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The Alexandria Quartet - Lawrence Durrell [453]

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it is the sister who brings the dead king back to life. In Egypt as well as Peru the king, who was con-sidered as God, took his sister to wife. But the motive was ritual and not sexual, for they symbolized the moon and the sun in their conjunction. The king marries his sister because he, as God the star, wandering on earth, is immortal and may therefore not pro-pagate himself in the children of a strange woman, any more than he is allowed to die a natural death.” That is why he was pleased to come here to Egypt, because he felt, he said, an interior poetic link with Osiris and Isis, with Ptolemy and Arisinoe — the race of the sun and the moon!’

Quietly and methodically she placed letter after letter on the burning pyre, talking in a sad monotone, as much to herself as to me.

‘No it would not be possible to make it all comprehensible to those who were not of our race. But when the guilt entered the old poetic life began to lose its magic — not for me: but for him. It was he who made me dye my hair black, so that I could pretend to be a step-sister of his, not a sister. It hurt me deeply to realize suddenly that he was guilty all of a sudden; but as we grew up the world intruded more and more upon us, new lives began to impinge on our solitary world of palaces and kingdoms. He was forced to go away for long periods. When he was absent I had nothing whatsoever except the darkness and what my memory of him could fill it with; somehow the treasures of his invention went all lustreless until he came back, his voice, his touch. All we knew of our parents, the sum of our knowledge, was an old oak cupboard full of their clothes. They seemed enormous to us when we were small — the clothes of giants, the shoes of giants. One day he said they oppressed him, these clothes. We did not need parents. And we took them out into the yard and made a bonfire of them in the snow. We both wept bitterly, I do not know why. We danced round the bonfire singing an old hunting song with savage triumph and yet weeping.’

She was silent for a long moment, her head hanging in pro-found concentration over this ancient image, like a soothsayer gazing fixedly into the dark crystal of youth. Then she sighed and raised her head, saying: ‘I know why you hesitate. It is the last letter, isn’t it? You see I counted them. Give it to me, Darley.’

I handed it to her without a word and she softly placed it in the fire saying: ‘It is over at last.’

* * * * *

VII

s the summer burned away into autumn, and autumn into winter once more we became slowly aware that the A war which had invested the city had begun slowly to ebb, to flow gradually away along the coast-roads fringing the desert, releasing its hold upon us and our pleasures. For receding like a tide it left its strange coprolitic trophies along the beaches which we had once used, finding them always white and deserted under the flying gulls. War had denied them to us for a long time; but now, when we rediscovered them, we found them littered with pulped tanks and twisted guns, and the indiscriminate wreckage of temporary supply harbours abandoned by the engineers to rot and rust under the desert sun, to sink gradually into the shifting dunes. It gave one a curious melancholy re-assurance to bathe there now — as if among the petrified lumber of a Neolithic age: tanks like the skeletons of dinosaurs, guns standing about like outmoded furniture. The minefields consti-tuted something of a hazard, and the Bedouin were often straying into them in the course of pasturing; once Clea swerved — for the road was littered with glistening fragments of shattered camel from some recent accident. But such occasions were rare, and as for the tanks themselves, though burned out they were tenantless. There were no human bodies in them. These had presumably been excavated and decently buried in one of the huge cemeteries which had grown up in various unexpected corners of the western desert like townships of the dead. The city, too, was finding its way back to its normal habits and rhythms, for the bombardments

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