The Book of Changes m-9

by Robert Silverberg

  “And now,” said Kasinibon, “I propose we turn our attention this evening to the ballads of Garthain Hagavon—”

  At the beginning of the fourth week of his captivity Furvain made the dream-journey to the Great Sea once again, and again took dictation from the Divine, who appeared to him in the guise of a tall, broad-shouldered, golden-haired man of cheerful mien, wearing a Coronal’s silver band about his head.

  And when he woke it was all still in his mind, every syllable of every verse, every verse of every stanza, every stanza of what appeared to be a third of a canto, as well as he could judge the proportions of such things. But it began to fade almost at once. Out of fear that he might lose it all he set about the work of transcribing as much of it as he could, and as the lines emerged onto the paper he saw that they followed the inordinately intricate metrical pattern and rhyming scheme of the poem that had been given to him by the hand of the Divine that other time weeks before: appeared to be, indeed, a fragment of that very poem.

  A fragment was all that it was. What Furvain had managed to get down began in the middle of a stanza, and ended, pages later, in the middle of another one. The subject was warfare, the campaign of the great Lord Stiamot of thousands of years before against the rebellious aboriginal people of Majipoor, the shapeshifting Metamorph race. The segment that lay before him dealt with Stiamot’s famous march through the foothills of Zygnor Peak in northern Alhanroel, the climactic enterprise of that long agonizing struggle, when he had set fire to the whole district, parched by the heat of the long dry summer, in order to drive the final bands of Metamorph guerrillas from their hiding places. It broke off at the point where Lord Stiamot found himself confronting a recalcitrant landholder, a man of the ancient northern gentry who refused to pay heed to Stiamot’s warning that all this territory was going to be put to the torch and that it behooved every settler to flee at once.

  When it became impossible for Furvain to go any farther with his transcription he read it all back, astounded, even bemused. The style and general approach, the bizarre schemes of rhyme and metric apart, were beyond any doubt his own. He recognized familiar turns of phrase, similes of a kind that had always come readily to him, choices of rhyme that declared themselves plainly as the work of Aithin Furvain. But how, if not by direct intervention of the Divine, had anything so complicated and deep sprung from his own shallow mind? This was majestic poetry. There was no other word for it. He read it aloud to himself, reveling in the sonorities, the internal assonances, the sinewy strength of the line, the inevitability of each stanza’s form. He had never written anything remotely like this before. He had had the technique for it, very likely, but he could not imagine ever making so formidable a demand on that technique.

  And also there were things in here about Stiamot’s campaign that Furvain did not in fact believe he had ever known. He had learned about Lord Stiamot from his tutors, of course. Everyone did; Stiamot was one of the great figures of Majipoor’s history. But Furvain’s schooling had taken place decades ago. Had he ever really heard the names of all these places — Milimorn, Hamifieu, Bizfern, Kattikawn? Were they genuine place-names, or his own inventions?

  His inventions? Well, yes, anyone could make up names, he supposed. But there was too much here about military procedure, lines of supply and chains of command and order of march and such, that read like the work of some other hand, someone far more knowledgeable about such things than he had ever been. How, then, could he possibly claim this poem as his own? Yet where had it come from, if not from him? Was he truly the vehicle through which the Divine had chosen to bring this fragment into existence?

  Furvain found his slender fund of religious feeling seriously taxed by such a notion. And yet— and yet—

  Kasinibon saw at once that something out of the ordinary had happened. “You’ve begun to write, haven’t you?”

  “I’ve begun a poem, yes,” said Furvain uneasily.

  “Wonderful! When can I see it?”

  The blaze of excitement in Kasinibon’s eyes was so fierce that Furvain had to back away a few steps.

  “Not just yet, I think. This is much too soon to be showing it to anyone. At this point it would be extremely easy for me to lose my way. A casual word from someone else might be just the one that would deflect me from my path.”

  “I swear that I’ll offer no comment at all. I simply would like to—”

  “No. Please.” Furvain was surprised by the steely edge he heard in his own voice. “I’m not sure yet what this is a part of. I need to examine, to evaluate, to ponder. And that has to be done on my own. I tell you, Kasinibon, I’m afraid that I’ll lose it altogether if I reveal anything of it now. Please: let me be.”

  Kasinibon seemed to understand that. He grew instantly solicitous. Almost unctuously he said, “Yes.

  Yes, of course, it would be tragic if my blundering interference harmed the flow of your creation. I withdraw my request. But you will, I hope, grant me a look at it just as soon as you feel that the time has come when you—”

  “Yes. Just as soon as the time has come,” said Furvain.

  He retreated to his quarters and returned to work, not without trepidation. This was new to him, this business of settling down formally to work. In the past poems had always found him — taking a direct and immediate line from his mind to his fingertips. He had never needed to go searching for them. Now, though, Furvain self-consciously sat himself at his little bare table, he laid out two or three pens at his side, he tapped the edges of his stack of blank paper until every sheet was perfectly aligned, he closed his eyes and waited for the heat of inspiration.

  Quickly he discovered that inspiration could not simply be invited to arrive, at least not when one was embarked on an enterprise such as this. His old methods no longer applied. For what he had to do now, one had to go out in quest of the material; one had to fix it in one’s gaze and seize it firmly; one had to compel it to do one’s bidding. He was writing, it seemed, a poem about Lord Stiamot. Very well: he must focus every atom of his being on that long-ago monarch, must reach out across the ages and enter into a communion of a sort with him, must touch his soul and follow his path.

  That was easy enough to say, not so easy to accomplish. The inadequacies of his historical knowledge troubled him. With nothing more than a schoolboy’s grasp of Stiamot’s life and career, and that knowledge, such as it ever had been, now blurred by so many years of forgetfulness, how could he presume to tell the tale of the epochal conflict that had ended for all time the aboriginal threat to the expansion of the human settlements on Majipoor?

  Abashed at his own lack of learning, he prowled Kasinibon’s library, hoping to come upon some works of historical scholarship. But history, it seemed, was not a subject that held any great interest for his captor. Furvain found no texts of any consequence, just a brief history of the world, which seemed to be nothing more than a child’s book. From an inscription on its back cover he saw that it was in fact a relic of Kasinibon’s own childhood in Kekkinork. It contained very little that was useful: just a brief, highly simplified recapitulation of Lord Stiamot’s attempts to seek a negotiated peace with the Metamorphs, the failure of those attempts, and the Coronal’s ultimate decision to put an end once and for all to Metamorph depredations against the cities of the human settlers by defeating them in battle, expelling them from human-occupied territories, and confining them for all time in the rain forests of southern Zimroel. Which had, of course, entangled the world in a generation-long struggle that ended ultimately in success and made possible the explosive growth of civilization on Majipoor and prosperity everywhere on the giant world. Stiamot was one of the key figures of Majipoor’s history. But Kasinibon’s little history book told only the bare outlines of the story, the politics and the battles, not a word about Stiamot as a man, his inner thoughts and emotions, his physical appearance, anything of that sort.

  Then Furvain realized that he had no real need to know those things. He was writing a
poem, not an historical text or a work of biography. He was free to imagine any detail he liked, so long as he remained faithful to the broad outline of the tale. Whether the actual Lord Stiamot had been short or tall, plump or thin, cheerful of nature or a dyspeptic brooder, would make no serious difference to a poet intent only on recreating the Stiamot legend. Lord Stiamot, by now, had become a mythical figure. And myth, Furvain knew, has a power that transcends mere history. History could be as arbitrary as poetry, he told himself: what is history, other than a matter of choice, the picking and choosing of certain facts out of a multitude to elicit a meaningful pattern, which was not necessarily the true one? The act of selecting facts, by definition, inherently involved discarding facts as well, often the ones most inconvenient to the pattern that the historian was trying to reveal. Truth thus became an abstract concept: three different historians, working with the same set of data, might easily come up with three different “truths.” Whereas myth digs deep into the fundamental reality of the spirit, into that infinite well that is the shared consciousness of the entire race, reaching the levels where truth is not an optional matter, but the inescapable foundation of all else. In that sense myth could be truer than history; by creating imaginative episodes that clove to the essence of the Stiamot story, a poet could reveal the truth of that story in a way that no historian could claim to do. And so Furvain resolved that his poem would deal with the myth of Stiamot, not with the historical man. He was free to invent as he pleased, so long as what he invented was faithful to the inner truth of the story.

  After that everything became easier, although there was never anything simple about it for him. He developed a technique of meditation that left him hovering on the border of sleep, from which he could slip readily into a kind of trance. Then — more rapidly with each passing day — Furvain’s guide would come to him, the golden-haired man wearing a Coronal’s silver diadem, and lead him through the scenes and events of his day’s work.

  His guide’s name, he discovered, was Valentine: a charming man, patient, affable, sweet-tempered, always ready with an easy smile, the absolute best of guides. Furvain could not remember any Coronal named Valentine, nor did Kasinibon’s boyhood history text mention one. Evidently no such person had ever existed. But that made no difference. For Furvain’s purposes, it was all the same whether this Lord Valentine had been a real historical figure or was just a figment of Furvain’s imagination: what he needed was someone to take him by the hand and lead him through the shadowy realms of antiquity, and that was what his golden-haired guide was doing. It was almost as though he were the manifestation in a readily perceptible form of the will of the Divine, whose vehicle Furvain had become. It is through the voice of this imaginary Lord Valentine, Furvain told himself, that the shaping spirit of the cosmos is inscribing this poem on my soul.

  Under Valentine’s guidance Furvain’s dreaming mind traversed the deeds of Lord Stiamot, beginning with his first realization that the long poisonous struggle with the Metamorphs must be brought to a conclusive end and going on through the sequence of increasingly bloody battles that had culminated in the burning of the northlands, the surrender of the last aboriginal rebels, and the establishment of the province of Piurifayne in Zimroel as the permanent home and place of eternal confinement of the Shapeshifters of Majipoor. When Furvain emerged from his trance each day the details of what he had learned would still be with him, and had the balance and shape and the tragic rhythm that great poetry requires. He saw not only the events but also the inexorable and inescapable conflicts out of which they arose, driving even a man of good will such as Stiamot into the harsh necessity of making war. The pattern of the story was there; Furvain had merely to set it all down on paper: and here his innate technical skill was fully at his command, as much so as it had ever been in the old days, so that the intricate stanza and complex rhythmic scheme that he had carried back from his first dreaming encounters with the Divine soon became second nature to him, and the poem grew by a swift process of accretion.

  Sometimes it came a little too easily. Now that Furvain had mastered that strange stanza he was able to reel off page after page with such effortless fluency that he would on occasion wander into unexpected digressions that concealed and muddled the main thrust of his narrative. When that happened he would halt, rip the offending sections out, and go on from the point where he had begun to diverge from his proper track. He had never revised before. At first it seemed wasteful to him, since the discarded lines were every bit as eloquent, as sonorous, as the ones he kept. But then he came to see that eloquence and sonorousness were mere accessories to the main task, which was the telling of a particular tale in a way that most directly illuminated its inner meaning.

  And then, when he had brought the tale of Lord Stiamot to its conclusion, Furvain was startled to find that the Divine was not yet done with him. Without pausing even to question what he was doing, he drew a line beneath the last of the Stiamot stanzas and began to inscribe a new verse — beginning, he saw, right in the middle of a stanza, with the triple-rhyme passage — that dealt with an earlier event entirely, the project of Lord Melikand to import beings of species other than human to help with the task of settling the greatly underpopulated world that was Majipoor.

  He continued on that project for another few days. But then, while the Melikand canto was yet unfinished, Furvain discovered himself at work on a passage that told still another story, that of the grand assembly at Stangard Falls, on the River Glayge, where Dvorn had been hailed as Majipoor’s first Pontifex. At that moment Furvain realized that he was writing not simply an account of the deeds of Lord Stiamot, but an epic poem embracing nothing less than the whole of Majipoor’s history.

  It was a frightening thought. He could not believe that he was the man for such a task. It was too much for a man of his limitations. He thought he saw the shape that such a poem must take, as it traversed the many thousands of years from the coming of the first settlers to the present day, and it was a mighty one.

  Not a single great arc, no, but a series of soaring curves and dizzying swoops, a tale of flux and transformation, of the constant synthesis of opposites, as the early idealistic colonists tumbled into the violent chaos of anarchy, were rescued from it by Dvorn the lawgiver, the first Pontifex, spread out in centrifugal expansion across the huge world under the guidance of Lord Melikand, built the great cities of Castle Mount, reached across into the continents of Zimroel and Suvrael, came inevitably and tragically into collision with the Shapeshifter aboriginals, fought the necessary though appalling war against them under the leadership of Lord Stiamot, that man of peace transformed into a warrior, that defeated and contained them, and so onward to this present day, when billions of people lived in peace on the most beautiful of all worlds.

  There was no more splendid story in all the universe. But was he, Aithin Furvain, such a small-souled man, a man flawed in so many ways, going to be able to encompass it? He had no illusions about himself.

  He saw himself as glib, lazy, dissolute, a weakling, an evader of responsibility, a man who throughout his whole life had sought the path of least resistance. How could he, of all people, having no other resource than a certain degree of cleverness and technical skill, hope to contain such a gigantic theme within the bounds of a single poem? It was too much for him. He could never do it. He doubted that anyone could.

  But certainly Aithin Furvain was not the one to attempt it.

  And yet he seemed somehow to be writing it. Or was it writing him? No matter: the thing was taking shape, line by line, day by day. Call it divine inspiration, call it the overflowing of something that he had kept penned unknowingly within him for many years, call it whatever one wished, there was no denying that he had already written one full canto and fragments of two others, and that each day brought new verses. And there was greatness in the poem: of that he was certain. He would read through it over and over again, shaking his head in amazement at the power of his own work, the might
y music of the poetry, the irresistible sweep of the narrative. It was all so splendid that it humbled and bewildered him. He had no idea how it had been possible to achieve what he had done, and he shivered with dread at the thought that his miraculous fount of inspiration would dry up, as suddenly as it had opened, before the great task had reached its end.

  The manuscript, unfinished though it was, became terribly precious to him. He came to see it now as his claim on immortality. It troubled him that only one copy of it existed, and that one kept in a room that could only be locked from outside. Fearful now that something might happen to it, that it might be blotted into illegibility by the accidental overturning of his inkstand, or stolen by some prying malicious denizen of the fortress jealous of the attention paid to Furvain by Master Kasinibon, or even taken out of his room as trash by some illiterate servant and destroyed, he copied it out several times over, carefully hiding the copies in different rooms of his little suite. The main draft he buried each night in the lowest drawer of the cupboard in which he kept his clothing; and, a few days later, without really knowing why, he fell into the habit of painstakingly arranging three of his pens in a star-shaped pattern on top of the pile of finished sheets so that he would know at once if anyone had been prowling in that drawer.

  Three days after that he saw that the pens had been disturbed. Furvain had taken care to lay them out with meticulous care, the central pen aligned each time at the same precise angle to the other two. This day he saw that the angle was slightly off, as though someone had understood that the purpose of the arrangement was the detection of an intrusion and had replaced the pens after examining the manuscript, but had not employed the greatest possible degree of accuracy in attempting to mimic Furvain’s own grouping of the pens. That night he chose a new pattern for the pens, and the next afternoon he saw that once again they had been put back almost as he had left them, but not quite. The same thing happened over the succeeding two days.