It seemed that something unheard-of had finally occurred, though it did not gladden any of those who had hoped for a unique happening on that carnival night.
The disturbance originated in the centermost of that labyrinth of capacious rooms composing the arena of the masquerade. To the surrounding as well as the more peripheral rooms, including the one in which Faliol was now caught by the crushing crowd, there first traveled what sounded like cries of amusement. These quickly transformed, however, into ambiguous outbursts of surprise unto the edge of shock. Finally, the uproar took on the character of intense horror—all voices in alarm and confusion. Tidings passed rapidly, though less and less reliably, from mouth to mouth, room to room. Something terrible had happened, something which had begun, or was initially perceived, as a fabulous hoax. No one knew exactly how it was possible, but there suddenly appeared an outlandish spectacle in the midst of the most congested room of that night’s affair. The matter of the event was that two participants in the masque, without being spied by those around them, had donned costumes which went far beyond the most gruesome seen beforehand at the palace gathering. Among some persons, word circulated about semblances most closely akin to giant leeches or worms, for they did not walk upright but writhed along the floor as if absent of bones. Others heard that these prodigies of disguise possessed countless tiny legs, and thus more properly resembled centipedes of some type. Still others averred that what was now in their company were not masqueraders but things inhuman in nature, having many-taloned claws, reptilian tails, serpent faces, and an overall composition of fantastical beasts which could not be dissembled by man nor woman. But whatever may have constituted the true substance and form of these beings, at some stage they affected the crowd with a panic past all reckoning. And however subsequent actions were construed to transpire, the consequence was that these bizarre intruders were hacked and torn and trampled owing to an unreasoning revulsion for their aspect, or many aspects.
Tragically, once the massacre was accomplished, it was not the slaughtered remains of two uncanny monsters that the masqueraders, their masks removed, looked down upon. Instead, it was two of their own—a knight and queen of the old days—whose blood was spreading across the ornate designs of the palace floor. Their bodies, which they had feared would be lastingly parted, were now all but indistinguishable from each other.
Throwing off his jester’s face, Faliol worked himself near enough to the scene to view the horror with his own shaded eyes. A tragedy, yes, but not such that would return Faliol to his furies. For the image he saw immediately took its place among the seamless and unending flow of hellish eidola which constituted Anima Mundi and which, in his vision, was a monotonous tapestry of the terrible ceaselessly unfurling itself in the faintest shades of gray. Thus, the appalling tableau was neither more nor less sinister in his sight than any other which the world might show him.
“Look again, Fa-fa-faliol,” said a voice at his back, as a forceful boot propelled him toward the carnage.
But why was everything painted with such brilliance now, when a moment ago it was all so insipid? Why did every piece of mutilated flesh pulse with color? And why was Faliol wholly benumbed by these red-smeared forms and their unhappy fate? He had been charged to save them and he could do…nothing. His thoughts were now careening wildly through crimson corridors within him, madly seeking solutions but falling at every turn into blind corners and flailing hopelessly against something immovable, impossible. He pressed his hands over his face, hoping to blind himself to the scene. But everything remained invincibly there before his eyes—everything save his spectacles.
Now the duke’s voice broke the brief lull of the dazed and incredulous assembly. The enraged sovereign shouted orders, demanded answers. How justified had proved his misgivings concerning the masquerade. He had long known that something of this nature might occur, and had done what he could to prevent its coming to pass. On the spot, he outlawed all future occasions of this kind and called for arrests and interrogations, the Torture of the Question to be liberally implemented. Exodus was instantaneous—the palace became a chaos of fleeing freaks.
“Faliol!” called a voice that sounded too clear, within all the confusion, to have its origin outside his own mind. “I have what you’re looking for. They’re with me now, right here in my hand, not lost forever.”
When Faliol turned around, he saw the masked king standing some distance away, unmolested by the frantic mob. The king was holding out the spectacles as if they were the dangling head of a conquered foe. Fighting his way toward the unknown persecutor, Faliol would chase him down and reclaim sanity, though not before he had barbarously dispatched the fiend. Yet he could not catch up to this figure which led him through all the rooms where the masquerade once flourished, and then deeper into the palace. At the end of a long silent corridor, the gaudy, flapping train of a royal robe disappeared through a doorway. Faliol followed the shape and at last entered a dim chamber with a single window, before which stood the mummer in a sparkling silk mask. The spectacles were still held by the velvet fingers of a tightly gloved hand. Watching as the dark lenses flashed in the candlelight, Faliol’s eyes burned as much with questions as with madness.
“Where is the mage?” he demanded.
“The mage is no more.”
“Then tell me who are you before I send you to hell?”
“You know who I am. But say I’m a sorcerer if that is well with you.”
“And you killed the mage as you did the others.”
“The others? How could you have not heard that rattling pantomime, all those swords and swift feet? Did you not hear that there was a pair of leviathan leeches, or something in that way, menacing the guests? True, I had a hand in the illusion, but my hand contained no gouging blade. A shambles, you saw it with your own eyes.”
“In their fate you saw your own future. Even a sorcerer may be killed.”
“Agreed, even a sorcerer with three eyes, or two eyes, or one.”
“Who are you to have destroyed the mage?”
“In fact, he destroyed himself—a heroic act, I’m sure. And he did it before my own eyes, as if in spite. As for myself, I confess that I am disappointed to be so far beneath your recognition. We have met previously, please remember. But it was many years past, and I suppose you became forgetful as well as dim-sighted once you put those pieces of glass over your eyes. You see why the mage had to be stopped. He ruined you as a madman, as my madman.
“But you might recall that you had another career before the madness took you, did you not? Buh-buh-brave Faliol. Do you not remember how you were made as such? Do you not wish to remember that you were Faliol the dandy before we met on the road that day? It was I—in my role as a charm seller—who outfitted you with that onyx-eyed amulet which you once wore around your neck. It was that bauble which made you the skillful mercenary you once were, and that you loved to be.
“And how everyone else loved you that way: to see a weakling become a man of strength and of steel is the stuff of public comment, of legend, and of diversion in general. And how much more do they love to witness the reverse of this process: to see the mighty laid low, the lord of the sword made mad. This was the little drama I had planned. You were supposed to be my madman, Faliol, not the imperturbable fool of that magician. You were supposed to be a real lost soul of torments in red and black, not a pathetic monk chanting silent psalms in pale breaths. Do you not understand? It was Wynge who ruined you, who undid all my schemes for your tragic and colorful history. Because of him I was forced to change my plans, which are many and touch the lives of all. Yes, it was your mage, who had wrested his soul from me and believed he could do the same for you. Blame him for the slaughter of those innocents and for what you are about to suffer. You know my ways. We are not strangers.”
“No, demon horror, we are not. You are indeed the foul thing the wise man described to me, all the dark powers which we cannot understand but only hate.”
; “Poor Faliol. How wrong you are to contend that the one who stands before you is hated, whatever few enemies I may have. Do you hear those rhapsodic voices in the streets below? They are not filled with hate. Even when I excruciate them, they make excuses for me. They could not possibly hold a greater love for what gives them all they have, however little it may sometimes come to. But I would never go so far that they would turn against their own perpetuity. Only as they live do I live on. And the exceptional destinies of heroes and magicians, of kings and queens, saints and martyrs—these have special roles to perform in my scheme. From the highest to the lowest, they are all my children, and through their eyes I see my own glory.”
“You see but your own foulness.”
“No, the foulness is yours alone to lay eyes on, my dear Faliol. For those enamored of their continuance, no foulness exists. You have worn these spectacles too long and, to my disappointment, still see too much. You have seen me as others have not, if that pleases you, and for that you must come to an end. This is a privileged doom for those such as yourself. A type of consolation.”
“You have said enough.”
“To be sure. My time is precious. And yet I have not said what I came here to say, or rather to ask. You know the question, do not deny it, Faliol. The one you dreamed in those mad dreams I sent you. The torture of the question you dreaded to hear asked, and dreaded more to have answered.”
“Demon!”
“What is the face of the soul of the world?”
“No, it is not a face…it is only—”
“Yes, there is a face, Faliol. And you will see it,” said the masked figure as it peeled away its mask. “But why have you hidden your eyes that way, Faliol? And why have you fallen to your knees? Do you not appreciate the vision I have shown you? Could you ever have imagined that your existence would lead you into the presence of such a sight? Your spectacles cannot save you now. They are only so much glinting glass—hark to my grinding them underfoot upon the cool marble of the floor. No more spectacles, Faliol. And I think, too, no more Faliol. Can you understand what I am telling you now, jester? Well, what have you to say? Nothing? How black your madness must be to make you so rude. How black. But see, even if you will not, how I have provided these escorts to show you the way back to the carnival, which is where a buffoon belongs. And be sure that you make my legions of admirers laugh, or I will punish you. Yes, I can still punish you, Faliol. A living man can always be punished, so remember to be good. I will be watching. I am always watching. Farewell, then, fool.”
A glazen-eyed guard on either side of him, Faliol was dragged from the duke’s palace and given to the crowd which still rioted in the streets of Soldori. And the crowd embraced the mad jester, hoisting his jingling form upon their shoulders, shaking him like a toy as they carried him along. In its scheme to strangle silence forever, Soldori’s unruly populace bellowed a robust refrain to Faliol’s sickly moans. Into an onyx-black night his eyes gazed and his mind vanished.
But there must have been some moment, however brief, in which Faliol regained his old enlightenment and which allowed him to accomplish such a crucial and triumphant action. Was it solely by his own sleeping strength, fleetingly aroused, that he attained his greatest prize? If not, then what power could have enabled his trembling hands to reach so deeply into those haggard sockets, and with a gesture brave and sure dig out the awful seeds of his suffering? However it was done, the deed was done well. For as Faliol perished his face was flushed with a crimson glory.
And the crowd fell silent, and a new kind of confusion spread among them—those heads which were always watching—when it was found that what they were bearing through the streets of Soldori was only Faliol’s victorious corpse.
Dr. Voke and Mr. Veech
There is a stairway. It climbs crooked up the side of total darkness. Yet its outlines are visible, like a scribble of lightning engraved upon a black sky. And though standing unsupported, it does not fall. Nor does it end its jagged ascent until it has reached the obscure loft where Voke, the recluse, has cloistered himself.
Someone named Veech is now mounting the stairway, which seems to trouble him somehow. Though the angular scaffolding as a whole seems secure enough, Veech appears hesitant to place his full weight on the individual steps. A victim of vague misgivings, he ascends in weird mincing movements. Every so often he looks back over his shoulder at the stairs he has just placed his weight upon, for they feel to him more like soft clay than solid material and perhaps he is expecting to see the imprints of his soles on their surface. But the stairs are unchanged.
Veech is wearing a long, brightly colored coat, and the splinters on the railing of the stairway sometimes snag his bulky sleeves. They also snag his bony hands, but Veech is more exasperated by the destruction of expensive cloth than injuries to his undear flesh. While climbing, he sucks at a small puncture in his forefinger to keep from staining his coat with blood. At the seventeenth stair above the seventeenth, and last, landing—Veech trips. The long tails of the coat become tangled between his legs and there is a ripping sound as he falls. At the end of his patience, Veech removes the coat and flings it over the side of the stairway into the black abyss. Shabby clothes hang loosely upon his thin body.
At the top of the stairs there is only a single door. With widely splayed fingers, Veech pushes it open. Behind the door is Voke’s loft, which appears to be a cross between a playroom and a place of torture.
The darkness and silence of the great room are somewhat compromised by noisy jets of blue-green light flickering spasmodically along the walls. But for the most part the room lies buried in shadows. Even its exact height is uncertain, since above the convulsive illumination almost nothing can be seen by even the sharpest pair of eyes, never mind Veech’s squinting little slits. Some of the lower beams of the crisscrossing rafters are visible, but the ceiling is entirely obscured, if in fact Voke’s sanctum has been provided with one.
Somewhere above the gritty floor, more than a few life-size dolls hang suspended by wires which glisten like wetted strands of a spider web. But none of the dolls is seen in whole. The long-beaked profile of one juts into the light; the shiny satin legs of another find their way out of the upper dimness; a beautifully pale hand glows in the distance; while much closer the better part of a harlequin dangles into view, cut off at the neck by blackness. Indeed, much of the inventory of this vast room appears only as parts and pieces of objects which manage to push their way out of the smothering dark. Upon the floor, a long low box thrusts partway into the scene, showing off its reinforced edges of bright metal strips plugged with heavy bolts. Pointed and strangely shaped instruments bloom out of the loam of shadows. They are crusted with age. A great wheel appears at quarter-phase in the room’s dimness. Other sections, appendages, and gear-works of curious machines also complicate this immense gallery.
As Veech progresses through the half-light, he is suddenly halted by a metal arm with a soft black handle. He backs off and continues to walk about the chamber, grinding sawdust, sand, perhaps pulverized stars underfoot. The dismembered limbs of dolls and puppets are strewn about everywhere. Posters, signs, billboards, and leaflets of various sorts are scattered around like playing cards, their bright words disarranged into nonsense. Countless other objects, devices, and leftover goods stock the room, more than one could possibly take notice of. But they are all, in some way, like those which have been described. One wonders, then, how they could add up to such an atmosphere of…isn’t repose the word? Yes, but a certain kind of repose: the repose of ruin.
“Hello,” Veech calls out. “Doctor, are you here?”
Within the darkness ahead there suddenly appears a tall rectangle, like a ticket-seller’s booth at a carnival. The lower part is composed of wood and the upper part of glass. Its interior is lit up by an oily red glare. Slumped forward on its seat inside the booth, as if asleep, is a well-dressed dummy: nicely fitting black jacket and vest with bright silver buttons, a white high-co
llar shirt with silver cufflinks, and a billowing cravat which displays a pattern of moons and stars. Because his head is forwardly inclined, the dummy’s only feature of note is the black sheen of its painted hair.
Veech approaches the booth a little cautiously. He seems to be most interested in the figure within. Through a semi-circular opening in the glass, Veech slides his hand into the booth, apparently with the intention of giving the dummy’s arm a shake. But before his own arm creeps very far toward its goal, several things occur in succession: the dummy casually lifts its head and opens its eyes…it reaches out and places its wooden hand on Veech’s hand of flesh…and its jaw drops open to dispense a mechanical laugh—yah-ha-ha-ha-ha, yah-ha-ha-ha-ha.
Wresting his hand away from the dummy, Veech staggers backward a few steps. The dummy continues to give forth its mocking laughter, which flaps its way into every niche of the loft and flies back as peculiar echoes. The dummy’s face is vacant and handsome; its eyes roll like mad marbles. Then, from out of the shadows behind the dummy’s booth, steps someone who is every bit as thin as Veech, though much taller. His outfit is not unlike the dummy’s, but his clothes hang on him, and what there is left of his sparse hair falls like torn rags across his bone-white scalp.
“Did you ever wonder, Mr. Veech,” Voke begins, parading slowly toward his guest while holding one side of his coat like the train of a gown. “I say, did you ever wonder what it is that makes the animation of a wooden dummy so terrible to see, not to mention to hear? Listen to it, I mean really listen. Ya-ha-ha-ha-ha: a series of sounds that becomes excruciatingly eloquent when uttered by the Ticket Man. They are a species of poetry that sings what should not be sung, that speaks what should not be spoken. But what in the world is it laughing about. Nothing, it would seem. No clear motives or impulses make the dummy laugh, and yet it does!
Songs of a Dead Dreamer Page 19
