The Alexandria Quartet - Lawrence Durrell [226]
Leila tactfully left him a clear field. Mountolive already knew that the hatching of eggs by artificial heat was an art for which Egypt had been famous from the remotest antiquity and was delighted to be informed about the process. In this underground fairway full of ancient cobwebs and unswept dirt they talked techniques and temperatures with the equivocal dark eyes of the woman upon them, studying their contrasting physiques and manners, their voices. Narouz’ beautiful eyes were now alive and brilliant with pleasure. His guest’s lively interest seemed to thrill him too, and he explained everything in detail, even the strange technique by which egg-heats are judged in default of the thermometer, simply by placing the egg in the eye-socket.
Later, walking back through the rose-garden with Leila, Mountolive said: ‘How very nice your son is.’ And Leila, un-expectedly, blushed and hung her head. She answered in a low tone, with emotion: ‘It is so much on our conscience that we did not have his hare-lip sewn up in time. And afterwards the village children teased him, calling him a camel, and that hurt him. You know that a camel’s lip is split in two? No? It is. Narouz has had much to contend with.’ The young man walking at her side felt a sudden pang of sympathy for her. But he remained tongue-tied. And then, that evening, she had disappeared.
At the outset his own feelings somewhat confused him, but he was unused to introspection, unfamiliar so to speak with the entail of his own personality — in a word, as he was young he success-fully dismissed them. (All this he repeated in his own mind afterwards, recalling every detail gravely to himself as he shaved in the old-fashioned mirror or tied a tie. He went over the whole business obsessively time and again, as if vicariously to provoke and master the whole new range of emotions which Leila had liberated in him. At times he would utter the imprecation ‘Damn’
under his breath, between set teeth, as if he were recalling in his own memory some fearful disaster. It was unpleasant to be forced to grow. It was thrilling to grow. He gravitated between fear and grotesque elation.)
They often rode together in the desert at her husband’s sug-gestion, and there one night of the full moon, lying together in a dune dusted soft by the wind to the contours of snow or snuff, he found himself confronted by a new version of Leila. They had
eaten their dinner and talked by ghost-light. ‘Wait’ she said sud-denly. ‘There is a crumb on your lip.’ And leaning forward she took it softly upon her own tongue. He felt the small warm tongue of an Egyptian cat upon his under lip for a moment. (This is where in his mind he always said the word ‘Damn’.) At this he turned pale and felt as if he were about to faint. But she was there so close, harmlessly close, smiling and wrinkling up her nose, that he could only take her in his arms, stumbling forward like a man into a mirror. Their muttering images met now like reflections on a surface of lake-water. His mind dispersed into a thousand pieces, winging away into the desert around them. The act of becoming lovers was so easy and was completed with such apparent lack of premeditation, that for a while he hardly knew himself what had happened. When his mind caught up with him he showed at once how young he was, stammering: ‘But why me, Leila?’ as if there was all the choice in the wide world before her, and was astonished when she lay back and repeated the words after him with what seemed like a musical contempt; the puerility of his question indeed annoyed her. ‘Why you? Because.’ And then, to Mount-olive’s amazement, she recited in a low sweet voice