The Alexandria Quartet - Lawrence Durrell [132]
Then sometimes she wished to go away simply in order to belong more fully to her familiar! Poor fool, she was not spared anything in the long catalogue of self-deceptions which constitute a love affair. She tried to fall back on other pleasures, to find that none existed. She knew that the heart wearies of monotony, that habit and despair are the bedfellows of love, and she waited patiently, as a very old woman might, for the flesh to outgrow its promptings, to deliver itself from an attachment which she now recognized was not of her seeking. Waited in vain. Each day she plunged deeper. Yet all this, at any rate, performed one valuable service for her, proving that relationships like these did not answer the needs of her nature. Just as a man knows inside himself from the first hour that he has married the wrong woman but that there is nothing to be done about it. She knew she was a woman at last and belonged to men — and this gave her misery a fugitive relief.
But the distortions of reality were deeply interesting to someone who recognized that for the artist in herself some confusions of sensibility were valuable. ‘Walking towards the studio she would suddenly feel herself becoming breathlessly insubstantial, as if she were a figure painted on canvas. Her breathing became painful. Then after a moment she was overtaken by a feeling of happiness
and well-being so intense that she seemed to have become weight-less. Only the weight of her shoes, it seemed, held her to the ground. At any moment she might fly off the earth’s, surface, breaking through the membrane of gravity, unable to stop. This feeling was so piercing that she had to stop and hold on to the nearest wall and then to walk along it bent double like someone on the deck of a liner in a hurricane. This was itself succeeded by other disagreeable sensations — as of a hot clamp round her skull, pressing it, of the beating of wings in her ears. Half-dreaming in bed, suddenly horns rammed downwards into her brain, impaling her mind; in a brazen red glare she saw the bloodshot eyes of the mithraic animal. It was a cool night with soft pockets of chemical light in the Arab town. The Ginks were abroad with their long oiled plaits and tinselled clothes; the faces of black angels; the men-women of the suburbs.’ (I copy these words from the case history of a female mental patient who came under Balthazar’s professional care — a nervous breakdown due to ‘love’ — requited or unrequited who can say? Does it matter? The aetiology of love and madness are identical except in degree, and this passage could serve not only for Clea but indeed for all of us.)
But it was not only of the past that Justine spoke but of a present which was weighing upon her full of decisions which must be taken. In a sense, everything that Clea felt was at this time mean-ingless to her. As a prostitute may be unaware that her client is a poet who will immortalize her in a sonnet she will never read, so Justine in pursuing these deeper sexual pleasures was unaware that they would mark Clea: enfeeble her in her power of giving undivided love — what she was most designed to give by tempera-ment. Her youth, you see. And yet the wretched creature meant no harm. She was simply a victim of that Oriental desire to please, to make this golden friend of hers free of treasures which her own experience had gathered and which, in sum, were as yet meaning-less to her. She gave everything, knowing the value of nothing, a true parvenue of the soul. To love (from any quarter) she could respond, but only with the worn felicities of friendship. Her body really meant nothing to her. It was a dupe. Her modesty was supreme. This sort of giving is really shocking because it is as simple as an Arab, without precociousness, unrefined as a drinking