The English Patient - Michael Ondaatje [83]
But Gyges is witnessed by the queen when he leaves the bedchamber. She understands then what has been done by her husband; and though ashamed, she raises no outcry … she holds her peace.
It is a strange story. Is it not, Caravaggio? The vanity of a man to the point where he wishes to be envied. Or he wishes to be believed, for he thinks he is not believed. This was in no way a portrait of Clifton, but he became a part of this story. There is something very shocking but human in the husband’s act. Something makes us believe it.
The next day the wife calls in Gyges and gives him two choices.
‘There are now two ways open to you, and I will give you the choice which of the two you will prefer to take. Either you must slay Candaules and possess both me and the Kingdom of Lydia, or you must yourself here on the spot be slain, so that you mayest not in future, by obeying Candaules in all things, see that which you should not. Either he must die who formed this design, or you who have looked upon me naked.’
So the king is killed. A New Age begins. There are poems written about Gyges in iambic trimeters. He was the first of the barbarians to dedicate objects at Delphi. He reigned as King of Lydia for twenty-eight years, but we still remember him as only a cog in an unusual love story.
She stopped reading and looked up. Out of the quicksand. She was evolving. So power changed hands. Meanwhile, with the help of an anecdote, I fell in love.
Words, Caravaggio. They have a power.
When the Cliftons were not with us they were based in Cairo. Clifton doing other work for the English, God knows what, an uncle in some government office. All this was before the war. But at that time the city had every nation swimming in it, meeting at Groppi’s for the soiree concerts, dancing into the night. They were a popular young couple with honour between them, and I was on the periphery of Cairo society. They lived well. A ceremonial life that I would slip into now and then. Dinners, garden parties. Events I would not normally have been interested in but now went to because she was there. I am a man who fasts until I see what I want.
How do I explain her to you? With the use of my hands? The way I can arc out in the air the shape of a mesa or rock? She had been part of the expedition for almost a year. I saw her, conversed with her. We had each been continually in the presence of the other. Later, when we were aware of mutual desire, these previous moments flooded back into the heart, now suggestive, that nervous grip of an arm on a cliff, looks that had been missed or misinterpreted.
I was at that time seldom in Cairo, there about one month in three. I worked in the Department of Egyptology on my own book, Récentes Explorations dans le Désert Libyque, as the days progressed, coming closer and closer to the text as if the desert were there somewhere on the page, so I could even smell the ink as it emerged from the fountain pen. And simultaneously struggled with her nearby presence, more obsessed if truth be known with her possible mouth, the tautness behind the knee, the white plain of stomach, as I wrote my brief book, seventy pages long, succinct and to the point, complete with maps of travel. I was unable to remove her body from the page. I wished to dedicate the monograph to her, to her voice, to her body that I imagined rose white out of a bed like a long bow, but it was a book I dedicated to a king. Believing such an obsession would be mocked, patronized by her polite and embarrassed shake of the head.
I began to be doubly formal in her company. A characteristic of my nature. As if awkward about a previously revealed nakedness. It is a European habit. It was natural for me – having translated her strangely into my text of the desert – now to step into metal clothing in her presence.
The wild poem is a substitute
For the woman one loves or ought to love,
One wild rhapsody a fake for another.
On Hassanein Bey’s lawn – the grand old man of the 1923 expedition – she walked over with the government aide Roundell