After progressing for a distance, with his candle in its noble holder dispelling the dark on all sides, Adam came to a low wall with ivy on it, a still pool of water nearby. It seemed to him that this was the place where he had napped and dreamed so often back in the days of Eden when life had been simple. He stopped and looked around, and at once his candle went out. "Drat!" said Adam, because he knew no stronger word than that, this being an age before the birth of true invective, and plucked a second candlestick out of his pack.
The candle lighted itself, and Adam went on again. This time when the darkness was dispelled he came to a glowing beach at twilight, with a little island in the distance, and warm air flowing smoothly over all of it.
And again he stopped, and again darkness descended as the candle flame went out.
Time and time again this happened, God's darkness confusing Adam's mind, presenting him with places that seemed for a moment like his lost Paradise, but, upon extinguishing the candle, proved to be otherwise. When the final candle went out, Adam found himself back where he had started, and there, willy-nilly, he stayed.
After Adam's seventh failure, Ananke ruled that that was how it was going to be, and overruled her own previous judgment. She pointed out that despite her own decree, Adam could not be returned to Eden, because his expulsion marked the first turning of the wheel of dharma and his failure to get back despite the help of the seven candlesticks revealed some of the fundamental code of the possibilities of the universe. It seemed, Ananke pointed out, that the entire world of sentient beings was based on a mistake made at the beginning, when the code governing the karmic machinery was set forth. Adam could be considered the first victim of divine cause and effect.
Chapter 3
Aretino shrugged. "Obscure gnostic fable."
"I've never heard of it, and demons are supposed to know more theological speculation than poets. Are you quite sure you didn't make it up yourself?"
"Would it matter if I had?" Aretino asked.
"Not one bit! Wherever the tale came from, I like it. Our play will be about seven pilgrims, and we will give each of them a golden candlestick, possession of which will grant each of them his heart's desire."
"Wait a minute," said Aretino. "I never said there were any golden candlesticks. Not really. It's a legend, that's all, and if there are any golden candlesticks I don't know if they have any power."
"That's a mere quibble," Azzie said. "I love the tale and we must have golden candlesticks for our retelling of the legend even if we have to make them ourselves. But perhaps they still exist somewhere. If so, I'll find them. If not, I'll come up with something."
"What about the people who will carry them? The people who are to act out the story?" Aretino said.
"I'll pick them myself," Azzie said. "I'll choose seven pilgrims, and give each a candlestick and a chance to get his heart's desire. All he—or she—has to do is take the candlestick; the rest will be done for him.
Magically, as it were."
"What qualities will you look for in your pilgrims?" Aretino asked.
"Nothing special. I just need seven people who want a wish granted without difficulty. They shouldn't be hard to find."
"You're not going to insist that they win their heart's desires through perseverance and good character?"
"No. My play will prove the opposite of that sort of thing. It will show that any person can aspire to the highest Good without having to lift a finger to help himself."
"That's really unprecedented," Aretino said. "You're going to prove that luck and chance rule men's lives, rather than moral observances."
"That's what I intend," Azzie said. "That's the whole point of Evil: proving that the weaker case is best.
What do you think of my moral, Aretino?"
Aretino shrugged. "Chance rules? It's the sort of reflection that weak men love."
"Good. It will win us a big audience."
"If that is what you want," Aretino said, "I have no objections to it. Whether I serve Bad or Good, everything I write is propaganda and special pleading. You are paying for this play, after all. I am merely the artist accepting the commission. If you want a play demonstrating that green gallstones bring May flowers, pay me and I'll write it for you. The big question is, do you like my idea?"
"I love it!" Azzie cried. "We must get started on it immediately."
Aretino said, "We'll need to consider what theater to use. That always makes a difference in the way I block out my scenes. Have you any particular actors and actresses in mind? If not, there are several I could recommend."
"Be assured I'll not tell them," Aretino said. He clapped his hands and his servant came in sleepily with a tray of stale petit fours. Azzie took one to be polite to his host, although he rarely used human food. He preferred such traditional Hellish dishes as candied rats' heads and thorax stew, or a human haunch nicely browned and served up with plenty of crackling. But this was Venice, not Hell, and he took what he got.
After refreshment, Aretino yawned and stretched and went to a nearby room to wash his face in a basin of water. When he returned he took half a dozen new candles out of a cupboard and set them alight.
Azzie's eyes glowed in the dancing light, and his fur seemed charged with electricity. Aretino sat down opposite him again and said, "If your stage is the world, who will be the real audience? Where on Earth can you seat them?"
"My play will be for all time," Azzie told him. "My main audience isn't even alive yet. I create, Pietro, for the future generations who will be edified by our play. It is for them we labor."
Aretino was trying to be practical — no small trick for an Italian gentleman of the Renaissance. He sat forward, this big rumpled bear of a man with a large nose and high coloring, and said, "So I would not actually write the play?"
"No," Azzie told him, "the players will have to contrive their own lines. But you will be privy to all the actions and conversations, you will see and hear all their reactions to events, and from that you will weave a play that can be performed for future generations. The first time through, however, will belong to the world of legend, for this is how myth is formed."
"It is a noble conception," Aretino said. "Please do not think me critical if I confess that I perceive a difficulty or two.
"Name them!"
"I am assuming that our actors, no matter where they begin, will come at last to Venice bearing their candlesticks."
"That is how I visualize it," Azzie said. "First, I want to commission your tale of the seven candles as the basis for my tale." Azzie withdrew a small but heavy sack from his wallet and handed it to Aretino.
"I think you will find this sufficient for your start-up costs. There's more where this came from. All you have to do is write down the basic story line. You will not write the actual dialogue, remember. Our actors, whom I will choose, will do that for themselves. You will watch and listen to them, and be stage manager and coproducer with me. Later you will write your own play on this subject."
"To that end," Azzie said, "through charms and talismans I will grant you the ability to move around freely in space and time for purposes of looking after our production."
"And what of Venice when we have finished?" Aretino asked.
"We will slip our sequestered Venice back into the time track of the real Venice, where it will fit as neatly as a shadow fits its object. From that point onward, our legend will cease to be merely a private affair, and will become a part of universal legendry, with its actions and consequences recorded in the annals of mankind."
"My lord, I love the opportunity this gives me as an artist. Not even Dante was granted such an opportunity."
"Then get to work," Azzie said, rising. "Write me out the legend of the golden candlesticks in a fair hand.
I'll see you again soon. Meanwhile I've work to do."
And he disappeared.
Aretino blinked and passed his hand through the space where Azzie had been. There was nothing there but insub
stantial air. But the bag of gold Azzie had paid him was solid and comforting.
PART FOUR
Chapter 1
Azzie was well content when he left Aretino's house, the memory of Adam's story still tingling in his mind, but he had become aware, with that fine demon's sense that he possessed, that something was curiously amiss.
The weather had continued fine. Little feathery clouds sailed across a sky of purest azure, like galleons of snow molded by children. All around him, Venice went on with its pleasures and its labors. Heavy-laden barges filled with clothing and foodstuffs sailed slowly across the Grand Canal, their bluff, gaily painted bows thrusting through the low chop. A funeral barge, all glossy black and silver, slipped silently past, its varnished coffin strapped to the bow, black-clad mourners standing silently together on the afterdeck.
Church bells sounded out. Crowds hurried to and fro on the promenades, and nearby a fellow came past in motley, with coxcomb swaying and bells jingling, a comedian bound for an engagement at some theater, no doubt. A group of five nuns hurried by, the great white wings of their headdresses looking ready to loft them into flight. On a bollard near a line of tied-up gondolas, a large fellow dressed in white satin and wearing a broad hat sat with a sketchbook and colored chalks, trying to capture a likeness of the Canal.
Azzie walked over to him. "It seems we meet again."
Babriel looked up. His jaw dropped.
Azzie came around to study Babriel's sketch.
"Is it the view here that you're drawing?" he asked.
"Yes. Can't you tell?"
Babriel nodded. "I know, I've gotten them wrong. This perspective matter is difficult to capture, but I thought I'd have a go at it."
Azzie squinted at it again. "It's really not bad for an amateur. I'm surprised to see you here. I thought you were going back to Heaven."
"And so I did. But Michael sent me back here to do some sketching and thus improve my understanding of European art. He sends his regards, by the way. And also inquired after the health of your friend, Aretino."
"How did you know about Aretino?"
"I saw you come out of his house. He's quite famous, of course, though most of his verses are scarcely fit for Heaven. He's notorious, too, isn't he? He was one of the Top Ten Sinners of 1523."
"Huh!" Azzie sneered. "Moralists are always prejudiced against writers who show life as it is rather than as they feel it ought to be. It happens I am a fan of Aretino. I merely went by to pay my compliments, nothing more."
Babriel stared at him. It had never occurred to him to inquire what Azzie was doing coming out of Aretino's house. But now that Azzie had called attention to it himself, the angel began to wonder.
Although Michael had hinted that something untoward might be afoot, Babriel hadn't really given it much thought. Azzie was his friend, and, although he served Bad, Babriel couldn't really consider him bad.
It occurred to him for the first time that his friend probably was up to something, and that it was up to him, Babriel, to discover what it was.
They parted with expressions of mutual esteem and a promise on both their parts to do lunch again soon.
Then Azzie went off down the street. Babriel stared thoughtfully after him for a while, then returned to his drawing.
Babriel returned to his hotel in the early afternoon. The four-story building sagged down on itself and seemed squeezed in by the larger buildings on either side. Half a dozen angels were staying there because Signor Amazzi, the grim and reverent owner, made a special price for those associated with religion.
Some said he knew that the quiet, well-mannered, regular-featured young people who came from some unspecified northern country to stay with him from time to time were angels. Others said he thought they were angles, repeating Pope Gregory's joke. Amazzi sat at his little desk when Babriel came in, and said to him, "There's someone waiting for you in the sitting room."
"A visitor! How nice!" said Babriel. He hurried in to see who it was.
The sitting room was cozy and small, a few feet below street level but illuminated by sunlight streaming through high narrow windows, giving it a churchly effect that the godly found pleasing. Michael the Archangel sat on a high- backed straw-seated chair off to one side, leafing through a papyrus travel brochure extolling the pleasures of upper Egypt. He closed it hastily and said, "Ah, there, Babriel! I just stopped by to see how you were getting on!"
"Oh, very well indeed, sir," Babriel said. He showed Michael his sketchbook, remarking, "I still haven't gotten on to this perspective trick, sir."
"Keep trying awhile longer," Michael said. "A working knowledge of painting is useful in helping to evaluate the many masterworks Heaven has in its superlative collections. Have you encountered your friend Azzie again?"
"Did you indeed? What do you think it was all about? Simple fan worship?"
"That's what I'd like to believe," Babriel said. "However, a certain appearance of upset in my friend's behavior when I mentioned Aretino's name has led me to wonder if it might not be otherwise. But I hate to accuse anyone of possible double-dealing, sir, and least of all one who is my friend, despite being a demon."
"Your scruples do you credit," Michael said. "Though we would expect no less of one who is after all a full- fledged angel. But consider. Azzie, as a servitor of Bad, would not be doing his job if he were not up to some subterfuge conducive to the advancement of Evil in the world. So to accuse him of harboring wrongdoing is simply to give him his due. Of course he's up to no good! The question is, what is he doing?"
"As to that, I have not the slightest idea."
"Yet I think we need to find out. Azzie is no longer an insignificant personage. Twice has he served the Powers of Darkness in great affairs. There was the case of Prince Charming to begin with, and then the matter of Faust, the outcome of which is still under adjudication in the courts of Ananke. I understand Azzie now stands high in the councils of unrighteousness. It seems obvious that he is a prune player in those games that spring up from time to time to bedevil mankind and set the feet of humans on the path to damnation."
"My friend is as important as all that?" Babriel said, round-eyed with amazement.
"So it would seem these days," Michael said. "At the least, it seems wise to investigate what his interest is in the wily and too-clever-by-half Aretino."
"I think you're right, sir," Babriel said.
"And you, my lad, are the very angel to do it."
"Me? Oh, surely not, sir! You know how lacking I am in guile, your archangelship. If I attempted by duplicitous conversation to ascertain his purposes, Azzie would see through me in an instant."
"I know that," Michael said. "Your ingenuousness is legendary among us. But it can't be helped. You are in the perfect position to do a bit of spying, since you are here in Venice already. It should be easy enough for you to make the acquaintance of this Aretino. Go to him as one who has long admired his work, and speak to him, look around his house, see what you see. Even buy him lunch to draw him out further. We'll put down the cost to Heavenly Investigations."
"You really think it'll be morally okay if I spy on my friend?" Babriel inquired.
"It stands to reason that it is," Michael said. "One cannot betray an enemy, only a friend. Without betrayal there'd be no revelation."
Babriel nodded and agreed at once to do what Michael asked. Only later did he realize Michael had never given him a direct answer. By then it was too late to worry about it, though. While betraying a friend may or may not be a moral wrong, going against the order of an archangel is decidedly inadvisable.
The next day, on the stroke of twelve, Babriel knocked at Aretino's door.
There was no response at first, although he could hear a variety of sounds from within. They seemed to be the strangest mixture of musical instruments and human voices, many of them raised in laughter. He knocked again. This time a servant opened it, a very proper-looking man save that his wig was askew.
He looked
as if he had been trying to do too many things at the same time.
"I wish to speak with Aretino," Babriel said.
"Oh, dear, everything is in such a state of upset," the servant said. "Wouldn't another time do?"
"No, it must be now," Babriel said with unaccustomed firmness, stiffened by the thought that he'd soon have to report his progress — or lack of it—to Michael.
The servant stepped back, admitting Babriel. He led the angel to a drawing room, and said, "Kindly wait here. I'll ask if the master can see you."
Babriel teetered back and forth on his heels, a trick he'd learned long ago to help pass the time. He looked about the room and saw a manuscript on a little drawing table nearby. He had seen only the words "Father Adam" when there was a bustle of noise and a group of people came in. Babriel sprang back guiltily.
They were musicians, but they had discarded their for-mal coats and jackets and were walking at ease in their shirtsleeves, playing their instruments. It wasn't any church air they were striking up, but rather a lively dance melody.
They passed through without so much as a glance at Babriel. They were intent on penetrating to some inner room from which a babble of voices and high-pitched squeals and brays of raucous laughter betrayed the fact that some mirthful activity was in progress. Babriel stole another look at the manuscript, and this time he was able to read a half sentence: "Father Adam, shortly after his expulsion from the Garden of Eden for eating the fruit of the tree of knowledge…" Then he was interrupted again, this time by peals of girlish laughter.
He looked up just as two damsels came running into the room. They were young beauties, one with dark tousled hair, the other with tangled blond tresses. They wore bright diaphanous clothing that floated behind them as they ran, one in playful pursuit of the other, and Babriel blushed as he became aware that their clothing was sufficiently disheveled to reveal carmine-tipped breasts and rosy thighs.
A Farce To Be Reckoned With Page 5
