for a hint how to act, what resolution to take.

"Go and peep through the little window! Tell me what he looks like!"

We heard the steps being dragged against the wall.

"Up with you! ... No! ... No, I will go up myself, dear!"

"Oh, very well, I will go up. Let me go!"

"Oh, my darling, my darling! ... How sweet of you! ... How nice of you to save me the exertion at my age! ... Tell me what he looks like!"

At that moment, we distinctly heard these words above our heads:

"There is no one there, dear!"

"No one? ... Are you sure there is no one?"

"Why, of course not ... no one!"

"Well, that's all right! ... What's the matter, Christine? You're not going to faint, are you ... as there is no one there? ... Here ... come down ... there! ... Pull yourself together ... as there is no one there! ... BUT HOW DO YOU LIKE THE LANDSCAPE?"

"Oh, very much!"

"There, that's better! ... You're better now, are you not? ... That's all right, you're better! ... No excitement! ... And what a funny house, isn't it, with landscapes like that in it?"

"Yes, it's like the Musee Grevin ... But, say, Erik ... there are no tortures in there! ... What a fright you gave me!"

"Why ... as there is no one there?"

"Did you design that room? It's very handsome. You're a great artist, Erik."

"Yes, a great artist, in my own line."

"But tell me, Erik, why did you call that room the torture-chamber?"

"Oh, it's very simple. First of all, what did you see?"

"I saw a forest."

"And what is in a forest?"

"Trees."

"And what is in a tree?"

"Birds."

"Did you see any birds?"

"No, I did not see any birds."

"Well, what did you see? Think! You saw branches And what are the branches?" asked the terrible voice. "THERE'S A GIBBET! That is why I call my wood the torture-chamber! ... You see, it's all a joke. I never express myself like other people. But I am very tired of it! ... I'm sick and tired of having a forest and a torture-chamber in my house and of living like a mountebank, in a house with a false bottom! ... I'm tired of it! I want to have a nice, quiet flat, with ordinary doors and windows and a wife inside it, like anybody else! A wife whom I could love and take out on Sundays and keep amused on week-days ... Here, shall I show you some card-tricks? That will help us to pass a few minutes, while waiting for eleven o'clock to-morrow evening ... My dear little Christine! ... Are you listening to me? ... Tell me you love me! ... No, you don't love me ... but no matter, you will! ... Once, you could not look at my mask because you knew what was behind... And now you don't mind looking at it and you forget what is behind! ... One can get used to everything ... if one wishes... Plenty of young people who did not care for each other before marriage have adored each other since! Oh, I don't know what I am talking about! But you would have lots of fun with me. For instance, I am the greatest ventriloquist that ever lived, I am the first ventriloquist in the world! ... You're laughing ... Perhaps you don't believe me? Listen."

The wretch, who really was the first ventriloquist in the world, was only trying to divert the child's attention from the torture-chamber; but it was a stupid scheme, for Christine thought of nothing but us! She repeatedly besought him, in the gentlest tones which she could assume:

"Put out the light in the little window! ... Erik, do put out the light in the little window!"

For she saw that this light, which appeared so suddenly and of which the monster had spoken in so threatening a voice, must mean something terrible. One thing must have pacified her for a moment; and that was seeing the two of us, behind the wall, in the midst of that resplendent light, alive and well. But she would certainly have felt much easier if the light had been put out.

Meantime, the other had already begun to play the ventriloquist. He said:

"Here, I raise my mask a little ... Oh, only a little! ... You see my lips, such lips as I have? They're not moving! ... My mouth is closed—such mouth as I have—and yet you hear my voice... Where will you have it? In your left ear? In your right ear? In the table? In those little ebony boxes on the mantelpiece? ... Listen, dear, it's in the little box on the right of the mantelpiece: what does it say? 'SHALL I TURN THE SCORPION?' ... And now, crack! What does it say in the little box on the left? 'SHALL I TURN THE GRASSHOPPER?' ... And now, crack! Here it is in the little leather bag ... What does it say? 'I AM THE LITTLE BAG OF LIFE AND DEATH!' ... And now, crack! It is in Carlotta's throat, in Carlotta's golden throat, in Carlotta's crystal throat, as I live! What does it say? It says, 'It's I, Mr. Toad, it's I singing! I FEEL WITHOUT ALARM—CO-ACK—WITH ITS MELODY ENWIND ME—CO-ACK!' ... And now, crack! It is on a chair in the ghost's box and it says, 'MADAME CARLOTTA IS SINGING TO-NIGHT TO BRING THE CHANDELIER DOWN!' ... And now, crack! Aha! Where is Erik's voice now? Listen, Christine, darling! Listen! It is behind the door of the torture-chamber! Listen! It's myself in the torture-chamber! And what do I say? I say, 'Woe to them that have a nose, a real nose, and come to look round the torture-chamber! Aha, aha, aha!'"

Oh, the ventriloquist's terrible voice! It was everywhere, everywhere. It passed through the little invisible window, through the walls. It ran around us, between us. Erik was there, speaking to us! We made a movement as though to fling ourselves upon him. But, already, swifter, more fleeting than the voice of the echo, Erik's voice had leaped back behind the wall!

Soon we heard nothing more at all, for this is what happened:

"Erik! Erik!" said Christine's voice. "You tire me with your voice. Don't go on, Erik! Isn't it very hot here?"

"Oh, yes," replied Erik's voice, "the heat is unendurable!"

"But what does this mean? ... The wall is really getting quite hot! ... The wall is burning!"

"I'll tell you, Christine, dear: it is because of the forest next door."

"Well, what has that to do with it? The forest?"

"WHY, DIDN'T YOU SEE THAT IT WAS AN AFRICAN FOREST?"

And the monster laughed so loudly and hideously that we could no longer distinguish Christine's supplicating cries! The Vicomte de Chagny shouted and banged against the walls like a madman. I could not restrain him. But we heard nothing except the monster's laughter, and the monster himself can have heard nothing else. And then there was the sound of a body falling on the floor and being dragged along and a door slammed and then nothing, nothing more around us save the scorching silence of the south in the heart of a tropical forest!




Chapter XXIV "Barrels! ... Barrels! ... Any Barrels to Sell?"

THE PERSIAN'S NARRATIVE CONTINUED

I have said that the room in which M. le Vicomte de Chagny and I were imprisoned was a regular hexagon, lined entirely with mirrors. Plenty of these rooms have been seen since, mainly at exhibitions: they are called "palaces of illusion," or some such name. But the invention belongs entirely to Erik, who built the first room of this kind under my eyes, at the time of the rosy hours of Mazenderan. A decorative object, such as a column, for instance, was placed in one of the corners and immediately produced a hall of a thousand columns; for, thanks to the mirrors, the real room was multiplied by six hexagonal rooms, each of which, in its turn, was multiplied indefinitely. But the little sultana soon tired of this infantile illusion, whereupon Erik altered his invention into a "torture-chamber." For the architectural motive placed in one corner, he substituted an iron tree. This tree, with its painted leaves, was absolutely true to life and was made of iron so as to resist all the attacks of the "patient" who was locked into the torture-chamber. We shall see how the scene thus obtained was twice altered instantaneously into two successive other scenes, by means of the automatic rotation of the drums or rollers in the corners. These were divided into three sections, fitting into the angles of the mirrors and each supporting a decorative scheme that came into sight as the roller revolved upon its axis.

The walls of this strange room gave the patient nothing to lay hold of, because, apart from the solid decorative object, they were simply furnished with mirrors, thick enough to withstand any onslaught of the victim, who was flung into the chamber empty-handed and barefoot.

There was no furniture. The ceiling was capable of being lit up. An ingenious system of electric heating, which has since been imitated, allowed the temperature of the walls and room to be increased at will.

I am giving all these details of a perfectly natural invention, producing, with a few painted branches, the supernatural illusion of an equatorial forest blazing under the tropical sun, so that no one may doubt the present balance of my brain or feel entitled to say that I am mad or lying or that I take him for a fool.[1]

I now return to the facts where I left them. When the ceiling lit up and the forest became visible around us, the viscount's stupefaction was immense. That impenetrable forest, with its innumerable trunks and branches, threw him into a terrible state of consternation. He passed his hands over his forehead, as though to drive away a dream; his eyes blinked; and, for a moment, he forgot to listen.

I have already said that the sight of the forest did not surprise me at all; and therefore I listened for the two of us to what was happening next door. Lastly, my attention was especially attracted, not so much to the scene, as to the mirrors that produced it. These mirrors were broken in parts. Yes, they were marked and scratched; they had been "starred," in spite of their solidity; and this proved to me that the torture-chamber in which we now were HAD ALREADY SERVED A PURPOSE.

Yes, some wretch, whose feet were not bare like those of the victims of the rosy hours of Mazenderan, had certainly fallen into this "mortal illusion" and, mad with rage, had kicked against those mirrors which, nevertheless, continued to reflect his agony. And the branch of the tree on which he had put an end to his own sufferings was arranged in such a way that, before dying, he had seen, for his last consolation, a thousand men writhing in his company.

Yes, Joseph Buquet had undoubtedly been through all this! Were we to die as he had done? I did not think so, for I knew that we had a few hours before us and that I could employ them to better purpose than Joseph Buquet was able to do. After all, I was thoroughly acquainted with most of Erik's "tricks;" and now or never was the time to turn my knowledge to account.

To begin with, I gave up every idea of returning to the passage that had brought us to that accursed chamber. I did not trouble about the possibility of working the inside stone that closed the passage; and this for the simple reason that to do so was out of the question. We had dropped from too great a height into the torture-chamber; there was no furniture to help us reach that passage; not even the branch of the iron tree, not even each other's shoulders were of any avail.

There was only one possible outlet, that opening into the Louis-Philippe room in which Erik and Christine Daae were. But, though this outlet looked like an ordinary door on Christine's side, it was absolutely invisible to us. We must therefore try to open it without even knowing where it was.

When I was quite sure that there was no hope for us from Christine Daae's side, when I had heard the monster dragging the poor girl from the Louis-Philippe room LEST SHE SHOULD INTERFERE WITH OUR TORTURES, I resolved to set to work without delay.

But I had first to calm M. de Chagny, who was already walking about like a madman, uttering incoherent cries. The snatches of conversation which he had caught between Christine and the monster had contributed not a little to drive him beside himself: add to that the shock of the magic forest and the scorching heat which was beginning to make the prespiration{sic} stream down his temples and you will have no difficulty in understanding his state of mind. He shouted Christine's name, brandished his pistol, knocked his forehead against the glass in his endeavors to run down the glades of the illusive forest. In short, the torture was beginning to work its spell upon a brain unprepared for it.

I did my best to induce the poor viscount to listen to reason. I made him touch the mirrors and the iron tree and the branches and explained to him, by optical laws, all the luminous imagery by which we were surrounded and of which we need not allow ourselves to be the victims, like ordinary, ignorant people.

"We are in a room, a little room; that is what you must keep saying to yourself. And we shall leave the room as soon as we have found the door."

And I promised him that, if he let me act, without disturbing me by shouting and walking up and down, I would discover the trick of the door in less than an hour's time.

Then he lay flat on the floor, as one does in a wood, and declared that he would wait until I found the door of the forest, as there was nothing better to do! And he added that, from where he was, "the view was splendid!" The torture was working, in spite of all that I had said.

Myself, forgetting the forest, I tackled a glass panel and began to finger it in every direction, hunting for the weak point on which to press in order to turn the door in accordance with Erik's system of pivots. This weak point might be a mere speck on the glass, no larger than a pea, under which the spring lay hidden. I hunted and hunted. I felt as high as my hands could reach. Erik was about the same height as myself and I thought that he would not have placed the spring higher than suited his stature.

While groping over the successive panels with the greatest care, I endeavored not to lose a minute, for I was feeling more and more overcome with the heat and we were literally roasting in that blazing forest.

I had been working like this for half an hour and had finished three panels, when, as ill-luck would have it, I turned round on hearing a muttered exclamation from the viscount.

"I am stifling," he said. "All those mirrors are sending out an infernal heat! Do you think you will find that spring soon? If you are much longer about it, we shall be roasted alive!"

I was not sorry to hear him talk like this. He had not said a word of the forest and I hoped that my companion's reason would hold out some time longer against the torture. But he added:

"What consoles me is that the monster has given Christine until eleven to-morrow evening. If we can't get out of here and go to her assistance, at least we shall be dead before her! Then Erik's mass can serve for all of us!"

And he gulped down a breath of hot air that nearly made him faint.

As I had not the same desperate reasons as M. le Vicomte for accepting death, I returned, after giving him a word of encouragement, to my panel, but I had made the mistake of taking a few steps while speaking and, in the tangle of the illusive forest, I was no longer able to find my panel for certain! I had to begin all over again, at random, feeling, fumbling, groping.

Now the fever laid hold of me in my turn ... for I found nothing, absolutely nothing. In the next room, all was silence. We were quite lost in the forest, without an outlet, a compass, a guide or anything. Oh, I knew what awaited us if nobody came to our aid ... or if I did not find the spring! But, look as I might, I found nothing but branches, beautiful branches that stood straight up before me, or spread gracefully over my head. But they gave no shade. And this was natural enough, as we were in an equatorial forest, with the sun right above our heads, an African forest.

M. de Chagny and I had repeatedly taken off our coats and put them on again, finding at one time that they made us feel still hotter and at another that they protected us against the heat. I was still making a moral resistance, but M. de Chagny seemed to me quite "gone." He pretended that he had been walking in that forest for three days and nights, without stopping, looking for Christine Daae! From time to time, he thought he saw her behind the trunk of a tree, or gliding between the branches; and he called to her with words of supplication that brought the tears to my eyes. And then, at last:

"Oh, how thirsty I am!" he cried, in delirious accents.

I too was thirsty. My throat was on fire. And, yet, squatting on the floor, I went on hunting, hunting, hunting for the spring of the invisible door ... especially as it was dangerous to remain in the forest as evening drew nigh. Already the shades of night were beginning to surround us. It had happened very quickly: night falls quickly in tropical countries ... suddenly, with hardly any twilight.

Now night, in the forests of the equator, is always dangerous, particularly when, like ourselves, one has not the materials for a fire to keep off the beasts of prey. I did indeed try for a moment to break off the branches, which I would have lit with my dark lantern, but I knocked myself also against the mirrors and remembered, in time, that we had only images of branches to do with.

The heat did not go with the daylight; on the contrary, it was now still hotter under the blue rays of the moon. I urged the viscount to hold our weapons ready to fire and not to stray from camp, while I went on looking for my spring.

Suddenly, we heard a lion roaring a few yards away.

"Oh," whispered the viscount, "he is quite close! ... Don't you see him? ... There ... through the trees ... in that thicket! If he roars again, I will fire! ..."

And the roaring began again, louder than before. And the viscount fired, but I do not think that he hit the lion; only, he smashed a mirror, as I perceived the next morning, at daybreak. We must have covered a good distance during the night, for we suddenly found ourselves on the edge of the desert, an immense desert of sand, stones and rocks. It was really not worth while leaving the forest to come upon the desert. Tired out, I flung myself down beside the viscount, for I had had enough of looking for springs which I could not find.

I was quite surprised—and I said so to the viscount—that we had encountered no other dangerous animals during the night. Usually, after the lion came the leopard and sometimes the buzz of the tsetse fly. These were easily obtained effects; and I explained to M. de Chagny that Erik imitated the roar of a lion on a long tabour or timbrel, with an ass's skin at one end. Over this skin he tied a string of catgut, which was fastened at the middle to another similar string passing through the whole length of the tabour. Erik had only to rub this string with a glove smeared with resin and, according to the manner in which he rubbed it, he imitated to perfection the voice of the lion or the leopard, or even the buzzing of the tsetse fly.

The idea that Erik was probably in the room beside us, working his trick, made me suddenly resolve to enter into a parley with him, for we must obviously give up all thought of taking him by surprise. And by this time he must be quite aware who were the occupants of his torture-chamber. I called him: "Erik! Erik!"

I shouted as loudly as I could across the desert, but there was no answer to my voice. All around us lay the silence and the bare immensity of that stony desert. What was to become of us in the midst of that awful solitude?

We were beginning literally to die of heat, hunger and thirst ... of thirst especially. At last, I saw M. de Chagny raise himself on his elbow and point to a spot on the horizon. He had discovered an oasis!

Yes, far in the distance was an oasis ... an oasis with limpid water, which reflected the iron trees! ... Tush, it was the scene of the mirage ... I recognized it at once ... the worst of the three! ... No one had been able to fight against it ... no one... I did my utmost to keep my head AND NOT TO HOPE FOR WATER, because I knew that, if a man hoped for water, the water that reflected the iron tree, and if, after hoping for water, he struck against the mirror, then there was only one thing for him to do: to hang himself on the iron tree!

So I cried to M. de Chagny:

"It's the mirage! ... It's the mirage! ... Don't believe in the water! ... It's another trick of the mirrors! ..."

Then he flatly told me to shut up, with my tricks of the mirrors, my springs, my revolving doors and my palaces of illusions! He angrily declared that I must be either blind or mad to imagine that all that water flowing over there, among those splendid, numberless trees, was not real water! ... And the desert was real! ... And so was the forest! ... And it was no use trying to take him in ... he was an old, experienced traveler ... he had been all over the place!

And he dragged himself along, saying: "Water! Water!"

And his mouth was open, as though he were drinking.

And my mouth was open too, as though I were drinking.

For we not only saw the water, but WE HEARD IT! ... We heard it flow, we heard it ripple! ... Do you understand that word "ripple?" ... IT IS A SOUND WHICH YOU HEAR WITH YOUR TONGUE! ... You put your tongue out of your mouth to listen to it better!

Lastly—and this was the most pitiless torture of all—we heard the rain and it was not raining! This was an infernal invention... Oh, I knew well enough how Erik obtained it! He filled with little stones a very long and narrow box, broken up inside with wooden and metal projections. The stones, in falling, struck against these projections and rebounded from one to another; and the result was a series of pattering sounds that exactly imitated a rainstorm.

Ah, you should have seen us putting out our tongues and dragging ourselves toward the rippling river-bank! Our eyes and ears were full of water, but our tongues were hard and dry as horn!

When we reached the mirror, M. de Chagny licked it ... and I also licked the glass.

It was burning hot!

Then we rolled on the floor with a hoarse cry of despair. M. de Chagny put the one pistol that was still loaded to his temple; and I stared at the Punjab lasso at the foot of the iron tree. I knew why the iron tree had returned, in this third change of scene! ... The iron tree was waiting for me! ...

But, as I stared at the Punjab lasso, I saw a thing that made me start so violently that M. de Chagny delayed his attempt at suicide. I took his arm. And then I caught the pistol from him ... and then I dragged myself on my knees toward what I had seen.

I had discovered, near the Punjab lasso, in a groove in the floor, a black-headed nail of which I knew the use. At last I had discovered the spring! I felt the nail ... I lifted a radiant face to M. de Chagny ... The black-headed nail yielded to my pressure ...

And then ...

And then we saw not a door opened in the wall, but a cellar-flap released in the floor. Cool air came up to us from the black hole below. We stooped over that square of darkness as though over a limpid well. With our chins in the cool shade, we drank it in. And we bent lower and lower over the trap-door. What could there be in that cellar which opened before us? Water? Water to drink?

I thrust my arm into the darkness and came upon a stone and another stone ... a staircase ... a dark staircase leading into the cellar. The viscount wanted to fling himself down the hole; but I, fearing a new trick of the monster's, stopped him, turned on my dark lantern and went down first.

The staircase was a winding one and led down into pitchy darkness. But oh, how deliciously cool were the darkness and the stairs? The lake could not be far away.

We soon reached the bottom. Our eyes were beginning to accustom themselves to the dark, to distinguish shapes around us ... circular shapes ... on which I turned the light of my lantern.

Barrels!

We were in Erik's cellar: it was here that he must keep his wine and perhaps his drinking-water. I knew that Erik was a great lover of good wine. Ah, there was plenty to drink here!

M. de Chagny patted the round shapes and kept on saying:

"Barrels! Barrels! What a lot of barrels! ..."

Indeed, there was quite a number of them, symmetrically arranged in two rows, one on either side of us. They were small barrels and I thought that Erik must have selected them of that size to facilitate their carriage to the house on the lake.

We examined them successively, to see if one of them had not a funnel, showing that it had been tapped at some time or another. But all the barrels were hermetically closed.

Then, after half lifting one to make sure it was full, we went on our knees and, with the blade of a small knife which I carried, I prepared to stave in the bung-hole.

At that moment, I seemed to hear, coming from very far, a sort of monotonous chant which I knew well, from often hearing it in the streets of Paris:

"Barrels! ... Barrels! ... Any barrels to sell?"

My hand desisted from its work. M. de Chagny had also heard. He said:

"That's funny! It sounds as if the barrel were singing!"

The song was renewed, farther away:

"Barrels! ... Barrels! ... Any barrels to sell? ..."

"Oh, I swear," said the viscount, "that the tune dies away in the barrel! ..."

We stood up and went to look behind the barrel.

"It's inside," said M. de Chagny, "it's inside!"

But we heard nothing there and were driven to accuse the bad condition of our senses. And we returned to the bung-hole. M. de Chagny put his two hands together underneath it and, with a last effort, I burst the bung.

"What's this?" cried the viscount. "This isn't water!"

The viscount put his two full hands close to my lantern ... I stooped to look ... and at once threw away the lantern with such violence that it broke and went out, leaving us in utter darkness.

What I had seen in M. de Chagny's hands ... was gun-powder!



[1] It is very natural that, at the time when the Persian was writing, he should take so many precautions against any spirit of incredulity on the part of those who were likely to read his narrative. Nowadays, when we have all seen this sort of room, his precautions would be superfluous.




Chapter XXV The Scorpion or the Grasshopper: Which?

THE PERSIAN'S NARRATIVE CONCLUDED

The discovery flung us into a state of alarm that made us forget all our past and present sufferings. We now knew all that the monster meant to convey when he said to Christine Daae:

"Yes or no! If your answer is no, everybody will be dead AND BURIED!"

Yes, buried under the ruins of the Paris Grand Opera!

The monster had given her until eleven o'clock in the evening. He had chosen his time well. There would be many people, many "members of the human race," up there, in the resplendent theater. What finer retinue could be expected for his funeral? He would go down to the tomb escorted by the whitest shoulders in the world, decked with the richest jewels.

Eleven o'clock to-morrow evening!

We were all to be blown up in the middle of the performance ... if Christine Daae said no!

Eleven o'clock to-morrow evening! ...

And what else could Christine say but no? Would she not prefer to espouse death itself rather than that living corpse? She did not know that on her acceptance or refusal depended the awful fate of many members of the human race!

Eleven o'clock to-morrow evening!

And we dragged ourselves through the darkness, feeling our way to the stone steps, for the light in the trap-door overhead that led to the room of mirrors was now extinguished; and we repeated to ourselves:

"Eleven o'clock to-morrow evening!"

At last, I found the staircase. But, suddenly I drew myself up on the first step, for a terrible thought had come to my mind:

"What is the time?"

Ah, what was the time? ... For, after all, eleven o'clock to-morrow evening might be now, might be this very moment! Who could tell us the time? We seemed to have been imprisoned in that hell for days and days ... for years ... since the beginning of the world. Perhaps we should be blown up then and there! Ah, a sound! A crack! "Did you hear that? ... There, in the corner ... good heavens! ... Like a sound of machinery! ... Again! ... Oh, for a light! ... Perhaps it's the machinery that is to blow everything up! ... I tell you, a cracking sound: are you deaf?"

M. de Chagny and I began to yell like madmen. Fear spurred us on. We rushed up the treads of the staircase, stumbling as we went, anything to escape the dark, to return to the mortal light of the room of mirrors!

We found the trap-door still open, but it was now as dark in the room of mirrors as in the cellar which we had left. We dragged ourselves along the floor of the torture-chamber, the floor that separated us from the powder-magazine. What was the time? We shouted, we called: M. de Chagny to Christine, I to Erik. I reminded him that I had saved his life. But no answer, save that of our despair, of our madness: what was the time? We argued, we tried to calculate the time which we had spent there, but we were incapable of reasoning. If only we could see the face of a watch! ... Mine had stopped, but M. de Chagny's was still going ... He told me that he had wound it up before dressing for the Opera ... We had not a match upon us ... And yet we must know ... M. de Chagny broke the glass of his watch and felt the two hands... He questioned the hands of the watch with his finger-tips, going by the position of the ring of the watch ... Judging by the space between the hands, he thought it might be just eleven o'clock!

But perhaps it was not the eleven o'clock of which we stood in dread. Perhaps we had still twelve hours before us!

Suddenly, I exclaimed: "Hush!"

I seemed to hear footsteps in the next room. Some one tapped against the wall. Christine Daae's voice said:

"Raoul! Raoul!" We were now all talking at once, on either side of the wall. Christine sobbed; she was not sure that she would find M. de Chagny alive. The monster had been terrible, it seemed, had done nothing but rave, waiting for her to give him the "yes" which she refused. And yet she had promised him that "yes," if he would take her to the torture-chamber. But he had obstinately declined, and had uttered hideous threats against all the members of the human race! At last, after hours and hours of that hell, he had that moment gone out, leaving her alone to reflect for the last time.

"Hours and hours? What is the time now? What is the time, Christine?"

"It is eleven o'clock! Eleven o'clock, all but five minutes!"

"But which eleven o'clock?"

"The eleven o'clock that is to decide life or death! ... He told me so just before he went ... He is terrible ... He is quite mad: he tore off his mask and his yellow eyes shot flames! ... He did nothing but laugh! ... He said, 'I give you five minutes to spare your blushes! Here,' he said, taking a key from the little bag of life and death, 'here is the little bronze key that opens the two ebony caskets on the mantelpiece in the Louis-Philippe room... In one of the caskets, you will find a scorpion, in the other, a grasshopper, both very cleverly imitated in Japanese bronze: they will say yes or no for you. If you turn the scorpion round, that will mean to me, when I return, that you have said yes. The grasshopper will mean no.' And he laughed like a drunken demon. I did nothing but beg and entreat him to give me the key of the torture-chamber, promising to be his wife if he granted me that request ... But he told me that there was no future need for that key and that he was going to throw it into the lake! ... And he again laughed like a drunken demon and left me. Oh, his last words were, 'The grasshopper! Be careful of the grasshopper! A grasshopper does not only turn: it hops! It hops! And it hops jolly high!'"

The five minutes had nearly elapsed and the scorpion and the grasshopper were scratching at my brain. Nevertheless, I had sufficient lucidity left to understand that, if the grasshopper were turned, it would hop ... and with it many members of the human race! There was no doubt but that the grasshopper controlled an electric current intended to blow up the powder-magazine!

M. de Chagny, who seemed to have recovered all his moral force from hearing Christine's voice, explained to her, in a few hurried words, the situation in which we and all the Opera were. He told her to turn the scorpion at once.

There was a pause.

"Christine," I cried, "where are you?"

"By the scorpion."

"Don't touch it!"

The idea had come to me—for I knew my Erik—that the monster had perhaps deceived the girl once more. Perhaps it was the scorpion that would blow everything up. After all, why wasn't he there? The five minutes were long past ... and he was not back... Perhaps he had taken shelter and was waiting for the explosion! ... Why had he not returned? ... He could not really expect Christine ever to consent to become his voluntary prey! ... Why had he not returned?

"Don't touch the scorpion!" I said.

"Here he comes!" cried Christine. "I hear him! Here he is!"

We heard his steps approaching the Louis-Philippe room. He came up to Christine, but did not speak. Then I raised my voice:

"Erik! It is I! Do you know me?"

With extraordinary calmness, he at once replied:

"So you are not dead in there? Well, then, see that you keep quiet."

I tried to speak, but he said coldly:

"Not a word, daroga, or I shall blow everything up." And he added, "The honor rests with mademoiselle ... Mademoiselle has not touched the scorpion"—how deliberately he spoke!—"mademoiselle has not touched the grasshopper"—with that composure!—"but it is not too late to do the right thing. There, I open the caskets without a key, for I am a trap-door lover and I open and shut what I please and as I please. I open the little ebony caskets: mademoiselle, look at the little dears inside. Aren't they pretty? If you turn the grasshopper, mademoiselle, we shall all be blown up. There is enough gun-powder under our feet to blow up a whole quarter of Paris. If you turn the scorpion, mademoiselle, all that powder will be soaked and drowned. Mademoiselle, to celebrate our wedding, you shall make a very handsome present to a few hundred Parisians who are at this moment applauding a poor masterpiece of Meyerbeer's ... you shall make them a present of their lives ... For, with your own fair hands, you shall turn the scorpion ... And merrily, merrily, we will be married!"

A pause; and then:

"If, in two minutes, mademoiselle, you have not turned the scorpion, I shall turn the grasshopper ... and the grasshopper, I tell you, HOPS JOLLY HIGH!"

The terrible silence began anew. The Vicomte de Chagny, realizing that there was nothing left to do but pray, went down on his knees and prayed. As for me, my blood beat so fiercely that I had to take my heart in both hands, lest it should burst. At last, we heard Erik's voice:

"The two minutes are past ... Good-by, mademoiselle... Hop, grasshopper! "Erik," cried Christine, "do you swear to me, monster, do you swear to me that the scorpion is the one to turn?

"Yes, to hop at our wedding."

"Ah, you see! You said, to hop!"

"At our wedding, ingenuous child! ... The scorpion opens the ball... But that will do! ... You won't have the scorpion? Then I turn the grasshopper!"

"Erik!"

"Enough!"

I was crying out in concert with Christine. M. de Chagny was still on his knees, praying.

"Erik! I have turned the scorpion!"

Oh, the second through which we passed!

Waiting! Waiting to find ourselves in fragments, amid the roar and the ruins!

Feeling something crack beneath our feet, hearing an appalling hiss through the open trap-door, a hiss like the first sound of a rocket!

It came softly, at first, then louder, then very loud. But it was not the hiss of fire. It was more like the hiss of water. And now it became a gurgling sound: "Guggle! Guggle!"

We rushed to the trap-door. All our thirst, which vanished when the terror came, now returned with the lapping of the water.

The water rose in the cellar, above the barrels, the powder-barrels—"Barrels! ... Barrels! Any barrels to sell?"—and we went down to it with parched throats. It rose to our chins, to our mouths. And we drank. We stood on the floor of the cellar and drank. And we went up the stairs again in the dark, step by step, went up with the water.

The water came out of the cellar with us and spread over the floor of the room. If, this went on, the whole house on the lake would be swamped. The floor of the torture-chamber had itself become a regular little lake, in which our feet splashed. Surely there was water enough now! Erik must turn off the tap!

"Erik! Erik! That is water enough for the gunpowder! Turn off the tap! Turn off the scorpion!"

But Erik did not reply. We heard nothing but the water rising: it was half-way to our waists!

"Christine!" cried M. de Chagny. "Christine! The water is up to our knees!"

But Christine did not reply ... We heard nothing but the water rising.

No one, no one in the next room, no one to turn the tap, no one to turn the scorpion!

We were all alone, in the dark, with the dark water that seized us and clasped us and froze us!

"Erik! Erik!"

"Christine! Christine!"

By this time, we had lost our foothold and were spinning round in the water, carried away by an irresistible whirl, for the water turned with us and dashed us against the dark mirror, which thrust us back again; and our throats, raised above the whirlpool, roared aloud.

Were we to die here, drowned in the torture-chamber? I had never seen that. Erik, at the time of the rosy hours of Mazenderan, had never shown me that, through the little invisible window.

"Erik! Erik!" I cried. "I saved your life! Remember! ... You were sentenced to death! But for me, you would be dead now! ... Erik!"

We whirled around in the water like so much wreckage. But, suddenly, my straying hands seized the trunk of the iron tree! I called M. de Chagny, and we both hung to the branch of the iron tree.

And the water rose still higher.

"Oh! Oh! Can you remember? How much space is there between the branch of the tree and the dome-shaped ceiling? Do try to remember! ... After all, the water may stop, it must find its level! ... There, I think it is stopping! ... No, no, oh, horrible! ... Swim! Swim for your life!"

Our arms became entangled in the effort of swimming; we choked; we fought in the dark water; already we could hardly breathe the dark air above the dark water, the air which escaped, which we could hear escaping through some vent-hole or other.

"Oh, let us turn and turn and turn until we find the air hole and then glue our mouths to it!"

But I lost my strength; I tried to lay hold of the walls! Oh, how those glass walls slipped from under my groping fingers! ... We whirled round again! ... We began to sink! ... One last effort! ... A last cry: "Erik! ... Christine! ..."

"Guggle, guggle, guggle!" in our ears. "Guggle! Guggle!" At the bottom of the dark water, our ears went, "Guggle! Guggle!"

And, before losing consciousness entirely, I seemed to hear, between two guggles:

"Barrels! Barrels! Any barrels to sell?"




Chapter XXVI The End of the Ghost's Love Story

The previous chapter marks the conclusion of the written narrative which the Persian left behind him.

Notwithstanding the horrors of a situation which seemed definitely to abandon them to their deaths, M. de Chagny and his companion were saved by the sublime devotion of Christine Daae. And I had the rest of the story from the lips of the daroga himself.

When I went to see him, he was still living in his little flat in the Rue de Rivoli, opposite the Tuileries. He was very ill, and it required all my ardor as an historian pledged to the truth to persuade him to live the incredible tragedy over again for my benefit. His faithful old servant Darius showed me in to him. The daroga received me at a window overlooking the garden of the Tuileries. He still had his magnificent eyes, but his poor face looked very worn. He had shaved the whole of his head, which was usually covered with an astrakhan cap; he was dressed in a long, plain coat and amused himself by unconsciously twisting his thumbs inside the sleeves; but his mind was quite clear, and he told me his story with perfect lucidity.

It seems that, when he opened his eyes, the daroga found himself lying on a bed. M. de Chagny was on a sofa, beside the wardrobe. An angel and a devil were watching over them.

After the deceptions and illusions of the torture-chamber, the precision of the details of that quiet little middle-class room seemed to have been invented for the express purpose of puzzling the mind of the mortal rash enough to stray into that abode of living nightmare. The wooden bedstead, the waxed mahogany chairs, the chest of drawers, those brasses, the little square antimacassars carefully placed on the backs of the chairs, the clock on the mantelpiece and the harmless-looking ebony caskets at either end, lastly, the whatnot filled with shells, with red pin-cushions, with mother-of-pearl boats and an enormous ostrich-egg, the whole discreetly lighted by a shaded lamp standing on a small round table: this collection of ugly, peaceable, reasonable furniture, AT THE BOTTOM OF THE OPERA CELLARS, bewildered the imagination more than all the late fantastic happenings.

And the figure of the masked man seemed all the more formidable in this old-fashioned, neat and trim little frame. It bent down over the Persian and said, in his ear:

"Are you better, daroga? ... You are looking at my furniture? ... It is all that I have left of my poor unhappy mother."

Christine Daae did not say a word: she moved about noiselessly, like a sister of charity, who had taken a vow of silence. She brought a cup of cordial, or of hot tea, he did not remember which. The man in the mask took it from her hands and gave it to the Persian. M. de Chagny was still sleeping.

Erik poured a drop of rum into the daroga's cup and, pointing to the viscount, said:

"He came to himself long before we knew if you were still alive, daroga. He is quite well. He is asleep. We must not wake him."

Erik left the room for a moment, and the Persian raised himself on his elbow, looked around him and saw Christine Daae sitting by the fireside. He spoke to her, called her, but he was still very weak and fell back on his pillow. Christine came to him, laid her hand on his forehead and went away again. And the Persian remembered that, as she went, she did not give a glance at M. de Chagny, who, it is true, was sleeping peacefully; and she sat down again in her chair by the chimney-corner, silent as a sister of charity who had taken a vow of silence.

Erik returned with some little bottles which he placed on the mantelpiece. And, again in a whisper, so as not to wake M. de Chagny, he said to the Persian, after sitting down and feeling his pulse:

"You are now saved, both of you. And soon I shall take you up to the surface of the earth, TO PLEASE MY WIFE."

Thereupon he rose, without any further explanation, and disappeared once more.

The Persian now looked at Christine's quiet profile under the lamp. She was reading a tiny book, with gilt edges, like a religious book. There are editions of THE IMITATION that look like that. The Persian still had in his ears the natural tone in which the other had said, "to please my wife." Very gently, he called her again; but Christine was wrapped up in her book and did not hear him.

Erik returned, mixed the daroga a draft and advised him not to speak to "his wife" again nor to any one, BECAUSE IT MIGHT BE VERY DANGEROUS TO EVERYBODY'S HEALTH.

Eventually, the Persian fell asleep, like M. de Chagny, and did not wake until he was in his own room, nursed by his faithful Darius, who told him that, on the night before, he was found propped against the door of his flat, where he had been brought by a stranger, who rang the bell before going away.

As soon as the daroga recovered his strength and his wits, he sent to Count Philippe's house to inquire after the viscount's health. The answer was that the young man had not been seen and that Count Philippe was dead. His body was found on the bank of the Opera lake, on the Rue-Scribe side. The Persian remembered the requiem mass which he had heard from behind the wall of the torture-chamber, and had no doubt concerning the crime and the criminal. Knowing Erik as he did, he easily reconstructed the tragedy. Thinking that his brother had run away with Christine Daae, Philippe had dashed in pursuit of him along the Brussels Road, where he knew that everything was prepared for the elopement. Failing to find the pair, he hurried back to the Opera, remembered Raoul's strange confidence about his fantastic rival and learned that the viscount had made every effort to enter the cellars of the theater and that he had disappeared, leaving his hat in the prima donna's dressing-room beside an empty pistol-case. And the count, who no longer entertained any doubt of his brother's madness, in his turn darted into that infernal underground maze. This was enough, in the Persian's eyes, to explain the discovery of the Comte de Chagny's corpse on the shore of the lake, where the siren, Erik's siren, kept watch.

The Persian did not hesitate. He determined to inform the police. Now the case was in the hands of an examining-magistrate called Faure, an incredulous, commonplace, superficial sort of person, (I write as I think), with a mind utterly unprepared to receive a confidence of this kind. M. Faure took down the daroga's depositions and proceeded to treat him as a madman.

Despairing of ever obtaining a hearing, the Persian sat down to write. As the police did not want his evidence, perhaps the press would be glad of it; and he had just written the last line of the narrative I have quoted in the preceding chapters, when Darius announced the visit of a stranger who refused his name, who would not show his face and declared simply that he did not intend to leave the place until he had spoken to the daroga.

The Persian at once felt who his singular visitor was and ordered him to be shown in. The daroga was right. It was the ghost, it was Erik!

He looked extremely weak and leaned against the wall, as though he were afraid of falling. Taking off his hat, he revealed a forehead white as wax. The rest of the horrible face was hidden by the mask.

The Persian rose to his feet as Erik entered.

"Murderer of Count Philippe, what have you done with his brother and Christine Daae?"

Erik staggered under this direct attack, kept silent for a moment, dragged himself to a chair and heaved a deep sigh. Then, speaking in short phrases and gasping for breath between the words:

"Daroga, don't talk to me ... about Count Philippe ... He was dead ... by the time ... I left my house ... he was dead ... when ... the siren sang ... It was an ... accident ... a sad ... a very sad ... accident. He fell very awkwardly ... but simply and naturally ... into the lake! ..."

"You lie!" shouted the Persian.

Erik bowed his head and said:

"I have not come here ... to talk about Count Philippe ... but to tell you that ... I am going ... to die..."

"Where are Raoul de Chagny and Christine Daae?"

"I am going to die."

"Raoul de Chagny and Christine Daae?"

"Of love ... daroga ... I am dying ... of love ... That is how it is ... loved her so! ... And I love her still ... daroga ... and I am dying of love for her, I ... I tell you! ... If you knew how beautiful she was ... when she let me kiss her ... alive ... It was the first ... time, daroga, the first ... time I ever kissed a woman ... Yes, alive ... I kissed her alive ... and she looked as beautiful as if she had been dead!"

The Persian shook Erik by the arm:

"Will you tell me if she is alive or dead."

"Why do you shake me like that?" asked Erik, making an effort to speak more connectedly. "I tell you that I am going to die... Yes, I kissed her alive ..."

"And now she is dead?"

"I tell you I kissed her just like that, on her forehead ... and she did not draw back her forehead from my lips! ... Oh, she is a good girl! ... As to her being dead, I don't think so; but it has nothing to do with me ... No, no, she is not dead! And no one shall touch a hair of her head! She is a good, honest girl, and she saved your life, daroga, at a moment when I would not have given twopence for your Persian skin. As a matter of fact, nobody bothered about you. Why were you there with that little chap? You would have died as well as he! My word, how she entreated me for her little chap! But I told her that, as she had turned the scorpion, she had, through that very fact, and of her own free will, become engaged to me and that she did not need to have two men engaged to her, which was true enough.

"As for you, you did not exist, you had ceased to exist, I tell you, and you were going to die with the other! ... Only, mark me, daroga, when you were yelling like the devil, because of the water, Christine came to me with her beautiful blue eyes wide open, and swore to me, as she hoped to be saved, that she consented to be MY LIVING WIFE! ... Until then, in the depths of her eyes, daroga, I had always seen my dead wife; it was the first time I saw MY LIVING WIFE there. She was sincere, as she hoped to be saved. She would not kill herself. It was a bargain ... Half a minute later, all the water was back in the lake; and I had a hard job with you, daroga, for, upon my honor, I thought you were done for! ... However! ... There you were! ... It was understood that I was to take you both up to the surface of the earth. When, at last, I cleared the Louis-Philippe room of you, I came back alone ..."

"What have you done with the Vicomte de Chagny?" asked the Persian, interrupting him.

"Ah, you see, daroga, I couldn't carry HIM up like that, at once. ... He was a hostage ... But I could not keep him in the house on the lake, either, because of Christine; so I locked him up comfortably, I chained him up nicely—a whiff of the Mazenderan scent had left him as limp as a rag—in the Communists' dungeon, which is in the most deserted and remote part of the Opera, below the fifth cellar, where no one ever comes, and where no one ever hears you. Then I came back to Christine, she was waiting for me."

Erik here rose solemnly. Then he continued, but, as he spoke, he was overcome by all his former emotion and began to tremble like a leaf:

"Yes, she was waiting for me ... waiting for me erect and alive, a real, living bride ... as she hoped to be saved ... And, when I ... came forward, more timid than ... a little child, she did not run away ... no, no ... she stayed ... she waited for me ... I even believe ... daroga ... that she put out her forehead ... a little ... oh, not much ... just a little ... like a living bride ... And ... and ... I ... kissed her! ... I! ... I! ... I! ... And she did not die! ... Oh, how good it is, daroga, to kiss somebody on the forehead! ... You can't tell! ... But I! I! ... My mother, daroga, my poor, unhappy mother would never ... let me kiss her ... She used to run away ... and throw me my mask! ... Nor any other woman ... ever, ever! ... Ah, you can understand, my happiness was so great, I cried. And I fell at her feet, crying ... and I kissed her feet ... her little feet ... crying. You're crying, too, daroga ... and she cried also ... the angel cried! ..." Erik sobbed aloud and the Persian himself could not retain his tears in the presence of that masked man, who, with his shoulders shaking and his hands clutched at his chest, was moaning with pain and love by turns.

"Yes, daroga ... I felt her tears flow on my forehead ... on mine, mine! ... They were soft ... they were sweet! ... They trickled under my mask ... they mingled with my tears in my eyes ... yes ... they flowed between my lips ... Listen, daroga, listen to what I did ... I tore off my mask so as not to lose one of her tears ... and she did not run away! ... And she did not die! ... She remained alive, weeping over me, with me. We cried together! I have tasted all the happiness the world can offer!"

And Erik fell into a chair, choking for breath:

"Ah, I am not going to die yet ... presently I shall ... but let me cry! ... Listen, daroga ... listen to this ... While I was at her feet ... I heard her say, 'Poor, unhappy Erik!' ... AND SHE TOOK MY HAND! ... I had become no more, you know, than a poor dog ready to die for her ... I mean it, daroga! ... I held in my hand a ring, a plain gold ring which I had given her ... which she had lost ... and which I had found again ... a wedding-ring, you know ... I slipped it into her little hand and said, 'There! ... Take it! ... Take it for you ... and him! ... It shall be my wedding-present a present from your poor, unhappy Erik ... I know you love the boy ... don't cry any more! ... She asked me, in a very soft voice, what I meant ... Then I made her understand that, where she was concerned, I was only a poor dog, ready to die for her ... but that she could marry the young man when she pleased, because she had cried with me and mingled her tears with mine! ..."

Erik's emotion was so great that he had to tell the Persian not to look at him, for he was choking and must take off his mask. The daroga went to the window and opened it. His heart was full of pity, but he took care to keep his eyes fixed on the trees in the Tuileries gardens, lest he should see the monster's face.

"I went and released the young man," Erik continued, "and told him to come with me to Christine ... They kissed before me in the Louis-Philippe room ... Christine had my ring ... I made Christine swear to come back, one night, when I was dead, crossing the lake from the Rue-Scribe side, and bury me in the greatest secrecy with the gold ring, which she was to wear until that moment. ... I told her where she would find my body and what to do with it... Then Christine kissed me, for the first time, herself, here, on the forehead—don't look, daroga!—here, on the forehead ... on my forehead, mine—don't look, daroga!—and they went off together... Christine had stopped crying ... I alone cried ... Daroga, daroga, if Christine keeps her promise, she will come back soon! ..."

The Persian asked him no questions. He was quite reassured as to the fate of Raoul Chagny and Christine Daae; no one could have doubted the word of the weeping Erik that night.

The monster resumed his mask and collected his strength to leave the daroga. He told him that, when he felt his end to be very near at hand, he would send him, in gratitude for the kindness which the Persian had once shown him, that which he held dearest in the world: all Christine Daae's papers, which she had written for Raoul's benefit and left with Erik, together with a few objects belonging to her, such as a pair of gloves, a shoe-buckle and two pocket-handkerchiefs. In reply to the Persian's questions, Erik told him that the two young people, at soon as they found themselves free, had resolved to go and look for a priest in some lonely spot where they could hide their happiness and that, with this object in view, they had started from "the northern railway station of the world." Lastly, Erik relied on the Persian, as soon as he received the promised relics and papers, to inform the young couple of his death and to advertise it in the EPOQUE.

That was all. The Persian saw Erik to the door of his flat, and Darius helped him down to the street. A cab was waiting for him. Erik stepped in; and the Persian, who had gone back to the window, heard him say to the driver:

"Go to the Opera."

And the cab drove off into the night.

The Persian had seen the poor, unfortunate Erik for the last time. Three weeks later, the Epoque published this advertisement:

"Erik is dead."




Epilogue.

I have now told the singular, but veracious story of the Opera ghost. As I declared on the first page of this work, it is no longer possible to deny that Erik really lived. There are to-day so many proofs of his existence within the reach of everybody that we can follow Erik's actions logically through the whole tragedy of the Chagnys.

There is no need to repeat here how greatly the case excited the capital. The kidnapping of the artist, the death of the Comte de Chagny under such exceptional conditions, the disappearance of his brother, the drugging of the gas-man at the Opera and of his two assistants: what tragedies, what passions, what crimes had surrounded the idyll of Raoul and the sweet and charming Christine! ... What had become of that wonderful, mysterious artist of whom the world was never, never to hear again? ... She was represented as the victim of a rivalry between the two brothers; and nobody suspected what had really happened, nobody understood that, as Raoul and Christine had both disappeared, both had withdrawn far from the world to enjoy a happiness which they would not have cared to make public after the inexplicable death of Count Philippe ... They took the train one day from "the northern railway station of the world." ... Possibly, I too shall take the train at that station, one day, and go and seek around thy lakes, O Norway, O silent Scandinavia, for the perhaps still living traces of Raoul and Christine and also of Mamma Valerius, who disappeared at the same time! ... Possibly, some day, I shall hear the lonely echoes of the North repeat the singing of her who knew the Angel of Music! ...

Long after the case was pigeonholed by the unintelligent care of M. le Juge d'Instruction Faure, the newspapers made efforts, at intervals, to fathom the mystery. One evening paper alone, which knew all the gossip of the theaters, said:

"We recognize the touch of the Opera ghost."

And even that was written by way of irony.

The Persian alone knew the whole truth and held the main proofs, which came to him with the pious relics promised by the ghost. It fell to my lot to complete those proofs with the aid of the daroga himself. Day by day, I kept him informed of the progress of my inquiries; and he directed them. He had not been to the Opera for years and years, but he had preserved the most accurate recollection of the building, and there was no better guide than he possible to help me discover its most secret recesses. He also told me where to gather further information, whom to ask; and he sent me to call on M. Poligny, at a moment when the poor man was nearly drawing his last breath. I had no idea that he was so very ill, and I shall never forget the effect which my questions about the ghost produced upon him. He looked at me as if I were the devil and answered only in a few incoherent sentences, which showed, however—and that was the main thing—the extent of the perturbation which O. G., in his time, had brought into that already very restless life (for M. Poligny was what people call a man of pleasure).

When I came and told the Persian of the poor result of my visit to M. Poligny, the daroga gave a faint smile and said:

"Poligny never knew how far that extraordinary blackguard of an Erik humbugged him."—The Persian, by the way, spoke of Erik sometimes as a demigod and sometimes as the lowest of the low—"Poligny was superstitious and Erik knew it. Erik knew most things about the public and private affairs of the Opera. When M. Poligny heard a mysterious voice tell him, in Box Five, of the manner in which he used to spend his time and abuse his partner's confidence, he did not wait to hear any more. Thinking at first that it was a voice from Heaven, he believed himself damned; and then, when the voice began to ask for money, he saw that he was being victimized by a shrewd blackmailer to whom Debienne himself had fallen a prey. Both of them, already tired of management for various reasons, went away without trying to investigate further into the personality of that curious O. G., who had forced such a singular memorandum-book upon them. They bequeathed the whole mystery to their successors and heaved a sigh of relief when they were rid of a business that had puzzled them without amusing them in the least."

I then spoke of the two successors and expressed my surprise that, in his Memoirs of a Manager, M. Moncharmin should describe the Opera ghost's behavior at such length in the first part of the book and hardly mention it at all in the second. In reply to this, the Persian, who knew the MEMOIRS as thoroughly as if he had written them himself, observed that I should find the explanation of the whole business if I would just recollect the few lines which Moncharmin devotes to the ghost in the second part aforesaid. I quote these lines, which are particularly interesting because they describe the very simple manner in which the famous incident of the twenty-thousand francs was closed:

"As for O. G., some of whose curious tricks I have related in the first part of my Memoirs, I will only say that he redeemed by one spontaneous fine action all the worry which he had caused my dear friend and partner and, I am bound to say, myself. He felt, no doubt, that there are limits to a joke, especially when it is so expensive and when the commissary of police has been informed, for, at the moment when we had made an appointment in our office with M. Mifroid to tell him the whole story, a few days after the disappearance of Christine Daae, we found, on Richard's table, a large envelope, inscribed, in red ink, "WITH O. G.'S COMPLIMENTS." It contained the large sum of money which he had succeeded in playfully extracting, for the time being, from the treasury. Richard was at once of the opinion that we must be content with that and drop the business. I agreed with Richard. All's well that ends well. What do you say, O. G.?"

Of course, Moncharmin, especially after the money had been restored, continued to believe that he had, for a short while, been the butt of Richard's sense of humor, whereas Richard, on his side, was convinced that Moncharmin had amused himself by inventing the whole of the affair of the Opera ghost, in order to revenge himself for a few jokes.

I asked the Persian to tell me by what trick the ghost had taken twenty-thousand francs from Richard's pocket in spite of the safety-pin. He replied that he had not gone into this little detail, but that, if I myself cared to make an investigation on the spot, I should certainly find the solution to the riddle in the managers' office by remembering that Erik had not been nicknamed the trap-door lover for nothing. I promised the Persian to do so as soon as I had time, and I may as well tell the reader at once that the results of my investigation were perfectly satisfactory; and I hardly believed that I should ever discover so many undeniable proofs of the authenticity of the feats ascribed to the ghost.

The Persian's manuscript, Christine Daae's papers, the statements made to me by the people who used to work under MM. Richard and Moncharmin, by little Meg herself (the worthy Madame Giry, I am sorry to say, is no more) and by Sorelli, who is now living in retirement at Louveciennes: all the documents relating to the existence of the ghost, which I propose to deposit in the archives of the Opera, have been checked and confirmed by a number of important discoveries of which I am justly proud. I have not been able to find the house on the lake, Erik having blocked up all the secret entrances.[1] On the other hand, I have discovered the secret passage of the Communists, the planking of which is falling to pieces in parts, and also the trap-door through which Raoul and the Persian penetrated into the cellars of the opera-house. In the Communists' dungeon, I noticed numbers of initials traced on the walls by the unfortunate people confined in it; and among these were an "R" and a "C." R. C.: Raoul de Chagny. The letters are there to this day.

If the reader will visit the Opera one morning and ask leave to stroll where he pleases, without being accompanied by a stupid guide, let him go to Box Five and knock with his fist or stick on the enormous column that separates this from the stage-box. He will find that the column sounds hollow. After that, do not be astonished by the suggestion that it was occupied by the voice of the ghost: there is room inside the column for two men. If you are surprised that, when the various incidents occurred, no one turned round to look at the column, you must remember that it presented the appearance of solid marble, and that the voice contained in it seemed rather to come from the opposite side, for, as we have seen, the ghost was an expert ventriloquist.

The column was elaborately carved and decorated with the sculptor's chisel; and I do not despair of one day discovering the ornament that could be raised or lowered at will, so as to admit of the ghost's mysterious correspondence with Mme. Giry and of his generosity.

However, all these discoveries are nothing, to my mind, compared with that which I was able to make, in the presence of the acting-manager, in the managers' office, within a couple of inches from the desk-chair, and which consisted of a trap-door, the width of a board in the flooring and the length of a man's fore-arm and no longer; a trap-door that falls back like the lid of a box; a trap-door through which I can see a hand come and dexterously fumble at the pocket of a swallow-tail coat.

That is the way the forty-thousand francs went! ... And that also is the way by which, through some trick or other, they were returned.

Speaking about this to the Persian, I said:

"So we may take it, as the forty-thousand francs were returned, that Erik was simply amusing himself with that memorandum-book of his?"

"Don't you believe it!" he replied. "Erik wanted money. Thinking himself without the pale of humanity, he was restrained by no scruples and he employed his extraordinary gifts of dexterity and imagination, which he had received by way of compensation for his extraordinary uglinesss, to prey upon his fellow-men. His reason for restoring the forty-thousand francs, of his own accord, was that he no longer wanted it. He had relinquished his marriage with Christine Daae. He had relinquished everything above the surface of the earth."

According to the Persian's account, Erik was born in a small town not far from Rouen. He was the son of a master-mason. He ran away at an early age from his father's house, where his ugliness was a subject of horror and terror to his parents. For a time, he frequented the fairs, where a showman exhibited him as the "living corpse." He seems to have crossed the whole of Europe, from fair to fair, and to have completed his strange education as an artist and magician at the very fountain-head of art and magic, among the Gipsies. A period of Erik's life remained quite obscure. He was seen at the fair of Nijni-Novgorod, where he displayed himself in all his hideous glory. He already sang as nobody on this earth had ever sung before; he practised ventriloquism and gave displays of legerdemain so extraordinary that the caravans returning to Asia talked about it during the whole length of their journey. In this way, his reputation penetrated the walls of the palace at Mazenderan, where the little sultana, the favorite of the Shah-in-Shah, was boring herself to death. A dealer in furs, returning to Samarkand from Nijni-Novgorod, told of the marvels which he had seen performed in Erik's tent. The trader was summoned to the palace and the daroga of Mazenderan was told to question him. Next the daroga was instructed to go and find Erik. He brought him to Persia, where for some months Erik's will was law. He was guilty of not a few horrors, for he seemed not to know the difference between good and evil. He took part calmly in a number of political assassinations; and he turned his diabolical inventive powers against the Emir of Afghanistan, who was at war with the Persian empire. The Shah took a liking to him.

This was the time of the rosy hours of Mazenderan, of which the daroga's narrative has given us a glimpse. Erik had very original ideas on the subject of architecture and thought out a palace much as a conjuror contrives a trick-casket. The Shah ordered him to construct an edifice of this kind. Erik did so; and the building appears to have been so ingenious that His Majesty was able to move about in it unseen and to disappear without a possibility of the trick's being discovered. When the Shah-in-Shah found himself the possessor of this gem, he ordered Erik's yellow eyes to be put out. But he reflected that, even when blind, Erik would still be able to build so remarkable a house for another sovereign; and also that, as long as Erik was alive, some one would know the secret of the wonderful palace. Erik's death was decided upon, together with that of all the laborers who had worked under his orders. The execution of this abominable decree devolved upon the daroga of Mazenderan. Erik had shown him some slight services and procured him many a hearty laugh. He saved Erik by providing him with the means of escape, but nearly paid with his head for his generous indulgence.

Fortunately for the daroga, a corpse, half-eaten by the birds of prey, was found on the shore of the Caspian Sea, and was taken for Erik's body, because the daroga's friends had dressed the remains in clothing that belonged to Erik. The daroga was let off with the loss of the imperial favor, the confiscation of his property and an order of perpetual banishment. As a member of the Royal House, however, he continued to receive a monthly pension of a few hundred francs from the Persian treasury; and on this he came to live in Paris.

As for Erik, he went to Asia Minor and thence to Constantinople, where he entered the Sultan's employment. In explanation of the services which he was able to render a monarch haunted by perpetual terrors, I need only say that it was Erik who constructed all the famous trap-doors and secret chambers and mysterious strong-boxes which were found at Yildiz-Kiosk after the last Turkish revolution. He also invented those automata, dressed like the Sultan and resembling the Sultan in all respects,[2] which made people believe that the Commander of the Faithful was awake at one place, when, in reality, he was asleep elsewhere.

Of course, he had to leave the Sultan's service for the same reasons that made him fly from Persia: he knew too much. Then, tired of his adventurous, formidable and monstrous life, he longed to be some one "like everybody else." And he became a contractor, like any ordinary contractor, building ordinary houses with ordinary bricks. He tendered for part of the foundations in the Opera. His estimate was accepted. When he found himself in the cellars of the enormous playhouse, his artistic, fantastic, wizard nature resumed the upper hand. Besides, was he not as ugly as ever? He dreamed of creating for his own use a dwelling unknown to the rest of the earth, where he could hide from men's eyes for all time.

The reader knows and guesses the rest. It is all in keeping with this incredible and yet veracious story. Poor, unhappy Erik! Shall we pity him? Shall we curse him? He asked only to be "some one," like everybody else. But he was too ugly! And he had to hide his genius OR USE IT TO PLAY TRICKS WITH, when, with an ordinary face, he would have been one of the most distinguished of mankind! He had a heart that could have held the empire of the world; and, in the end, he had to content himself with a cellar. Ah, yes, we must needs pity the Opera ghost.

I have prayed over his mortal remains, that God might show him mercy notwithstanding his crimes. Yes, I am sure, quite sure that I prayed beside his body, the other day, when they took it from the spot where they were burying the phonographic records. It was his skeleton. I did not recognize it by the ugliness of the head, for all men are ugly when they have been dead as long as that, but by the plain gold ring which he wore and which Christine Daae had certainly slipped on his finger, when she came to bury him in accordance with her promise.

The skeleton was lying near the little well, in the place where the Angel of Music first held Christine Daae fainting in his trembling arms, on the night when he carried her down to the cellars of the opera-house.

And, now, what do they mean to do with that skeleton? Surely they will not bury it in the common grave! ... I say that the place of the skeleton of the Opera ghost is in the archives of the National Academy of Music. It is no ordinary skeleton.



[1] Even so, I am convinced that it would be easy to reach it by draining the lake, as I have repeatedly requested the Ministry of Fine Arts to do. I was speaking about it to M. Dujardin-Beaumetz, the under-secretary for fine arts, only forty-eight hours before the publication of this book. Who knows but that the score of DON JUAN TRIUMPHANT might yet be discovered in the house on the lake?

[2] See the interview of the special correspondent of the MATIN, with Mohammed-Ali Bey, on the day after the entry of the Salonika troops into Constantinople.




THE END




The Paris Opera House

THE SCENE OF GASTON LEROUX'S NOVEL, "THE PHANTOM OF THE OPERA"

That Mr. Leroux has used, for the scene of his story, the Paris Opera House as it really is and has not created a building out of his imagination, is shown by this interesting description of it taken from an article which appeared in Scribner's Magazine in 1879, a short time after the building was completed:

"The new Opera House, commenced under the Empire and finished under the Republic, is the most complete building of the kind in the world and in many respects the most beautiful. No European capital possesses an opera house so comprehensive in plan and execution, and none can boast an edifice equally vast and splendid.

"The site of the Opera House was chosen in 1861. It was determined to lay the foundation exceptionally deep and strong. It was well known that water would be met with, but it was impossible to foresee at what depth or in what quantity it would be found. Exceptional depth also was necessary, as the stage arrangements were to be such as to admit a scene fifty feet high to be lowered on its frame. It was therefore necessary to lay a foundation in a soil soaked with water which should be sufficiently solid to sustain a weight of 22,000,000 pounds, and at the same time to be perfectly dry, as the cellars were intended for the storage of scenery and properties. While the work was in progress, the excavation was kept free from water by means of eight pumps, worked by steam power, and in operation, without interruption, day and night, from March second to October thirteenth. The floor of the cellar was covered with a layer of concrete, then with two coats of cement, another layer of concrete and a coat of bitumen. The wall includes an outer wall built as a coffer-dam, a brick wall, a coat of cement, and a wall proper, a little over a yard thick. After all this was done the whole was filled with water, in order that the fluid, by penetrating into the most minute interstices, might deposit a sediment which would close them more surely and perfectly than it would be possible to do by hand. Twelve years elapsed before the completion of the building, and during that time it was demonstrated that the precautions taken secured absolute impermeability and solidity.

"The events of 1870 interrupted work just as it was about to be prosecuted most vigorously, and the new Opera House was put to new and unexpected uses. During the siege, it was converted into a vast military storehouse and filled with a heterogeneous mass of goods. After the siege the building fell into the hands of the Commune and the roof was turned into a balloon station. The damage done, however, was slight.

"The fine stone employed in the construction was brought from quarries in Sweden, Scotland, Italy, Algeria, Finland, Spain, Belgium and France. While work on the exterior was in progress, the building was covered in by a wooden shell, rendered transparent by thousands of small panes of glass. In 1867 a swarm of men, supplied with hammers and axes, stripped the house of its habit, and showed in all its splendor the great structure. No picture can do justice to the rich colors of the edifice or to the harmonious tone resulting from the skilful use of many diverse materials. The effect of the frontage is completed by the cupola of the auditorium, topped with a cap of bronze sparingly adorned with gilding. Farther on, on a level with the towers of Notre-Dame, is the gable end of the roof of the stage, a 'Pegasus', by M. Lequesne, rising at either end of the roof, and a bronze group by M. Millet, representing 'Apollo lifting his golden lyre', commanding the apex. Apollo, it may here be mentioned, is useful as well as ornamental, for his lyre is tipped with a metal point which does duty as a lightning-rod, and conducts the fluid to the body and down the nether limbs of the god.

"The spectator, having climbed ten steps and left behind him a gateway, reaches a vestibule in which are statues of Lully, Rameau, Gluck, and Handel. Ten steps of green Swedish marble lead to a second vestibule for ticket-sellers. Visitors who enter by the pavilion reserved for carriages pass through a hallway where ticket offices are situated. The larger number of the audience, before entering the auditorium, traverse a large circular vestibule located exactly beneath it. The ceiling of this portion of the building is upheld by sixteen fluted columns of Jura stone, with white marble capitals, forming a portico. Here servants are to await their masters, and spectators may remain until their carriages are summoned. The third entrance, which is quite distinct from the others, is reserved for the Executive. The section of the building set aside for the use of the Emperor Napoleon was to have included an antechamber for the bodyguards; a salon for the aides-de-camp; a large salon and a smaller one for the Empress; hat and cloak rooms, etc. Moreover, there were to be in close proximity to the entrance, stables for three coaches, for the outriders' horses, and for the twenty-one horsemen acting as an escort; a station for a squad of infantry of thirty-one men and ten cent-gardes, and a stable for the horses of the latter; and, besides, a salon for fifteen or twenty domestics. Thus arrangements had to be made to accommodate in this part of the building about one hundred persons, fifty horses, and half-a-dozen carriages. The fall of the Empire suggested some changes, but ample provision still exists for emergencies.

"Its novel conception, perfect fitness, and rare splendor of material, make the grand stairway unquestionably one of the most remarkable features of the building. It presents to the spectator, who has just passed through the subscribers' pavilion, a gorgeous picture. From this point he beholds the ceiling formed by the central landing; this and the columns sustaining it, built of Echaillon stone, are honeycombed with arabesques and heavy with ornaments; the steps are of white marble, and antique red marble balusters rest on green marble sockets and support a balustrade of onyx. To the right and to the left of this landing are stairways to the floor, on a plane with the first row of boxes. On this floor stand thirty monolith columns of Sarrancolin marble, with white marble bases and capitals. Pilasters of peach-blossom and violet stone are against the corresponding walls. More than fifty blocks had to be extracted from the quarry to find thirty perfect monoliths.

"The foyer de la danse has particular interest for the habitues of the Opera. It is a place of reunion to which subscribers to three performances a week are admitted between the acts in accordance with a usage established in 1870. Three immense looking-glasses cover the back wall of the FOYER, and a chandelier with one hundred and seven burners supplies it with light. The paintings include twenty oval medallions, in which are portrayed the twenty danseuses of most celebrity since the opera has existed in France, and four panels by M. Boulanger, typifying 'The War Dance', 'The Rustic Dance', 'The Dance of Love' and 'The Bacchic Dance.' While the ladies of the ballet receive their admirers in this foyer, they can practise their steps. Velvet-cushioned bars have to this end been secured at convenient points, and the floor has been given the same slope as that of the stage, so that the labor expended may be thoroughly profitable to the performance. The singers' foyer, on the same floor, is a much less lively resort than the foyer de la danse, as vocalists rarely leave their dressing-rooms before they are summoned to the stage. Thirty panels with portraits of the artists of repute in the annals of the Opera adorn this foyer.

"Some estimate ... may be arrived at by sitting before the concierge an hour or so before the representation commences. First appear the stage carpenters, who are always seventy, and sometimes, when L'Africaine, for example, with its ship scene, is the opera, one hundred and ten strong. Then come stage upholsterers, whose sole duty is to lay carpets, hang curtains, etc.; gas-men, and a squad of firemen. Claqueurs, call-boys, property-men, dressers, coiffeurs, supernumeraries, and artists, follow. The supernumeraries number about one hundred; some are hired by the year, but the 'masses' are generally recruited at the last minute and are generally working-men who seek to add to their meagre earnings. There are about a hundred choristers, and about eighty musicians.

"Next we behold equeries, whose horses are hoisted on the stage by means of an elevator; electricians who manage the light-producing batteries; hydrauliciens to take charge of the water-works in ballets like La Source; artificers who prepare the conflagration in Le Profeta; florists who make ready Margarita's garden, and a host of minor employees. This personnel is provided for as follows: Eighty dressing-rooms are reserved for the artists, each including a small antechamber, the dressing-room proper, and a little closet. Besides these apartments, the Opera has a dressing-room for sixty male, and another for fifty female choristers; a third for thirty-four male dancers; four dressing-rooms for twenty female dancers of different grades; a dressing-room for one hundred and ninety supernumeraries, etc."

A few figures taken from the article will suggest the enormous capacity and the perfect convenience of the house. "There are 2,531 doors and 7,593 keys; 14 furnaces and grates heat the house; the gaspipes if connected would form a pipe almost 16 miles long; 9 reservoirs, and two tanks hold 22,222 gallons of water and distribute their contents through 22,829 2-5 feet of piping; 538 persons have places assigned wherein to change their attire. The musicians have a foyer with 100 closets for their instruments."

The author remarks of his visit to the Opera House that it "was almost as bewildering as it was agreeable. Giant stairways and colossal halls, huge frescoes and enormous mirrors, gold and marble, satin and velvet, met the eye at every turn."

In a recent letter Mr. Andre Castaigne, whose remarkable pictures illustrate the text, speaks of a river or lake under the Opera House and mentions the fact that there are now also three metropolitan railway tunnels, one on top of the other.

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