Gormenghast

Gormenghast

The Second in the Gormenghast Trilogy

Mervyn Peake

First published in 1946

ONE

I

Titus is seven. His confines, Gormenghast. Suckled on shadows; weaned, as it were, on webs of ritual: for his ears, echoes, for his eyes, a labyrinth of stone: and yet within his body something other - other than this umbrageous legacy. For first and ever foremost he is 'child.'

A ritual, more compelling than ever man devised, is fighting anchored darkness. A ritual of the blood; of the jumping blood. These quicks of sentience owe nothing to his forbears, but to those feckless hosts, a trillion deep, of the globe's childhood.

The gift of the bright blood. Of blood that laughs when the tenets mutter 'Weep'. Of blood that mourns when the sere laws croak 'Rejoice! O little revolution in great shades!

Titus the seventy-seventh. Heir to a crumbling summit: to a sea of nettles: to an empire of red rust: to rituals' footprints ankle-deep in stone.

Gormenghast.

Withdrawn and ruinous it broods in umbra: the immemorial masonry: the towers, the tracts. Is all corroding? No. Through an avenue of spires a zephyr floats; a bird whistles; a freshet bears away from a choked river. Deep in a fist of stone a doll's hand wriggles, warm rebellious on the frozen palm. A shadow shifts its length. A spider stirs...

'And darkness winds between the characters.'

II

Who are the characters? And what has he learned of them and of his home since that far day when he was born to the Countess of Groan in a room alive with birds?

He has learned an alphabet of arch and aisle: the language of dim stairs and moth-hung rafters. Great halls are his dim playgrounds: his fields are quadrangles his trees are pillars.

And he has learned that there are always eyes. Eyes that watch. Feet that follow, and hands to hold him when he struggles, to lift him when he falls. Upon his feet again he stares unsmiling. Tall figures bow. Some in jewellery; some in rags.

The characters.

The quick and the dead. The shapes, the voices that throng his mind, for there are days when the living have no substance and the dead are active.

Who are these dead - these victims of violence who no longer influence the tenor of Gormenghast save by a deathless repercussion? For ripples are still widening in dark rings and a movement runs over the gooseflesh waters though the drowned stones lie still. The characters who are but names to Titus, though one of them his father, and all of them alive when he was born. Who are they? For the child will hear of them.

III

Let them appear for a quick, earthless moment, as ghosts, separate, dissimilar and complete. They are even now moving, as before death, on their own ground. Is Time's cold scroll recoiling on itself until the dead years speak, or is it in the throb of 'now' that the spectres wake and wander through the walls?

There was a library and it is ashes. Let its long length assemble. Than its stone walls its paper walls are thicker; armoured with learning, with philosophy, with poetry that drifts or dances clamped though it is in midnight. Shielded with flax and calfskin and a cold weight of ink, there broods the ghost of Sepulchrave, the melancholy Earl, seventy-sixth lord of half-light.

It is five years ago. Witless of how his death by owls approaches he mourns through each languid gesture, each fine-stoned feature, as though his body were glass and at its centre a converted heart like a pendant tear.

His every breath a kind of ebb that leaves him further from himself, he floats rather than steers to the island of the mad - beyond all trade-routes, in a doldrum sea, its high crags burning.

Of how he died Titus has no idea. For as yet he has not so much as seen, let alone spoken to the long Man of the Woods, Flay, who was his father's servant and the only witness of Sepulchrave's death when, climbing demented into the Tower of Flints, the Earl gave himself up to the hunger of the owls.

Flay, the cadaverous and taciturn, his knee joints reporting his progress at every spider-like step, he alone among these marshalled ghosts is still alive, though banished from the castle. But so inextricably has Flay been woven into the skein of the castle's central life, that if ever a man was destined to fill in the gap of his own absence with his own ghost it is he.

For excommunication is a kind of death, and it is a different man who moves in the woods from the Earl's first servant of seven years ago. Simultaneously, then, as ragged and bearded he lays his rabbit snares in a gully of ferns, his ghost is sitting in the high corridor, beardless, and long ago, outside his master's door. How can he know that it will not be long before he adds, by his own hand, a name to the roll of the murdered? All that he knows is that his life is in immediate peril: that he is crying with every nerve in his long, tense, awkward body for an end to this insufferable rivalry, hatred and apprehension. And he knows that this cannot be unless either he or the gross and pendulous horror in question be destroyed.

And so it happened. The pendulous horror, the chef of Gormenghast, floating like a moon-bathed sea-cow, a long sword bristling like a mast from his huge breast, had been struck down but an hour before the death of the earl. And here he comes again in a province he has made peculiarly his own in soft and ruthless ways. Of all ponderous volumes, surely the most illusory, if there's no weight or substance in a ghost, is Abiatha Swelter, who wades in a slug-like illness of fat through the humid ground mists of the Great Kitchen. From hazy progs and flesh-pots half afloat, from bowls as big as baths, there rises and drifts like a miasmic tide the all but palpable odour of the day's belly-timber. Sailing, his canvas stretched and spread, through the hot mists the ghost of Swelter is still further rarefied by the veiling fumes; he has become the ghost of a ghost, only his swede-like head retaining the solidity of nature. The arrogance of this fat head exudes itself like an evil sweat.

Vicious and vain as it is, the enormous ghost retreats a step to make way for the phantom Sourdust on a tour of inspection. Master of Ritual, perhaps the most indispensable figure of all, corner-stone and guardian of the Groan law, his weak and horny hands are working at the knots of his tangled beard. As he shambles forward, the red rags of his office fall about his bleak old body in dirty festoons. He is in the worst of health, even for a ghost, coughing incessantly in a dry, horrible manner, the black-and-white strands of his beard jerking to and fro. Theoretically he is rejoicing that in Titus an heir has been born to the House, but his responsibilities have become too heavy to allow him any lightness of heart, even supposing he could ever have lured into that stuttering organ so trivial a sensation. Shuffling from ceremony to ceremony, his sere head raised against its natural desire to drop forward on his chest and covered with as many pits and fissures as a cracked cheese, he personifies the ancientry of his high office.

It was for his real body to die in the same fated library which now, in spectre form, is housing the wraith of Sepulchrave. As the old master of Ritual moves away and fades through the feverish air of Swelter's kitchen, he cannot foresee or remember (for who can tell in which direction the minds of phantoms move?) that filled to his wrinkled mouth with acrid smoke he shall die, or has already died, by fire and suffocation, the great flames licking at his wrinkled hide with red and golden tongues.

He cannot know that Steerpike burned him up: that his lordship's sisters, Cora and Clarice, lit the fuse, and that from that hour on, his overlord, the sacrosanct earl, should find the road to lunacy so clear before him.

And lastly, Keda, Titus' foster-mother, moving quietly along a dappled corridor of light and pearl-grey shadow. That she should be a ghost seems natural, for even when alive there was something intangible, distant and occult about her. To have died leaping into a great well of twilight air was pitiless enough, but less horrible than the last moments of the Earl, the chef and the decrepit master of ritual - and a swifter ending to life's gall than the banishment of the long man of the woods. As in those days, before she fled from the castle to her death, she is caring for Titus as though all the mothers who have ever lived advise her through her blood. Dark, almost lambent like a topaz, she is still young, her sole disfigurement the universal bane of the Outer Dwellers, the premature erosion of an exceptional beauty - a deterioration that follows with merciless speed upon an adolescence almost spectral. She alone among these fate-struck figures is of that poverty-stricken and intolerable realm of the ostracized, whose drear cantonment, like a growth of mud and limpets, clamps itself to Gormenghast's outer wall.

The sun's rays searing a skein of cloud, burn with unhampered radiance through a hundred windows of the Southern walls. It is a light too violent for ghosts, and Keda, Sourdust, Flay, Swelter and Sepulchrave dissolve in sunbeams.

These, then, in thumbnail, the Lost Characters. The initial few, who, dying, deserted the hub of the castle's life before Titus was three. The future hung on their activities. Titus himself is meaningless without them, for in his infancy he fed on foot-steps, on the patterns that figures made against high ceilings, their hazy outlines, their slow or rapid movements, their varying odours and voices.

Nothing that stirs but has its repercussions, and it may well be that Titus will hear the echoes, when a man, of what was whispered then. For it was no static assembly of personalities into which Titus was launched - no mere pattern, but an arabesque in motion whose thoughts were actions, or if not, hung like bats from an attic rafter or veered between towers on leaf-like wings.

TWO

What of the living?

His mother, half asleep and half aware: with the awareness of anger, the detachment of trance. She saw him seven times in seven years. Then she forgot the halls that harboured him. But now she watches him from hidden windows. Her love for him is as heavy and as formless as loam. A furlong of white cats trails after her. A bullfinch has a nest in her red hair. She is the Countess Gertrude of huge clay.

Less formidable, yet sullen as her mother and as incalculable, is Titus' sister. Sensitive as was her father without his intellect, Fuchsia tosses her black flag of hair, bites at her childish under-lip, scowls, laughs, broods, is tender, is intemperate, suspicious, and credulous all in a day. Her crimson dress inflames grey corridors, or flaring in a sunshaft through high branches makes of the deep green shadows a greenness darker yet, and a darkness greener.

Who else is there of the direct blood-line? Only the vacant Aunts, Cora and Clarice, the identical twins and sisters of Sepulchrave. So limp of brain that for them to conceive an idea is to risk a haemorrhage. So limp of body that their purple dresses appear no more indicative of housing nerves and sinews than when they hang suspended from their hooks.

Of the others? The lesser breed? In order of social precedence, possibly the Prunesquallors first, that is, the Doctor and his closely-swathed and bone-protruding sister. The doctor with his hyena laugh, his bizarre and elegant body, his celluloid face.

His main defects? The unsufferable pitch of his voice; his maddening laughter and his affected gestures. His cardinal virtue? An undamaged brain.

His sister Irma. Vain as a child; thin as a stork's leg, and, in her black glasses, as blind as an owl in daylight. She misses her footing on the social ladder at least three times a week, only to start climbing again, wriggling her pelvis the while. She clasps her dead, white hands beneath her chin in the high hope of hiding the flatness of her chest.

Who next? Socially, there is no one else. That is to say no one who, during the first few years of Titus' life, plays any part that bears upon the child's future: unless it be the poet, a wedge-headed and uncomfortable figure little known to the hierophants of Gormenghast, though reputed to be the only man capable of holding the earl's attention in conversation. An all-but-forgotten figure in his room above a precipice of stone. No one reads his poems, but he holds a remote status - a gentleman, as it were, by rumour.

Blue blood aside, however, and a shoal of names floats forward. The lynch-pin son of the dead Sourdust, by name Barquentine, Master of Ritual, is a stunted and cantankerous pedant of seventy, who stepped into his father's shoes (or, to be exact, into his 'shoe', for this Barquentine is a one-legged thing who smites his way through ill-lit corridors on a grim and echoing crutch).

Flay, who has already appeared as his own ghost, is very much alive in Gormenghast forest. Taciturn and cadaverous, he is no less than Barquentine a traditionalist of the old school. But, unlike Barquentine, his angers when the Law is flouted are uprisings of a hot loyalty that blinds him, and not the merciless and stony intolerance of the cripple.

To speak of Mrs. Slagg at this late juncture seems unfair. That Titus himself, heir to Gormenghast, is her charge, as was Fuchsia in her childhood, is surely enough to place her at the head of any register. But she is so minute, so frightened, so old, so querulous, she neither could, nor would, head any procession, even on paper. Her peevish cry goes out: 'Oh, my weak heart! how 'could' they?' and she hurries to Fuchsia either to smack the abstracted girl in order to ease herself, or to bury the wrinkled prune of her face in Fuchsia's side. Alone in her small room again, she lies upon her bed and bites her minute knuckles.

There is nothing frightened or querulous about young Steerpike. If ever he had harboured a conscience in his tough narrow breast he had by now dug out and flung away the awkward thing - flung it so far away that were he ever to need it again he could never find it.

The day of Titus' birth had seen the commencement of his climb across the roofs of Gormenghast and the end of his servitude in Swelter's kitchen - that steaming province which was both too unpleasant and too small to allow for his flexuous talents and expanding ambition.

High-shouldered to a degree little short of malformation, slender and adroit of limb and frame, his eyes close-set and the colour of dried blood, he is still climbing, not now across the back of Gormenghast but up the spiral staircase of its soul, bound for some pinnacle of the itching fancy - some wild, invulnerable eyrie best known to himself; where he can watch the world spread out below him, and shake exultantly his clotted wings.

Rottcodd is fast asleep in his hammock at the far end of the hall of the Bright Carvings, that long attic room that houses the finest examples of the Mud Dwellers' art. It is seven years since he watched from the attic window the procession far below him wind back from Gormenghast lake, where Titus had come into his Earldom, but nothing has happened to him during the long years apart from the annual arrival of fresh works to be added to the coloured carvings in the long room.

His small cannon-ball of a head is asleep on his arm and the hammock is swaying gently to the drone of a vinegar-fly.

THREE

About the rough margins of the castle life - margins irregular as the coastline of a squall-rent island, there were characters that stood or moved gradually to the central hub. They were wading out of the tides of limitless negation - the timeless, opaque waters. Yet what are these that set foot on the cold beach? Surely so portentous an expanse should unburden itself of gods at least; scaled kings, or creatures whose outstretched wings might darken two horizons. Or dappled Satan with his brow of brass.

But no. There were no scales or wings at all.

It was too dark to see them where they waded; although a blotch of shadow, too big for a single figure, augured the approach of that hoary band of Professors, through whose hands for a while Titus will have to wriggle.

But there was no veil of half-light over the high-shouldered young man who was entering a small room rather like a cell that opened from a passage-way of stones as dry and grey and rough as an elephant's hide. As he turned at the doorway to glance back along the corridor, the cold light shone on the high white lump of his brow.

As soon as entered he closed the door behind him and slid the bolt. Surrounded by the whiteness of the walls he appeared, as he moved across the room, weirdly detached from the small world surrounding him. It was more like the shadow of a young man, a shadow with high shoulders, that moved across whiteness, than an actual body moving in space.

In the centre of the room was a simple stone table. Upon it, and grouped roughly at its centre, were a whorl-necked decanter of wine, a few sheafs of paper, a pen, a few books, a moth pinned to a cork, and half an apple.

As he moved past the table he removed the apple, took a bite and replaced it without slackening his pace, and then suddenly looked for all the world as though his legs were shrinking from the ground up, but the floor of the room sloped curiously and he was on his way down a decline in the floor that sank to a curtain-hung opening in the wall.

He was through this in a moment, and the darkness that lay beyond took him, as it were, to herself, muffling the edges of his sharp body.

He had entered a disused chimney at the ground level. It was very dark, and this darkness was not so much mitigated as intensified by a series of little shining mirrors that held the terminal reflections of what was going on in those rooms which, one above the other, flanked the high chimney-like funnel that rose from where the young man stood in the darkness to where the high air meandered over the weather-broken roofs, which, rough and cracked as stale bread, blushed horribly in the prying rays of sundown.

Over the course of the last year, he had managed to gain entrance to these particular rooms and halls, one above the other, which flanked the chimney, and had drilled holes through the stone-work, wood and plaster - no easy work when the knees and back are strained against the opposite walls of a lightless funnel - so that the light pierced through to him in his funnel'd darkness from apertures no wider than coins. These drilling operations had, of course, to be carried out at carefully chosen times, so that no suspicion should be aroused. Moreover, the holes had as nearly as possible to be drilled at selected points, so as to coincide with whatever natural advantages the rooms might hold.

Not only had he carefully selected the rooms which he felt it would be worth his while watching from time to time either for the mere amusement of eavesdropping for its own sake - or for the furtherance of his own designs.

His methods of disguising the holes which might so easily have been detected if badly positioned, were varied and ingenious, as for example in the chamber of the ancient Barquentine, Master of Ritual. This room, filthy as a fox's earth, had upon its right-hand wall a blistered portrait in oils of a rider on a piebald horse, and the young man had not only cut a couple of holes in the canvas immediately beneath the frame where its shadow lay like a long black ruler, but he had cut away the rider's buttons, the pupils of his eyes as well as those of the horse's. These circular openings at their various heights and latitudes afforded him alternative views of the room according to where Barquentine chose to propel his miserable body on that dreaded crutch of his. The horse's eye, the most frequently, used of the apertures, offered a magnificent view of a mattress on the floor on which Barquentine spent most of his leisure moments, knotting and re-knotting his beard, or sending up clouds of dust every time he raised and let fall his only leg, a withered one at that, in bouts of irritation. In the chimney itself, and immediately behind the holes, a complicated series of wires and mirrors reflected the occupants of the de-privatized rooms and sent them down the black funnel, mirror glancing to mirror, and carrying the secrets of each action that fell within their deadly orbit - passing them from one to another, until at the base a constellation of glass provided the young man with constant entertainment and information.

In the darkness he would turn his eyes. for instance, from Craggmire, the acrobat, who crossing his apartment upon his hands might frequently be seen tossing from the sole of one foot to the sole of the other a small pig in a green nightdress - would turn his eyes from this diversion to the next mirror which might disclose the Poet, tearing at a loaf of bread with his small mouth, his long wedge of a head tilted at an angle, and flushed with the exertion, for he could not use both hands - one being engaged in writing; while his eyes (so completely out of focus that they looked as though they'd never get in again) were more spirit than anything corporeal.

But from the young man's point of view there were bigger fish than these - which were, with the exception of Barquentine, no more than the shrimps of Gormenghast - and he turned to mirrors more deadly, more thrilling: mirrors that reflected the daughter of the Groans herself - the strange raven-haired Fuchsia and her mother, the Countess, her shoulders thronged with birds.

FOUR

I

One summer morning of bland air, the huge, corroding bell-like heart of Gormenghast was half asleep and there appeared to be no reverberation from its muffled thudding. In a hall of plaster walls the silence yawned.

Nailed above a doorway of this hall a helmet or casque, red with rust, gave forth into the stillness a sandy and fluttering sound, and a moment later the beak of a jackdaw was thrust through an eye-slit and withdrawn. The plaster walls arose on every side into a dusky and apparently ceilingless gloom, lit only by a high, solitary window. The warm light that found its way through the web-choked glass of this window gave hint of galleries yet further above but no suggestion of doors beyond, nor any indication of how these galleries could be reached. From this high window a few rays of sunlight, like copper wires, were strung steeply and diagonally across the hall, each one terminating in its amber pool of dust on the floorboards. A spider lowered itself, fathom by fathom, on a perilous length of thread and was suddenly transfixed in the path of a sunbeam and, for an instant, was a thing of radiant gold.

There was no sound, and then - as though timed to break the tension, the high window was swung open and the sunbeams were blotted out, for a hand was thrust through and a bell was shaken. Almost at once there was a sound of footsteps, and moment later a dozen doors were opening and shutting, and the hall was thronged with the criss-crossing of figures.

The bell ceased clanging. The hand was withdrawn and the figures were gone. There was no sign that any living thing had ever moved or breathed between the plaster walls, or that the many doors had ever opened, save that a small whitish flower lay in the dust beneath the rusting helmet, and that a door was swinging gently to and fro.

II

As it swung, broken glimpses were obtained of a whitewashed corridor that wound in so slow and ample a curve that by the time the right-hand wall had disappeared from view the roof of the passageway appeared no more than the height of an ankle from the ground.

This long, narrowing, ash-white perspective, curving with the effortless ease of a gull in air, was suddenly the setting for action. For something, hardly distinguishable as a horse and rider until it had cantered a full third of the long curve to the deserted hall, was rapidly approaching. The sharp clacking of hooves was all at once immediately behind the swinging door, which was pushed wide by the nose of a small grey pony.

Titus sat astride.

He was dressed in the coarse, loosely fitting garments that were worn by the castle children. For the first nine years of his life the heir to the Earldom was made to mix with, and attempt to understand the ways of, the lower orders. On his fifteenth birthday such friendships as he had struck would have to cease. His demeanour would have to change and a more austere and selective relationship with the personnel of the castle would take its place. But it was a tradition that in the early years, the child of the Family must, for certain hours, at least, of every day, be as the less exalted children, feed with them, sleep in their dormitories, attend with them the classes of the Professors, and join in the various time-honoured games and observances like any other minor. Yet for all that, Titus was conscious of always being watched: of a discrepancy in the attitude of the officials and even at times of the boys. He was too young to understand the implications of his status, but old enough to sense his uniqueness.

Once a week, before the morning classes, he was allowed to ride his grey horse for an hour beneath the high southern walls, where the early sun would send his fantastic shadow careering along the tall stones at his side. And when he waved his arm, his shadow-self on a shadow-horse would wave its huge shadow-arm as they galloped together.

But today, instead of trotting away to his beloved southern wall he had, in a moment of devilment, turned his horse through a moss-black arch and into the castle itself. In the still silence his heart beat rapidly as he clattered along stone corridors he had never seen before.

He knew that it would not be worth his while to take French leave of the morning classes, for he had been locked up more than once during the long summer evenings for such acts of disobedience. But he tasted the sharp fruits of the quick bridle-wrench which had freed him from the ostler. It was only for a few minutes that he was alone, but when he came to a halt in the high plaster-walled hall, with the rusting helmet above him, and far above the helmet the dim mysterious balconies, he had already dulled his sudden itch for rebellion.

Small though he looked on the grey, there was something commanding in the confident air with which he sat the saddle - something impressive in his childish frame, as though there was a kind of weight there, or strength - a compound of spirit and matter; something solid that underlay the whims, terrors, tears and laughter and vitality of his seven years.

By no means good-looking, he had, nevertheless, this presence. Like his mother, there was a certain scale about him, as though his height and breadth bore no relation to the logic of feet and inches.

The ostler entered the hall, slow, shuffling, hissing gently, a perpetual habit of his whether grooming a horse or not, and the grey pony was at once led away in the direction of the school-rooms to the west.

Titus watched the back of the ostler's head as he was led along but said nothing. It was as though what had just occurred was something they had rehearsed many times before, and that there was no need for comment. The child had known this man and his hissing, which were as inseparable as a rough sea from the sound that it makes, for little more than a year, when the grey was given him at a ceremony known as 'The Pony Giving', a ceremony that took place without fail on the third Friday after the sixth birthday of any son of the Line who was also, by reason of his father's death, an earl in his minority. But for all this length of time - and fifteen months was a considerable span for a child who could only remember with any distinctness his last four years - the ostler and Titus had exchanged not more than a dozen sentences. It was not that they disliked one another, the ostler merely preferring to give the boy, pieces of stolen seed-cake to making any effort at conversation, and Titus quite content to have it so, for the ostler was to him simply the shuffling figure who took care of his pony, and it was enough to know his mannerisms, the way his feet shuffled, the white scar above his eye, and to hear him hissing.

Within an hour the morning classes were under way. At an ink-stained desk, with his chin cupped in his hands, Titus was contemplating, as in a dream, the chalk-marks on the blackboard. They represented a sum in short division, but might as well have been some hieroglyphic message from a moonstruck prophet to his lost tribe a thousand years ago. His mind, and the minds of his small companions in that leather-walled school-room, was far away, but in a world, not of prophets, but of swopped marbles, birds' eggs, wooden daggers, secrets and catapults, midnight feasts, heroes, deadly rivalries and desperate friendships.

FIVE

Fuchsia was leaning on her window-sill and staring out over the rough roofs below her. Her crimson dress burned with the peculiar red more often found in paintings than in Nature. The window-frame, surrounding not only her but the impalpable dusk behind her, enclosed a masterpiece. Her stillness accentuated the hallucinatory effect, but even if she were to have moved it would have seemed that a picture had come to life rather than that a movement had taken place in Nature. But the pattern did not alter. The inky black of her hair fell motionlessly and gave infinite subtlety to the porous shadow-land beyond her, showing it for what it was, not so much a darkness in itself as something starved for sunbeams. Her face, throat and arms were warm and tawny, yet seemed pale against her red dress. She stared down, out of this picture, at the world below her - at the north cloisters, at Barquentine, heaving his miserable and vicious body forwards on his crutch, and cursing the flies that followed him as he passed across a gap between two roofs and disappeared from sight.

Then she moved, suddenly turning about at a sound behind her and found Mrs Slagg looking up at her. In her hands the midget held a tray weighted with a tumbler of milk and a bunch of grapes.

She was peeved and irritable, for she had spent the last hour searching for Titus, who had outgrown the fussings of her love. 'Where is he? Oh, where is he?' she had whimpered, her face puckered up with anxiety and her weak legs, like twigs, that were forever tottering from one duty to another, aching. 'Where is his wickedness, that naughty Earl of mine? God help my poor weak heart! Where can he be?'

Her peevish voice raised thin echoes far above her as though, in hall after hall, she had awakened nests of fledgelings from their sleep..

'Oh, it's you,' said Fuchsia, throwing a lock of hair from her face with a quick jerk of her hand. 'I didn't know who it was.'

'Of course, it's me! Who else could it be, you ‘stupid’? Who else ever comes in your room? You ought to know that by 'now', oughtn't you? Oughtn't you?'

'I didn't see you,' said Fuchsia.

'But I saw 'you' - leaning out of the window like a great heavy thing - and never listening though I called you and called you and called you to open the door. Oh, my weak heart! - it's always the same – call, call, call, with no one to answer. Why do I trouble to live?' She peered at Fuchsia. 'Why should I live for 'you'? Perhaps I'll die tonight,' she added maliciously, squinting at Fuchsia again. 'Why don't you take your milk?'

'Put it on the chair,' said Fuchsia, 'I'll have it later - and the grapes. Thank you. Goodbye.'

At Fuchsia's peremptory dismissal, which had not been meant unkindly, abrupt as it had sounded, Mrs Slagg's eyes filled with tears. But ancient, tiny and hurt though she was, her anger rose again like a miniature tempest, and instead of her usual peevish cry of 'Oh, my weak heart! how could you?' she caught hold of Fuchsia's hand and tried to bend back the girl's fingers and, failing, was about to try and bite her ladyship's arm when she found herself being carried to the bed. Denied of her little revenge, she closed her eyes for a few moments, her chicken bosom rising and falling with fantastic rapidity. When she opened her eyes, the first thing she saw was Fuchsia's hand spread out before her and, rising on one elbow, she smacked at it again and again until exhausted, when she buried her wrinkled face in Fuchsia's side.

'I'm sorry,' said the girl. 'I didn't mean Goodbye in that way. I only meant that I wanted to be left alone.'

'Why?' (Mrs Slagg's voice was hardly audible, so closely was her face pressed into Fuchsia's dress.) 'Why? why? why? Anyone would think I got in your way. Anyone would think I didn't know you inside out. Haven't I taught you everything since you were a baby? Didn't I rock you to sleep, you beastly thing? Didn't I?' She raised her old tearful face to Fuchsia. 'Didn't I?'

'You did,' said Fuchsia.

''Well', then!' said Nanny' Slagg. ''Well', then!' And she crawled off the bed and made her descent to the ground.

'Get off the counterpane at 'once', you 'thing', and don't stare at me! Perhaps I'll come and see you tonight. Perhaps. I don't know. Perhaps I don't want to.' She made for the door, reached for the handle and was within a few moments alone once more in her small room, where with her red-rimmed eyes wide open, she lay upon her bed like a discarded doll.

Fuchsia, with the room to herself, sat down in front of a mirror that had smallpox so badly at its centre that in order to see herself properly she was forced to peer into a comparatively unblemished corner. Her comb, with a number of its teeth missing, was eventually found in a drawer below the mirror when, just as she was about to start combing her hair - a performance she had but lately taken to - the room darkened, for half the light from her window was suddenly obscured by the miraculous appearance of the young man with high shoulders.

Before Fuchsia had had a moment to ponder how any human being could appear on her window-sill a hundred feet above the ground - let alone recognize the silhouette - she snatched a hair brush from the table before her and brandished it behind her head in readiness for she knew not what. At a moment when others might have screamed or shrunk away, she had showed fight - with what at that startling moment might have been a bat-winged monster for all she knew. But in the instant before she flung the brush she recognized Steerpike.

He knocked with his knuckle on the lintel of the window.

'Good afternoon, madam,' he said. 'May I present my card?' And he handed Fuchsia a slip of paper bearing the words: 'His Infernal Slyness, the Arch-fluke Steerpike.'

But before Fuchsia had read it she had begun to laugh in her short, breathless way, at the mock-solemn tone of his 'Good afternoon, madam,' It had been so perfectly ponderous.

But until she had motioned him to descend to the floor of the room - and she had no alternative - he had not moved an inch in that direction, but stood, with his hands clasped and his head cocked on one side. At her gesture he suddenly came to life again, as though a trigger had been touched, and within a moment had unknotted a rope from his belt and flung the loose end out of the window, where it dangled. Fuchsia, leaning out of the window, gazed upwards and saw the rest of the rope ascending the seven remaining storeys to a ragged roof, where presumably it was attached to some turret or chimney.

'All ready for my return,' said Steerpike. 'Nothing like rope, madam. Better than a horse. Climbs down a wall whenever you ask it, and never needs feeding.'

'You can leave off "Madaming" me,' said Fuchsia, somewhat loudly, and to Steerpike's surprise. 'You know my name.'

Steerpike, rapidly swallowing, digesting and purging his irritation, for he never wasted his time by mouthing his set-backs, seated himself on a chair in the reverse direction and placed his chin on the chair back.

'I will never forget,' he said, 'to always call you by your proper name, and in a very proper tone of voice, Lady Fuchsia.'

Fuchsia smiled vaguely, but she was thinking of something else.

'You are certainly one for climbing,' she said at last. 'You climbed to my attic - do you remember?'

Steerpike nodded.

'And you climbed up the library wall when it was burning. It seems very long ago.'

'And the time, if I may say so, Lady Fuchsia, when I climbed through the thunderstorm and over the rocks with you in my arms.'

It was as though all the air had been suddenly drawn from the room, so deathly silent and thin had the atmosphere become. Steerpike thought he could detect the faintest tinge of colour on Fuchsia's cheekbones.

At last he said: 'One day, Lady Fuchsia, will you explore with me the roofs of this great house of yours? I would like to show you what I have found, away to the south, your Ladyship, where the granite domes are elbow-deep in moss.'

'Yes,' she replied, 'yes...' His sharp, pallid face repelled her, but she was attracted by his vitality and air of secrecy.

She was about to ask him to leave, but he was on his feet before she could speak and had jumped through the window without touching its frame, and was swinging to and fro on the jerking rope before he started swarming it, hand over hand, on his long, upward climb to the ragged roof above.

When Fuchsia turned from the window she found upon her rough dressing-table a single rosebud.

As he climbed Steerpike remembered how the day of Titus' birth seven years previously had seen the commencement of his climb across the roofs of Gormenghast and the end of his servitude in Swelter's kitchen. The muscular effort required accentuated the hunching of his shoulders. But he was preternaturally nimble and revelled no less in physical than in mental tenacity and daring. His penetrating close-set eyes were fixed upon that point to which his rope was knotted as though it were the zenith of his fancy.

The sky had darkened, and with the rising of a swift wind came the driven rain. It hissed and spouted in the masonry. It found a hundred natural conduits where it slid. Air-shafts, flues and blowholes coughed with echoes, and huge flumes muttered. Lakes formed among the roofs, where they reflected the sky as though they had been there forever like waters in the mountains.

With the rope neatly coiled about his waist, Steerpike ran like a shadow across an acre of sloping slates. His collar was turned up. His white face was bearded with the rain.

High, sinister walls, like the walls of wharves, or dungeons for the damned, lifted into the watery air or swept in prodigious arcs of ruthless stone. Lost in the flying clouds the craggy summits of Gormenghast were wild with straining hair - the hanks of the drenched rock-weed. Buttresses and outcrops of unrecognizable masonry loomed over Steerpike's head like the hulks of mouldering ships, or stranded monsters whose streaming mouths and brows were the sardonic work of a thousand tempests. Roof after roof of every gradient rose or slid away before his eyes; terrace after terrace shone dimly below him through the rain, their long-forgotten flagstones dancing and hissing with the downpour.

A world of shapes fled past him, for he was as fleet as a cat and he ran without pause, turning now this way, now that, and only slackening his pace when some more than normally hazardous cat-walk compelled. From time to time as he ran he leaped into the air as though from excess of vitality. Suddenly, as he rounded a chimney-stack, black with dripping ivy, he dropped to walking-pace and then, ducking his head beneath an arch, he fell to his knees and hauled up, with a grating of hinges, a long-forgotten skylight. In a moment he was through and had dropped into a small empty room twelve feet beneath. It was very dark. Steerpike uncoiled himself of the rope and looped it over a nail in the wall. Then he glanced around the dark room. The walls were covered with glass-fronted showcases, filled with every kind of moth. Long thin pins impaled these insects to the cork lining of each box, but careful as the original collector must have been in his handling and mounting of the delicate things, yet time had told, and there was not a case without its damaged moth, and the floors of most of the little boxes smouldered with fallen wings.

Steerpike turned to the door, listening a moment, and then opened it. He had before him a dusty landing, and immediately on his left a ladder leading down to yet another empty room, as forlorn as the one he had just left. There was nothing in it except a great pyramidal stack of nibbled books, its dark interstices alive with the nests of mice. There was no door to this room, but a length of sacking hung limply over a fissure in the wall, which was broad enough for Steerpike to negotiate, moving sideways. Again there were stairs, and again there was a room, but longer this time, a kind of gallery. At its far end stood a stuffed stag, its shoulders white with dust.

As he crossed the room he saw through the corner of his eye, and framed by a glass-less window, the sinister outline of Gormenghast mountain, its high crags gleaming against a flying sky. The rain streamed through the window and splashed on the boards, so that little beads of dust ran to and fro on the floor like globules of mercury.

Reaching the double door, he ran his hands through his dripping hair and turned down the collar of his coat; and then, passing through and veering to the left, followed a corridor for some way before he reached a stairhead.

No sooner had he peered over the banisters than he started back, for the Countess of Groan was passing through the lamp-lit room below. She seemed to be wading in white froth, and the hollow rooms behind Steerpike reverberated with a dull throbbing, a multitudinous sound, the echo of the genuine ululation which he could not hear, the droning of the cats. They passed from the hall below like the ebbing of a white tide through the mouth of a cave, at its centre, a rock that moved with them, crowned with red seaweed.

The echoes died. The silence was like a stretched sheet. Steerpike descended rapidly to the room below and made to the east.

The Countess walked with her head bowed a little and her arms akimbo. There was a frown on her brow. She was not satisfied that the immemorial sense of duty and observance was universally held sacrosanct in the wide network of the castle. Heavy and abstracted as she seemed, yet she was as quick as a snake to detect danger, and though she could not put a finger, as it were, on the exact area of her doubt, she was nevertheless suspicious, wary and revengeful of she knew not exactly what.

She was turning over all the fragments of knowledge which might relate to the mysterious burning of her late husband's library, to his disappearance and to the disappearance of his chef. She was using almost for the first time, a naturally powerful brain - a brain that had been purred to sleep for so long by her white cats that it was difficult at first for her to awaken it.

She was on her way to the Doctor's house. She had not visited him for several years, and on the last occasion it was only to have him attend to the broken wing of a wild swan. He had always irritated her, but against her own inclination she had always felt a certain peculiar confidence in him.

As she descended a long flight of stone stairs, the undulating tide at her feet had become a cascade in slow motion. At the foot of the stairs she stopped.

'Keep... close... keep... close... together,' she said aloud, using her words like stepping-stones - a noticeable gap between each, which in spite of the depth and huskiness of her voice had something childlike in its effect.

The cats were gone. She stood on solid earth again. The rain thrummed outside a leaded window. She walked slowly to the door that opened upon a line of cloisters. Through the arches she saw the Doctor's house on the far side of a quadrangle. Walking out into the rain as though it were not there, she moved through the downpour with a monumental and unhurried measure, her big head lifted.

SIX

I

Prunesquallor was in his study. He called it his 'study'. To his sister, Irma, it was a room in which her brother barricaded himself whenever she wished to talk to him about anything important. Once within and the door locked, the chain up and the windows bolted, there was very little she could do save beat upon the door.

This evening Irma had been more tiresome than ever. What was it, she had inquired, over and over again, which prevented her from meeting someone who could appreciate and admire her? She did not want him, this hypothetical admirer, necessarily to dedicate his 'whole' life to her, for a man must have his work - (as long as it didn't take too long) - mustn't he? But if he was wealthy and 'wished' to dedicate his life to her - well, she wouldn't make promises, but would give the proposal a fair hearing. She had her long, unblemished neck. Her bosom was flat, it was true, and so were her feet, but after all a woman can't leave everything. 'I 'move' well, don't I, Alfred?' she had cried in a sudden passion. 'I say. I 'move' well?'

Her brother, whose long pink face had been propped on his long white hand, raised his eyes from the tablecloth on which he had been drawing the skeleton of an ostrich. His mouth opened automatically into something that had more of a yawn than a smile about it, but a great many teeth were flashed. His smooth jaws came together again, and as he looked at his sister he pondered for the thousandth time upon the maddening coincidence of being saddled with such a sister. It being the thousandth time, he was well practised, and his ponder lasted no more than a couple of rueful seconds. But in those seconds he saw again the stark idiocy of her thin, lipless mouth, the twitching fatuity of the skin under her eyes, the roaring repression that could do no more than bleat through her voice; the smooth, blank forehead (from which the coarse, luxuriant masses of her iron-grey hair were strained back over her cranium, to meet in the compact huddle of a bun as hard as a boulder) - that forehead which was like the smoothly plastered front of an empty house, deserted save by the ghost of a bird-like tenant which hopped about in the dust and preened its feathers in front of tarnished mirrors.

'Lord! Lord!' he thought, 'why, out of all the globe's creatures, should I, innocent of murder, be punished in this way?'

He grinned again. This time there was nothing of the yawn left in the process. His jaws opened out like a crocodile's. How could any human head contain such terrible and dazzling teeth? It was a brand-new graveyard. But oh! how anonymous it was. Not a headstone chiselled with the owner's name. Had they died in battle, these nameless, dateless, dental dead, whose memorials, when the jaws opened, gleamed in the sunlight, and when the jaws met again rubbed shoulders in the night, scraping an ever closer acquaintance as the years rolled by? Prunesquallor had smiled. For he had found relief in the notion that there were several worse things imaginable than being saddled with his sister metaphorically, and one of them was that he should have been saddled with her in all its literal horror. For his imagination had caught a startlingly vivid glimpse of her upon his back, her flat feet in the stirrups, her heels digging into his flanks as, careering round the table on all fours with the bit in his mouth and with his haunches being cross-hatched with the flicks of her whip, he galloped his miserable life away.

'When I ask you a question, Alfred - I say when I ask you a question, Alfred, I like to think that you can be civil enough, even if you 'are' my brother, to answer me instead of smirking to yourself.'

Now if there was one thing that the doctor could never do it was to smirk. His face was the wrong shape. His muscles moved in another way altogether.

'Sister mine,' he said, 'since thus you are, forgive, if you can, your brother. He waits breathlessly your answer to his question. It is this, my turtle-dove. 'What did you say to him?' For he has forgotten so utterly that were his death dependent on it, he would be forced to live - with you, his fruit-drop, with you alone.'

Irma never listened beyond the first five words of her brother's somewhat involved periods, and so a great many insults passed over her head. Insults, not vicious in themselves, they provided the Doctor with a form of verbal self-amusement without which he would have to remain locked in his study the entire time. And, in any case, it wasn't a study, for although its walls were lined with books, it held nothing else beyond a very comfortable arm-chair and a very beautiful carpet. There was no writing-desk. No paper or ink. Not even a wastepaper basket.

'What was it you asked me, flesh of my flesh? I will do what I can for you.'

'I have been saying, Alfred, that I am not without charm. Nor without grace, or intellect. Why is it I am never approached? Why do I never have advances made to me?'

'Are you speaking financially?' asked the doctor.

'I am speaking spiritually, Alfred, and you know it. What have others got that I haven't?'

'Or conversely,' said Prunesquallor, 'what haven't they got that you already have?'

'I don't follow you,' Alfred. I said I don't follow you.'

'That's just what you do do,' said her brother, reaching out his arms and fluttering his fingers. 'And I wish you'd stop it.'

'But my deportment, Alfred. Haven't you noticed it? What's wrong with your sex - can't they see I 'move' well?'

'Perhaps we're too spiritual,' said Doctor Prunesquallor.

'But my carriage! Alfred, my carriage!'

'Too powerful, sweet white-of-egg, far too powerful; you lurch from side to side of life's drear highway: those hips of yours rotating as you go. Oh, no, my dear one, your carriage scares them off, that's what it does. You terrify them, Irma.'

This was too much for her.

'You've never 'believed' in me!' she cried, rising from the table, and a dreadful blush suffusing her perfect skin. 'But I can tell you' - her voice rose to a shrill scream - ''that I'm a lady'! What do you think I want with 'men'? The beasts! I hate them. Blind, stupid, clumsy, horrible, heavy, vulgar things they are. And you're 'one' of them!' she screamed, pointing at her brother, who, with his eyebrows raised a little, was continuing with his drawing of the ostrich from where he had left off. 'And 'you' are one of them! Do you hear me, Alfred, one of 'them'!'

The pitch of her voice had brought a servant to the door. Unwisely, he had opened it, ostensibly to ask whether she had rung for him, but in reality to see what was going on.

Irma's throat was quivering like a bowstring.

'What have ladies to do with men?' she screamed; and then, catching sight of the face of the servant at the door, she plucked a knife from the table and flung it at the face. But her aim was not all it might have been, possibly because she was so involved in being a lady, and the knife impaled itself on the ceiling immediately above her own head, where it gave a perfect imitation of the shuddering of her throat.

The doctor, adding with deliberation the last vertebra to the tail of the skeleton ostrich, turned his face firstly to the door, where the servant, his mouth hanging open, was gazing spellbound at the shuddering knife.

'Would you be so kind as to remove your redundant carcass from the door of this room, my man,' he said, in his high, abstracted voice; 'and keep it in the kitchen, where it is paid to do this and that among the saucepans, I believe... would you? No one rang for you. Your mistress' voice, though high, is nothing like the ringing of a bell... nothing at all.'

The face withdrew.

'And what's more,' came a desperate cry from immediately below the knife, 'he never comes to see me any more! Never! Never!'

The doctor rose from the table. He knew she was referring to Steerpike, but for whom she would probably never have experienced the recrudescence of this thwarted passion which had grown upon her since the youth had first dispatched his flattering arrows at her all too sensitive heart.

Her brother wiped his mouth with a napkin, brushed a crumb from his trousers, and straightened his long, narrow back.

'I'll sing you a little song,' he said. 'I made it up in the bath last night, ha! ha! ha! ha! - a whimsy little jangle, I tell myself - a whimsy little jangle.'

He began to move round the table, his elegant white hands folded about one another. 'It went like this, I fancy...' But as he knew she would probably be deaf to what he recited, he took her glass from beside her plate and - 'A little wine is just what you need, Irma dear, before you go to bed - for you are going straight away, aren't you, my spasmic one, to Dreamland - ha, ha, ha! where you can be a lady all night long.'

With the speed of a professional conjurer he whipped a small packet from his pocket and, extracting a tablet, dropped it into Irma's glass. He decanted a little wine into the glass and handed it to her with the exaggerated graciousness which seldom left him. 'And I will take some myself,' he said, 'and we will drink to each other.'

Irma had collapsed into a chair, and her long marmoreal face was buried in her hands. Her black glasses, which she wore to protect her eyes from the light, were at a rakish slant across her cheek.

'Come, come, I am forgetting my promise!' cried the doctor, standing before her, very tall, slender and upright, with that celluloid head of his, all sentience and nervous intelligence, tilted to one side like a bird's.

'First a quaff of this delicious wine from a vineyard beneath a brooding hill - I can see it so dearly - and you, O Irma, can 'you' see it, too? The peasants toiling and sweating in the sun - and why? Because they have no option, Irma. They are desperately poor, and their bowed necks are wry. And the husband-men, like every good husband, tending his love - stroking the vines with his horny hand, whispering to them, coaxing them, "O little grapes," he whispers, "give up your wine. Irma is waiting." And here it is; here it is, ha, ha, ha, ha! Delicious and cold and white, in a cut-glass goblet. Toss back your coif and quaff, my querulous queen!

Irma roused herself a little. She had not heard a word. She had been in her own private hell of humiliation. Her eyes turned to the knife in the ceiling. The thin line of her mouth twitched, but she took the glass from her brother's outstretched hand.

Her brother clinked his glass against hers and, duplicating the movement of his arm, she raised her own automatically and drank.

'And now for the little jingle which I threw off in that nonchalant way of mine. How did it go? How did it go?'

Prunesquallor knew that by the third verse the strong, tasteless soporific which had dissolved in her wine would begin to take effect. He sat on the floor at her knees and, quelling a revulsion, he patted her hand.

'Queen bee,' he said, 'look at me, if you can. Through your midnight spectacles. It shouldn't be too dreadful - for one who had fed on horrors. Now, listen...' Irma's eyes were already beginning to close.

'It goes like this, I think. I called it 'The Osseous 'Orse'.'

Come, flick the ulna juggler-wise

And twang the tibia for me!

O Osseous 'orse, the future lies

Like serum on the sea.

Green fields and buttercups no more

Regale you with delight, no, no!

The tonic tempests leap and pour

Through your white pelvis ever so.

'Are you enjoying it, Irma?' She nodded sleepily.

Come, clap your scapulae and twitch

The pale pagoda of your spine,

Removed from life's eternal itch

What need for iodine?

The Osseous 'orse sat up at once

And clanged his ribs in biblic pride.

I fear I looked at him askance

Though he had naught to hide…

At this point the doctor, having forgotten what came next, turned his eyes once more to his sister Irma; she was fast asleep. The doctor rang the bell.

'Your mistress's maid; a stretcher; and a couple of men to handle it.' (A face had appeared in the doorway.) ''And' be rapid.' The face withdrew.

When Irma had been put to bed and her lamp had been turned low and silence swam through the house, the doctor unlocked the door of his study, entered and sank back into his arm-chair. His friable-looking elbows rested upon the padded arms. His fingers were twined together into a delicate bunch, and on this bunch he supported his long and sunken jaw. After a few moments he removed his glasses and laid them on the arm of his chair. Then, with his fingers clasped together once again beneath his chin, he shut his eyes and sighed gently.

SEVEN

But he was not destined to more than a few moments of relaxation, for feet were soon to be heard outside his window. Only two of them, it was true, but there was something in the weight and deliberation of the tread that reminded him of an army moving in perfect unison, a dread and measured sound. The rain had quietened and the sound of each foot as it struck the ground was alarmingly clear.

Prunesquallor could recognize that portentous gait among a million. But in the silence of the evening his mind flew to the phantom army it awakened in his leap-frogging brain. What was there in the clockwork stepping of an upright host to contract the throat and bring, as does the thought of a sliced lemon, that sharp astringency to throat and jaw? Why do the tears begin to gather? And the heart to thud?

He had no time to ponder the matter now, so at one and the same time he tossed a mop of grey thatch from his brow and an army-on-the-march from his mind.

Reaching the door before his bell could clang the servants into redundance he opened it, and to the massive figure who was about to whack the door with her fist- 'I welcome your Ladyship,' he said. His body inclined itself a little from the hips and his teeth flashed, while he wondered what, in the name of all that was heterodox, the Countess thought she was doing in visiting her physician at this time of night. She visited nobody, by day 'or' night. That was one of the things about her. Nevertheless, here she was.

'Hold your horses.' Her voice was heavy, but not loud.

One of Doctor Prunesquallor's eyebrows shot to the top of his forehead. It was a peculiar remark to be greeted with. It might have been supposed that he was about to embrace her. The very notion appalled him.

But when she said: 'You can come in now,' not only did his other eyebrow fly up his forehead, but it set its counterpart a-tremble with the speed of its uprush.

To be told he could 'come in now' when he was already inside was weird enough; but the idea of being given permission to enter his own house by a guest was grotesque.

The slow, heavy, quiet authority in the voice made the situation even more embarrassing. She had entered his hall. 'I wish to see you,' she said, but her eyes were on the door which Prunesquallor was closing. When it had barely six inches to go before the night was locked out and the latch had clicked 'Hold!' she said, in a rather deeper tone, 'hold hard!' And then, with her big lips pursed like a child's, she gave breath to a long whistle of peculiar sweetness. A tender and forlorn note to escape from so ponderous a being.

The doctor, as he turned to her, was a picture of perplexed inquiry, though his teeth were still shining gaily. But as he turned something caught the corner of his eye. Something white. Something that moved.

Between the space left by the all-but-closed door, and very close to the ground, Doctor Prunesquallor saw a face as round as a hunter's moon, as soft as fur. And this was no wonder, for it was a face of fur, peculiarly blanched in the dim light of the hall. No sooner had the Doctor reacted to this face than another took its place, and close upon it, silent as death, came a third, a fourth, a fifth... In single file there slid into the hall, so close upon each other's tails that they might have been a continuous entity, her ladyship's white clowder.

Prunesquallor, feeling a little dizzy, watched the undulating stream flow past his feet as he stood with his hand on the doorknob. Would they never end? He had watched them for over two minutes.

He turned to the Countess. She stood in coiling froth like a lighthouse. By the dim glow of the hall lamp her red hair threw out a sullen light.

Prunesquallor was perfectly happy again. For what had irked him was not the cats, but the obscure commands of the Countess. Their meaning was now self-evident. And yet, how peculiar to have enjoined a swarm of cats to hold their horses!

The very thought of it got hold of his eyebrows again, which had lowered themselves reluctantly while he waited for his chance to close the door, and they had leapt up his forehead as though a pistol had been cracked and a prize awaited the fastest.

'We're... all... here,' said the Countess. Prunesquallor turned to the door and saw that the stream had, indeed, run dry. He shut the door.

'Well, well, well, well!' he trilled, standing on his toes and fluttering his hands, as though he were about to take off like a fairy. 'How 'delightful'! how very, very 'delightful' that you should call, your Ladyship. God bless my ascetic soul! if you haven't whipped the old hermit out of his introspection. Ha, ha, ha, ha, ha! And here, as you put it, you all are. There's no doubt about that, is there? What a party we will have! 'Mews'ical chairs and all! ha ha ha ha ha ha ha.'

The almost unbearable pitch of his laughter created an absolute stillness in the hall. The cats, sitting bolt upright, had their round eyes fixed on him.

'But I keep you waiting!' he cried. 'Waiting in my outer rooms! Are you a mere valetudinarian, my dear Ladyship, or some prolific mendicant whose bewitched offspring she hopes I can return to human shape? Of course you are not, by all that's evident, so why should you be left in this cold - this damp - this obnoxious hell of a hall, with the rain pouring off you in positive waterfalls... and so... and so, 'if' you'll allow me to lead on... ' - he waved a long, thin, delicate arm with as white a hand on the end of it, which fluttered like a silk flag - '... I'll throw a few doors open, Light a lamp or two, flick away a few crumbs in readiness for... What wine shall it be?'

He began to tread his way to the sitting-room with a curious flicking movement of the feet.

The Countess followed him. The servants had cleared the table of the supper dishes and the room had been left with so serene a composure about it that it was hard to believe that it was but a short while ago in this same room that Irma had disgraced herself.

Prunesquallor flung wide the door of the sitting-room for the Countess to pass through. He flung it with a spectacular abandon: it seemed to imply that if the door broke, or the hinges snapped, or a picture was jerked off the wall, what of it? This was his house; he could do what he liked with it. If he chose to jeopardize his belongings, that was his affair. This was an occasion when such meagre considerations would only enter the minds of the vulgar.

The Countess advanced down the centre of the room and then stopped. She stared about her abstractedly - at the long lemon-yellow curtain, the carved furniture, the deep green rug, the silver, the ceramics, the pale grey-and-white stripes of the wallpaper. Perhaps her mind reverted to her own candle-smelling, bird-filled, half-lit chaos of a bedroom, but there was no expression on her face.

'Are... all.... your... rooms... like... this...?' she muttered. She had just seated herself in a chair.

'Well, let me see,' said Prunesquallor. 'No, not exactly, your Ladyship... not 'exactly'.'

'I... suppose... they're... spotless. Is... that it... eh?'

'I believe they are; yes, yes, I quite believe they are. Not that I see more than five or six of them during the course of a year; but what with the servants flitting here and there with dusters and brooms, and clanking their buckets and wringing things out - and what with my sister Irma flitting after them to see that the right things are wrung and the wrung things are right, I have no doubt that we are all but sterilized to extinction: no tartar on the banisters: not a microbe left to live its life in peace.'

'I see,' said the Countess. It was extraordinary how damning those two words sounded. 'But I have come to talk to you.'

For a moment she stared about her ruminatively. The cats, with not a whisker moving, were everywhere in the room. The mantelpiece was heraldic with them. The table was a solid block of whiteness. The couch was a snowdrift. The carpet was sewn with eyes.

Her ladyship's head, which always seemed far bigger than any human head had a right to be, was turned away from the doctor and down a little, so that her powerful throat was tautened: yet ample along the near side. Her profile was nearly hidden by her cheek. Her hair was built up, for the most part, into a series of red nests and for the rest smouldered as it fell in snakelike coils to her shoulders, where it all but hissed.

The doctor twirled about on his narrow feet and flung open a silkwood cabinet door with a grandiose flourish, bringing his long white hands together beneath his chin and tossing a mop of grey hair from his forehead. He flashed his brilliant teeth at the Countess (who was still presenting him with her shoulder and about an eighth of her face), and then with eyebrows raised- 'Your Ladyship,' he said, 'that you should decide to visit me, and to discuss some subject with me, is an honour. But first what will you drink?'

The doctor in flinging open the door of his cabinet had revealed as rare and delicately chosen a group of wines as he had ever selected from his cellar.

The Countess moved her great head through the air.

'A jug of goat's milk, Prunesquallor, if you please,' she said.

What there was in the doctor that loved beauty, selectivity, delicacy and excellence - and there was a good deal in him that responded to these abstractions - shrank up like the horn of a snail and all but died. But his hand, which was poised in the air and was half-way to the trapped sunlight of a long-lost vineyard, merely fluttered to and fro as though it was conducting some gnomic orchestra, while he turned about, apparently in full control of himself. He bowed, and his teeth flashed. Then he rang the bell, and when a face appeared at the door - 'Have we a goat?' he said. 'Come, come, my man - yes or no. Have we, or haven't we, a goat?'

The man was positive that they had no such thing.

'Then you will find one, if you please. You will find one immediately. It is wanted. That will do.'

The Countess had seated herself. Her feet were planted apart and her heavy freckled arms were along the sides of her chair. In the silence that followed even Prunesquallor could think of nothing to say. The stillness was eventually broken by the voice of the Countess.

'Why do you have knives sticking in your ceiling?'

The doctor recrossed his legs and followed her impassive gaze which was fixed on the long bread-knife that suddenly appeared to fill the room. A knife in the fender, on a pillow, or under a chair is one thing, but a knife surrounded by the blank white wasteland of a ceiling has no shred of covering - is as naked and blatant as a pig in a cathedral.

But any subject was fruitful to the doctor. It was only a lack of material. a rare enough contingency in him, that he found appalling.

'That knife, your ladyship,' he said, giving the implement a glance of the deepest respect. 'bread-knife though it be, has a history. A history, madam! It has indeed.'

He turned his eyes to his guest. She waited impassively.

'Humble, unromantic, ill-proportioned, crude as it looks, yet it means much to me. Indeed, madam, it is so, and I am no sentimentalist. And why? you will be asking yourself. Why? Let me tell you all.'

He clasped his hands together and raised his narrow and elegant shoulders. 'It was with that knife, your ladyship, that I performed my first successful operation. I was among mountains. Huge tufted things. Full of character; but no charm. I was alone with my faithful mule. We were lost. A meteor flew overhead. What use was that to us? No use at all. It merely irritated us. For a moment it showed a track through the fever-dripping ferns. It was obviously the wrong one. It would only have taken us back to a morass we had just spent half a day struggling out of. What a sentence! What a vile sentence, your Ladyship, ha, ha, ha, ha, ha! Where was I? Ah, yes! Plunged in darkness. Miles from anywhere. What happened next? The strangest thing. Prodding my mule forward with my walking-cane - I was riding the brute at the time - it suddenly gave a cry like a child and began to collapse under me. As it subsided it turned its huge hairy head and what little light there was showed me its eyes were positively imploring me to free it from some agony or other. Now agony is an agonizing thing to happen to anyone, your Ladyship, but to locate the seat of the agony in a mule in the darkness of a mountainous and fever-dripping night is - er... not easy (Lytotis), ha, ha, ha! But 'do' something I must. It was already upon its side in the darkness - the great thing. I had leapt from its collapsing spine and at once my faculties began to do their damndest. The brute's eyes, still fixed on mine, were like lamps that were running out of oil. I put a couple of questions to myself - pertinent ones, I felt at the time - and still do; and the first was: IS the agony spiritual or physical? If the former, the darkness wouldn't matter, but the treatment would be tricky. If the latter, the darkness would be hell: but the problem was in my province - or very nearly. I plumped for the latter, and more by good fortune or that curious sixth sense one has when alone with a mule, among tufted mountains, I found almost at once it to have been a happy guess: for directly I had decided to work on a carnal basis I got hold of the mule's head, heaved it up, and swivelled it to such an angle that by the glow of its eyes I was able to illumine - faintly, of course, but to illumine, none the less - with a dull glow, the 'rest' of its body. At once I was rewarded. It was a pure case of "foreign body". Coiled - I couldn't tell you how many times - round the beast's hind leg, was a python! Even at that ghastly and critical moment I could see what a beautiful thing it was. Far more beautiful than my old brute of a mule. But did it enter my head that 1 should transfer my allegiance to the reptile? No. After all, there is such a thing as loyalty as well as beauty. Besides, I hate walking, and the python would have taken some riding, your Ladyship: the very saddling would tax a man's patience. And besides...'

The doctor glanced at his guest and immediately wished he hadn't. Taking out his silk handkerchief, he wiped his brow. Then he flashed his teeth, and with somewhat less ebullience in his voice... 'It was then that I thought of my bread-knife,' he added.

For a moment there was silence. And then, as the doctor filled his lungs and was ready to continue - 'How old are you?' said the Countess. But before Doctor Prunesquallor could readjust himself there was a knock at the door and the servant entered with a goat.

'Wrong sex, you idiot!' As the Countess spoke she rose heavily from her chair and, approaching the goat, she fondled its head with her big hands. It strained towards her on the rope leash and licked her arm.

'You amaze me,' said the doctor to the servant. 'No wonder you cook badly.

Away, my man, away! Unearth yet another, and get the gender right, for the love of mammals! Sometimes one wonders what kind of a world one is living in - by all things fundamental, one really does.'

The servant disappeared.

'Prunesquallor,' said the Countess, who had moved to the window and was staring out across the quadrangle.

'Madam?' queried the doctor.

'I am not easy in my heart, Prunesquallor.'

'Your heart, madam?'

'My heart and my mind.'

She returned to her chair, where she seated herself again and laid her arms along the padded sides as before.

'In what way, your Ladyship?' Prunesquallor's voice had lost its facetious vapidity.

'There is mischief in the castle,' she replied. 'Where it is I do not know. But there is mischief.' She stared at the doctor.

'Mischief?' he said at last. 'Some influence, do you mean - some bad influence, madam?'

'I do not know for sure. But something has changed. My bones know it.

There is someone.'

'Someone?'

'An enemy. Whether ghost or human I do not know. But an enemy. Do you understand?'

'I understand,' said the doctor. Every vestige of his waggery had disappeared. He leaned forward. 'It is not a ghost,' he said. 'Ghosts have no itch for rebellion.'

'Rebellion!' said the Countess loudly. 'By whom?'

'I do not know. But what else can it be you sense, as you say, in your bones, madam?'

'Who would 'dare' to rebel?' she whispered, as though to herself. 'Who would dare?...' And then, after a pause: 'Have you 'your' suspicions?'

'I have no proof. But I will watch for you. For, by the holy angels, since you have brought the matter up there is evil abroad and no mistake.'

'Worse,' she replied, 'worse than that. There is perfidy.'

She drew a deep breath and then, very, slowly: '... and I will crush its life out: I will break it: not only for Titus' sake and for his dead father's, but more - for Gormenghast.'

'You speak of your late husband, madam, the revered Lord Sepulchrave. Where are his remains, madam, if he is truly dead?'

'And more than that, man, more than that! What of the fire that warped his brilliant brain? What of that fire in which, but for that youth Steerpike...'

She lapsed into a thick silence.

'And what of the suicide of his sisters; and the disappearance of the chef on the same night as his Lordship your husband - and all within a year, or little more: and since then a hundred irregularities and strange affairs? What lies at the back of all this? By all that's visionary, madam, your heart has reason to be uneasy.'

'And there is Titus,' said the Countess.

'There is Titus,' the doctor repeated as quick as an echo.

'How old is he now?'

'He is nearly eight,' Prunesquallor raised his eyebrows. 'Have you not seen him?'

'From my window,' said the Countess, 'when he rides along the South Wall.'

'You should be with him, your Ladyship, now and then,' said the doctor. 'By all that's maternal, you really should see more of your son.'

The Countess stared at the doctor, but what she might have replied was stunned for ever by a rap at the door and the reappearance of the servant with a nannygoat.

'Let her go!' said the Countess.

The little white goat ran to her as though she were a magnet. She turned to Prunesquallor. 'Have you a jug?'

The doctor turned his head to the door. 'Fetch a jug,' he said to the disappearing face.

'Prunesquallor,' she said, as she knelt down, a prodigious bulk in the lamplight, and stroked the sleek ears of the goat, 'I will not ask you on whom your suspicions lie. No. Not yet. But I expect you to watch, Prunesquallor - to watch everything, as I do. You must be all aware, Prunesquallor, every moment of the day. I expect to be informed of heterodoxy, wherever it may be found. I have a kind of faith in you, man. A kind of faith in you. I don't know why...' she added.

'Madam,' said Prunesquallor, 'I will be on tip-toe.'

The servant came in with a jug, and retired.

The elegant curtains fluttered a little in the night air. The light of the lamp was golden in the room, glimmering on the porcelain bowls, on the squat cut-glass vases and the tall cloisonné ware: on the vellum backs of books and the glazed drawings that hung upon the walls. But its light was reflected most vividly from the countless small white faces of the motionless cats. Their whiteness blanched the room and chilled the mellow light. It was a scene that Prunesquallor never forgot. The Countess on her knees by the dying fire: the goat standing quietly while she milked it with an authority in the deft movement of her fingers that affected him strangely. Was this heavy, brusque, uncompromising Countess, whose maternal instincts were so shockingly absent: who had not spoken to Titus for a year: who was held in awe, and even in fear, by the populace: who was more a legend than a woman - was this indeed 'she', with the half-smile of extraordinary tenderness on her wide lips?

And then he remembered her voice again, when she had whispered: 'Who would dare to rebel? Who would 'dare'?' and then the full, ruthless organ-chord of her throat: 'And I will crush its life out! I will break it! Not only for Titus' sake...'

EIGHT

Cora and Clarice, although they did not know it, were imprisoned in their apartments. Steerpike had nailed and bolted from the outside all their means of exit. They had been incarcerated for two years, their tongues having loosened to the brink of Steerpike's undoing. Cunning and patient as he was with them, the young man could find no other foolproof way of ensuring their permanent silence on the subject of the library fire. No other way - but one. They believed that they alone among the inhabitants of the castle were free of a hideous disease of Steerpike's invention, and which he referred to as 'Weasel plague'.

The twins were like water. He could turn on or off at will the taps of their terror. They were pathetically grateful that through his superior wisdom they were able to remain in relative health. If a flat refusal to die in the face of a hundred reasons why they should, could be called health. They were obsessed by the fear of coming into contact with the carriers. He brought them daily news of the dead and dying.

Their quarters were no longer those spacious apartments where Steerpike first paid them his respects seven years ago. Far from them having a Room of Roots and a great tree leaning over space hundreds of feet above the earth, they were now on the ground level in an obscure precinct of the castle, a dead end, a promontory of dank stone, removed from even the less frequented routes. Not only was there no way through it, but it was shunned also for reason of its evil reputation. Unhealthy with noxious moisture, its very breath was double pneumonia.

Ironically enough, it was in such a place as this that the aunts rejoiced in the erroneous belief that they alone could escape the virulent and ghastly disease that was in their imaginations prostrating Gormenghast. They had by now become so self-centred under Steerpike's guidance as to be looking forward to the day when they, as sole survivors, would be able (after due precautions) to pace forth and be at last, after all these long years of frustration, the unopposed claimants to the Groan crown, that massive and lofty symbol of sovereignty, with its central sapphire the size of a hen's egg.

It was one of their hottest topics: whether the crown should be sawn in half and the sapphire split, so that they could always be wearing at least part of it, or whether it should be left intact and they should wear it on alternate days.

Hot and contested though this subject was, it stirred no visible animation. Not even their lips were seen to move, for they had acquired the habit of keeping them slightly parted and projecting their toneless voices without a tremor of the mouth. But for most of the time their long, solitary days were passed in silence. Steerpike's spasmodic appearances - and they had become less and less frequent - were, apart from their wild, bizarre and paranoiac glimpses of a future of thrones and crowns, their sole excitement.

How was it that their Ladyships Cora and Clarice could be hidden away in this manner and the iniquity condoned?

It was not condoned; for two years previously they had been as far as Gormenghast was concerned buried with a wealth of symbolism in the tombs of the Groans, a couple of wax replicas having been modelled by Steerpike for the dread occasion. A week before these effigies were lowered into the sarcophagus, a letter, as from the twins, but in reality forged by the youth, had been discovered in their apartments. It divulged the dreadful information that the sisters of the seventy-sixth Earl, who had himself disappeared from the castle without a trace, bent upon their self-destruction, had stolen by night from the castle grounds to make an end of themselves among the ravines of Gormenghast mountain.

Search parties, organized by Steerpike, had found no trace.

On the night previous to the discovery of the note, Steerpike had conveyed the Twins to the rooms which they now occupied, upon some pretext connected with an inspection of a couple of sceptres he had found and regilded.

All this seemed a long time ago. Titus had been a mere infant. Flay but lately banished. Sepulchrave and Swelter had melted into air. Like teeth missing from the jaw of Gormenghast, the disappearance of the Twins, added to those others, gave to the Castle for a time an unfamiliar visage and an aching bone. To some extent the wounds had healed and the change of face had been accepted. Titus was, after all alive and well - and the continuation of the Family assured.

The Twins were sitting in their room, after a day of more than usual silence. A lamp, set on an iron table (it burnt all day), gave them sufficient light to do their embroidery; but for some while neither of them applied herself to her work.

'What a long time life takes!' said Clarice at last. 'Sometimes I think it's hardly worthy encroaching on.'

'I don't know anything about 'encroaching'.' replied Cora; 'but since you have spoken I might as well tell you that you've forgotten something, as usual.'

'What have I forgotten?'

'You've forgotten that I did it yesterday and it is your turn today – thus.'

'My turn to what?'

'To 'comfort' me,' said Cora, looking hard at a leg of the iron table. 'You can go on doing it until half-past seven, and then it will be your turn to be depressed.'

'Very well: said Clarice: and she began at once to stroke her sister's arm. 'No, no, no!' said Cora, 'don't be so obvious. Do things without any mention· -like getting tea, for instance, and laying it quietly before me: 'All right,' answered Clarice, rather sullenly. 'But you've spoilt it now - haven't you? Telling me what to do. It won't be so thoughtful of me, will it? But perhaps I could get coffee instead.'

'Never mind all that, ' Cora replied, 'you talk too much. I don't want to suddenly find it's your turn.'

'What! For 'my' depression?'

'Yes, yes,' her sister said irritably: and she scratched the back of her round head.

'Not that I think you deserve one.'

Their conversation was disturbed, for a curtain parted behind them and Steerpike approached, a sword-stick in his hand.

The Twins rose together and faced him, their shoulders touching.

'How are my lovebirds?' he said. He lifted his slender stick and, with ghastly, impudence, tickled their ladyships' ribs with its narrow ferruled end. No expression appeared on their faces, but they went through the slow, wriggling motions of Eastern dancers. A clock chimed from above the mantelpiece, and as it ceased the monotonous sound of the rain appeared to redouble its volume. The light had become very bad.

'You haven't been here for a long while,' said Cora.

'How true,' said Steerpike.

'Had you forgotten us?'

'Not a bit of it,' he said, 'not a bit of it.'

'What happened, then?' asked Clarice.

'Sit down!' said Steerpike harshly, 'and listen to me.' He stared them out of countenance until their heads dropped, abashed, and they found themselves staring at their own clavicles. 'Do you think it is easy for me to keep the plague from your door and to be at your beck and call at the same time? Do you?'

They shook their heads slowly like pendulums.

'Then have the grace not to interrogate me!' he cried in mock anger. 'How dare you snap at the hand that feeds you! How dare you!'

The Twins, acting together, rose from their chairs and started moving across the room. They paused a moment and turned their eyes to Steerpike in order to make sure that they were doing what was expected of them. Yes. The stern finger of the young man was pointing to the heavy damp carpet that covered the floor of the room.

Steerpike derived as much pleasure in watching these anile and pitiful creatures, dressed in their purple finery, as they crawled beneath the carpet as he got from anything. He had led them gradually, and by easy and cunning steps, from humiliation to humiliation, until the distorted satisfaction he experienced in this way had become little short of a necessity to him. Were it not that he found this grotesque pleasure in the exercise of his power over them, it is to be doubted whether he would have gone to all the trouble which was involved in keeping them alive.

As he stared at the twin hummocks under the carpet he did not realize that something very peculiar and unprecedented was happening. Cora, in her warren-like seclusion, crouched in the ignominious darkness, had conceived an idea. Where it came from she did not trouble to inquire of herself, nor why it should have come, for Steerpike, their benefactor, was a kind of god to her, as he was to Clarice. But the idea had suddenly flowered in her brain unbidden. It was that she would very much like to kill him. Directly she had conceived the idea she felt frightened, and her fear was hardly lessened by a flat voice in the darkness saying with empty deliberation: 'So... would... I. We could do it together. couldn't we? We could do it together.'

NINE

There was an all but forgotten landing high in the southern wing, a landing taken over for many a decade by succeeding generations of dove-grey mice, peculiarly small creatures, little larger than the joint of a finger and indigenous to this southern wing, for they were never seen elsewhere.

In years gone by this unfrequented stretch of floor, walled off on one side with high banisters, must have been of lively interest to some person or persons; for though the colours had to a large extent faded, yet the floor-boards must once have been a deep and glowing crimson, and the three walls the most brilliant of yellows. The banisters were alternately apple-green and azure, the frames of the doorless doorways being also this last colour. The corridors that led away in dwindling perspective, continued the crimson of the floor and the yellow of the walls, but were cast in a deep shade.

The balcony banisters were on the southern side, and, in the sloping roof above them, a window let in the light and, sometimes, the sun itself, whose beams made of this silent, forgotten landing a cosmos, a firmament of moving motes, brilliantly illumined, an astral and at the same time a solar province; for the sun would come through with its long rays and the rays would be dancing with stars. Where the sunbeams struck, the floor would flower like a rose, a wall break out in crocus-light, and the banisters would flame like rings of coloured snakes.

But even on the most cloudless of summer days, with the sunlight striking through, the colours had in their brilliance the pigment of decay. It was a red that had lost its flame that smouldered from the floor-boards.

And across this old circus-ground of bygone colours the families of the grey mice moved.

When Titus first came upon the coloured banisters of the staircase it was at a point two floors below the yellow-walled balcony. He had been exploring on that lower floor, and finding himself lost he had taken fright, for room after room was cavernous with shadow or vacant and afloat with sunlight that lit the dust on the wide floors - somehow more frightening to the child in its golden dereliction than the deepest shadow's. Had he not clenched his hands he would have screamed, for the very lack of ghosts in the deserted halls and chambers was in itself unnerving; for there was a sense that something had either just left each corridor, or each hall as he came upon it, or else that the stages were set and ready for its appearance.

It was with his imagination dilated and his heart hammering aloud that Titus, suddenly turning a corner, came upon a section of the staircase two floors below the haunt of the grey mice.

Directly Titus saw the stairway he ran to it, as though every banister were a friend. Even in the access of his relief, and even while the hollow echo of his footsteps was in his ears, his eyes widened at the apple-green - the azure of the banisters, each one a tall plinth of defiance. Only the rail which these bright things supported was hueless, being of a smooth, hand-worn ivory whiteness. Titus gripped the banisters and then peered through them and downward. There seemed little life in the fathoms beneath him. A bird flew slowly past a far landing; a section of plaster fell from a shadowy wall three floors below the bird, but that was all.

Titus glanced above him and saw how close he stood to the head of the stairway. Anxious as he was to escape from the atmosphere of these upper regions, yet he could not resist running to the top of the stairs, where he could see the colours burning. The small grey mice squeaked and scampered away down the passageways or into their holes. A few remained against the walls and watched Titus for a short while before returning to their sleeping or nibbling.

The atmosphere was indescribably golden and friendly to the boy: so friendly that his proximity to the hollow room below him did little to disturb his delight. He sat down, his back against a yellow wall, and watched the white motes manoeuvring in the long sunbeams.

'This is 'mine! mine'!' he said aloud. 'I found it.'

TEN

Through the vile subterranean light that filled the Professors' Common-room three figures appeared to float as the brown billows shifted. Tobacco smoke had made of the place a kind of umber tomb. These three were the vanguard of a daily foregathering, as sacrosanct and inevitable as the elm-top meeting place of rooks in March. But how much less healthy! A foregathering of the Professors, for it was eleven O' clock and the short recreation had begun.

Their pupils - the sparrows, as it were - of Gormenghast were racing to the vast red-sandstone yard - a yard surrounded on all sides by high ivy-covered walls of the same stone. Innumerable knife blades had snapped upon its harsh surface, for there must surely be a thousand spidery initials scored into the stone! A hundred painfully incised valedictions and observations whose significance had long since lost its edges. Deeper incisions into the red stone had mapped out patterns for some or other game of local invention. Many a boy had sobbed against these walls; many a knuckle been bruised as a head flicked sideways from the blow. Many a child had fought his way back into the open yard with bloody mouth, and a thousand swaying pyramids of boys had tottered and collapsed as the topmost clung to the ivy.

The yard was approached by a tunnel which commenced immediately beneath the long south classroom, where steps led down through a trapdoor. The tunnel, old and thick with ferns, was at this moment echoing barbarically to the cat-calls of a horde of boys as they made pell-mell for the red-stone yard, their immemorial playground.

But in the Professors' Common-room the three gentlemen were finding relaxation through an abatement rather than an increase of energy.

To enter the room from the Professors' corridor was to suffer an extraordinary change of atmosphere, no less sudden than if a swimmer in clear white water were suddenly to find himself struggling to keep afloat in a bay of soup. Not only was the air fuscous with a mixture of smells, including stale tobacco, dry chalk, rotten wood, ink, alcohol and, above all, imperfectly cured leather, but the general colour of the room was a transcription of the smells, for the walls were of horsehide, the dreariest of browns, relieved only by the scattered and dully twinkling heads of drawing-pins.

On the right of the door hung the black gowns of office in various stages of decomposition.

Of the three Professors, the first to have reached the room that morning in order to establish himself securely in the only arm-chair (it was his habit to leave the class he was teaching - or pretending to teach - at least twenty minutes before its official conclusion, in order to be certain that the chair was free) was Opus Fluke. He lay rather than sat in what was known among the staff as 'Fluke's Cradle'. Indeed he had worn that piece of furniture - or symbol of bone-laziness - into such a shape as made the descent of any other body than his own into that crater of undulating horsehair a hazardous enterprise.

Those daily indulgences before the mid-morning break and their renewal before the dinner-bell were much prized by Mr Opus Fluke, who during these periods augmented the pall of tobacco smoke already obscuring the ceiling of the Common-room with enough of his own exhaling to argue not only that the floor-boards were alight, but also that the core of the conflagration was Mr Fluke himself, lying, as he was, at an angle of five degrees with the floor, in a position that might, in any case, argue asphyxiation. But there was nothing on fire except the tobacco in his pipe and as he lay supine, the white wreaths billowing from his wide, muscular and lipless mouth (rather like the mouth of a huge and friendly lizard), he evinced so brutal a disregard for his own and other people's windpipes as made one wonder how this man could share the selfsame world with hyacinths and damsels.

His head was well back. His long, bulging chin pointed to the ceiling like a loaf of bread. His eyes followed lugubriously the wavering ascent of a fresh smoke-ring until it was absorbed into the upper billows. There was a kind of ripeness in his indolence, in his dreadful equability.

Of Opus Fluke's two companions in the Common-room the younger, Perch-Prism, was squatting jauntily on the edge of a long ink-stained table. This ancient span of furniture was littered with textbooks, blue pencils, pipes filled to various depths with white ash and dottle, pieces of chalk, a sock, several bottles of ink, a bamboo walking-cane, a pool of white glue, a chart of the solar system, burned away over a large portion of its surface through some past accident with a bottle of acid, a stuffed cormorant with tin-tacks through its feet, which had no effect in keeping the bird upright; a faded globe, with the words ''Cane Slypate Thursday'' scrawled in yellow chalk across it from just below the equator to well into the Arctic Circle; any number of lists, notices, instructions; a novel called ''The Amazing Adventures of Cupid Catt'', and at least a dozen high ragged pagodas of buff-coloured copybooks.

Perch-Prism had cleared a small space at the far end of this table, and there he squatted, his arms folded. He was a smallish, plumpish man, with self-assertion redolent in every movement he made, every word he uttered. His nose was pig-like, his eyes button-black and horribly alert, with enough rings about them to lasso and strangle at birth any idea that he was under fifty. But his nose, which appeared to be no more than a few hours of age, did a great deal in its own porcine way to offset the effect of the rings around the eyes, and to give Perch-Prism, on the balance, an air of youth.

Opus Fluke in his favourite chair: Perch-Prism perched on the table's edge: but the third of these gentlemen in the Common-room, in contrast to his colleagues, appeared to have something to do. Gazing into a small shaving-mirror on the mantelpiece, with his head on one side to catch what light could force its way through the smoke, Bellgrove was examining his teeth.

He was a fine-looking man in his way. Big of head, his brow and the bridge of his nose descended in a single line of undeniable nobility. His jaw was as long as his brow and nose together and lay exactly parallel in profile to those features. With his leonine shock of snow-white hair there was something of the major prophet about him. But his eyes were disappointing. They made no effort to bear out the promise of the other features, which would have formed the ideal setting for the kind of eye that flashes with visionary fire. Mr Bellgrove's eyes didn't flash at all. They were rather small, a dreary grey-green in colour, and were quite expressionless. Having seen them it was difficult not to bear a grudge against his splendid profile as something fraudulent. His teeth were both carious and uneven and were his worst feature.

With great rapidity Perch-Prism stretched out his arms and legs simultaneously and then withdrew them. At the same time he closed his bright black eyes and yawned as widely as his small, rather prim mouth could manage. Then he clapped his hands beside him on the table, as much as to say: 'One can't sit here dreaming all day!' Puckering his brow, he took out a small, elegant and well-kept pipe (he had long since discovered it as his only defence against the smoke of others) and filled it with quick, deft fingers.

He half-closed his eyes as he lit up, his pig-like nose catching the flare of the light on its underside. With his black and cerebral eyes hidden for a moment behind his eyelids, he was less like a man than a ravaged suckling.

He drew quickly three or four times at his pipe. Then, after removing it from his neat little mouth - ''Must you'?' he said, his eyebrows raised.

Opus Fluke, lying along his chair like a stretcher-case, moved nothing except his lazy eyes, which he turned slowly until they were semi-focusing bemusedly upon Perch-Prism's interrogatory face. But he saw that Perch-Prism had evidently addressed himself to someone else, and Mr Fluke, rolling his eyes languidly back, was able to obtain an indistinct view of Bellgrove behind him. That august gentleman, who had been examining his teeth with such minute care, frowned magnificently and turned his head.

'Must I 'what'? Explain yourself, dear boy. If there's anything I abominate it's sentences of two words. You talk like a fall of crockery, dear boy.'

'You're a damned old pedant, Bellgrove, and much overdue for burial,' said Perch-Prism, 'and as quick off the mark as a pregnant turtle. For pity's sake stop playing with your teeth!'

Opus Fluke in his battered chair, dropped his eyes and, by parting his long leather-lipped mouth in a slight upward curve, might have been supposed to be registering a certain sardonic amusement had not a formidable volume of smoke arisen from his lungs and lifted itself out of his mouth and into the air in the shape of a snow-white elm.

Bellgrove turned his back to the mirror and lost sight of himself and his troublesome teeth.

'Perch-Prism,' he said, 'you're an insufferable upstart. What the hell have my teeth got to do with you? Be good enough to leave them to me, sir.'

'Gladly,' said Perch-Prism.

'I happen to be in pain, my dear fellow.' There was something weaker in Bellgrove's tone.

'You're a hoarder,' said Perch-Prism. 'You cling to bygone things. They don't suit you, anyway. Get them extracted.'

Bellgrove rose into the ponderous prophet category once more. 'Never!' he cried, but ruined the majesty of his utterance by clasping at his jaw and moaning pathetically.

'I've no sympathy at all,' said Perch-Prism, swinging his legs. 'You're a stupid old man, and if you were in my class 1 would cane you twice a day until you had conquered (one) your crass neglect, (two) your morbid grasp upon putrefaction. I have no sympathy with you: This time as Opus Fluke threw out his acrid cloud there was an unmistakable grin.

'Poor old bloody Bellgrove,' he said. 'Poor old Fangs!' And then he began to laugh in a peculiar way of his own which was both violent and soundless. His heavy reclining body, draped in its black gown, heaved to and fro. His knees drew themselves up to his chin. His arms dangled over the sides of the chair and were helpless. His head rolled from side to side. It was as though he were in the last stages of strychnine poisoning. But no sound came, nor did his mouth even open. Gradually the spasm grew weaker, and when the natural sand colour of his face had returned (for his corked-up laughter had turned it dark red) he began his smoking again in earnest.

Bellgrove took a dignified and ponderous step into the centre of the room. 'So I am "Bloody Bellgrove" to you, am I, Mr Fluke? That is what you think of me, is it? That is how your crude thoughts run. Aha!... aha!...' (His attempt to sound as though he were musing philosophically upon Fluke's character was a pathetic failure. He shook his venerable head.) 'What a coarse type you are, my friend. You are like an animal - or even a vegetable. Perhaps you have forgotten that as long as fifteen years ago I was considered for Headship. Yes, Mr Fluke, '"considered"'. It was then, I believe, that the tragic mistake was made of your appointment to the staff. H'm... Since then you have been a disgrace, sir - a disgrace for fifteen years - a disgrace to our calling. As for me, unworthy as I am, yet I would have you know that I have more experience behind me than I would care to mention. You're a slacker, sir, a damned slacker! And by your lack of respect for an old scholar you only...'

But a fresh twinge of pain caused Bellgrove to grab at his jaw. 'Oh, my 'teeth!'' he moaned.

During this harangue Mr Opus Fluke's mind had wandered. Had he been asked he would have been unable to repeat a single word of what had been addressed to him.

But Perch-Prism's voice cut a path through the thick of his reverie.

'My dear Fluke,' it said, 'did you, or didn't you, on one of those rare occasions when you saw fit to put in an appearance in a classroom - on this occasion with the gamma Fifth, I believe - refer to me as a "bladder-headed cock"? It has come to my hearing that you referred to me as exactly that. Do tell me: it sounds so like you.'

Opus Fluke stroked his long, bulging chin with his hand.

'Probably,' he said at last, but I wouldn't know. I never listen.' The extraordinary paroxysm began again - the heaving, rolling, helpless, noiseless body-laughter.

'A convenient memory,' said Perch-Prism, with a trace of irritability in his clipped, incisive voice. 'But what's that?'

He had heard something in the corridor outside. It was like the high, thin, mewing note of a gull. Opus Fluke raised himself on one elbow. The high-pitched noise grew louder. All at once the door was flung open from without and there before them, framed in the doorway, was the Headmaster.

ELEVEN

If ever there was a primogenital figure-head or cipher, that archetype had been resurrected in the shape of Deadyawn. He was pure symbol. By comparison, even Mr Fluke was a busy man. It was thought that he had genius, if only because he had been able to delegate his duties in so intricate a way that there was never any need for him to do anything at all. His signature, which was necessary from time to time at the end of long notices which no one read, was always faked, and even the ingenious system of delegation whereon his greatness rested was itself worked out by another.

Entering the room immediately behind the Head a tiny freckled man was seen to be propelling Deadyawn forward in a high rickety chair, with wheels attached to its legs. This piece of furniture, which had rather the proportions of an infant's high chair, and was similarly fitted with a tray above which Deadyawn's head could partially be seen, gave fair warning to the scholars and staff of its approach, being in sore need of lubrication. Its wheels screamed.

Deadyawn and the freckled man formed a compelling contrast. There was no reason why they should 'both' be human beings. There seemed no common denominator. It was true that they had two legs each, two eyes each, one mouth apiece, and so on, but this did not seem to argue any similarity of 'kind', or if it did only in the way that giraffes and stoats are classified for convenience sake under the commodious head of 'fauna'.

Wrapped up like an untidy parcel in a gun-grey gown emblazoned with the signs of the zodiac in two shades of green, none of which signs could be seen very clearly for reason of the folds and creases, save for Cancer the crab on his left shoulder, was Deadyawn himself, and all but asleep. His feet were tucked beneath him. In his lap was a hot-water bottle.

His face wore the resigned expression of one who knew that the only difference between one day and the next lies in the pages of a calendar.

His hands rested limply on the tray in front of him at the height of his chin.

As he entered the room he opened one eye and gazed absently into the smoke. He did not hurry his vision and was quite content when, after several minutes, he made out the three indistinct shapes below him. Those three shapes - Opus Fluke, Perch-Prism and Bellgrove - were standing in a line, Opus Fluke having fought himself free of his cradle as though struggling against suction. The three gazed up at Deadyawn in his chair.

His face was as soft and round as a dumpling. There seemed to be no structure in it. no indication of a skull beneath the skin.

This unpleasant effect might have argued an equally unpleasant temperament. Luckily this was not so. But it exemplified a parallel bonelessness of outlook. There was no fibre to be found in him, and yet no weakness as such: only a negation of character. For his flaccidity was not a positive thing, unless Jelly-fish are consciously indolent.

This extreme air of abstraction, of empty and bland removedness, was almost terrifying. It was that kind of unconcern that humbled the ardent the passionate of nature, and made them wonder why they were expending so much energy of body and spirit when every day but led them to the worms. Deadyawn, by temperament or lack of it, achieved unwittingly what wise men crave: equipoise. In his case an equipoise between two poles which did not exist: but nevertheless there he was, balanced on an imaginary fulcrum.

The freckled man had rolled the high chair to the centre of the room. His skin stretched so tightly over his small bony and rather insect-like face that the freckles were twice the size they would normally have been. He was minute, and as he peered perkily from behind the legs of the high chair, his carrot-coloured hair shone with hair-oil. It was brushed flat across the top of his little bony insect-head. On all sides the walls of horse-hide rose into the smoke and smelt perceptibly. A few drawing-pins glimmered against the murky brown leather.

Deadyawn dropped one of his arms over the side of the high chair and wriggled a languid forefinger. 'The Fly' (as the freckled midget was called) pulled a piece of paper out of his pocket, but instead of passing it up to the Headmaster, he climbed, with extraordinary agility, up a dozen rungs of the chair and cried into Deadyawn's ear: 'Not yet! not yet! Only three of them here!'

'What's that?' said Deadyawn, in a voice of emptiness. 'Only, three of them here!'

'Which ones,' said Deadyawn, after a long silence.

'Bellgrove, Perch-Prism and Fluke,' said The Fly in his penetrating, fly-like voice. He winked at the three gentlemen through the smoke.

'Won't 'they' do?' murmured Deadyawn, his eyes shut. 'They're on my staff, aren't... they...?'

'Very much so,' said The Fly, 'very much so. But your Edict, sir, is addressed to the whole staff.'

'I've forgotten what it's all about. Remind... me...'

'It's all written down,' said The Fly. 'I have it here, sir. All you have to do is to read it, sir.' And again the small red-headed man honoured the three masters with a particularly intimate wink. There was something lewd in the way the wax-coloured petal of his eyelid dropped suggestively over his bright eye and lifted itself again without a flutter.

'You can give it to Bellgrove. He will read it when the time comes, said Deadyawn, lifting his hanging hand on to the tray before him and languidly stroking the hot-water bottle... 'Find out what's keeping them.'

The Fly pattered down the rungs of the chair and emerged from its shadow.

He crossed the room with quick, impudent steps, his head and rump well back. But before he reached the door it had opened and two Professors entered - one of them, Flannelcat, with his arms full of exercise-books and his mouth full of seedcake, and his companion, Shred, with nothing in his arms, but with his head full of theories about everyone's sub-conscious except his own. He had a friend, by name Shrivell, due to arrive at any moment, who, in contrast, to Shred, was stiff with theories about his own sub-conscious and no one else's.

Flannelcat took his work seriously and was always worried. He had a poor time from the boys and a poor time from his colleagues. A high proportion of the work he did was never noticed, but do it he must. He had a sense of duty that was rapidly turning him into a sick man. The pitiful expression of reproach which never left his face testified to his zeal. He was always too late to find a vacant chair in the Common-room, and always too early to find his class assembled. He was continually finding the arms of his gown tied into knots when he was in a hurry, and that pieces of soap were substituted for his cheese at the masters' table. He had no idea who did these things, nor any idea how they could be circumvented. Today, as he entered the Common-room, with his arms full of books and the seedcake in his mouth, he was in as much of a fluster as usual. His state of mind was not improved by finding the Headmaster looming above him like love among the clouds. In his confusion the seedcake got into his windpipe, the concertina of school books in his arms began to slip and with a loud crash, cascaded to the floor. In the silence that followed there was a moan of pain, but it was only Bellgrove with his hands at his jaw. His noble head was rolling from side to side.

Shred ambled forward from the door and, after bowing slightly in Deadyawn's direction, he buttonholed Bellgrove.

'In pain, my dear Bellgrove? In pain?' he inquired, but in a hard, irritating, inquisitive voice - with as much sympathy in it as might be found in a vampire's breast.

Bellgrove bridled up his lordly head, but did not deign to reply.

'Let us take it that you 'are' in pain,' continued Shred. 'Let us work on that hypothesis as a basis: that Bellgrove, a man of somewhere between sixty and eighty, is in pain. On rather, that he 'thinks' he is. One must be exact. As a man of science, I insist on exactitude. Well, then, what next? Why, to take into account that Bellgrove, supposedly in pain, also thinks that the pain has something to do with his teeth. This is absurd, of course, but must, I say, be taken into account. For what reason? Because they are symbolic. Everything is symbolic. There is no such thing as a "thing" 'per se'. It is only a symbol of something else that is itself, and so on. To my way of thinking his teeth, though apparently rotten, are merely the symbol of a diseased mind.'

Bellgrove snarled.

'And why is the mind diseased?' He took hold of Bellgrove's gown just below that gentleman's left shoulder and, with his face raised, scrutinized the big head above him.

'Your mouth is twitching,' he said. 'Interesting... very... interesting. You probably do not know it, but there was bad blood in your mother. Very bad blood. Or alternatively, you dream of stoats. But no matter, no matter. To return. Where were we? Yes, yes, your teeth - the symbols, we have said - haven't we? of a diseased mind. Now what 'kind' of disease? That is the point. What 'kind' of disease of the mind would affect your teeth like this? Open your mouth, sir...'

But Bellgrove, a fresh twinge undermining his scant reserves of patience and decorum, lifted his huge boot the size of a tray and brought it down with a blind relish upon Mc Shred's feet. It covered them both and must have been excruciatingly painful, for Mr Shred's brow coloured and contracted; but he made no sound save to remark, 'Interesting, very interesting... probably your mother.'

Opus Fluke's body-laughter did everything except break him in half or find vent in a sound.

By now several other Professors had infiltrated through the smoke from the direction of the door. There was Shrivell, Shred's friend, or follower, for he held all Shred's opinions in the reverse direction. But for sheer discipleship Mr Shrivell was a rebel compared to the three gentlemen who, moving in a solid huddle, their three mortar-boards forming between them a practically unbroken surface, had seated themselves in a far corner, like conspirators. They owed allegiance, those three, to no member of the staff, or to any such abstraction as the 'staff' itself, but to an ancient savant, a bearded figure of no specific occupation but whose view of Death, Eternity, Pain (and its non-existence), Truth, or, indeed, anything of a philosophic nature, was like fire in their ears.

In holding the views of their Master on such enormous themes they had developed a fear of their colleagues and a prickliness of disposition which, as Perch-Prism had cruelly pointed out to them more than once, was inconsistent with their theory of non-existence. 'Why are you so prickly,' he used to say, 'when there ain't no pain or prickles?' At which the three, Spiregrain, Splint and Throd, would all at once become a single black tent as they shot into conference with the speed of suction. How they longed at times for their bearded Leader to be with them! He knew all the answers to impertinent questions.

They were unhappy men, these three. Not with native melancholy, but in views of their theories. And there they sat: the smoke wreaths coiling round them, their eyes moving suspiciously from one face to another of their heretic brethren, in jealous fear of a challenge to their faith.

Who else had entered? Only Cutflower, the dandy; Crust, the sponger; and the choleric Mulefire.

Meanwhile The Fly Had been standing in the corridor with his knuckles between his teeth, and had been emitting the shrillest of whistles. Whether they caused the sudden appearance of the few stragglers at the end of the corridor or whether these characters were in any case on their way to the Common-room, there was no doubt that The Fly's shrill music added speed to their steps.

Smoke hung above them as they approached the door, for they had no desire to enter Fluke's fug, as they called it, with virgin lungs.

'The "Yawner's" here,' said The Fly as the Professors came abreast, their gowns fluttering. A dozen eyebrows were raised. It was seldom that they saw the Headmaster.

When the door was closed upon the last of them the leather room was, indeed, no place for anyone with asthma. No flowers could flourish there unless, indeed, some gaunt and horny thing - some cactus long inured to dust and thirst. No singing birds could thrive - no, not the raven, even; for smoke would fill their thin, sweet windpipes. It knew nothing, this atmosphere, of fragrant pastures - of dawn among the dew-bright hazel woods - or rivulets or starlight. It was a leather cave of sepia fog.

The Fly, his sharp insect face hardly visible through the smoke, swarmed up the high chair, hand over hand, and found Deadyawn asleep and his water-bottle stone cold. He prodded the Headmaster in the ribs with his little bony thumb just where Taurus and Scorpio were overlapping. Deadyawn's head had sunk even lower during his sleep and was barely above the tray. His feet were still tucked under him. He was like some creature that had lost its shell, for his face was disgustingly naked. Naked not only physically, but naked in its vacancy.

At The Fly's prod he did not wake with a start, as is the normal thing: that would have been tantamount to a kind of interest in life. He merely opened one eye. Moving it from The Fly's face, he let it wander over the miscellany of gownsmen below him.

He closed his eye again. 'What... are... all... these... people... for?' His voice floated out of his soft head like a paper streamer. 'And why am I' he added.

'It's all very necessary,' answered The Fly. 'Shall I remind you, sir, yet again of Barquentine's Notice?'

'Why not?' said Deadyawn. 'But not too loudly.'

'Or shall Bellgrove read it out, sir?'

'Why not?' said the Headmaster. 'But get my bottle filled first.'

The Fly climbed down the chair-rungs with the cold bottle and threaded his perky way through the group of masters to the door. Before he reached it he had, aided by the poor visibility in the room but mainly by the exceptional agility of his small thin fingers, relieved Flannelcat of an old gold watch and chain, Mr Shred of several coins, and Cutflower of an embroidered handkerchief.

When he returned with the hot-water bottle, Deadyawn was asleep again, but The Fly handed Bellgrove a roll of paper before he climbed up the wheeled chair to waken the Headmaster.

'Read it,' said The Fly. 'It's from Barquentine.'

'Why, 'me'?' said Bellgrove, his hand at his jaw. 'Damn Barquentine with his notices! Damn him, I say!'

He untied the roll of paper and took a few heavy paces to the window, where he held it up to what light there was.

The Professors were by then sitting on the floor, in groups or singly, like Flannelcat among the cold ashes under the mantelpiece. But for a lack of wigwam, squaws, feathers and tomahawks there might have been a tribe encamped beneath the hanging smoke.

'Come along, Bellgrove! Come along, man!' said Perch-Prism. 'Get those teeth of yours into it.'

'For a classical scholar,' said the irritating Shred, 'for a classical scholar, I have always felt that Bellgrove must be handicapped, grievously handicapped, firstly by the difficulty he finds in understanding sentences of more than seven words, and secondly by the stultifying effect on his mind of a frustrated-power complex.'

A snarl was heard through the smoke.

'Is 'that' what it is? Is 'that' what it is? La!'

This was Cutflower's voice. It came from the near end of the long table on which he sat, dangling his thin, elegant legs. There was so high a polish upon his narrow, pointed shoes that the high-lights of the toecaps were visible through the smoke, like torches through a fog. No other sign of feet had been seen in the room for half an hour.

'Bellgrove,' he continued, taking up where Perch-Prism had left off, 'stab away, man! Stab away! Give us the gist of it, la! Give us the gist of it. Can't he 'read', la, the old fraud?'

'Is that you, Cutflower?' said another voice. 'I've been looking for you all morning. Bless my heart! what a fine polish on your shoes, Cutflower! I wondered what the devil those lights were! But seriously, I'm very embarrassed, Cutflower. Indeed I am. It's my wife in exile, you know - ragingly ill. But what can I do, spendthrift that I am, with my bar of chocolate once a week? You see how it is, my dear chap; it's the end: or almost: unless... I half wondered - er - 'could' you...? Something until Tuesday... Confidential, you know, ha... ha... ha...! How one hates asking... squalor, and so on... But seriously, Cutflower (what a dazzling pair of hoofs, old man!) but seriously, if you could manage...'

'Silence!' shouted The Fly, interrupting Crust, who had not realized he had been sitting so close to a colleague until he heard Cutflower's affected accents beside him. Everyone knew that Crust had no wife in exile, ill or otherwise. They also knew that his endless requests were not so much because he was poverty-stricken but were made in the desire to cut a dashing figure. To have a wife in exile who was dying in unthinkable pain appeared to Crust to give him a kind of romantic status. It was not sympathy he wanted but envy. Without an exiled and guttering mate what was he? Just Crust. That was all. Crust to his colleagues and Crust to himself. Something of five letters that walked on two legs.

But Cutflower, taking advantage of the smoke, had slipped from the table.

He took a few dainty steps to his left and tripped over Mulefire's outstretched leg.

'May Satan thrash you purple!' roared an ugly voice from the floor. 'Curse your stinking feet, whoever you bloody are!'

'Poor old Mulefire! Poor old hog!' It was yet another voice, a more familiar one; and then there was the sense of something rocking uncontrollably, but there was no accompanying sound.

Flannelcat was biting at his underlip. He was overdue for his class. They were all overdue. But none save Flannelcat was perturbed on that score. Flannel knew that by now the classroom ceiling would be blue with ink: that the small bow-legged boy, Smattering, would be rolling beneath his desk in a convulsion of excited ribaldry: that catapults would be twanging freely from every wooden ambush, and stink-bombs making of his room a nauseous hell. He knew all this and he could do nothing. The rest of the staff knew all this also, but had no desire to do anything.

A voice out of the pall cried: 'Silence, gentlemen, for Mr Bellgrove!' and another... 'Oh, hell, my teeth! my teeth!'... and another... 'If only he didn't dream of stoats!'... and another: 'Where's my gold watch gone to?' and then The Fly again: 'Silence, gentlemen! Silence for Bellgrove! Are you ready, sir?' The Fly peered into Deadyawn's vacant face.

In reply Deadyawn answered: 'Why... not?' with a peculiarly long interval between the 'Why' and the 'not'.

Bellgrove read: Edict 1597577361544329621707193 'To Deadyawn, Headmaster, and to the Gentlemen of the Professorial Staff: to all Ushers, Curators and others in authority -'

This-day of the –th month in the eighth year of the Seventy-seventh Earl, to wit: Titus, Lord of Gormenghast - notice and warning is given in regard to their attitude. treatment and methods of behaviour and approach in respect of the aforementioned Earl, who now at the threshold of the age of reason, may impress Headmaster, gentlemen of the professorial staff, ushers, curators, and the like, with the implications of his lineage to the extent of diverting these persons from their duty in regard to the immemorial law which governs the attitude which Deadyawn, etc., are strictly bound to show, inasmuch that they treat the seventy-seventh Earl in every particular and on every occasion as they would treat any other minor in their hands without let or favour: that a sense of the customs, traditions and observances - and above all, a sense of the duties attached to every branch of the Castle's life - be instilled and an indelible sense of the responsibilities which will become his when he attains his majority, at which time, with his formative years spent among the riff-raff of the Castle's youth, it is to be supposed that the 77th Earl will not only have developed an adroitness of mind, a knowledge of human nature, a certain stamina, but in addition a degree of learning dependent upon the exertions which you, Sir, Headmaster, and you, Sir, gentlemen of the professorial staff, bring to bear, which is your bounden duty, to say nothing of the privilege and honour which it represents.

All this, Sirs, is, or should be common knowledge to you, but the 77th Earl now being in his eighth year, I have seen fit to reawaken you to your responsibilities, in my capacity as Master of Ritual. etc., in which capacity I have the authority to make appearances at any moment in any classroom I choose in order to acquaint myself with the way in which your various knowledge is inculcated, and with particular regard to its effect upon the progress of the young Earl.

Deadyawn, Sir, I would have you impress your Staff with the magnitude of their office, and in particular...

But Bellgrove, his jaw suddenly hammering away as upon a white-hot anvil, flung the parchment from him and sank to his knees with a howl of pain which awoke Deadyawn to such a degree that he opened both his eyes.

'What was that?' said Deadyawn to The Fly.

'Bellgrove in pain, said the midget. 'Shall I finish the notice?'

'Why not?' said Deadyawn.

The paper was passed up to The Fly by Flannelcat, who had scrambled nervously out of the ashes, and was already imagining Barquentine in his classroom and the dirty liquid eyes of that one-legged creature fixed upon the ink that was even now trickling down the leather walls.

The Fly plucked the paper from Flannelcat's hand and continued after a preparatory whistle effected through a collusion of the knuckles, lips and windpipe. So shrill was the sound of it that the recumbent staff were jolted upright on their haunches as one man.

The Fly read quickly, one word running into the next, and finished Barquentine's edict almost at a single breath.

... would have you impress your Staff with the magnitude of their office, and in particular those members who confuse the ritual of their calling with mere habit, making of themselves obnoxious limpets upon the living rock; or, like vile bindweed round a breathing stem, stifle the Castle's breath.

Signed (as for) Barquentine, Master of Ritual. Keeper of the Observances, and hereditary overlord of the manuscripts by Steerpike (Amanuensis).

Someone had lit a lantern. It did very little, as it stood on the table, but illumine with a dusky glow the breast of the stuffed cormorant. There was something disgraceful about its necessity at noon in summer-time.

'If ever there was an obnoxious limpet swaddled in bindweed you are that limpet, my friend,' said Perch-Prism to Bellgrove. 'Do you realize that the whole thing was addressed to you? You've gone too far for an old man. Far too far. What will you do when they remove you, friend? Where will you go. Have you anyone that loves you?'

'Oh, rotten hell!' shouted Bellgrove, in so loud and uncontrolled a voice that even Deadyawn smiled. It was perhaps the faintest, wannest smile that ever agitated for a moment the lower half of a human face. The eyes took no part in it. They were as vacant as saucers of milk; but one end of the mouth lifted as might the cold lip of a trout.

'Mr... Fly...' said the Headmaster in a voice as far away as the ghost of his vanished smile. 'Mr... Fly... you... virus, where... are... you?'

'Sir?' said The Fly.

'Was... that... Bellgrove?'

'It was, sir,' said The Fly.

'And... how... is... he... these... days?'

'He is in pain,' said The Fly.

'Deep... pain...?'

'Shall I inquire, sir?' said The Fly.

'Why... not...?'

'Bellgrove!' shouted The Fly.

'What is it, damn you?' said Bellgrove.

'The Head is inquiring about your health.'

'About mine?' said Bellgrove.

'About 'yours',' said The Fly.

'Sir?' queried Bellgrove, peering in the direction of the voice.

'Come... nearer...' said Deadyawn. I... can't... see... you... my... poor... friend.'

'Nor I you, sir.'

'Put... out... your... hand,... Bellgrove, Can... you... feel... anything?'

'Is this your foot, sir?'

'It... is... indeed,... my... poor... friend.'

'Quite so, sir,' said Bellgrove.

'Now... tell... me... Bellgrove,... tell... me...'

'Yes, sir?'

'Are... you... unwell... my... poor... friend?'

'Localized pain, sir.'

'Would... it... be... the... mandibles...?'

'That is so, sir.'

'As in... the... old... days... when... you were ambitious When you... had ideals, Bellgrove We all... had hopes of... you, I... seem to... remember.' (There was a horrible sound of laughter like porridge.)

'Indeed, sir.'

'Does... anyone... still... believe... in... you,... my... poor... poor... friend?'

There was no answer.

'Come... come. It is not for you to resent your destiny. To... cavil... at... the... sere... and... yellow... leaf. Oh... no... my... poor... Bellgrove,... you... have... ripened. Perhaps... you... have... over-ripened. Who knows? We all... go... bad... in... time. Do... you... look about... the same,... my.... friend?'

'I don't know,' said Bellgrove.

'I... am... tired,' said Deadyawn. 'What... am... I... doing... here? Where's... that... virus... Mr... Fly?'

'Sir!' came the musket shot.

'Get... me out of this. Wheel... me... out... of it... into stillness Mr Fly Wheel... me... into... the soft... darkness...' (His voice lifted into a ghastly, treble, which though it was still empty and flat had in it the seeds of life.) 'Wheel... me...' (it cried) 'into... the... golden... void.'

'Right away, sir,' said The Fly.

All at once it seemed as though the professors' Common-room was full of ravenous seagulls, but the screaming came from the unoiled wheels of the high chair, which were slowly turning. The door-handle was located by Flannelcat after a few moments' fumbling and the door was pushed wide. A glow of light could be seen in the passage outside. Against this light the smoke-wreaths coiled, and a little later the high, fantastic silhouette of Deadyawn, like a sack at the apex of the rickety high chair made its creaking departure from the room like some high, black form of scaffolding with a life of its own.

The scream of the wheels grew fainter and fainter.

It was some while before the silence was broken. None present had heard that high note in the Headmaster's voice before. It had chilled them. Nor had they ever heard him at such length, or in so mystical a vein. It was horrible to think that there was more to him than the nullity which they had so long accepted. However, a voice did at last break the pensive silence.

'A very dry "do" indeed,' said Crust.

'Some kind of light, for grief's sake!' shouted Perch-Prism. 'What 'can' the time be?' whimpered Flannelcat.

Someone had started a fire in the grate, using for tinder a number of Flannelcat's copybooks, which he had been unable to collect from the floor. The globe of the world was put on top, which, being of some light wood, gave within a few minutes an excellent light, great continents peeling off and oceans bubbling. The memorandum that Slypate was to be caned, which had been chalked across the coloured face, was purged away and with it the boy's punishment, for Mulefire never remembered and Slypate never reminded him.

'My, my!' said Cutflower, 'if the Head's sub-conscious ain't self-conscious call me purblind, la!... call me purblind! What goings-on, la!'

'What is the time, gentlemen? What can it be, if you please?' said Flannelcat, groping for his exercise-books on the floor. The scene had unnerved him, and what books he had recovered from the floor kept falling out of his arms.

Mr Shrivell pulled one of them out of the fire and, holding it by a f1ameless corner, waved it for a moment before the clock.

'Forty minutes to go,' he said. 'Hardly worth it... or is it? Personally, I think I'll just...'

'So will I, la!' cried Cutflower. 'If my class isn't either on fire by now or flooded out, call me witless, la!'

The same idea must have been at the back of most of their minds. for there was a general movement towards the door, only Opus Fluke remaining in his decrepit arm-chair, his loaf-like chin directed at the ceiling, his eyes closed and his leathery mouth describing a line as fatuous as it was indolent. A few moments later the husky, whispering sound of a score of flying gowns as they whisked along the walls of corridors presaged the turning of a score of door-handles and the entry into their respective class-rooms of the professors of Gormenghast.

TWELVE

A roof of cloud stretching to every horizon held the air motionless beneath it, as though the earth and sky, pressing towards one another, had squeezed away its breath. Below the cruddled underside of the unbroken cloud-roof, the air, through some peculiar trick of light, which had something of an under-water feeling about it, reflected enough of itself from the gaunt back of Gormenghast to make the herons restive as they stood and shivered on a long-abandoned pavement half in and half out of the clouds.

The stone stairway which led up to this pavement was lost beneath a hundred seasons of obliterating ivy, creepers and strangling weeds. No one alive had ever struck their heels into the great cushions of black moss that pranked the pavement or wandered along its turreted verge, where the herons were and the jackdaws fought, and the sun's rays, and the rain, the frost, the snow and the winds took their despoiling turns.

There had once been a great casement facing upon this terrace. It was gone.

Neither broken glass nor iron nor rotten wood was anywhere to be seen. Beneath the moss and ground creepers it may be that there were other and deeper layers, rotten with antiquity; but where the long window had stood the hollow darkness of a hall remained. It opened its unprotected mouth midway along the pavement's inner verge. On either side of this cavernous opening, widely separated, were the raw holes in the stonework that were once the supporting windows. The hall itself was solemn with herons. It was there they bred and tended their young. Preponderately a heronry, yet there were recesses and niches in which by sacredness of custom the egrets and bitterns congregated.

This hall, where once the lovers of a bygone time paced and paused and turned one about another in forgotten measures to the sound of forgotten music, this hall was carpeted with lime-white sticks. Sometimes the setting sun as it neared the horizon slanted its rays into the hall, and as they skimmed the rough nests the white network of the branches flared on the floor like leprous corals, and here and there (if it were spring) a pale blue-green egg shone like a precious stone, or a nest of young, craning their long necks towards the window, their thin bodies covered with powder-down, seemed stage-lit in the beams of the westering sun.

The late sunbeams shifted across the ragged floor and picked out the long, lustrous feathers that hung from the throat of a heron that stood by a rotten mantelpiece; and then a whiteness once more as the forehead of an adjacent bird flamed in the shadows... and then, as the light traversed the hall, an alcove was suddenly dancing with the varied bars and blotches and the reddish-yellow of the bitterns.

As dusk fell, the greenish light intensified in the masonry. Far away, over the roofs, over the outer wall of Gormenghast, over the marshes, the wasteland, the river and the foothills with their woods and spinneys, and over the distant hazes of indeterminate terrain, the claw-shaped head of Gormenghast Mountain shone like a jade carving. In the green air the herons awoke from their trances and from within the hall there came the peculiar chattering and clanking sound of the young as they saw the darkness deepening and knew that it would soon be time for their parents to go hunting.

Crowded as they had been in their heronry with its domed roof, once golden and green with a painting, but now a dark, disintegrating surface where flakes of paint hung like the wings of moths - yet each bird appeared as a solitary figure as it stepped from the hall to the terrace: each heron, each bittern, a recluse, pacing solemnly forwards on its thin, stiltlike legs.

Of a sudden in the dusk, knocking as it were a certain hollow note to which their sweet ribs echoed, they were in air - a group of herons, their necks arched back, their ample and rounded wings rising and falling in leisurely flight: and then another and another: and then a night-heron with a ghastly and hair-raising croak: more terrible than the unearthly booming note of a pair of bitterns, who soaring and spiralling upwards and through the clouds to great heights above Gormenghast, boomed like bulls as they ascended.

The pavement stretched away in greenish darkness. The windows gaped, but nothing moved that was not feathered. And nothing had moved there, save the winds, the hailstones, the clouds, the rain-water and the birds for a hundred years.

Under the high green clawhead of Gormenghast Mountain the wide stretches of marshland had suddenly become stretches of tension, of watchfulness.

Each in its own hereditary tract of water the birds stood motionless, with glistening eyes and heads drawn back for the fatal stroke of the dagger-like beak. Suddenly and all in a breath, a beak was plunged and withdrawn from the dark water, and at its lethal point there struggled a fish. In another moment the heron was mounted aloft in august and solemn flight.

From time to time during the long night these birds returned, sometimes with frogs or water-mice in their beaks or newts or lily buds.

But now the terrace was empty. On the marshlands every heron was in its place, immobile, ready to plunge its knife. In the hall the nestlings were, for the moment, strangely still.

The dead quality of the air between the clouds and the earth was strangely portentous. The green, penumbral light played over all things. It had crept into the open mouth of the hall where the silence was.

It was then that a child appeared. Whether a boy or a girl or an elf there was not time to tell. But the delicate proportions were a child's and the vitality was a child's alone. For one short moment it had stood on a turret at the far end of the terrace and then it was gone, leaving only the impression of something overcharged with life - of something slight as a hazel switch. It had hopped (for the movement was more a hop than a leap or a step) from the turret into the darkness beyond and was gone almost as soon as it had appeared, but at the same moment that the phantom child appeared, a zephyr had broken through the wall of moribund air and run like a gay and tameless thing over the gaunt, harsh spine of Gormenghast's body. It played with sere flags, dodged through arches, spiralled with impish whistles up hollow towers and chimneys, until, diving down a saw-toothed fissure in a pentagonal roof, it found itself surrounded by stern portraits - a hundred sepia faces cracked with spiders' webs; found itself being drawn towards a grid in the stone floor and, giving way to itself, to the law of gravity and to the blue thrill of a down-draught, it sang its way past seven storeys and was, all at once, in a hall of dove-grey light and was clasping Titus in a noose of air.

THIRTEEN

The old, old man in whose metaphysical net the three disciples, Spiregrain, Throd and Splint were so irrevocably tangled, leaned forward in space as though weighing on the phantom handle of an invisible stick. It was a wonder he did not fall on his face.

'Always draughty in this reach of the corridor,' he said, his white hair hanging forward over his shoulders. He struck his thighs with his hands before replacing them at a point in space where a stick would have been. 'Breaks a man up - wrecks him - makes a shadow of him - throws him to the wolves and screws his coffin down.'

Reaching down with his long arms he drew his thick socks over the ends of his trousers and then stamped his feet, straightened his back, doubled it forward again, and then threw a look of antagonism along the corridor.

'A dirty, draughty reach. No reason for it. Scuppers a man,' he said. 'And yet' - he shook his white locks- 'it isn't true, you know. I don't believe in draughts. I don't believe I'm cold. I don't believe in anything! ha, ha, ha, ha, ha! I can't agree with you, for instance.'

His companion, a younger man, with long, hollow cheeks, cocked his head as though it were the breech of a gun. Then he raised his eyebrow as much as to say, 'Carry on...: but the old man remained silent. Then the young man raised his voice as though he were raising the dead, for it was a singularly flat and colourless affair...

'How do you mean, sir, that you can't agree?'

'I just can't,' said the old man, bending forward, his hands gripped before him, 'that's all.'

The young man righted his head and dropped his eyebrow.

'But I haven't 'said' anything yet: we've only just met, you know.'

'You may be right,' replied the old man, stroking his beard. 'You may very well be right; I can't say.'

'But I tell you I haven't 'spoken'!' The colourless voice was raised, and the young man's eyes made a tremendous effort to flash; but either the tinder was wet or the updraught insufficient, for they remained peculiarly sparkless.

'I haven't 'spoken',' he repeated.

'Oh, that!' said the old man. 'I don't need to depend on that.' He gave a low, horribly knowledgeable laugh. 'I can't agree, that's all. With your face, for instance. It's wrong -like everything else. Life is so simple when you see it that way - ha, ha, ha, ha!' The low, intestinal enjoyment which he got out of his attitude to life was frightful to the young man, who, ignoring his own nature, his melancholy, ineffectual face, his white voice, his lightless eyes, became angry.

'And 'I' don't agree with 'you'!' he shouted. 'I don't agree with the way you bend your ghastly old knacker's-yard of a body at such an absurd angle. I don't agree with the way' your white beard hangs from your chin like dirty seaweed... I don't agree with your broken teeth... I...'

The old man was delighted; his stomach laughter cackled on and on... 'But nor do I, young man,' he wheezed... 'nor do I. I don't agree with it, either. You see, I don't even agree that I'm here; and even if I did I wouldn't agree that I ought to be. The whole thing is ridiculously simple.'

'You're being cynical!' cried the young man; 'so you are!'

'Oh no,' said the old man with short legs, 'I don't believe in being anything. If only people would stop trying to 'be' things! What can they be, after all, beyond what they already are - or would be if I believed that they were anything?'

'Vile! vile! VILE!' shouted the young man with hollow cheeks. His thwarted passions had found vent after thirty years of indecision. 'Surely we have long enough in the grave, you old beast, in which to be 'nothing' - in which to be cold and finished with! Must life be like that, too? No, no! let us burn!' he cried. 'Let us burn our blood away in life's high bonfire!'

But the old philosopher replied: 'The grave, young man, is not what you imagine. You insult the dead, young man. With every reckless word, you smirch a tomb, deface a sepulchre, disturb with clumsy boots the humble death-mound. For death is life. It is only living that is lifeless. Have you not seen them coming over the hills at dusk, the angels of eternity? Have you not?'

'No, said the young man, 'I haven't!'

The bearded figure leaned even further forward and fixed the young man with his gaze.

'What! you have never seen the angels of eternity, with their wings as big as blankets?'

'No,' said the young man. 'And I don't want to.'

'To the ignorant nothing is profound,' said the bearded ancient. 'You called me a cynic. How can I be? I am nothing. The greater contains the less. But this I will tell you: though the Castle is a barren image - though green trees, bursting with life, are in reality bursting for lack of it - when the April lamb is realized to be nothing more nor less than a lamb in April- when these things are known and accepted, then, oh, it is then' - he was stroking his beard very fast by this time - 'that you are on the borderland of Death's amazing kingdom, where everything moves twice as fast, and the colours are twice as bright, and love is twice as gorgeous, and sin is twice as spicy. Who but the doubly purblind can fail to see that it is only on the Other Side that one can begin to Agree? But here, here...' he motioned with his hands as though to dismiss the terrestrial world - 'what is there to agree with? There is no sensation here, no sensation at all.'

'There is joy and pain,' said the young man.

'No, mo, no. Pure illusion,' said the ancient. 'But in Death's amazing kingdom Joy is unconfined. It will be nothing to dance for a month on end in the celestial pastures... nothing at all. Or to sing as one flies astride a burning eagle... to sing out of the gladness of one's breast.'

'And what of pain?' said the youth.

'We have invented the idea of pain in order to indulge ourselves in self-pity,' was the reply. 'But Real Pain, as we have it on the Other Side, that will be worth having. It 'will' be an experience to burn one's finger in the Kingdom.'

'What if 'I' set fire to your white beard, you old fraud!' shouted the young man, who had stubbed his toes during the day and knew the validity of the earthly discomforts.

'What if you did, my child?'

'It would sting your jaw, and you know it!' cried the youth.

The supercilious smile which played across the lips of the theorist was unbearable, and his companion had no strength to stop himself as he stretched out his arm for the nearest candle and lit the beard that hung there like a challenge. It flared up quickly and gave to the horrified and astonished expression of the old man an unreal and theatrical quality which belied the very real pain, terrestrial though it was, which he felt, first of all, against his jaw and then along the sides of his head.

A shrill and terrible scream from his old throat, and the corridor was at once filled with figures, as though they had been awaiting their entrance cues. Coats were thrown over his head and shoulders and the flames stifled, but not before the excited youth with the hollow cheeks had made his escape, never to be heard of again.

SPIREGRAIN, THROD AND SPLINT

The old man was carried to his room, a small dark-red box of a place, with no carpet on the floor, but a picture over the mantelpiece of a fairy sitting in a buttercup against a very blue sky. After three days he recovered consciousness only to die of shock a moment later when he remembered what had happened.

Among those present at the death-bed in the small red room were the three friends of the old fire-blackened pedagogue.

They stood in a line, stooping a little, for the room was very low. They were standing unnecessarily close to one another for, with the slightest movement of their heads, their old black leather mortar-boards struck against one another and were tilted indecorously.

And yet it was a moving moment. They could feel the exodus of a great source of inspiration. Their master lay dying below them. Disciples to the end, they believed in the absence of physical emotion so implicitly, that when the master died what could they do but weep that the origin of their faith was gone for ever from them?

Under their black leather mortar-boards their heads dislodged the innocent air, remorselessly as though their brows, noses and jaws, like the features of a figurehead, were cleaving paths for them through viewless water. Only in their hanging gowns, their flat leather mortar-boards and the tassels that hung like the grizzly spilths that swing from turkeys' beaks, had they anything in common.

Flanking the death-bed was a low table. On it stood a small prism and a brandy bottle which held a lighted candle. This was the only illumination in the room, yet the red walls burned with a sombre effulgence. The three heads of the Professors, which were roughly at the same height from the ground, were so different as to make one wonder whether they were of the same genus. In running the eye from one face to the next, a similar sensation was experienced as when the hand is run from glass to sandpaper, from sandpaper to porridge. The sandpaper face was neither more nor less interesting than the glass one, but the eyes were forced to move slowly over a surface so roughened with undergrowth, so dangerous with its potholes and bony outcrops, its silted gullies and thorny wastes, that it was a wonder that any eye ever reached the other side.

Conversely, with the glassy face, it was all that an eye could do to keep from sliding off it.

As for the third visage, it was neither maddeningly slippery, nor rough with broken ravines and clinging ground weed. To traverse it with a sweep of the eye was as impossible as to move gradually across the glazed face.

It was a case of slow wading. The face was wet. It was always wet. It was a face seen under water. And so for an eye to take an innocent run across these 'three', there lay ahead this strange ordeal, by rock and undergrowth, by slippery ice and by a patient paddling.

Behind them on the red wall their shadows lay, about half as big again as the professors themselves.

The glassy one (Professor Spiregrain) bent his head over the body of his dead master. His face seemed to be lit from within by a murky light. There was nothing spiritual about its lambency. The hard glass nose was long and exceptionally sharp. To have said he was well shaved, would give no idea of a surface that no hair could penetrate, any more than a glacier could sprout grass.

Following his example, Professor Throd lowered his head likewise: its features were blurred into the main mass of the head. Eyes, nose and mouth were mere irregularities beneath the moisture.

As for the third professor, Splint, when he, following the example of his colleagues, bent his head over the candle-lit corpse, it was as though a rocky and barbarous landscape had suddenly changed its angle in space. Had a cloud of snakes and parrots been flung out thereby on to the candle-bright sheets of the death-bed, it would have seemed natural enough.

It was not long before Spiregrain, Throd and the jungle-headed Mr Splint became tired of bending mutely over their master, who was, in any case, no pleasant sight even for the most zealous of disciples, and they straightened themselves.

The small red room had become oppressive. The candle was getting very low in the brandy bottle. The fairy in the buttercup over the mantelpiece smirked in the flickering light, and it was time to go.

There was nothing they could do. Their master was dead. Said Throd of the wet face: 'It is grief's gravy, Spiregrain.'

Said Spiregrain of the slippery head: 'You are too crude, my friend. Have you no poetry in you? It is Death's icicle impales him now.'

'Nonsense,' whispered Splint, in a fierce, surly voice. He was really very gentle, in spite of his tropical face - but he became angry when he felt his more brilliant colleagues were simply indulging themselves. 'Nonsense. Neither icicle nor gravy it was. Straightforward fire, it was. Cruel enough, in all faith. But...' and his eyes became wild with a kind of sudden excitement more in keeping with his visage than they had been for years... 'but look you! He's the one who wouldn't believe in pain, you know - he didn't 'acknowledge' fire. And now he's dead I'll tell you something... (He is dead, isn't he?)'...

Splint turned his eyes quickly to the stiff figure below him. It would be a dreadful thing if the old man was listening all the time. The other two bent over also. There could be no doubt about it, although the candlelight flickering over the fire-bitten face gave an uncanny semblance of movement to the features. Professor Splint pulled a sheet over the corpse's head before he turned to his companions.

'What 'is' it?' said Spiregrain. 'Be quick!' His glass nose sliced the gloomy air as he turned his head quickly to the rugged Splint.

'It's 'this', Spiregrain. It's 'this',' said Splint, his eyes still on fire. He scratched at his jaw with a gravelly sound and took a step back from the bed. Then he held up his arms. 'Listen, my friends. When I fell down those nine steps three weeks ago, and pretended that I felt no pain, I confess to you now that I was in agony. And now! And now that 'he' is dead I glory in my confession, for I am afraid of him no more; and I tell you - I tell you both, openly and with pride, that I look forward to my next accident, however serious it may be, because I will have nothing to hide. I will cry out to all Gormenghast. "I am in agony!" - and when my eyes fill with tears, they will be tears of joy and relief and not of pain. Oh, brothers! colleagues! do you not understand?'

Mr Splint took a step forward in his excitement, dropping his hands, which he had kept raised all this time (and at once they were gripped on either side).

Oh, what friendship, what an access of honest friendship, rushed like electricity through their six hands.

There was no need to talk. They had turned their backs on their faith. Professor Splint had spoken for the three of them. Their cowardice (for they had never dared to express a doubt when the old man was alive) was something that bound them together now more tightly than a common valour could ever have done.

'Grief's gravy was an overstatement,' said Throd. 'I only said it because, after all, he 'is' dead, and we 'did' admire him in a way - and I like saying the right thing at the right time. I always have. But it was excessive.'

'So was "Death's icicle" I suppose,' said Spiregrain, rather loftily; 'but it was a neat phrase.'

'Not when he was 'burned' to death,' said Throd, who saw no reason why Spiregrain should not recant as fully as himself.

'Nevertheless,' said Splint, who found himself the centre of the stage, which was usually monopolized by Spiregrain, 'we are free. Our ideals are gone. We believe in pain. In life. In all those things which he told us didn't exist.'

Spiregrain, with the guttering candle reflected on his glassy nose, drew himself up and, in a haughty tone, inquired of the others whether they didn't think it would be more tactful to discuss their dismissal of their dead master's Beliefs somewhat further from his relics, Though he was doubtless out of earshot he certainly didn't look it.

They left at once, and directly the door had shut behind them the candle flame, after a short, abortive leap into the red air, grovelled for a moment in its cup of liquid wax and expired. The little red box of a room had become, according to one's fancy, either a little black box or a tract of dread, imponderable space.

Once away from the death-chamber and a peculiar lightness sang in their bones.

'You were right, Splint, my dear fellow... quite right. We are free, and no mistake,' Spiregrain's voice, thin, sharp, academic, had a buoyancy in it that caused his confederates to turn to him.

'I knew you had a heart under it all,' wheezed Throd. 'I feel the same.'

'No more Angels to look forward to!' yelled Splint, in a great voice.

'No more longing for Life's End,' boomed Throd.

'Come, friends: screamed the glass-faced Spiregrain, forgetting his dignity, 'let us begin to live again!' and catching hold of their shoulders, he walked them rapidly along the corridor, his head held high, his mortar-board at a rakish angle. Their three gowns streamed behind them, the tassels of their headgear also, as they increased their pace. Turning this way and that, almost skimming the ground as they went, they threaded the arteries of cold stone until, suddenly, bursting out into the sunshine on the southern side of Gormenghast, they found ahead of them the wide sun-washed spaces, the tall trees fringing the foothills, and the mountain itself shining against the deep blue sky. For a moment the memory of the picture in their late master's room flashed through their minds.

'Oh, lush!' they cried. 'Oh, lush it is, for ever!' And, breaking into a run and then a gallop, the three enfranchised professors, hand in hand, their black gowns floating on the air, bounded across the golden landscape, their shadows leaping beside them.

FOURTEEN

It was in Bellgrove's class, one late afternoon, that Titus first thought consciously about the idea of colour: of things having colours: of everything having its own particular colour, and of the way in which every particular colour kept changing according to where it was, what the light was like, and what it was next to.

Bellgrove was half asleep, and so were most of the boys. The room was hot and full of golden motes. A great clock ticked away monotonously. A bluebottle buzzed slowly over the surfaces of the hot window-panes or from time to time zithered its languid way from desk to desk. Every time it passed certain desks, small inky hands would grab at it, or rulers would smack out through the tired air. Sometimes it would perch, for a moment, on an inkpot or on the back of a boy's collar and scythe its front legs together, and then its back legs, rubbing them, scything them, honing them, or as though it were a lady dressing for a ball drawing on a pair of long, invisible gloves.

Oh, bluebottle, you would fare ill at a ball! There would be none who could dance better than you; but you would be shunned: you would be too original: you would be before your time. They would not know your steps, the other ladies. None would throw out that indigo light from brow or flank - but, bluebottle, they wouldn't 'want' to. There lies the agony. Their buzz of converse is not yours, bluebottle. You know no scandal, no small talk, no flattery, no jargon: you would be hopeless, for all that you can pull the long gloves on. After all, your splendour is a kind of horror-splendour. Keep to your inkpots and the hot glass panes of schoolrooms and buzz your way through the long summer terms. Let the great clock-ticks play counterpoint. Let the swish of a birch, the detonation of a paper pellet, the whispered conspiracy be your everlasting pards.

Down generations of boys, buzz, bluebottle, buzz in the summer prisons - for the boys are bored. Tick, clock, tick! Young Scarabee's on edge to fight the 'Slogger' - young Dogseye hankers for his silkworms' weaving - Jupiter minor knows a plover's nest. Tick, clock, tick!

Sixty seconds in a minute; sixty minutes in an hour; sixty times sixty.

Multiply the sixes and add how many noughts? Two. I suppose. Six sixes are thirty-six. Thirty-six and two noughts is 3,600. Three thousand and six hundred seconds in an hour. Quarter of an hour is left before the silkworms - before the 'Slogger' - before the plover's nest. Buzz-fly, buzz! Tick, clock, tick! Divide 3,600 by four and then subtract a bit because of the time taken to work it all out.

4/3600

900

Nine hundred seconds! Oh, marvellous! marvellous! Seconds are so small.

One - two - three - four - seconds are so huge.

The inky fingers scrubble through the forelock - the blackboard is a grey smear. The last three lessons can be seen faintly one behind the other - like aerial perspective. A fog of forgotten figures - forgotten maps - forgotten languages.

But while Bellgrove was sleeping - while Dogseye was carving - while the clock ticked - while the fly buzzed - while the room swam in a honey-coloured milky-way of motes - young Titus (inky as the rest, sleepy as the rest, leaning his head against the warm wall, for his desk was flush with the leather) had begun to follow a train of thought, at first lazily, abstractedly, without undue interest - for it was the first train of thought that he had ever troubled to follow very far. How lazily the images separated themselves from one another or adhered for a moment to the tissue of his mind!

Titus became dreamily interested, not in their sequence but in the fact that thoughts and pictures could follow one upon the other so effortlessly. And it had been the colour of the ink, the peculiar dark and musty blue of the ink in its sunken bowl in the corner of his desk, which had induced his eyes to wander over the few objects grouped below him. The ink was blue, dark, musty, dirtyish, deep as cruel water at night: what were the other colours? Titus was surprised at the richness, the variety. He had only seen his thumb-marked books as things to read or to avoid reading: as things that got lost: things full of figures or maps. Now he saw them as coloured rectangles of pale, washed-out blue or laurel green, with the small windows cut out of them where, on the naked whiteness of the first page, he had scripted his name.

The lid of the desk itself was sepia, with golden browns and even yellows where the surface had been cut or broken. His pen, with its end chewed into a subdividing tail of wet fronds, shimmered like a fish, the indigo ink creeping up the handle from the nib, the green paint that was once so pristine blurred with the blue of the ink at the pen's belly, and then the whitish mutilated tail.

He even saw his own hand as a coloured thing before he realized it was part of him; the ochre colour of his wrist, the black of his sleeve; and then... and then he saw the marble, the glass marble beside the inkpot, with its swirling spirals of rainbow colours twisted within the clear, cold white glass: it was wealth. Titus fingered it and counted the coloured threads that spiralled within - red, yellow, green, violet, blue... and their white and crystal world, so perfect, all about them, clear and cold and smooth, heavy and slippery. How it could clink and crack like a gunshot when it struck another! When it skidded the floor and struck! Crack like a gunshot on the round and brilliant forehead of its foe! Oh, beautiful marbles! Oh, blood-alleys! Oh, clouded ones, a-swim in blood and milk! Oh, crystal worlds, that make the pockets jangle - that make the pockets heavy!

How pleasant it was to hold that cold and glittering grape on a hot summer afternoon, with the Professor asleep at his high carved desk! How lovely it was to feel the cold slipping thing in the hot palm of his sticky hand! Titus clenched it and then held it against the light. As he rolled it between his thumb and forefinger the coloured threads began to circle each other: to spiral themselves round and round and in and out in endless convolutions. Red: yellow: green: violet: blue... Red - yellow - green - red... yellow... red... 'red'. Alone in his mind the red became a thought - a colour-thought - and Titus slipped away into an earlier afternoon. The ceiling, the walls, the floor of his thought were red: he was enveloped in it; but soon the walls contracted and all the surfaces dwindled together and came at last to a focus; the blur, the abstraction had gone, and in its place was a small drop of blood, warm and wet. The light caught it as it shone. It was on his knuckle, for he had fought a boy in this same classroom a year ago - in that earlier afternoon. A melancholy anger crept over Titus at this memory. This image that shone out so redly, this small brilliant drop of blood - and other sensations, flitted across this underlying anger and brought on a sense of exhilaration, of self-confidence, and fear also at having spilled this red liquid - this stream of legendary yet so real crimson. And the bead of blood lost focus, became blurred, and then, changing its hazy contour, became a heart... a heart. Titus put his hands against his small chest. At first he could feel nothing, but moving his finger-tips he felt the double-thud, and the drumming rushed in from another region of his memory: the sound of the river on a night when he had been alone by the high bulrushes and had seen between their inky, rope-thick columns a sky like a battle.

And the battle-clouds changed their shapes momently, now crawling across the firmament of his imagination like redskins, now whipping like red fish over the mountains, their heads like the heads of the ancient carp in Gormenghast moat, but their bodies trailing behind in festoons like rags or autumn foliage. And the sky, through which these creatures swam, endlessly, in multitudes, became the ocean and the mountains below them were under-water corals, and the red sun became the eye of a subaqueous god, glowering across the sea bed. But the great eye lost its menace, for it became no bigger than the marble in Titus' hand: for, wading towards him hip deep through the waters, dilating as they neared until they pressed out and broke the frame of fancy, was a posse of pirates.

They were as tall as towers, their great brows beetling over their sunken eyes, like shelves of overhanging rocks. In their ears were hoops of red gold, and in their mouths scytheedged cutlasses a-drip. Out of the red darkness they emerged, their eyes half closed against the sun, the water at their waists circling and bubbling with the hot light reflected from their bodies, their dimensions blotted out all else: and still they came on, until their wire-glinting breasts and rocky heads filled out the boy's brain. And still they came on, until there was only room enough for the smouldering head of the central buccaneer, a great salt-water lord, every inch of whose face was scabbed and scarred like a boy's knee, whose teeth were carved into the shapes of skulls, whose throat was circled by the tattooing of a scaled snake. And as the head enlarged, an eye became visible in the darkness of its sockets, and in a moment nothing else hut this wild and sinister organ could be seen. For a short while it stayed there, motionless. There was nothing else in the great world but this - globe. It 'was' the world, and suddenly like the world it rolled. And as it rolled it grew yet again, until there was nothing but the pupil, filling the consciousness; and in that midnight pupil Titus saw the reflection of himself peering forward. And someone approached him out of the darkness, of the pirate's pupil, and a rust-red pinpoint of light above the figure's brow became the coiled locks of his mother's wealth of hair. But before she could reach him her face and body had faded and in the place of the hair was Fuchsia's ruby; and the ruby danced about in the darkness, as though it were being jerked on the end of a string. And then it, also, was gone and the marble shone in his hand with all its spiralled colours - yellow, green, violet, blue, red... yellow... green... violet... blue... yellow... green... violet... yellow... green... yellow... 'yellow'.

And Titus saw quite clearly not only the great sunflower with its tired, prickly neck which he had seen Fuchsia carrying about for the last two days, but a hand holding it, a hand that was not Fuchsia's. It held the heavy plant aloft between the thumb and forefinger as though it was the most delicate thing in the world. Every finger of the hand was aflame with gold rings, so that it looked like a gauntlet of flaming metal- an armoured thing.

And then, all at once, blotting it out, a swarm of leaves were swirling through him, a host of yellow leaves, coiling, diving, rising, as they swept forward across a treeless desert, while overhead, like a bonfire in the sky, the sun shone down on the rushing leaves. It was a yellow world: a restless, yellow world: and Titus was beginning to drift into a yet deeper maw of the colour when Bellgrove wakened with a jerk, gathered his gown about him like God gathering a whirlwind, and brought his hand down with a dull, impotent thud on the lid of his desk. His absurdly noble head raised itself. His proud and vacant gaze settled at last on young Dogseye.

'Would it be too much to ask you,' he said at last, with a yawn which exposed his carious teeth, 'whether a young man - a not very studious young man, by name Dogseye - lies behind that mask of dirt and ink? Whether there is a human body within that sordid bunch of rags, and whether that body is Dogseye's, also.' He yawned again. One of his eyes was on the clock, the other remained bemusedly on the young pupil. 'I will put, it more simply: Is that really 'you', Dogseye? Are you sitting in the second row from the front? Are you occupying the third desk from the left? And were you - if, indeed, it is you, behind that dark-blue muzzle - were you carving something indescribably fascinating on to the lid of your desk? Did I wake to catch you at it, young man?'

Dogseye, a nondescript little figure, wriggled.

'Answer me, Dogseye. Were you carving away when you thought your old master was asleep?'

'Yes, sir,' said Dogseye, surprisingly loudly; so loudly that he startled himself and glanced about him as though for the voice. 'What were you carving, my boy?'

'My name, sir.'

'What, the whole thing, my boy?'

'I'd only done the first three letters, sir.'

Bellgrove rose swathed. He moved, a benign, august figure, down the dusty aisle between the desks until he reached Dogseye.

'You haven't finished the "G",' he said in a far-away, lugubrious voice. 'Finish the "G" and leave it at that. And leave the "EYE" for other things...' - an inane smirk began to flit across the lower part of his face - 'such as your grammar-book,' he said brightly, his voice horribly out of character. He began to laugh in such a way as might develop into something beyond control, but he was brought up short with a twinge of pain and he clutched at his jaw, where his teeth cried out for extraction.

After a few moments - 'Get up,' he said. Seating himself at Dogseye's desk he picked up the penknife before him and worked away at the 'G' of 'DOG' until a bell rang and the room was transformed into a stampeding torrent of boys making for the classroom door as though they expected to find upon the other side the embodiment of their separate dreams - the talons of adventure, the antlers of romance.

IRMA WANTS A PARTY

'Very well, then, and so you 'shall'!' cried Alfred Prunesquallor. 'So you shall, indeed.'

There was a wild and happy desperation in his voice. Happy, in that a decision had been made at all, however unwisely. Desperate, because life with Irma was a desperate affair in any case; but especially in regard to this passion of hers to have a party.

'Alfred! Alfred! are you serious? Will you pull your weight, Alfred? I say, will you pull your weight?'

'What weight I have I'll pull to pieces for you, Irma.'

'You are resolved, A1fred - I say, you are 'resolved',' she asked breathlessly.

'It is you who are resolved, sweet Perturbation. It is I who have submitted. But there it is. I am weak. I am ductile. You 'will' have your way - a way, I fear, that is fraught with the possibility of monstrous repercussions - but your own, Irma, your own. And a party we will throw. Ha, ha, ha, ha, ha, ha, ha!'

There was something that did not altogether ring true in his shrill laughter. Was there a touch of bitterness in it somewhere?

'After all,' he continued, perching himself on the back of a chair (and with his feet on the seat and his chin on his knees he looked remarkably like a grasshopper)... 'After all, you have waited a long time. A long time. But, as you know, I would never advise such a thing. You're not the type to give a party. You're not even the type to go to a party. You have nothing of the flippancy about you that makes a party 'go', sister mine; but you are determined.'

'Unutterably,' said Irma.

'And have you confidence in your brother as a host?'

'Oh, Alfred, I 'could' have!' she whispered grimly. 'I would have, if you wouldn't try to make everything sound clever. I get so tired of the way you say things. And I don't really like the things you say.'

'Irma,' said her brother, 'nor do I. They always sound stale by the time I hear them. The brain and the tongue are so far apart.'

'That's the sort of nonsense I 'loathe'!' cried Irma, suddenly becoming passionate. 'Are we going to talk about the party, or are we going to listen to your silly soufflés? Answer me, Alfred. Answer me at once.'

'I will talk like bread and water. What shall I say?'

He descended from the chairback and sat on the seat. Then he leant forward a little and, with his hands folded between his knees, he gazed expectantly at Irma through the magnifying lenses of his spectacles. Staring back at him through the darkened glass of her own lenses, the enlargement of his eyes was hardly noticeable.

Irma felt that for the moment she had a certain moral ascendancy over her brother. The air of submission which he had about him gave her strength to divulge to him the real reason for her hankering for this party she had in mind... for she needed his help.

'Did you know, Alfred,' she said, that I am thinking of getting married?'

'Irma!' cried her brother. 'You aren't!'

'Oh, yes, I am,' muttered Irma. 'Oh yes, I am.'

Prunesquallor was about to inquire who the lucky man was when a peculiar twinge of sympathy for her, poor white thing that she was, sitting so upright in the chair before him, caught at his heart. He knew how few her chances of meeting men had been in the past: he knew that she knew nothing of love's gambits save what she had read in books. He knew that she would lose her head. He also knew that she had no one in view. So he said.

'We will find just the man for 'you'. You deserve a thoroughbred: something that can cock his ears and whisk his tail. By all that's unimpeachable, you do indeed. Why...'

The Doctor stopped himself: he had been about to take verbal flight when he remembered his promise: so he leant forward again to hear what his sister had to say.

'I don't know about cocking his ears and frisking his tail,' said Irma, with the suggestion of a twitch at one corner of her thin mouth; 'but I would like you to know, Alfred - I said I would like you to know, that I am glad you understand the position. I am being wasted, Alfred. You realize that, don't you - don't you?'

'I do, indeed.'

'My skin is the whitest in Gormenghast.'

'And your feet are the flattest,' thought her brother: but he said: 'Yes, yes, but what we must 'do', sweet huntress - (O virgin through wild sex's thickets prowling)' (he could not resist this image of his sister) 'what we must 'do' is to decide whom to ask. To the Party, I mean. That is fundamental.'

'Yes, yes!' said Irma.

'And when we will ask them.'

'That's easier,' said Irma.

'And at what time of the day.'

'The evening, of course,' said Irma.

'And what they shall wear.'

'Oh, their evening clothes, obviously,' said Irma.

'It depends on whom we ask, don't you think? What ladies, my dear, have dresses as resplendent as yours, for instance? There's a certain cruelty about evening dress.'

'Oh, that is of no avail.'

'Do you mean "of no account"?'

'Yes, yes,' said Irma.

'But how embarrassing! Won't they feel it keenly, my dear - or will you put on rags, in an overflow of love and sympathy?'

'There will be no women.'

'No women!' cried her brother, genuinely startled.

'I must be alone,' his sister murmured, pushing her black glasses further up the bridge of her long, pointed nose... 'with 'them' - the males.'

'But what of the entertainment for your guests?'

'I shall be there,' said Irma.

'Yes, yes; and no doubt you will prove ravishing and ubiquitous; but, my love, my love, think again.'

'Alfred,' said Irma, standing up and lowering one of her iliac crests and raising its counterpart so high that her pelvis looked thoroughly dangerous – Alfred,' she said, 'how can you be so perverse? What use could women be? You haven't forgotten what we have in mind, have you? Have you?'

Her brother was beginning to admire her. Had she all this long while been hiding beneath her neuroticism, her vanity, her childishness, an iron will?

He rose and, cupping his hands over her hips, corrected their angle with the quick jerk of a bonesetter. Then, sitting back in his chair and fastidiously crossing his long, elegant, cranelike legs while going through the movements of washing his hands: 'Irma, my revelation, tell me but this...' he raised his eyes quizzically - 'who are these males - these stags - these rams - these tom cats - these cocks, stoats and ganders that you have in mind? And on what scale is this carousal to be?'

'You know very well, Alfred, that we have no choice. Among the gentry, who are there? I ask you, Alfred, who are there?'

'Who, indeed?' mused the Doctor, who could think of no one. The idea of a party in his house was so novel that the effort of trying to people it was beyond him. It was as though he were trying to assemble a cast for an unwritten drama.

'As for the size of the party, Alfred - are you listening? I have in mind a gathering of some forty men.'

'No! no!' shouted her brother, clutching at the arms of his chair, 'not in this room, surely? It would be worse than the white cats. It would be a dog fight.'

Was that a blush that stole across his sister's face?

'Alfred,' she said after a while, 'it is my last chance. In a year my glamour may be tarnished. Is it a time to think of your own personal comfort?'

'Listen to me,' Prunesquallor spoke very slowly. His high voice was strangely meditative. 'I will be as concise as I can. Only you must listen, Irma.'

She nodded.

'You will have more success if your party is not too large. At a large party the hostess has to flutter from guest to guest and can never enjoy a protracted conversation with anyone. What is more, the guests continually flutter towards the hostess in a manner calculated to show her how much they are enjoying themselves.

'But at a smaller party where everyone can easily be seen the introductions and general posturing can be speedily completed. You will then have time to size up the persons present and decide on those worth giving your attention to.'

'I see,' said Irma. 'I am going to have lanterns hanging in the garden, too, so that I can lure those whom I think fit out into the apple orchard.'

'Good heavens!' said Prunesquallor, half to himself. 'Well, I hope it won't be raining.'

'It won't,' said Irma.

He had never known her like this. There was something frightening in seeing a second side of a sister whom he had always assumed had only one. 'Well, some of them must be left out, then.'

'But who 'are' they? Who 'are' they?' he cried. 'I can't bear this frightful tension. What are these males that you seem to think of en bloc? This doglike horde who at, as it were, a whistle will be ready to stream across the quadrangle and through the hall, through this door and to take up a score of masculine postures? In the name of fundamental mercy, Irma, tell me who they are.'

'The Professors.'

As Irma uttered the words her hands grappled with one another behind her back. Her flat bosom heaved. Her sharp nose twitched and a terrible smile came over her face.

'They are gentlemen!' she cried in a loud voice. 'Gentlemen! And worthy of my love.'

'What! All forty of them.' Her brother was on his feet again. He was shocked. But at the same time he could see the logic of Irma's choice. Who else was there for a party with this hidden end in view? As for their being 'gentlemen' - perhaps they were. But only just. If their blood was bluish, so for the most part were their jaws and finger-nails. If their backgrounds bore scrutiny, the same could hardly be said for their foregrounds.

'What a vista opens out before us! How old are you, Irma?'

'You know very well, Alfred.'

'Not without thinking,' said the Doctor. 'But leave it. It's what you look like that matters. God knows you're clean! It's a good start. I am trying to put myself in your place. It takes an effort - ha ha! - I can't do it.'

'Alfred.'

'My love?'

'How many do you think would be ideal?'

'If we chose well, Irma, I should say a dozen.'

'No, no, Alfred, it's a party! It's a 'party'! Things 'happen' at parties ' not at friends' gatherings. I've read about it. Twenty, at least, to make the atmosphere pregnant.'

'Very well, my dear. Very 'well'. Not that we will include a mildewed and wheezy beast with broken antlers because he comes twentieth on the list when the other nineteen are stags, are virile and eligible. But come, let us go into this matter more closely. Let us say, for sake of argument, that we have whittled the probable down to fifteen. Now, of this fifteen, Irma, my sweet co-strategist, surely we could not hope for more than six as possible husbands for you. - No, no, do not wince; let us be honest, though it is brutal work. The whole thing is very subtle, for the six you might prefer are not necessarily the six that would care to share the rest of their lives with you; oh no. It might be another six altogether whom you don't care about one little bit. And over and above these interchangeables we must have the floating background of those whom I have no doubt you would spurn with your elegantly cloven hooves were they to make the least advance. You would bridle up, Irma: I'm sure you would. But nevertheless they are needful, these untouchables, for we must have a hinterland. They are the ones who will make the party florid, the atmosphere potential. '

'Do you think we could call it a soirée, Alfred?'

'There is no law against it that I know of,' answered Prunesquallor, a little irritably perhaps, for she had obviously not been listening. 'But the Professors, as I remember them, are hardly the types I would associate with the term. Who, by the way, 'do' comprise the Staff these latter days? It is a long time since I last saw the flapping of a gown.'

'I know that you are cynical. Alfred, BUT I would have you know that they are my choice. I have always wished for a man of learning to be my own. I would understand him. I would administer to him. I would protect him and dam his socks.'

'And a more dexterous darner never protected the tendo achilles with a double skein!'

'Alfred!'

'Forgive me, my own. By all that's unforeseeable I am getting to like the idea. For my part, Irma, I will see to the wines and liqueurs, the barrels and the punch-bowl. For your part the eatables, the invitations, the schooling of the staff - our staff, not the luminaries'. And now, my dear, 'when'? This is the question - 'when'?'

'My gown of a thousand frills, with its corsage of hand-painted parrots will be ready within ten days, and...'

'Parrots!' cried the Doctor in consternation.

'Why not?' said Irma, sharply.

'But,' wavered her brother, 'how many of them?'

'What on earth does it matter to you, Alfred? They are brightly coloured birds.'

'But will they chime in with the frills, my sweet one? I would have thought if you must have hand-painted creatures on your corsage, as you call it - that something calculated to turn the thoughts of the Professors to your femininity, your desirability, something less aggressive than parrots might be wise.... Mind you, Irma, I'm only...'

'Alfred!' Her voice jerked him back to his chair.

'My, province, I 'think',' she said, with heavy sarcasm. 'I imagine when it comes to parrots you can leave them to me.'

'I will,' said her brother.

'Will ten days give us time, Alfred?' she said, as she rose from her chair and approached her brother, smoothing back her iron-grey hair with her long, pale fingers. Her tone had softened. To the Doctor's horror she sat on the arm of his chair.

Then, with a sudden kittenish abandon, she flung back her head so that her over-long yet pearl-white neck was tautened in a backward curve and her chignon tapped her between her shoulder-blades in so peremptory a way as to make her cough. But directly she had ascertained that it was not her brother being wilful, the ecstatic and kittenish expression came back to her powdered face, and she clapped her hands together at her breast.

Prunesquallor, staring up, horrified at yet another facet of her character coming to light, noticed that one of her molars needed filling, but decided it was not the moment to mention it.

'Oh Alfred! Alfred!' she cried. 'I 'am' a woman, aren't I?' The hands were shaking with excitement as they gripped one another. 'I'll 'show' them I am!' she screamed, her voice losing all control. And then, calming herself with a visible effort, she turned to her brother and, smiling at him with a coyness that was worse than any scream - 'I'll send their cards to them tomorrow, Alfred,' she whispered.

FIFTEEN

Three shafts of the rising sun, splintering through the murk, appeared to set fire to the earth where they struck it. The bright impact of the nearest beam exposed a tangle of branches which clawed in a craze of radiance, microscopically perfect and adrift in darkness.

The second of these floodlit islands appeared to float immediately above the first, for the sky and the earth were a single curtain of darkness. In reality it was as far away again, but hanging as it did gave no sense of distance.

At its northern extremity there grew from the wasp-gold earth certain forms like eruptions of masonry rather than spires and buttresses of natural rock. The sunshaft had uncovered a mere finger of some habitation which, widening as it entered the surrounding darkness to the North, became a fist of stones, which, in its turn, heaving through wrist and forearm to an elbow like a smashed honeycomb, climbed through darkness to a gaunt, time-eaten shoulder only to expand again and again into a mountainous body of timeless towers.

But of all this nothing was visible but the bright and splintered tip of a stone finger.

The third 'island' was the shape of a heart. A coruscating heart of tares on fire.

To the dark edge of this third light a horse was moving. It appeared no bigger than a fly. Astride its back was Titus.

As he entered the curtain of darkness which divided him from his citylike home he frowned. One of his hands gripped the mane of his mount. His heart beat loudly, in the absolute hush. But the horse moved without hesitation, and he was quietened by the regular movement beneath him.

All at once a new 'island' of light, undulating as it ran from the east, enlarging its mercurial margins all the while as though to push away the darkness, created in the gloom a fantastic kaleidoscope of fleeting rocks and trees and valleys and ridges - the fluctuating 'coastline' flaring in sharp and minute tracery. This flow of radiance was followed by another and another. Great saffron gaps had appeared in the sky - and then, from skyline to skyline, the world was naked light.

Titus shouted. The horse shook its head; and then, over the land of his ancestors, he galloped for home.

But in the excitement of the gallop Titus turned his head from the castle towers, which lifted themselves momently higher above the horizon, turned it to where, away in the cold haze of the dawn Gormenghast Mountain with its clawlike peak threw out its challenge across the thrilling air - ''Do you dare'?' it seemed to cry. ''Do you dare'?'

Titus leaned back in the stirrups and tugged his horse to a standstill, for a rare confusion of voices and images had made a cockpit of his panting body. Forests as wet and green as romance itself heaved their thorned branches through him as he sat there shuddering, half turned on the saddle. Swathes of wet foliage shuffled beneath his ribs. In his mouth he tasted the bitterness of leaves. The smell of the forest earth, black with rotted ferns and pungent with fermentation, burned for a moment in his nostrils.

His eyes had travelled down from the high, bare summit of Gormenghast Mountain to the shadowy woods, and then again had turned to the sky. He stared at the sun as it climbed. He felt the day beginning. He turned his horse about. His back was towards Gormenghast.

The mountain's head shone in a great vacancy of light. It held within its ugly contour either everything or nothing at all. It awakened the imagination by its peculiar emptiness.

And from it came the voice again.

''Do you dare? Do you dare?''

And a host of voices joined. Voices from the sun-blotched glades. From the marshes and the gravel beds. From the birds of the green river reaches. From where the squirrels are and the foxes move and the woodpeckers thicken the drowsy stillness of the day with their far arcadian tapping: from where the rotten hollow of some tree, mellow with richness, glows as though lit from within by the sweet and secret cache of the wild bees.

Titus had risen an hour before the bell. He had hurried into his clothes without a sound, and had then tiptoed through silent halls to a southern gateway; and then, running across a walled-in courtyard, had arrived at the Castle stables. The morning was black and murky, but he was restless for a world without Walls. He had paused at Fuchsia's door on his way and had tapped at it.

'Who's there?' Her voice had sounded strangely husky from the other side.

'It's me,' said Titus.

'What do you want?'

'Nothing,' said Titus. I'm going for a ride.'

'It's beastly weather,' said Fuchsia. 'Good-bye.'

'Good-bye,' said Titus; and had resumed his tiptoeing along the corridor when he heard the sound of a handle being rattled. He turned and saw, not only Fuchsia disappearing back into her bedroom, but at the same moment something which was travelling very fast through the air and at his head. To protect his face he threw up his arm and, more by accident than adroitness, found he had caught in his hand a large and sticky slice of cake.

Titus knew that he was not allowed out of the Castle before breakfast. He knew that it was doubly disobedient to venture beyond the Outer Walls. As the only survivor of a famous line he had to take more than ordinary care of himself. It was for him to give particulars of when and where he was going, so that should he be late in returning it would be known at once. But, dark as was the day, it had no power to suppress the craving which had been mounting for weeks - the craving to ride and ride when the rest of the world lay in bed: to drink the spring air in giant gulps as his horse galloped beneath him over the April fields, beyond the Outer Dwellings. To pretend, as he galloped, that he was free.

Free...!

What could such a conception mean to Titus, who hardly knew what it was to move from one part of his home to another without being watched, guided or followed and who had never known the matchless privacy of the obscure? To be without a famous name? To have no lineage? To be something of no interest to the veiled eye of the grown-up world? To be a creature that grew, as a redskin creeps: through childhood and youth, from one year to the next, as though from thicket to thicket, from ambush to ambush, peering from Youth's tree-top vantages?

Because of the wild vista that surrounded Gormenghast and spread to every horizon as though the castle were an island of maroons set in desolate water beyond all trade-routes: because of this sense of space, how could Titus know that the vague, unfocused dissatisfaction which he had begun to feel from time to time was the fretting of something caged?

He knew no other world. Here all about him the raw material burned: the properties and settings of romance. Romance that is passionate; obscure and sexless: that is dangerous and arrogant.