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Furious, Furvain sought Kasinibon out and assailed him for violating the privacy of his quarters.
To his surprise, Kasinibon made no attempt to deny the accusation. “Ah, so you know? Well, of course.
I couldn’t resist.” His eyes were shining with excitement. “It’s marvelous, Furvain. Magnificent. I was so profoundly moved by it I can hardly begin to tell you. The episode of Lord Stiamot and the Metamorph priestess — when she comes before him, when she weeps for her people, and Stiamot weeps also—”
“You had no right to go rummaging around in my cupboard,” said Furvain icily.
“Why not? I’m the master here. I do as I please. All you said was that you didn’t want to have a discussion of an unfinished work. I respected that, didn’t I? Did I say a word? A single word? For days, now, I’ve been reading what you were writing, almost since the begi
Furvain felt mounting outrage. “You’ve been going into my room all along?” he sputtered, astounded.
“Every day. Since long before you started the thing with the pens. — Look, Furvain, a classic poem, one of the great masterpieces of literature, is being born under my own roof by a man I feed and shelter. Am I to be denied the pleasure of watching it grow and evolve?”
“I’ll burn it,” Furvain said. “Rather than let you spy on me any more.”
“Don’t talk idiocy. Just go on writing. I’ll leave it alone from now on. But you mustn’t stop, if that’s what you have in mind. That would be a monstrous crime against art. Finish the Melikand scene. Do the Dvorn story. And continue on to all the rest.” He laughed wickedly. “You can’t stop, anyway. The poem has you in its spell. It possesses you.”
Glaring, Furvain said, “How would you know that?”
“I’m not as stupid as you want to think I am,” said Kasinibon.
But then he softened, asked for forgiveness, promised again to control his overpowering curiosity about the poem. He seemed genuinely repentant: afraid, even, that by intruding on Furvain’s privacy this way he might have jeopardized the completion of the poem. He would never cease blaming himself, he said, if Furvain took this as a pretext for abandoning the project. But also he would always hold it against Furvain. And then, once more with force: “You will go on with it. You will. You could not possibly stop.”
Furvain was unable to maintain his anger in the face of so shrewd an assessment of his character. It was clear that Kasinibon perceived Furvain’s i
Grudgingly he said, “Yes, I’ll continue. You can be sure of that. But keep out of my room.”
“Agreed.”
As Kasinibon began to leave Furvain called him back and said, “One more thing. Has there been any news yet from Dundilmir about my ransom?”
“No. Nothing. Nothing,” replied Kasinibon, and went swiftly from the room.
No news. About what I expected, Furvain thought. Tanigel has thrown the note away. Or they are laughing about it at court: can you believe it? Poor silly Furvain, captured by bandits!
He felt certain that Kasinibon was never going to hear from Tanigel. It seemed appropriate, then, to draft new ransom requests — one to his father at the Labyrinth, one to Lord Hunzimar at the Castle, perhaps others to other people, if he could think of anyone who was even remotely likely to be willing to help — and have Kasinibon send his messengers forth with them.
Meanwhile Furvain continued his daily work. The trance state came ever more easily; the mysterious figure of Lord Valentine appeared whenever summoned, and gladly led him back through time into the dawn of the world. The manuscript grew. The pens were not disturbed again. After a little while Furvain ceased taking the trouble to lay them out.
Furvain saw the overall shape of the poem clearly, now.
There would be nine great sections, which in his mind had the form of an arch, with the Stiamot sequences at the highest part of the curve. The first canto would deal with the arrival of the original human settlers on Majipoor, full of the hope of leaving the sorrows of Old Earth behind and creating a paradise on this most wonderful of all worlds. He would depict their tentative early explorations of the planet and their awe at its size and beauty, and the founding of the first tiny outposts. In the second, Furvain would portray the growth of those outposts into towns and cities, the strife between the cities that arose in the next few hundred years, the spreading conflicts that caused in time the breakdown of all order, the coming of turbulence and general nihilism.
The third canto would be Dvorn’s: how he had risen up out of the chaos, a provincial leader from the west-country town of Kesmakuran, to march across Alhanroel calling upon the people of every town to join with him in a stable government uniting all the world under its sway. How by force of personality as well as strength of arms he had brought that government into being — the nonhereditary monarchy under the authority of an emperor to whom he gave the ancient title of Pontifex, “bridge-builder,” who would choose a royal subordinate, the Coronal Lord, to head the executive arm of his administration and ultimately to succeed him as Pontifex. And Furvain would tell how Dvorn and his Coronal, Lord Barhold, had won the support of all Majipoor and had established for all time the system of government under which the world still thrived.
Then the fourth canto, a transitional one, depicting the emergence of something resembling modern Majipoor out of the primordial structure devised by Dvorn. The construction of the atmosphere-machines that made possible the settling of the thirty-mile-high mountain that later would be called Castle Mount, and the founding of the first cities along its lower slopes. Lord Melikand’s insight that the human population alone was insufficient to sustain the growth of a world the size of Majipoor, and his importation of the Skandars, the Vroons, the Hjorts, and the other various alien races to live side by side with humankind there. The exacerbation of human-Metamorph conflicts, now, as the relatively sparse aboriginal population found itself being crowded out of its own territories by the growth of the settlements. The begi
Lord Stiamot’s canto, already completed, would be the fifth one, the keystone of the great arch. But reluctantly Furvain realized that Stiamot required more space. The canto would have to be expanded, divided perhaps into two, or more likely three, in order to do justice to the theme. It was necessary to limn Stiamot’s moral anguish, the terrible ironies of his reign, the man of peace compelled for his people’s sake to wage a ghastly war against the original inhabitants of the world, i