The Illustrated Gormenghast Trilogy - Mervyn Peake [43]
They remained in this attitude for a few moments until the old man lifted his shaggy head and parted the long rough line of his mouth.
‘Gormenghast’, he said, and his voice was like the noise of boulders rolling through far valleys, and as he had said ‘Gormenghast’ the intonation was such as implied reverence. This was the greeting of the Dwellers to any who were of the Castle and once that word had been spoken the person to whom it was addressed replied – ‘The Bright Carvers’. Conversation could then proceed. This response, deaf as the Dwellers were to any flattery, holding themselves to be the supreme judges of their work and indifferent to the outside interest, was in its way a palliative in the sense that it put them where they felt in their bones they belonged – on a spiritual if not a worldly or hereditary level. It introduced a certain concord at the outset. It was a master stroke of judgement, a tower of tact, in the seventeenth Earl of Groan, when hundreds of years before he had introduced this tenet into the ritual of the Castle.
Very, very far from bright were the Carvers themselves. They were uniformly dressed in dark grey cloth, tied about the waist with tough thongs which were stripped from the outer surface of the jarl root, whose inner hard white flesh they ate. Nothing was bright about their appearance, save one thing. The light in the eyes of the younger children. Indeed, in the youths and maidens also up to the age of nineteen and sometimes twenty. These young Dwellers were in such contrast to their elders, even to those in their mid-twenties, that it was difficult to imagine that they were of the same stock. The tragic reason was that after they had come to their physical maturity of form their loveliness crumbled away and they became withered as flowers after their few fresh hours of brilliance and strength.
No one looked middle aged. The mothers were, save for the few who had borne their children in their late teens, as ancient in appearance as their own parents.
And yet they did not die as might be imagined, any earlier than is normal. On the contrary, from the long line of ancient faces at the three tables nearest the great wall, it might be imagined that their longevity was abnormal.
Only their children’s had radiance, their eyes, the sheen on their hair, and in another way, their movements and their voices. Bright with a kind of unnatural brightness. It was not the wholesome lustre of a free flame, but of the hectic radiance that sheet-lightning gives suddenly to limbs of trees at midnight; of sudden flares in the darkness, of a fragment that is lit by torchlight into a spectre.
Even this unnatural emanation died in these youths and girls when they had reached their nineteenth year; along with the beauty of their features, this radiance vanished too. Only within the bodies of the adult Dwellers was there a kind of light, or if not light, at least hotness – the hotness of creative restlessness. These were the Bright Carvers.
Mrs Slagg hoisted her little claw of a hand very high in the air. The four who were lined in front of her had taken less formal stances, the children peering up at her with their slim, dusty arms around each others’ shoulders.
‘I have come’, she said in a voice which, thin as a curlew, carried along the tables, ‘I have come – although it is so late – to tell you a wonderful thing.’ She readjusted her hat and felt as she did so, with great pleasure, the shining volume of the glass grapes.
The old man turned to the tables and his voice rolled out