"Well, sit down," said Sybil, "and have some coffee" (victors are generous). I accepted, as I wanted to see if the recitation would be continued in my presence. It was not. "I thought," I said to my friend, "you were coming out with me for a stroll." He excused himself saying he felt out of sorts, and continued to clean the bowl of his pipe as fiercely as if it were my heart he was hollowing out. Not only did I understand then that Shade regularly read to Sybil c.u.mulative parts of his poem but it also dawns upon me now that, just as regularly, she made him tone down or remove from his Fair Copy everything connected with the magnificent Zemblan theme with which I kept furnishing him and which, without knowing much about the growing work, I fondly believed would become the main rich thread in its weave!

Higher up on the same wooded hill stood, and still stands I trust, Dr. Sutton's old clapboard house and, at the very top, eternity shall not dislodge Professor C.'s ultramodern villa from whose terrace one can glimpse to the south the larger and sadder of the three conjoined lakes called Omega, Ozero, and Zero (Indian names garbled by early settlers in such a way as to accommodate specious derivations and commonplace allusions). On the northern side of the hill Dulwich Road joins the highway leading to Wordsmith University to which I shall devote here only a few words partly because all kinds of descriptive booklets should be available to the reader by writing to the University's Publicity Office, but mainly because I wish to convey, in making this reference to Wordsmith briefer than the notes on the Goldsworth and Shade houses, the fact that the college was considerably farther from them than they were from one another. It is probably the first time that the dull pain of distance is rendered through an effect of style and that a topographical idea finds its verbal expression in a series of foreshortened sentences. After winding for about four miles in a general eastern direction through a beautifully sprayed and irrigated residential section with variously graded lawns sloping down on both sides, the highway bifurcates: one branch goes left to New Wye and its expectant airfield; the other continues to the campus. Here are the great mansions of madness, the impeccably planned dormitories - bedlams of jungle music - the magnificent palace of the Administration, the brick walls, the archways, the quadrangles blocked out in velvet green and chrysoprase, Spencer House and its lily pond, the Chapel, New Lecture Hail, the Library, the prisonlike edifice containing our cla.s.srooms and offices (to be called from now on Shade Hall), the famous avenue to all the trees mentioned by Shakespeare, a distant droning sound, the hint of a haze, the turquoise dome of the Observatory, wisps and pale plumes of cirrus, and the poplar-curtained Roman-tiered football field, deserted on summer days except for a dreamy-eyed youngster flying - on a long control line in a droning circle - a motor-powered model plane.

Dear Jesus, do something.

Line 49: s.h.a.gbark A hickory. Our poet shared with the English masters the n.o.ble knack of transplanting trees into verse with their sap and shade. Many years ago Disa, our King's Queen, whose favorite trees were the jacaranda and the maidenhair, copied out in her alb.u.m a quatrain from John Shade's collection of short poems Hebe's Cup, which I cannot refrain from quoting here (from a letter I received on April 6, 1959, from southern France): THE SACRED TREE.

The ginkgo leaf, in golden hue, when shed, A muscat grape, Is an old-fashioned b.u.t.terfly, ill-spread, In shape.

When the new Episcopal church in New Wye (see note to line 549) was built, the bulldozers spared an arc of those sacred trees planted by a landscaper of genius (Repburg) at the end of the so-called Shakespeare Avenue, on the campus. I do not know if it is relevant or not but there is a cat-and-mouse game in the second line, and "tree" in Zemblan is grados.

Line 57: The phantom of my little daughter's swing After this Shade crossed out lightly the following lines in the draft: The light is good; the reading lamps, long-necked; All doors have keys. Your modern architect Is in collusion with psychoa.n.a.lysts: When planning parents' bedrooms, he insists On lockless doors so that, when looking back, The future patient of the future quack May find, all set for him, the Primal Scene.

Line 61: TV's huge paperclip In the otherwise empty, and pretty fatuous, obituary mentioned in my notes to lines 71-72, there happens to be quoted a ma.n.u.script poem (received from Sybil Shade) which is said to have been "composed by our poet apparently at the end of June, thus less than a month before our poet's death, thus being the last short piece that our poet wrote."

Here it is: THE SWING.

The setting sun that lights the tips Of TV's giant paperclips Upon the roof; The shadow of the doork.n.o.b that At sundown is a baseball bat Upon the door, The cardinal that likes to sit And make chip-wit, chip-wit, chip-wit Upon the tree; The empty little swing that swings Under the tree: these are the things That break my heart.

I leave my poet's reader to decide whether it is likely he would have written this only a few days before he repeated its miniature themes in this part of the poem. I suspect it to be a much earlier effort (it has no year subscript but should be dated soon after his daughter's death) which Shade dug out from among his old papers to see what he could use for Pale Fire (the poem our necrologist does not know). Line 62: often Often, almost nightly, throughout the spring of 1959, I had feared for my life. Solitude is the playfield of Satan. I cannot describe the depths of my loneliness and distress. There was naturally my famous neighbor just across the lane, and at one time I took in a dissipated young roomer (who generally came home long after midnight). Yet I wish to stress that cold hard core of loneliness which is not good for a displaced soul. Everybody knows how given to regicide Zemblans are: two Queens, three Kings, and fourteen pretenders died violent deaths, strangled, stabbed, poisoned, and drowned, in the course of only one century (1700-1800). The Goldsworth castle became particularly solitary after that turning point at dusk which resembles so much the nightfall of the mind. Stealthy rustles, the footsteps of yesteryear leaves, an idle breeze, a dog touring the garbage cans - everything sounded to me like a bloodthirsty prowler. I kept moving from window to window, my silk nightcap drenched with sweat, my bared breast a thawing pond, and sometimes, armed with the judge's shotgun, I dared beard the terrors of the terrace. I suppose it was then, on those masquerading spring nights with the sounds of new life in the trees cruelly mimicking the cracklings of old death in my brain, I suppose it was then, on those dreadful nights, that I got used to consulting the windows of my neighbor's house in the hope for a gleam of comfort (see notes to lines 47-48). What would I not have given for the poet's suffering another heart attack (see line 691 and note) leading to my being called over to their house, all windows ablaze, in the middle of the night, in a great warm burst of sympathy, coffee, telephone calls, Zemblan herbal receipts (they work wonders!), and a resurrected Shade weeping in my arms ("There, there, John"). But on those March nights their house was as black as a coffin. And when physical exhaustion and the sepulchral cold drove me at last upstairs to my solitary double bed, I would lie awake and breathless - as if only now living consciously through those perilous nights in my country, where at any moment, a company of jittery revolutionists might enter and hustle me off to a moonlit wall. The sound of a rapid car or a groaning truck would come as a strange mixture of friendly life's relief and death's fearful shadow: would that shadow pull up at my door? Were those phantom thugs coming for me? Would they shoot me at once - or would they smuggle the chloroformed scholar back to Zembla, Rodnaya Zembla, to face there a dazzling decanter and a row of judges exulting in their inquisitorial chairs?

At times I thought that only by self-destruction could I hope to cheat the relentlessly advancing a.s.sa.s.sins who were in me, in my eardrums, in my pulse, in my skull, rather than on that constant highway looping up over me and around my heart as I dozed off only to have my sleep shattered by that drunken, impossible, unforgettable Bob's return to Candida's or Dee's former bed. As briefly mentioned in the foreword, I finally threw him out; after which for several nights neither wine, nor music, nor prayer could allay my fears. On the other hand, those mellowing spring days were quite sufferable, my lectures pleased everybody, and I made a point of attending all the social functions available to me. But after the gay evening there came again the insidious approach, the oblique shuffle, that creeping up, and that pause, and the resumed crepitation.

The Goldsworth chateau had many outside doors, and no matter how thoroughly I inspected them and the window shutters downstairs at bedtime, I never failed to discover next morning something unlocked, unlatched, a little loose, a little ajar, something sly and suspicious-looking. One night the black cat, which a few minutes before I had seen rippling down into the bas.e.m.e.nt where I had arranged toilet facilities for it in an attractive setting, suddenly reappeared on the threshold of the music room, in the middle of my insomnia and a Wagner record, arching its back and sporting a neck bow of white silk which it could certainly never have put on all by itself. I telephoned 11111 and a few minutes later was discussing possible culprits with a policeman who relished greatly my cherry cordial, but whoever had broken in had left no trace. It is so easy for a cruel person to make the victim of his ingenuity believe that he has persecution mania, or is really being stalked by a killer, or is suffering from hallucinations. Hallucinations! Well did I know that among certain youthful instructors whose advances I had rejected there was at least one evil practical joker; I knew it ever since the time I came home from a very enjoyable and successful meeting of students and teachers (at which I had exuberantly thrown off my coat and shown several willing pupils a few of the amusing holds employed by Zemblan wrestlers) and found in my coat pocket a brutal anonymous note saying: "You have hal.....s real bad, chum," meaning evidently "hallucinations," although a malevolent critic might infer from the insufficient number of dashes that little Mr. Anon, despite teaching Freshman English, could hardly spell.

I am happy to report that soon after Easter my fears disappeared never to return. Into Alphina's or Betty's room another lodger moved, Balthasar, Prince of Loam, as I dubbed him, who with elemental regularity fell asleep at nine and by six in the morning was planting heliotropes (Heliotropium turgenevi). This is the flower whose odor evokes with timeless intensity the dusk, and the garden bench, and a house of painted wood in a distant northern land.

Line 70: The new TV After this, in the draft (dated July 3), come a few unnumbered lines that may have been intended for some later parts of. the poem. They are not actually deleted but are accompaied by a question mark in the margin and encircled with a wavy line encroaching upon some of the letters: There are events, strange happenings, that strike The mind as emblematic. They are like Lost similes adrift without a string, Attached to nothing. Thus that northern king, Whose desperate escape from prison was Brought off successfully only because Some forty of his followers that night Impersonated him and aped his flight - He never would have reached the western coast had not a fad spread among his secret supporters, romantic, heroic daredevils, of impersonating the fleeing king. They rigged themselves out to look like him in red sweaters and red caps, and popped up here and there, completely bewildering the revolutionary police. Some of the pranksters were much younger than the King, but this did not matter since his pictures in the huts of mountain folks and in the myopic shops of hamlets, where you could buy worms, ginger bread and zhiletka blades, had not aged since his coronation. A charming cartoon touch was added on the famous occasion when from the terrace of the Kronblik Hotel, whose chairlift takes tourists to the Kron glacier, one merry mime was seen floating up, like a red moth, with a hapless, and capless, policeman riding two seats behind him in dream-slow pursuit. It gives one pleasure to add that before reaching the staging point, the false king managed to escape by climbing down one of the pylons that supported the traction cable (see also notes to lines 149 and 171).

Line 71: parents With commendable alacrity, Professor Hurley produced an Appreciation of John Shade's published works within a month after the poet's death. It came out in a skimpy literary review, whose name momentarily escapes me, and was shown to me in Chicago where I interrupted for a couple of days my automobile journey from New Wye to Cedarn, in these grim autumnal mountains.

A Commentary where placid scholarship should reign is not the place for blasting the preposterous defects of that little obituary. I have only mentioned it because that is where I gleaned a few meager details concerning the poet's parents. His father, Samuel Shade, who died at fifty, in 1902, had studied medicine in his youth and was vice-president of a firm of surgical instruments in Exton. His chief pa.s.sion, however, was what our eloquent necrologist calls "the study of the feathered tribe," adding that "a bird had been named for him: Bombycilla Shadei" (this should be "shadei," of course). The poet's mother, nee Caroline Lukin, a.s.sisted him in his work and drew the admirable figures of his Birds of Mexico, which I remember having seen in my friend's house. What the obituarist does not know is that Lukin comes from Luke, as also do Loc.o.c.k and Luxon and Lukashevich. It represents one of the many instances when the amorphous-looking but live and personal hereditary patronymic grows, sometimes in fantastic shapes, around the common pebble of a Christian name. The Lukins are an old Ess.e.x family. Other names derive from professions such as Rymer, Scrivener, Linner (one who illuminates parchments), Botkin (one who makes bottekins, fancy footwear) and thousands of others. My tutor, a Scotsman, used to call any old tumble-down building "a hurley-house." But enough of this.

A few other items concerning John Shade's university studies and the middle years of his singularly uneventful life can be looked up by his reader in the professor's article. It would have been on the whole a dull piece had it not been enlivened, if that is the term, by certain special features. Thus, there is only one allusion to my friend's masterpiece (the neatly stacked batches of which, as I write this, lie in the sun on my table as so many ingots of fabulous metal) and this I transcribe with morbid delight: "Just before our poet's untimely death he seems to have been working on an autobiographical poem." The circ.u.mstances of this death are completely distorted by the professor, a fateful follower of the gentlemen of the daily press who - perhaps for political reasons - had falsified the culprit's motives and intentions without awaiting his trial - which unfortunately was not to take place in this world (see eventually my ultimate note). But, of course, the most striking characteristic of the little obituary is that it contains not one reference to the glorious friendship that brightened the last months of John's life.

My friend could not evoke the image of his father. Similarly, the King, who also was not quite three when his father, King Alfin, died, was unable to recall his face, although oddly he did remember perfectly well the little monoplane of chocolate that he, a chubby babe, happened to be holding in that very last photograph (Christmas 1918) of the melancholy, riding-breeched aviator in whose lap he reluctantly and uncomfortably sprawled.

Alfin the Vague (1873-1918; regnal dates 1900-1918, but 1900-1919 in most biographical dictionaries, a fumble due to the coincident calendar change from Old Style to New) was given his cognomen by Amphitheatricus, a not unkindly writer of fugitive poetry in the liberal gazettes (who was also responsible for dubbing my capital Uranograd!). King Alfin's absent-mindedness knew no bounds. He was a wretched linguist having at his disposal only a few phrases of French and Danish, but every time he had to make a speech to his subjects - to a group of gaping Zemblan yokels in some remote valley where he had crash-landed - some uncontrollable switch went into action in his mind, and he reverted to those phrases, flavoring them for topical sense with a little Latin. Most of the anecdotes relating to his naive fits of abstraction are too silly and indecent to sully these pages; but one of them that I do not think especially funny induced such guffaws from Shade (and returned to me, via the Common Room, with such obscene accretions) that I feel inclined to give it here as a sample (and as a corrective). One summer before the first world war, when the emperor of a great foreign realm (I realize how few there are to choose from) was paying an extremely unusual and flattering visit to our little hard country, my father took him and a young Zemblan interpreter (whose s.e.x I leave open) in a newly purchased custom-built car on a jaunt in the countryside. As usual, King Alfin traveled without a vestige of escort, and this, and his brisk driving seemed to trouble his guest. On their way back, some twenty miles from Onhava, King Alfin decided to stop for repairs. While he tinkered with the motor, the emperor and the interpreter sought the shade of some pines by the highway, and only when King Alfin was back in Onhava, did he gradually realize from a reiteration of rather frantic questions that he had left somebody behind ("What emperor?" has remained his only memorable mot). Generally speaking, in respect of any of my contributions (or what I thought to be contributions) I repeatedly enjoined my poet to record them in writing, by all means, but not to spread them in idle speech; even poets, however, are human.

King's Alfin's absent-mindedness was strangely combined with a pa.s.sion for mechanical things, especially for flying apparatuses. In 1912, he managed to rise in an umbrella-like Fabre "hydroplane" and almost got drowned in the sea between Nitra and Indra. He smashed two Farmans, three Zemblan machines, and a beloved Santos Dumont Demoiselle. A very special monoplane, Blenda IV, was built for him in 1916 by his constant "aerial adjutant." Colonel Peter Gusev (later a pioneer parachutist and, at seventy, one of the greatest jumpers of all time), and this was his bird of doom. On the serene, and not too cold, December morning that the angels chose to net his mild pure soul, King Alfin was in the act of trying solo a tricky vertical loop that Prince Andrey Kachurin, the famous Russian stunter and War One hero, had shown him in Gatchina. Something went wrong, and the little Blenda was seen to go into an uncontrolled dive. Behind and above him, in a Caudron biplane, Colonel Gusev (by then Duke of Rahl) and the Queen snapped several pictures of what seemed at first a n.o.ble and graceful evolution but then turned into something else. At the last moment, King Alfin managed to straighten out his machine and was again master of gravity when, immediately afterwards, he flew smack into the scaffolding of a huge hotel which was being constructed in the middle of a coastal heath as if for the special purpose of standing in a king's way. This uncompleted and badly gutted building was ordered razed by Queen Blenda who had it replaced by a tasteless monument of granite surmounted by an improbable type of aircraft made of bronze. The glossy prints of the enlarged photographs depicting the entire caiastrophe were discovered one day by eight-year-old Charles Xavier in the drawer of a secretary bookcase. In some of these ghastly pictures one could make out the shoulders and leathern casque of the strangely unconcerned aviator, and in the penultimate one of the series, just before the white-blurred shattering crash, one distinctly saw him raise one arm in triumph, and rea.s.surance. The boy had hideous dreams after that but his mother never found out that he had seen those infernal records.

Her he remembered - more or less: a horsewoman, tall, broad, stout, ruddy-faced. She had been a.s.sured by a royal cousin that her son would be safe and happy under the tutelage of admirable Mr. Campbell who had taught several dutiful little princesses to spread b.u.t.terflies and enjoy Lord Ronald's Coronach. He had immolated his life, so to speak, at the portable altars of a vast number of hobbies, from the study of book mites to bear hunting, and could reel off Macbeth from beginning to end during hikes; but he did not give a d.a.m.n for his charges' morals, preferred ladies to laddies, and did not meddle in the complexities of Zemblan ingledom. He left, for some exotic court, after a ten-year stay, in 1932 when our Prince, aged seventeen, had begun dividing his time between the University and his regiment. It was the nicest period in his life. He never could decide what he enjoyed more: the study of poetry - especially English poetry - or attending parades, or dancing in masquerades with boy-girls and girl-boys. His mother died suddenly on July 21, 1936, from an obscure blood ailment that had also afflicted her mother and grandmother. She had been much better on the day before - and Charles Xavier had gone to an all-night ball in the so-called Ducal Dome in Grindelwood: for the nonce, a formal heteros.e.xual affair, rather refreshing after some previous sport. At about four in the morning, with the sun enflaming the tree crests and Mt. Falk, a pink cone, the King stopped his powerful car at one of the gates of the palace. The air was so delicate, the light so lyrical, that he and the three friends he had with him decided to walk through the linden bosquet the rest of the distance to the Pavonian Pavilion where guests were lodged. He and Otar, a platonic pal, wore tails but they had lost their top hats to the highway winds. A strange something struck all four of them as they stood under the young limes in the prim landscape of scarp and counterscarp fortified by shadow and countershadow. Otar, a pleasant and cultured adeling with a tremendous nose and spa.r.s.e hair, had his two mistresses with him, eighteen-year-old Fifalda (whom he later married) and seventeen-year-old Fleur (whom we shall meet in two other notes), daughters of Countess de Fyler, the Queen's favorite lady in waiting. One involuntarily lingers over that picture, as one does when standing at a vantage point of time and knowing in retrospect that in a moment one's life would undergo a complete change. So here was Otar, looking with a puzzled expression at the distant window's of the Queen's quarters, and there were the two girls, side by side, thin-legged, in shimmering wraps, their kitten noses pink, their eyes green and sleepy, their earrings catching and loosing the fire of the sun. There were a few people around, as there always were, no matter the hour, at this gate, along which a road, connecting with the eastern highway, ran. A peasant woman with a small cake she had baked, doubtlessly the mother of the sentinel who had not yet come to relieve the unshaven dark young nattdett (child of night) in his dreary sentry box, sat on a spur stone watching in feminine fascination the luciola-like tapers that moved from window to window; two workmen, holding their bicycles, stood staring too at those strange lights; and a drunk with a walrus mustache kept staggering around and patting the trunks of the lindens. One picks up minor items at such slowdowns of life. The King noticed that some reddish mud flecked the frames of the two bicycles and that their front wheels were both turned in the same direction, parallel to one another. Suddenly, down a steep path among the lilac bushes - a short cut from the Qucen's quarters - the Countess came running and tripping over the hem of her quilted robe, and at the same moment, from another side of the palace, all seven councilors, dressed in their formal splendor and carrying like plum cakes replicas of various regalia, came striding down the stairs of stone, in dignified haste, but she beat them by one alin and spat out the news. The drunk started to sing a ribald ballad about "Karlie-Garlie" and fell into the demilune ditch. It is not easy to describe lucidly in short notes to a poem the various approaches to a fortified castle, and so, in my awareness of this problem, I prepared for John Shade, some time in June, when narrating to him the events briefly noticed in some of my comments (see note to line 130, for example), a rather handsomely drawn plan of the chambers, terraces, bastions and pleasure grounds of the Onhava Palace. Unless it has been destroyed or stolen, this careful picture in colored inks on a large (thirty by twenty inches) piece of cardboard might still be where I last saw it in mid-July, on the top of the big black trunk, opposite the old mangle, in a niche of the little corridor leading to the so-called fruit room. If it is not there, it might be looked for in his upper-floor study. I have written about this to Mrs. Shade but she does not reply to my letters. In case it still exists, I wish to beg her, without raising my voice, and very humbly, as humbly as the lowliest of the King's subjects might plead for an immediate rest.i.tution of his rights (the plan is mine and is clearly signed with a black chess-king crown after "Kinbote"), to send it, well packed, marked not to be bent on the wrapper, and by registered mail, to my publisher for reproduction in later editions of this work. Whatever energy I possessed has quite ebbed away lately, and these excruciating headaches now make impossible the mnemonic effort and eye strain that the drawing of another such plan would demand. The black trunk stands on another brown or brownish even larger one, and there is I think a stuffed fox or coyote next to them in their dark corner.

Line 79: a preterist Written against this in the margin of the draft are two lines of which only the first can be deciphered. It reads: The evening is the time to praise the day I feel pretty sure that my friend was trying to incorporate here something he and Mrs. Shade had heard me quote in my lighter-hearted moments, namely a charming quatrain from our Zemblan counterpart of the Elder Edda, in an anonymous English translation (Kirby's?): The wise at nightfall praise the day, The wife when she has pa.s.sed away, The ice when it is crossed, the bride When tumbled, and the horse when tried.

Line 80: my bedroom Our Prince was fond of Fleur as of a sister but with no soft shadow of incest or secondary h.o.m.os.e.xual complications. She had a small pale face with prominent cheekbones, luminous eyes, and curly dark hair. It was rumored that after going about with a porcelain cup and Cinderella's slipper for months, the society sculptor and poet Arnor had found in her what he sought and had used her b.r.e.a.s.t.s and feet for his Lilith Calling Back Adam; but I am certainly no expert in these tender matters. Otar, her lover, said that when you walked behind her, and she knew you were walking behind her, the swing and play of those slim haunches was something intensely artistic, something Arab girls were taught in special schools by special Parisian panders who were afterwards strangled. Her fragile ankles, he said; which she placed very close together in her dainty and wavy walk, were the "careful jewels" in Arnor's poem about a miragarl ("mirage girl"), for which "a dream king in the sandy wastes of time would give three hundred camels and three fountains."

On sagaren werem tremkin tri stana Verbalala wod gev ut tri phantana (I have marked the stress accents).

The Prince did not heed this rather kitschy prattle (all, probably, directed by her mother) and, let it be repeated, regarded her merely as a sibling, fragrant and fashionable, with a painted pout and a maussade, blurry, Gallic way of expressing the little she wished to express. Her unruffled rudeness toward the nervous and garrulous Countess amused him. He liked dancing with her - and only with her. He hardly squirmed at all when she stroked his hand or applied herself soundlessly with open lips to his cheek which the haggard after-the-ball dawn had already sooted. She did not seem to mind when he abandoned her for manlier pleasures; and she met him again in the dark of a car or in the half-glow of a cabaret with the subdued and ambiguous smile of a kissing cousin.

The forty days between Queen Blenda's death and his coronation was perhaps the most trying stretch of time in his life. He had had no love for his mother, and the hopeless and helpless remorse he now felt degenerated into a sickly physical fear of her phantom. The Countess, who seemed to be near him, to be rustling at his side, all the time, had him attend table-turning seances with an experienced American medium, seances at which the Queen's spirit, operating the same kind of planchette she had used in her lifetime to chat with Thormodus Torfaeus and A. R. Wallace, now briskly wrote in English: "Charles take take cherish love flower flower flower." An old psychiatrist so thoroughly bribed by the Countess as to look, even on the outside, like a putrid pear, a.s.sured him that his vices had subconsciously killed his mother and would continue "to kill her in him" if he did not renounce sodomy. A palace intrigue is a special spider that entangles you more nastily at every desperate jerk you try. Our Prince was young, inexperienced, and half-frenzied with insomnia. He hardly struggled at all. The Countess spent a fortune on buying his kamergrum (groom of the chamber), his bodyguard, and even the greater part of the Court Chamberlain. She took to sleeping in a small antechamber next to his bachelor bedroom, a splendid s.p.a.cious circular apartment at the top of the high and ma.s.sive South West Tower. This had been his father's retreat and was still connected by a jolly chute in the wall with a round swimming pool in the hall below, so that the young Prince could start the day as his father used to start it by slipping open a panel beside his army cot and rolling into the shaft whence he whizzed down straight into bright water. For other needs than sleep Charles Xavier had installed in the middle of the Persian rug-covered floor a so-called patifolia, that is, a huge, oval, luxuriously flounced, swansdown pillow the size of a triple bed. It was in this ample nest that Fleur now slept, curled up in its central hollow, under a coverlet of genuine giant panda fur that had just been rushed from Tibet by a group of Asiatic wellwishers on the occasion of his ascension to the throne. The antechamber, where the Countess was ensconced, had its own inner staircase and bathroom, but also communicated by means of a sliding door with the West Gallery. I do not know what advice or command her mother had given Fleur; but the little thing proved a poor seducer. She kept trying, as one quietly insane, to mend a broken viola d'amore or sat in dolorous att.i.tudes comparing two ancient flutes, both sad-tuned and feeble. Meantime, in Turkish garb, he lolled in his father's ample chair, his legs over its arm, flipping through a volume of Historia Zemblica, copying out pa.s.sages and occasionally fishing out of the nether recesses of his seat a pair of old-fashioned motoring goggles, a black opal ring, a ball of silver chocolate wrapping, or the star of a foreign order.

It was warm in the evening sun. She wore on the second day of their ridiculous cohabitation nothing except a kind of b.u.t.tonless and sleeveless pajama top. The sight of her four bare limbs and three mousepits (Zemblan anatomy) irritated him, and while pacing about and pondering his coronation speech, he would toss towards her, without looking, her shorts or a terrycloth robe. Sometimes, upon returning to the comfortable old chair he would find her in it contemplating sorrowfully the picture of a bogtur (ancient warrior) in the history book. He would sweep her out of his chair, his eyes still on his writing pad, and stretching herself she would move over to the window seat and its dusty sunbeam; but after a while she tried to cuddle up to him, and he had to push away her burrowing dark curly head with one hand while writing with the other or detach one by one her little pink claws from his sleeve or sash.

Her presence at night did not kill insomnia, but at least kept at bay the strong ghost of Queen Blenda. Between exhaustion and drowsiness, he trifled with paltry fancies, such as getting up and pouring out a little cold water from a decanter onto Fleur's naked shoulder so as to extinguish upon it the weak gleam of a moonbeam. Stentoriously the Countess snored in her lair. And beyond the vestibule of his vigil (here he began falling asleep), in the dark cold gallery, lying all over the painted marble and piled three or four deep against the locked door, some dozing, some whimpering, were his new boy pages, a whole mountain of gift boys from Troth, and Tuscany, and Albanoland.

He awoke to find her standing with a comb in her hand before his - or rather, his grandfather's - cheval gla.s.s, a triptych of bottomless light, a really fantastic mirror, signed with a diamond by its maker, Sudarg of Bokay. She turned about before it: a secret device of reflection gathered an infinite number of nudes in its depths, garlands of girls in graceful and sorrowful groups, diminishing in the limpid distance, or breaking into individual nymphs, some of whom, she murmured, must resemble her ancestors when they were young - little peasant garlien combing their hair in shallow water as far as the eye could reach, and then the wistful mermaid from an old tale, and then nothing.

On the third night a great stomping and ringing of arms came from the inner stairs, and there burst in the Prime Councilor, three Representatives of the People, and the chief of a new bodyguard. Amusingly, it was the Representatives of the People whom the idea of having for queen the granddaughter of a fiddler infuriated the most. That was the end of Charles Xavier's chaste romance with Fleur, who was pretty yet not repellent (as some cats are less repugnant than others to the goodnatured dog told to endure the bitter effluvium of an alien genus). With their white suitcases and obsolete musical instruments the two ladies wandered back to the annex of the Palace. There followed a sweet tw.a.n.g of relief - and then the door of the anteroom slid open with a merry crash and the whole heap of putti tumbled in. He was to go through a far more dramatic ordeal thirteen years later with Disa, d.u.c.h.ess of Payn, whom he married in 1949, as described in notes to lines 275 and 433-434, which the student of Shade's poem will reach in due time; there is no hurry. A series of cool summers ensued. Poor Fleur was still around, though indistinctly so. Disa befriended her after the old Countess perished in the crowded vestibule of the 1950 Exposition of Gla.s.s Animals, when part of it was almost destroyed by fire, Gradus helping the fire brigade to clear a s.p.a.ce in the square for the lynching of the non-union incendiaries, or at least of the persons (two baffled tourists from Denmark) who have been mistaken for them. Our young Queen may have felt some subtle sympathy for her pale lady in waiting whom from time to time the King glimpsed illuminating a concert program by the diagonal light of an ogival window, or. heard making tinny music in Bower B. The beautiful bedroom of his bachelor days is alluded to again in a note to line 130, as the place of his "luxurious captivity" in the beginning of the tedious and unnecessary Zemblan Revolution. Line 85: Who'd seen the Pope Pius X, Giuseppe Melchiorre Sarto, 1835-1914; Pope 1903-1914.

Lines 86-90: Aunt Maud Maud Shade, 1869-1950, Samuel Shade's sister. At her death, Hazel (born 1934) was not exactly a "babe" as implied in line 90. I found her paintings unpleasant but interesting. Aunt Maud was far from spinsterish, and the extravagant and sardonic turn of her mind must have shocked sometimes the genteel dames of New Wye. Lines 90-93: Her room, etc.

In the draft, instead of the final text: ............. her room We've kept intact. Her trivia for us Retrace her style: the leaf sarcophagus (A Luna's dead and shriveled-up coc.o.o.n) The reference is to what my dictionary defines as "a large, tailed, pale green moth, the caterpillar of which feeds on the hickory." I suspect Shade altered this pa.s.sage because his moth's name clashed with "Moon" in the next line. Line 91: trivia Among these was a sc.r.a.pbook in which over a period of years (1937-1949) Aunt Maud had been pasting clippings of an involuntarily ludicrous or grotesque nature. John Shade allowed me one day to memorandum the first and the last of the series; they happened to intercommunicate most pleasingly, I thought. Both stemmed from the same family magazine Life, so justly famed for its pudibundity in regard to the mysteries of the male s.e.x; hence one can well imagine how startled or t.i.tillated those families were. The first comes from the issue of May 10, 1937, p. 67, and advertises the Talon Trouser Fastener (a rather grasping and painful name, by the way). It shows a young gent radiating virility among several ecstatic lady-friends, and the inscription reads: You'll be amazed that the fly of your trousers could be so dramatically improved. The second comes from the issue of March 28, 1949, p. 126, and advertises Hanes Fig Leaf Brief. It shows a modern Eve worshipfully peeping from behind a potted tree of knowledge at a leering young Adam in rather ordinary but clean underwear, with the front of his advertised brief conspicuously and compactly shaded, and the inscription reads: Nothing beats a fig leaf. I think there must exist a special subversive group of pseudo-cupids - plump hairless little devils whom Satan commissions to make disgusting mischief in sacrosanct places.

Line 92: the paperweight The image of those old-fashioned horrors strangely haunted our poet. I have clipped from a newspaper that recently reprinted it an old poem of his where the souvenir shop also preserves a landscape admired by the tourist: MOUNTAIN VIEW.

Between the mountain and the eye The spirit of the distance draws A veil of blue amorous gauze, The very texture of the sky.

A breeze reaches the pines, and I Join in the general applause.

But we all know it cannot last, The mountain is too weak to wait - Even if reproduced and gla.s.sed In me as in a paperweight.

Line 98: On Chapman's Homer A reference to the t.i.tle of Keats' famous sonnet (often quoted in America) which, owing to a printer's absent-mindedness, has been drolly transposed, from some other article, into the account of a sports event. For other vivid misprints see note to line 802.

Line 101: No free man needs a G.o.d When one considers the numberless thinkers and poets in the history of human creativity whose freedom of mind was enhanced rather than stunted by Faith, one is bound to question the wisdom of this easy aphorism (see also note to line 549). Line 109: iridule An iridescent cloudlet, Zemblan muderperlwelk. The term "iridule" is, I believe, Shade's own invention. Above it, in the Fair Copy (card 9, July 4) he has written in pencil. "peac.o.c.k-herl." The peac.o.c.k-herl is the body of a certain sort of artificial fly also called "alder." So the owner of this motor court, an ardent fisherman, tells me. (See also the "strange nacreous gleams" in line 634.) Line 119: Dr. Sutton This is a recombination of letters taken from two names. one beginning in "Sut," the other ending in "ton." Two distinguished medical men, long retired from practice, dwelt, on our hill. Both were very old friends of the Shades; one had a daughter, president of Sybil's club - and this is the Dr. Sutton I visualize in my notes to lines 181 and 1000. He is also mentioned in Line 986.

Lines 120-121: five minutes were equal to forty ounces, etc.

In the left margin and parallel to it: "In the Middle Ages an hour was equal to 480 ounces of fine sand or 22,560 atoms."

I am unable to check either this statement or the poet's calculations in regard to five minutes, i.e., three hundred seconds, since I do not see how 480 can be divided by 300 or vice versa, but perhaps I am only tired. On the day (July 4) John Shade wrote this, Gradus the Gunman was getting ready to leave Zembla for his steady blunderings through two hemispheres (see note to line 181).

Line 130: I never bounced a ball or swung a bat Frankly I too never excelled in soccer and cricket: I am a pa.s.sable horseman, a vigorous though unorthodox skier, a good skater, a tricky wrestler, and an enthusiastic rock-climber.

Line 130 is followed in the draft by four verses which Shade discarded in favor of the Fair Copy continuation (line 131 etc.). This false start goes: As children playing in a castle find In some old closet full of toys, behind The animals and masks, a sliding door [four words heavily crossed out] a secret corridor - The comparison has remained suspended. Presumably our poet intended to attach it to the account of his stumbling upon some mysterious truth in the fainting fits of his boyhood. I cannot say how sorry I am that he rejected these lines. I regret it not only because of their intrinsic beauty, which is great, but also because the image they contain was suggested by something Shade had from me. I have already alluded in the course of these notes to the adventures of Charles Xavier, last King of Zembla, and to the keen interest my friend took in. the many stories I told him about that king. The index card on which the variant has been preserved is dated July 4 and is a direct echo of our sunset rambles in the fragrant lanes of New Wye and Dulwich.

"Tell me more," he would say as he knocked his pipe empty against a beech trunk, and while the colored cloud lingered, and while far away in the lighted house on the hill Mrs. Shade sat quietly enjoying a video drama, I gladly acceded to my friend's request.

In simple words I described the curious situation in which the King found himself during the first months of the rebellion. He had the amusing feeling of his being the only black piece in what a composer of chess problems might term a king-in-thecorner waiter of the solus rex type. The Royalists, or at least the Moderns (Moderate Democrats), might have still prevented the state from turning into a commonplace modern tyranny, had they been able to cope with the tainted gold and the robot troops that a powerful police state from its vantage ground a few sea miles away was pouring into the Zemblan Revolution. Despite the hopelessness of the situation, the King refused to abdicate. A haughty and morose captive, he was caged in his rose-stone palace from a corner turret of which one could make out with the help of field gla.s.ses lithe youths diving into the swimming pool of a fairy tale sport club, and the English amba.s.sador in old-fashioned flannels playing tennis with the Basque coach on a clay court as remote as paradise. How serene were the mountains, how tenderly painted on the western vault of the sky!

Somewhere in the mist of the city there occurred every day disgusting outbursts of violence, arrests and executions, but the great city roiled on as smoothly as ever, the cafes were full, splendid plays were being performed at the Royal Theater, and it was really the palace which contained the strongest concentrate of gloom. Stonefaced, square-shouldered komizars enforced strict discipline among the troops on duty within and without. Puritan prudence had sealed up the wine cellars and removed all the maid servants from the southern wing. The ladies in waiting had, of course, left long before, at the time the King exiled his Queen to her villa on the French Riviera. Thank heavens, she was spared those dreadful days in the polluted palace!

The door of every room was guarded. The banqueting hall had three custodians and as many as four loafed in the library whose dark recesses seemed to harbor all the shadows of treason. The bedrooms of the few remaining palace attendants had each its armed parasite, drinking forbidden rum with an old footman or taking liberties with a young page. And in the great Heralds' Hall one could always be sure of finding ribald jokers trying to squeeze into the steel panoply of its hollow knights. And what a smell of leather and goat in the s.p.a.cious chambers once redolent of carnations and lilacs!

This tremendous company consisted of two main groups: ignorant, ferociouslooking but really quite harmless conscripts from Thule, and taciturn, very polite Extremists from the famous Gla.s.s Factory where the revolution had flickered first. One can now reveal (since he is safe in Paris) that this contingent included at least one heroic royalist so virtuosically disguised that he made his unsuspecting fellow guards look like mediocre imitators. Actually Odon happened to be one of the most prominent actors in Zembla and was winning applause in the Royal Theater on his off-duty nights. Through him the King kept in touch with numerous adherents, young n.o.bles, artists, college athletes, gamblers, Black Rose Paladins, members of fencing clubs, and other men of fashion and adventure. Rumors rumbled. It was said that the captive would soon be tried by a special court; but it was also said that he would be shot while ostensibly being transported to another place of confinement. Although flight was discussed daily, the schemes of the conspirators had more aesthetic than practical value. A powerful motorboat had been prepared in a coastal cave near Blawick (Blue Cove) in western Zembla, beyond the chain of tall mountains which separated the city from the sea; the imagined reflections of the trembling transparent water on the rock wall and boat were tantalizing, but none of the schemers could suggest how the King could escape from his castle and pa.s.s safely through its fortifications.

One August day, at the beginning of his third month of luxurious captivity in the South West Tower, he was accused of using a fop's band mirror and the sun's cooperative rays to flash signals from his lofty cas.e.m.e.nt. The vastness of the view it commanded was denounced not only as conducive to treachery but as producing in the surveyor an airy sense of superiority over his low-lodged jailers. Accordingly, one evening the King's cot-and-pot were transferred to a dismal lumber room on the same side of the palace but on its first floor. Many years before, it had been the dressing room of his grandfather, Thurgus the Third. After Thurgus died (in 1900) his ornate bedroom was transformed into a kind of chapel and the adjacent chamber, shorn of its full-length multiple mirror and green silk sofa, soon degenerated into what it had now remained for half a century, an old hole of a room with a locked trunk in one corner and an obsolete sewing machine in another. It was reached from a marble-flagged gallery, running along its north side and sharply turning immediately west of it to form a vestibule in the southwest corner of the Palace. The only window gave on an inner court on the south side. This window had once been a glorious dreamway of stained gla.s.s, with a fire-bird and a dazzled huntsman, but a football had recently shattered the fabulous forest scene and now its new ordinary pane was barred from the outside. On the west-side wall, above a whitewashed closet door, hung a large photograph in a frame of black velvet. The fleeting and faint but thousands of times repeated action of the same sun that was accused of sending messages from the tower, had gradually patinated this picture which showed the romantic profile and broad bare shoulders of the forgotten actress Iris Acht, said to have been for several years, ending with her sudden death in 1888, the mistress of Thurgus. In the opposite, east-side wall a frivolous-looking door, similar in turquoise coloration to the room's only other one (opening into the gallery) but securely hasped, had once led to the old rake's bedchamber; it had now lost its crystal k.n.o.b, and was flanked on the east-side wall by two banished engravings belonging to the room's period of decay. They were of the sort that is not really supposed to be looked at, pictures that exist merely as general notions of pictures to meet the humble ornamental needs of some corridor or waiting room: one was a shabby and lugubrious Fete Flammande after Teniers; the other had once hung in the nursery whose sleepy denizens had always taken it to depict foamy waves in the foreground instead of the blurry shapes of melancholy sheep that it now revealed. The King sighed and began to undress. His camp bed and a bedtable had been placed, facing the window, in the northeast corner. East was the turquoise door; north, the door of the gallery; west, the door of the closet; south, the window. His black blazer and white trousers were taken away by his former valet's valet. The King sat down on the edge of the bed in his pajamas. The man returned with a pair of morocco bed slippers, pulled them on his master's listless feet, and was off with the discarded pumps. The King's wandering gaze stopped at the cas.e.m.e.nt which was half open. One could see part of the dimly lit court where under an enclosed poplar two soldiers on a stone bench were playing lansquenet. The summer night was starless and stirless, with distant spasms of silent lightning. Around the lantern that stood on the bench a batlike moth blindly flapped - until the punter knocked it down with his cap. The King yawned, and the illumined card players shivered and dissolved in the prism of his tears. His bored glance traveled from wall to wall. The gallery door stood slightly ajar, and one could hear the steps of the guard coming and going. Above the closet, Iris Acht squared her shoulders and looked away. A cricket cricked. The bedside light was just strong enough to put a bright gleam on the gilt key in the lock of the closet door. And all at once that spark on that key caused a wonderful conflagration to spread in the prisoner's mind. We shall now go back from mid-August 1958 to a certain afternoon in May three decades earlier when he was a dark strong lad of thirteen with a silver ring on the forefinger of his sun-tanned hand. Queen Blenda, his mother, had recently left for Vienna and Rome. He had several dear playmates but none could compete with Oleg, Duke of Rahl. In those days growing boys of high-born families wore on festive occasions-of which we had so many during our long northern springsleeveless jerseys, white anklesocks with black buckle shoes, and very tight, very short shorts called hotinguens. I wish I could provide the reader with cut-out figures and parts of attire as given in paper-doll charts for children armed with scissors. It would brighten a little these dark evenings that are destroying my brain. Both lads were handsome, long-legged specimens of Varangian boyhood. At twelve, Oleg was the best center forward at the Ducal School. When stripped and shiny in the mist of the bath house, his bold virilia contrasted harshly with his girlish grace. He was a regular faunlet. On that particular afternoon a copious shower lacquered the spring foliage of the palace garden, and oh, how the Persian lilacs in riotous bloom tumbled and tossed behind the green-streaming, amethyst-blotched windowpanes!

One would have to play indoors. Oleg was late. Would he come at all?

It occurred to the young Prince to disinter a set of precious toys (the gift of a foreign potentate who had.recently been a.s.sa.s.sinated) which had amused Oleg and him during a previous Easter, and then had been laid aside as happens with those special, artistic playthings which allow iheir bubble of pleasure to yield all its tang at once before retreating into museum oblivion. What he particularly desired to rediscover now was an elaborate toy circus contained in a box as big as a croquet case. He craved for it; his eyes, his brain, and that in his brain which corresponded to the ball of his thumb, vividly remembered the brown boy acrobats with spangled nates, an elegant and melancholy clown with a ruff, and especially three pup-sized elephants of polished wood with such versatile joints that you could make the sleek jumbo stand upright on one foreleg or rear up solidly on the top of a small white barrel ringed with red. Less than a fortnight had pa.s.sed since Oleg's last visit, when for the first time the two boys had been allowed to share the same bed, and the tingle of their misbehavior, and the foreglow of another such night, were now mixed in our young Prince with an embarra.s.sment that suggested refuge in earlier, more innocent games.

His English tutor who, after a picnic in Mandevil Forest, was laid up with a sprained ankle, did not know where that circus might be; he advised looking for it in an old lumber room at the end of the West Gallery. Thither the Prince betook himself. That dusty black trunk? It looked grimly negative. The rain was more audible here owing to the proximity of a prolix gutter pipe. What about the closet? Its gilt key turned reluctantly. All three shelves and the s.p.a.ce beneath were stuffed with disparate objects: a palette. with the dregs of many sunsets; a cupful of counters; an ivory backscratcher, a thirty-twomo edition of Timon of Athens translated into Zemblan by his uncle Conmal, the Queen's brother; a seaside situla (toy pail); a sixty-five-carat blue diamond accidentally added in his childhood, from his late father's knickknackatory, to the pebbles and sh.e.l.ls in that pail; a finger of chalk; and a square board with a design of interlaced figures for some long-forgotten game. He was about to look elsewhere in the closet when on trying to dislodge a piece of black velvet, one corner of which had unaccountably got caught behind the shelf, something gave, the shelf budged, proved removable, and revealed just under its farther edge, in the back of the closet, a keyhole to which the same gilt key was found to fit.

Impatiently he cleared the other two shelves of all they held (mainly old clothes and shoes), removed them as he had done with the middle one, and unlocked the sliding door at the back of the closet. The elephants were forgotten, he stood on the threshold of a secret pa.s.sage. Its deep darkness was total but something about its speluncar acoustics foretold, clearing its throat hollowly, great things, and he hurried to his own quarters to fetch a couple of flashlights and a pedometer. As he was returning, Oleg arrived: He carried a tulip. His soft blond locks had been cut since his last visit to the palace, and the young Prince thought: Yes, I knew he would be different. But when Oleg knitted his golden brows and bent close to hear about the discovery, the young Prince knew by the downy warmth of that crimson ear and by the vivacious nod greeting the proposed investigation, that no change had occurred in his dear bedfellow.

As soon as Monsieur Beauchamp had sat down for a game of chess at the bedside of Mr. Campbell and had offered his raised fists to choose from, the young Prince took Oleg to the magical closet. The wary, silent, green-carpeted steps of an escalier derobe: led to a stone-paved underground pa.s.sage. Strictly speaking it was "underground" only in brief spells when, after burrowing under the southwest vestibule next to the lumber room, it went under a series of terraces, under the avenue of birches in the royal park, and then under the three transverse streets, Academy Boulevard, Coriola.n.u.s Lane and Timon Alley, that still separated it from its final destination. Otherwise, in its angular and cryptic course it adapted itself to the various structures which it followed, here availing itself of a bulwark to fit in its side like a pencil in the pencil hold of a pocket diary, there running through the cellars of a great mansion too rich in dark pa.s.sageways to notice the stealthy intrusion. Possibly, in the intervening years, certain arcane connections had been established between the abandoned pa.s.sage and the outer world by the random repercussions of work in surrounding layers of masonry or by the blind pokings of time itself; for here and there magic apertures and penetrations, so narrow and deep as to drive one insane, could be deduced from a pool of sweet, foul ditch water, bespeaking a moat, or from a dusky odor of earth and turf, marking the proximity of a glacis slope overhead; and at one point, where the pa.s.sage crept through the bas.e.m.e.nt of a huge ducal villa, with hothouses famous for their collections of desert flora, a light spread of sand momentarily changed the sound of one's tread. Oleg walked in front: his shapely b.u.t.tocks encased in tight indigo cotton moved alertly, and his own erect radiance, rather than his flambeau, seemed to illume with leaps of light the low ceiling and crowding wails. Behind him the young Prince's electric torch played on the ground and gave a coating of flour to the back of Oleg's bare thighs. The air was musty and cold. On and on went the fantastic burrow. It developed a slight ascending grade. The pedometer had tocked off 1,888 yards, when at last they reached the end. The magic key of the lumber room closet slipped with gratifying ease into the keyhole of a green door confronting them, and would have accomplished the act promised by its smooth entrance, had not a burst of strange sounds coming from behind the door caused our explorers to pause. Two terrible voices, a man's and a woman's, now rising to a pa.s.sionate pitch, now sinking to raucous undertones, were exchanging insults in Gutnish as spoken by the fisherfolk of Western Zembla. An abominable threat made the woman shriek out in fright. Sudden silence ensued, presently broken by the man's murmuring some brief phrase of casual approval ("Perfect, my dear," or "Couldn't be better") that was more eerie than anything that had come before.

Without consulting each other, the young Prince and his friend veered in absurd panic and, with the pedometer beating wildly, raced back the way they had come.

"Ouf!" said Oleg once the last shelf had been replaced. "You're all chalky behind," said the young Prince as they swung upstairs. They found Beauchamp and Campbell ending their game in a draw. It was near dinner time. The two lads were told to wash their hands. The recent thrill of adventure had been superseded already by another sort of excitement. They locked themselves up. The tap ran unheeded. Both were in a manly state and moaning like doves.

This detailed recollection, whose structure and maculation have taken some time to describe in this note, skimmed through the King's memory in one instant. Certain creatures of the past, and this was one of them, may lie dormant for thirty years as this one had, while their natural habitat undergoes calamitous alterations. Soon after the discovery of the secret pa.s.sage he almost died of pneumonia. In his delirium he would strive one moment to follow a luminous disk probing an endless tunnel and try the next to clasp the melting haunches of his fair ingle. To recuperate he was sent for a couple of seasons to southern Europe. The death of Oleg at fifteen, in a toboggan accident, helped to obliterate the reality of their adventure. A national revolution was needed to make that secret pa.s.sage real again.

Having satisfied himself that the guard's creaky steps had moved some distance away, the King opened the closet. It was empty now, save for the tiny volume of Timon Afinsken still lying in one corner, and for some old sport clothes and gymnasium shoes crammed into the bottom compartment. The footfalls were now coming back. He did not dare pursue his examination and relocked the closet door. It was evident he would need a few moments of perfect security to perform with a minimum of noise a succession of small actions: enter the closet, lock it from the inside, remove the shelves, open the secret door, replace the shelves, slip into the yawning darkness, close the secret door and lock it. Say ninety seconds. He stepped out into the gallery, and the guard, a rather handsome but incredibly stupid Extremist, immediately advanced towards him. "I have a certain urgent desire," said the King. "I want, Hal, to play the piano before going to bed." Hal (if that was his name) led the way to the music room where, as, the King knew, Odon kept vigil over the shrouded harp. He was a fox-browed, burly Irishman, with a pink head now covered by the rakish cap of a Russki factory worker. The King sat down at the Bechstein and, as soon as they were left alone, explained briefly the situation while making tinkling notes with one hand: "Never heard of any pa.s.sage," muttered Odon with the annoyance of a chess player who is shown how he might have saved the game he has lost. Was His Majesty absolutely sure? His Majesty was. Did he suppose it took one out of the Palace? Definitely out of the Palace. Anyway, Odon had to leave in a few moments, being due to act that night in The Merman, a fine old melodrama which had not been performed, he said, for at least three decades. "I'm quite satisfied with my own melodrama," remarked the King.

"Alas," said Odon. Furrowing his forehead, he slowly got into his leathern coat. One could do nothing tonight. If he asked the commandant to be left on duty, it would only provoke suspicion, and the least suspicion might be fatal. Tomorrow he would find some opportunity to inspect that new avenue of escape, if it was that and not a dead end. Would Charlie (His Majesty) promise not to attempt anything until then?

"But they are moving closer and closer," said the King alluding to the noise of rapping and ripping that came from the Picture Gallery. "Not really," said Odon, "one inch per hour, maybe two. I must be going now," he added indicating with a twitch of the eyelid the solemn and corpulent guard who was coming to relieve him. Under the unshakable but quite erroneous belief that the crown jewels were concealed somewhere in the Palace, the new administration had engaged a couple of foreign experts (see note to line 681) to locate them. The good work had been going on for a month. The two Russians, after practically dismantling the Council Chamber and several other rooms of state, had transferred their activities to that part of the gallery where the huge oils of Eystein had fascinated several generations of Zemblan princes and princesses. While unable to catch a likeness, and therefore wisely limiting himself to a conventional style of complimentary portraiture, Eystein showed himself to be a prodigious master of the trompe l'oeil in the depiction of various objects surrounding his dignified dead models and making them look even deader by contrast to the fallen petal or the polished panel that he rendered with such love and skill. But in some of these portraits Eystein had also resorted to a weird form of trickery: among his decorations of wood or wool, gold or velvet, he would insert one which was really made of the material elsewhere imitated by paint. This device which was apparently meant to enhance the effect of his tactile and tonal values had, however, something ign.o.ble about it and disclosed not only an essential flaw in Eystein's talent, but the basic fact that "reality" is neither the subject nor the object of true art which creates its own special reality having nothing to do with the average "reality" perceived by the communal eye. But to return to our technicians whose tapping is approaching the gallery toward the bend where the King and Odon stand ready to part. At this spot hung a portrait representing a former Keeper of the Treasure, decrepit Count Kernel, who was painted with fingers resting lightly on an embossed and emblazoned box whose side facing the spectator consisted of an inset oblong made of real bronze, while upon the shaded top of the box, drawn in perspective, the artist had pictured a plate with the beautifully executed, twin-lobed, brainlike, halved kernel of a walnut.

"They are in for a surprise," murmured Odon in his mother tongue, while in a corner the fat guard was going through some dutiful, rather lonesome, rifle-b.u.t.t-banging formalities.

The two Soviet professionals could be excused for a.s.suming they would find a real receptacle behind the real metal. At the pres