The Alexandria Quartet - Lawrence Durrell [460]
dinghies which had crossed the harbour boom, threading their blithe way towards the distant blue marker buoy. Alexandria was virtually at norm once more, lying in the deep backwater of the receding war, recovering its pleasures. Yet the day had suddenly darkened around us, oppressing our spirits — a sensation all the more exasperating because of its absurd cause. I cursed old Scobie’s self-importance in setting up as a fortune-teller.
‘These gifts might have got him a bit further in his own profession had they been real’ I said peevishly.
Balthazar laughed, but even here there was a chagrined doubt in his laughter. His remorse at having stirred up this silly story was quite patent.
‘Let us go’ said Clea sharply. She seemed slightly annoyed as well,
and for once disengaged her arm when I took it. We found an old horse-drawn gharry and drove slowly and silently into town together.
‘No damn it!’ cried Balthazar at last. ‘Let us go down and have a drink by the harbour at least.’ And without waiting for answer from us he redirected the jarvey and set us mutely clip-clopping down the slow curves of the Grande Corniche towards the Yacht Club in the outer harbour of which was now to befall something momentous and terrible for us all. I remember it so clearly, this spring day without flaw; a green bickering sea lighting the minarets, softly spotted here and there by the dark gusts of a fine racing wind. Yes, with mandolines fretting in the Arab town, and every costume glowing as brightly as a child’s coloured transfer. Within a quarter of an hour the magnificence of it was to be darkened, poisoned by unexpected — completely unmerited death. But if tragedy strikes suddenly the actual moment of its striking seems to vibrate on, extending into time like the sour echoes of some great gong, numbing the spirit, the comprehension. Suddenly, yes, but yet how slowly it expands in the understanding
— the ripples unrolling upon the reason in ever-widening circles of fear. And yet, all the time, outside the centre-piece of the picture, so to speak, with its small tragic anecdote, normal life goes on unheeding. (We did not even hear the bullets, for example. Their sullen twang was carried away on the wind.)
Yet our eyes were drawn, as if by the lines-of-force of some great marine painting, to a tiny clutter of dinghies snubbing
together in the lee of one of the battleships which hovered against the sky like a grey cathedral. Their sails flapped and tossed, idly as butterflies contending with the breeze. There was some obscure movements of oars and arms belonging to figures too small at this range to distinguish or recognize. Yet this tiny commotion had force to draw the eye — by who knows what interior pre-monition? And as the cab rolled silently along the rim of the inner harbour we saw it unroll before us like some majestic seascape by a great master. The variety and distinction of the small refugee craft from every corner of the Levant — their differ-ing designs and rigs — gave it a brilliant sensuality and rhythm against the glittering water. Everything was breath-taking yet normal; tugs hooted, children cried, from the cafés came the rattle of the trictrac boards and the voices of birds. The normality of an entire world surrounded that tiny central panel with its flicking sails, the gestures we could not interpret, the faint voices. The little craft tilted, arms rose and fell.
‘Something has happened’ said Balthazar with his narrow dark eye upon the scene, and as if his phrase had affected the horse it suddenly drew to a halt. Besides ourselves on the dockside only one man had also seen; he too stood gazing with curious open-mouthed distraction, aware that something out of the ordinary was afoot. Yet everywhere people bustled, the chandlers cried. At his feet three children played in complete absorption, placing marbles in the tramlines, hoped to see them ground to powder when the next tram passed. A water-carrier clashed his brass mugs, crying: ‘Come, ye thirsty ones.