Showing posts with label translation. Show all posts
Showing posts with label translation. Show all posts

Wednesday, 17 June 2026

Wednesday's Good Reading: “Lana Caprina, Or: The Wisdom Of Mr. Capra” by Olavo de Carvalho (translated into English by Marcelo De Polli)

 

Em 3 de maio de 1993.

 

The New Age and the Cultural Revolution: Fritjof Capra & Antonio Gramsci,Chapter I.

IAL and Stella Caymmi, Rio de Janeiro, 1993. (3rd edition)

 

 

In early November,(1) Brazil will be receiving Mr. Fritjof Capra, summoned by Brasília Holistic University (Universidade Holística de Brasília) to talk about the New Age, as heralded in his book The Turning Point.

Mr. Capra’s voice shall not be crying out in the desert. The Holistic University has already assembled a congregation of local intellectuals keen to say ‘amen’ to his lesson in church. Frei Betto and former Brasília University dean Christovam Buarque can be found among the acolytes. We can see that Mr. Capra is not a writer like the others: he’s a leader, a spiritual authority and, let us admit it at once, a prophet.

The content of his prophecies is all but unknown: The Turning Point has found its way as far as the hands of children, who debate it at school. However, according to the Holistic University this is hardly enough. Mr. Capra must be heard by all akin to the human species. For, in spite of being homonymous to a film director become famous on account of happy endings, he guarantees a quite unhappy one to our century unless humanity should follow his advice. Let us hurry to examine it with such urgency as the case requires.

According to Mr. Capra, the history of the world has come to a turning point, and must change its course. The three main changes on schedule are the following: first, humanity will stop consuming fossil fuel (oil); second, patriarchy will come to an end; third, the present scientific paradigm will be replaced by a new one, a holistically based one. These three things are already happening — so assures us Mr. Capra — yet the triple accomplishment must needs be hastened; it will mark the coming of the New Age.

While addressing the first item, Mr. Capra is very brief, as becomes a prophet. Instead of the long analysis he dedicates to the other two themes, he utters only the following prophetic words: ‘This decade will be marked by the transition from the fossil fuelled to the new solar era, powered by renewable energy straight from the sun.’ The decade Mr. Capra refers to ended in 1990, his Good Book having been published in 1981. Well, not all prophets are lucky. However, should the above-mentioned prophecy be four, five, or nine years late, Mr. Capra can always claim St. John the Evangelist was not too accurate concerning the date of the Apocalypse, either.

Like so many other prophets, Mr. Capra may complain about being misunderstood. I, for instance, do not understand how the world might have leapt from the fossil fuel era straight into the solar energy one, without going through the atomic era, in which we were at the time the prophecy was uttered and in which we still are, after its expiration date. But perhaps Mr. Capra’s prophetic intuition works at light speed, skipping steps. Which provides us, by the way, with a good reason to skip right away to the next item, since the first chapter of the ‘turning’ did not come to a happy ending.

Patriarchy consists, according to Mr. Capra, of a complex of three elements: one, the domination of women by men; two, the domination over nature by the human species; three, the prevalence of reason (a masculine faculty) over intuition (a feminine one). They are three sides of the one and same phenomenon, summarized by Mr. Capra as the supremacy of yang over yin.

It is, as can be seen, a special kind of patriarchy, a lot different from the one to be found in History, or sociological treaties. For they tell us that: the increase of technical power over nature shook the regime of rural property which sustained patriarchy; and that the coming of the Empire of Reason, brought along with the French Revolution, promoted equal rights for men and women, striking the deathblow on the authority of the pater familias. In short, they tell us that two out of the three things Mr. Capra gathers under the common label of ‘patriarchy’ are precisely their opposite. But prophets give little heed to profane sciences. Non enim cogitationes meae cogitationes vestrae, as the Bible had already warned us. Mr. Capra does not think the way we do, really.

There is, however, something in him to which at least some of us are allowed full understanding. Being logic, to his mind, an expression of the abominable patriarchy whose end he craves, he couldn’t possibly obey it without becoming, ipso facto, illogical. It is a matter of logic that he should decide for being illogical. Any baby can understand this. The hard thing is to understand it when one is no longer a baby. In order to get yourself admitted into the heavens of the New Age, the reader must therefore become like unto the little ones.

Here is a typical case. To get rid of the hateful patriarchy, says our prophet, humanity should seek inspiration in the example of the Chinese civilisation, whose conception of human nature, set forth in the I Ching, ‘is in blatant contrast with that of our patriarchal culture’. Now searching for antipatriarchal ammunition amidst the pages of the I Ching, the reader will find, on the hexagram no. 37, the following recommendations: ‘The wife should always be guided by the will of the lord of the household, that is, by the father, the husband or the adult son. She belongs in the house.’ Just the kind of life Betty Friedan has asked God for. By the way, as we are told by Marcel Granet on the classic La Civilisation Chinoise,(2) the Chinese feudalism — the period during which most of the commentaries on the I Ching were written — ‘rests over the acknowledgement of masculine prevalence.’ The China which Mr. Capra refers to must not be the same one the profane geographers know by the name.

One thing we really cannot do is charge Mr. Capra with pro-chinese factionalism. Why, if he rejects occidental logic, that doesn’t mean he bows to the demands of the oriental one. According to him, yang represents analytical reason, which divides, and yin represents intuition, which unifies. The Chinese, not making much out of these subtleties, have represented the divisive yang by a continuous trace, and the unifying yin by one cut in half by a void. In the New Age, the editions of the I Ching will appear duly corrected.

Meanwhile, as these editions do not come by, Mr. Capra is already making on his own some more serious modifications in Chinese thought. He says, for instance, that in Chinese civilisation man endeavours not to dominate nature, but rather to integrate with it. Again, the Chinese wisdom of Mr. Capra caught China unawares: a Chinese could hardly understand this sentence, if only because they do not have a word meaning ‘nature’; not in the western sense of this word, that is, signifying at the same time the visible world and the invisible order which governs it — a double meaning the modern languages inherited from the Greek physis. The Chinese language is, in this point, if you don’t mind my saying so, more ‘analytical’: it has a term to designate the visible world (khien), and another (khouen) to indicate the invisible order. By way of compensation, the visible world or khien ‘synthetically’ comprehends earthly nature as well as human society. Mr. Capra does not tell us which one should man get reintegrated to; but of course no one could get integrated into both, neither simultaneously nor in the same way. The ancient Chinese have already warned us about it, and solved the contradiction by proposing a duality of attitudes to match this double aspect of nature: the wise man, says the I Ching, must actively seek to be integrated into the invisible order or khouen (called ‘active perfection’ on that account) and softly get around the demands of earthly nature (khien or ‘passive perfection’). In other words, the wise man must be integrated into the celestial order, by way of integrating in himself — thus dialectically overcoming it — the earthly order. In this way the latter is absorbed into the celestial order. ‘Celestial’ and ‘earthly’, in this sense, are respectively identified to dharma and kharma in Hindu tradition. Man doesn’t get ‘integrated’ into kharma, but rather ‘absorbs’ it, provided he is integrated into dharma: he gets rid of the weight of the earth as long as he heeds the celestial plea. Exactly the same sense in which Christianity says that man overcomes natural need as long as he follows the paths of Providence. Not quite what Mr. Capra says.

The ideogram Wang (‘The Emperor’) sheds a further light on this point. It constitutes, on its own, a compendium of Chinese cosmology. It is made of three horizontal traces — Heaven above, Earth below, Man in the middle, forming the triad Tien-Ti-Jen, ‘Heaven-Earth-Man’ — cut by a vertical trace, Tao, which is somewhat conventionally translated as Law or Harmony. Harmony consists in each thing abiding where it belongs, in such a way that, behind all changes the world goes through, the supreme order should not be breached (even though, in this world of appearances, it necessarily is, for, as the Gospels tell us, ‘it must needs be that offences come’; but in the end, all partial disorders are reintegrated into the total order).

In the Chinese triad, man is called the ‘son of Heaven and Earth’. The father being Heaven, we can see already, by the hexagram 37, who is the one in command. Man therefore governs the sensible world, but he does not do it out of his own will, but rather in the name of a transcendental order. Tien does not mean ‘sky’ in the material sense, but rather ‘celestial perfection’ or, more properly, ‘the will of Heaven’. The wise man or emperor apprehends the will of Heaven from the invisible and sees to it on Earth. In the central room of his palace, he daily attends to rites of complex geometrical and numerological symbolism similar to that of pythagorism, by means of which the celestial archetypes ‘descend’ — exactly like, in Holy Mass, it is said that the Holy Ghost ‘descends’ — in order to bring order and harmony to Earth. If the emperor stops performing these rites, Earth — society and nature at the same time — enters a state of convulsion, and all about are spread ignorance, fear, violence, hunger, plague.

The interruption of the rites wasn’t all that could bring on catastrophe. ‘The emperor’ — so writes Max Weber in The Religion of China — ‘had to conduct himself according to the ethical imperatives of the classical scriptures. The Chinese monarch remained, basically, a pontiff. He had to prove he was actually the ‘son of Heaven’, the ruler approved of by the Heavens, so that the people under his government should live well. Should the rivers burst their dams, or the rain fail to come in spite of all rites, that was a proof — expressly believed in — that the emperor didn’t have the charismatic qualities required by Heaven.’

Man rules the Earth, but in the name of Heaven. He rules as pontifex, ‘builder of bridges’; he connects Earth to Heaven through the Straight Path, Tao. Should he stray away from the Straight Path, he would lose sight of the Will of Heaven and could no longer rule but in his own name, as a tyrant and usurper. Thus, in a re-entrance shock, he loses his power and falls under the rule of the earthly powers he used to command. As the Earth designates physical nature as well as human society, the shock could mean a civil revolution or a military take-over, as well as a storm or earthquake. The fallen monarch represents, by analogy, any man that, parting with the celestial order, loses sight of his ideal destiny and falls prey of the abyssal passions. Such is the situation described on hexagram 36, Darkening of the Light: ‘Firstly he soared to Heaven, then he plunged deep into the Earth.’ The traditional commentary, summarized by Richard Wilhelm, is the following: ‘The power of darkness has mounted to such high a position that it may bring about damage to whomever ranks with good and light. But in the end the power of darkness perishes by his own obscurity.’

One sees already that Mr. Capra’s advice, affected by the double meaning of the word ‘nature’, may have two opposite meanings: by ‘getting integrated’, does he intend that we obey the Will of Heaven or that we plunge deep into the Earth? Whenever obscure, the prophets’ discourse deserve interpretation. Let us interpret.

In Mr. Capra’s version, Heaven is not mentioned. The triad is thus reduced to a duality: on one side, man; on the other, visible nature. Male and female. Yang and yin. To each is left the alternative to subdue the other or ‘get integrated’ with it. The man of the industrial civilisation has opted for the first hypothesis. Mr. Capra advocates the second.

It is true what Mr. Capra says, that western civilisation has opted for dominating nature. But it is also true that, since the Renaissance at least, it has erased (just as Mr. Capra has) all reference to a transcendental order (Tien) and left man by himself, face to face with material nature. Since then, the history of western ideas has been marked by a pendular oscillation between the ideologies of domination and the ideologies of submission: classicism and romanticism, revolution and reaction, historicism and naturalism, scientism and mysticism, promethean ativism and quietist evasionism, Marxism and existentialism and, last not least, socialist cultural revolution versus ‘New Age’ ideology.

It is in this pair of opposites that resides the key for the understanding of our prophet. Mr. Capra hits the nail on the head (no prophet can accomplish the prodigy of being always wrong) when he says that his view of cultural history is an alternative to Marxism. To Marx and his offspring, nature is nothing but a background to human history. It is there, not as a being, an ontological substance which man should contemplate and respect in its objective constitution, but as raw material, owned and transformed by man at will. Nature, in Marx, is ancilla industriae. Marxism carries on the tradition of revolutionary prometheanism of the Renaissance, empowering it through the utter and explicit submission of nature to History. That is what the New Age is opposed to.

It is not opposed, however, only to Marxism in general, but to a specific form of Marxism, which wanted to operate a ‘turning’ as well, a U-turn in the orientation of human thought. The founder of this Marxist current was the Italian ideologist Antonio Gramsci (1891-1937). Gramscism proposes a cultural revolution which subverts all admitted criteria of knowledge, setting up in its place an ‘absolute historicism’, in which the function of intelligence and culture is not to attain to objective truth anymore, but merely to ‘express’ the collective belief, thus placed out of and above the distinction between true and false. It is the utter submission of the ‘object’ (nature) to the ‘subject’ (historic humanity). In this new paradigm, the emphasis of scientific activity rests no longer on the objective knowledge of nature (exact description of its visible appearance and investigation of the invisible principles which govern it), but rather on its transformation through technique and industry, to which corresponds, on the sphere of ideas, a kind of ‘permanent revolution’ of all categories of thought succeeding one another in a vertiginous acceleration of historical becoming.

The ideology of the New Age stands out against this. To revolutionary prometheanism, it opposes the ‘integration into nature’; to the acceleration of History, the ‘ecological’ balance of the New World Order; and, to absolute historicism, the ‘end of History’. Capra is inconceivable without Fukuyama. Capra is the crust of which Fukuyama is the core. All the shiny ‘esoteric knowledge’ of the New Age, with its secret initiations, its gurus, its magicians, and its rites, are but the exoteric part, the external and social religious set-up. Its interior, its ‘esoteric meaning’ is actually quite a modern, rational, and profane science: strategical planning. Fukuyama is to Capra just as esoteric knowledge is to exoteric knowledge, as the Church of John is to the Church of Peter. But both, each in its own level and by its own means, fight the same foe.

Gramscism was a great success in the 60’s, inspiring the passing fever of eurocommunism and reanimating some communist hopes. In Brazil, it took over practically the whole Left, and PT(3) is essentially a Gramscian party, whether it explicitly admits it or not. But the renovating intent was too little, too late: communism ended up being defeated by the world-scale rising of the ideology of the New Age. All in all, the blend of quantum physics and oriental symbolisms, psychic experiences and free sex, peace promises and mirages of self-accomplishment offered by this ideology is infinitely more seductive than any ‘absolute historicism’. Brazil, late as always, is one of the few places in the world where the fight still goes on, with a fierce nucleus of Gramscian remainings offering a Quixote-like resistance to the triumphant armies of the New Age.

However, if the revolutionary prometheanism represented the utmost hybris, the utmost dominating eagerness of man over nature, the ideology of the New Age is no less than the re-entrance shock announced by the I Ching.

The New Age has defeated the Gramscian revolution. It was a teratomachy, though: a combat of monsters. The Chinese would say it was a suicidal combat: that, without the common obedience to Tien, the fight between Ti and Jen can only reach an end through the ‘darkening of the light’. Therefore, the victory of the New Age forebodes the next step of the cycle of changes: humanity will fall from promethean self-glorification into helpless passivity; it will ‘ecologically’ integrate with the balance of the New World Order, where the collective sticking to the beaten track will be assured through a fair dealing of the means to satisfy the basest passions and through an external mock religiosity which will endow these passions with a flattering aura of ‘depth’ and ‘self-knowledge’.

This can be psychoanalytically interpreted. Gérard Mendel, on his book La Révolte Contre le Père, one of the most important contributions of the last decades to Freudian psychoanalysis, says that, along history, the impulse of man to surpass the father has been, as intended Freud, one of the most powerful driving forces of progress. But this impulse, he goes on, may take one of two ways: man either surpasses and beats the carnal father integrating himself with the rational order represented by the ideal father, or sends to all devils the ideal order and, free from all moral restraint, kills the carnal father and takes possession of the mother. This last alternative is the promethean rebellion, the ‘integration’ of man into darkness. Hence, according to Mendel, the anthropological as well as psychotherapeutical importance of the words of the most celebrated Christian prayer: the ‘rebellion against the father’ is wholesome and fruitful only when undertaken ‘in the name of the Father’. In short: the carnal father is to the adult man (Jen) nothing more than an aspect of Ti, Earth. He needs be put under the rule of the celestial order, Tien or ideal father, if one is to be granted the fair and harmonic government of the Earth, without usurpation or violence. I have always thought there was something Chinese about dr. Freud.

In Mendel’s terms, the Gramscian revolution is the destructive rebellion against the father, and the ideology of the New Age, with its plea for the fusion of all individual consciousness into a soup of holistic mirages, is the ensuing regression to the womb. All regressions towards the womb are announced by the exacerbation of fantasy, by the hypnotic calling of longings deprived of all sense, by the mediumistic foresight of endless delight. They all end in wretched slavery, in helpless passivity before the aggression of the abyssal forces, in the darkening of light.

It must needs be that offences come. The New Age has defeated the Gramscian prometheanism, and make way: here comes hexagram no. 36. There’s coming a shitstorm and Fritjof Capra is its prophet. But in the end, which is not to be reckoned nigh, the power of darkness will succumb by force of its own obscurity.

After the period of darkness, so assures us Revelations, the madness of the new prophets who drew humanity into error will be brought out to full daylight for all to see.

As the New Age has barely begun, it is not time to do the complete show. Meanwhile, not much can be done besides giving some preliminary samples which attest to the generations to come the reality of a past which will seem quite unlikely to them. As the wise Richard Hooker said, faced to the advance of the puritan nonsense in the 16th century, when all this is through ‘posterity will know that we did not let, through negligent silence, things go by as in a dream’.

Mr. Capra’s book is packed with samples. However, Justice determines that we select them according to its degree of importance as given by the author himself. We must then examine the third ‘turning point’: the revolution of the scientific paradigm.

In this field, Mr. Capra does not seem as impaired as in the Chinese world, which he only knew through third-hand sources. A PhD in physics from Vienna University, he cannot ignore the history of occidental science the way he ignores the Chinese civilisation. But who said he cannot? To prophets everything is possible.

According to Mr. Capra, ‘the paradigm which is now in transformation has dominated our culture for many hundreds of years’; he ‘understands a certain number of ideas’ that ‘include the belief that the scientific method is the only valid approach to knowledge; the conception of the universe as a mechanical system composed of elementary material units’. These conceptions bear the respective names of: scientism, mechanicalism, and social-Darwinism. I repeat: according to Mr. Capra, they dominate our culture since many hundreds of years. This suggests two questions. First: what is to ‘dominate a culture’? Second: how much is ‘many hundreds’?

We say that a certain idea dominates a culture when: firstly, it is accredited by the most important intellectuals from every sector; secondly, the competing ideas are no longer fertile, which means they no longer express themselves into powerful and significant works, or have vanished entirely. Thus, for example, Christianity dominated the Middle Ages because, on the one hand, all of the philosophers and cultured men in general were Christians and, on the other hand, the non-Christian currents of thought, even though they persistently lived on in the collective subconscious, did not produce in this period any work worthy of attention. We say that Marxism dominated the Soviet culture until the 60’s because in this period no eminent intellectual in the USSR produced any idea out of the conceptual frames of Marxism and because the non-Marxist undercurrents (except in exile and in western languages) created nothing of significant.

In this strict sense, none of the three ideas which make up the ‘dominant paradigm’ was ever dominant anywhere in the West. Since they appeared, all three of them were unceasingly opposed to, fought, refuted, and rejected in whole or in part by important intellectuals. On the other hand, openly hostile currents to these ideas have remained fertile enough to produce some of the most significant works in their respective fields.

Let us see mechanicalism. This current was rejected from its birth by giants such as Leibniz, Schelling, Vico, Schopenhauer, Driesch, Fechner, Boutroux, Nietzsche, Weber, Kierkegaard, and many others, until it was stricken down in the 20th century by Planck’s theory. How can it be ‘dominant’?

Rigorously, mechanicalism was only dominant in a certain part of the world, which for Mr. Capra is ‘the’ world: the Anglo-Saxon universitary circles. That this traditionally presumptuous and self-assured little world should become open nowadays to new ideas, that it should be willing to listen to the Orientals without the traditional colonialist misunderstanding, is no doubt good news. It is local news, though. There is not a more certain way to make a people provincial than to persuade them that they are the centre of the world. From this moment on, they will declare non-existent or irrelevant everything placed out of their view, and when at length they discover something that all the rest of the world already knew, they fashion it into a scientific revolution.

As to scientism, so much has been written about it that it is perfectly wrong to consider it dominant even in a toned down sense of the term. To do so, it would be necessary to exclude at least Marxism, psychoanalysis, phenomenology, neotomism, and existencialism from the foreground of culture. Here, once again, Mr. Capra mistakes for worldwide dominant the opinion of a restricted group.

Social-Darwinism, in its turn, only became dominant as a public belief in one single country in the world: the United States. It has never entered, for instance, neither the communist countries nor the Islamic world; these add up to almost two thirds of humanity. In the catholic countries, it was received from the start as a perverted anomaly, raising reactions of scandal testified by the social encyclicals of popes since at least Leo XIII.

Still, in addition to affirming that these three beliefs ‘dominate the world’, Mr. Capra assures us that this has been going on ‘since many hundreds of years’. Let us tell the story.

The eldest of the three is mechanicalism. Anticipated by Descartes, it was fully formulated by Isaac Newton (Mathematical Principles of Natural Philosophy, 1687). However, it only became known by the European intellectuals in general after 1738, when Voltaire published the lay-accessible Elements of Newton’s Philosophy.

Not merely by means of scientific publicity did Voltaire promote Newton’s victory. Newton’s opposer, G.-W. von Leibniz, was so insistently slandered by Voltaire with tasteless ironies that the contemporaries ceased paying attention to him. Leibniz was nearly discredited until the 20th century, when the rediscovery of his ideas brought about prodigious advances in mathematics, logic and the sciences of nature. Planck and Heisenberg’s new physics favoured his ideas against Newton’s, substituting probabilism for mechanicalism. This substitution could have occurred two centuries earlier, if Voltaire, emperor of public opinion in the 18th century, had not woven a web of such lasting prejudice about him. Ironically, Voltaire entered History as the enemy of all obsolescence and prejudice.

At any rate, Voltaire’s opinion did not exactly spread fast as lightning. It took at least two or three decades to become a dominant belief in the whole Europe. Around 1780, mechanicalism enjoyed an enviable prestige. It can be said to be dominant since then, if ‘dominant’ does not mean unanimously accepted, or accepted without reservations. The opposition moved against it by Goethe’s and Driesch’s vitalism, Boutroux’s contingentialism and many other currents until the deathblow struck by Planck and Heisenberg cannot be forgotten.

At the moment Mr. Capra was writing The Turning Point, vitalism was therefore completing two centuries of unceasingly contested glory and swerving reign over the major factions of the academic world. This is a great deal different from a domain of many centuries over all the world.

As to social-Darwinism, it is an offspring of biological Darwinism and could not possibly have been born before its father. The principle of ‘survival of the fittest’ came out at first as a biological theory and was only later gradually transformed into an ideological evidence for the backward legitimisation of capitalist competition.

The Origin of Species was written in 1859. Herbert Spencer, in his First Principles, published in 1862, widens the reach of evolutionary ideas, fashioning them into a sociological principle. At the same time, occultists such as Allan Kardec and Mme. Blavatsky grasp somewhat wildly the term ‘evolution’ and give it a mystic sense, or mysticoid: the amphibians are no longer the only ones who evolve into reptiles, and these into mammals; the disembodied souls are the ones who, in the other world, evolve into ‘beings of light’, going up on the cosmic scale while the apes descend from the trees. Clothed in a thousand senses, the word ‘evolution’ is widespread, and the public debates appear, which draw the intellectuals’ attention towards the political-ideological potential of evolutionism. The debates reach a peak of success with Thomas Henry Huxley’s conference, ‘Evolution and ethics’, in 1892. There lies, open, the path to the legitimisation of liberal capitalism through the ‘survival of the fittest’. The rest comes with Gustav Ratzenhofer’s (Nature and Finality of Politics, 1893) and William G. Sumner’s (Folkways, 1906) books, which explicitly set the foundations to the notion of ‘social evolution’, providing the capitalist ideologists with the precious slogan they needed. Social-Darwinism is, then, little more or little less than one century old. It was even less than that at the moment Mr. Capra wrote his book.

Finally, scientism. The formal and complete rejection, in the name of science, of any philosophical or theological explanation of reality whatsoever, was proposed for the first time by Auguste Comte (Discourse on the Positive Spirit, 1844). But Comte still reserved for philosophy the task of synthesis and ordering of scientific knowledge, and Comte was only accepted without disputation in one single place on this planet: in Brazil! (In 1914, the positivist Alain attributed the world war to the fact that no other country in the globe followed the example of Brazil, which had adopted positivism as official doctrine of the state on the republican flag: Order and Progress(4) is in fact a summary of Comtian philosophy. A formal and definitive scientistic statement, along with the utter dismissal of every other form of knowledge as void or insignificant, only came in 1934, with Rudolf Carnap, in Logical Syntax of Language. But Carnap was no Voltaire, and could not count upon the immediate approval of a vast public. The majority of the 20thcentury philosophers categorically rejected scientism, which only dominated over determined groups, especially in the Anglo-Saxon world. Contemporaneously with Carnap’s statement, the mathematician and philosopher Edmund Husserl, founder of phenomenology — the school that would later beget Heidegger, Scheler, Hartmann, Sartre and Merleau-Ponty, among others —, delivered the celebrated conferences at the University of Prague later put together in his The Crisis of the European Sciences. In this book, he denied scientism from the base up and from the inside out: the physical sciences, so he said, had lost their essential scientific foundation and were no longer useful as a model of knowledge of reality. Husserl was at least as influent as Carnap and still is, though not as much in the Anglo-Saxon world which is the limit of Mr. Capra’s mental horizon.

In conclusion, scientism, which ‘dominates our culture since centuries’, is completing sixty springs in this year of 1994. Furthermore, its first overt manifestation was already three decades later than Max Planck’s first works, whose indeterminism would become one of the bases of the ‘new paradigm’ whose advent Mr. Capra has come now to announce us. The new paradigm is quite earlier than the old one.

Mr. Capra, as can be seen, does not understand much about the subjects on which he exerts, to a crowd-like audience, a prophetic authority. He has a distinguished lack of elementary information on Chinese cosmology, which he says his vision of cultural history is based on, as well as on cultural history itself, which he strives to fit forcefully into a preconceived model, by means of gross generalisations and shameful alterations of chronology.

I do not question, here, the validity of the holistic proposal in general. I reserve myself the right to do it in another work. I simply believe that it must have somehow better qualified supporters than Mr. Capra.

My purpose has been to bear testimony of a fact of worldwide relevance, which happens right in front of our eyes, and whose reality the forthcoming generations will have the right to doubt. For, within reason and sense, it is not plausible that thousands of respected intellectuals may accept and applaud as a milestone in the history of thought a work like The Turning Point, which does not even fulfil the minimum requisites of trustworthy information, authenticity of the sources, and of conceptual rigour demanded from a thesis. Among so many imperfections that a book can have, this one suffers from that single one which cannot be tolerated by any means: ignoratio elenchi, the complete ignorance of the subject. Mr. Capra defines his book, pretentiously, as a new model of cultural history based on the Chinese conceptions of man and universe. But he has not studied neither cultural history nor the Chinese conceptions enough so that his opinion about them could have any objective importance whatsoever out of his private circle of acquaintance. The content of his knowledge of the subject is pure lana caprina.

The success of this book can only be explained by a factor completely alien to its intrinsic value: its timeliness. It tells people what they wish to hear, at the moment they wish. It offers a seducing perspective to a public that asks to be seduced.

That this public should include not only uncultured people but prominent intellectuals as well, and that these should be ready to take in the author’s promises without even requesting him the scientific credentials demanded of a college student is really an implausible event.

But, as Aristotle used to say, it is not really plausible that everything should always go by in a plausible way. The implausible has happened. It attests that, after centuries of iconoclastic rage against all beliefs of the past and the values of other civilisations, the literate opinion of the West has grown tired at last of being arrogant; but instead of an honest regret, it is enacting a mocking conversion before us, which lays bare all the marks of hysteriform pretending. Stunned by the sudden view of its own faults, it renounced all critical precaution like one who repels a vice from the past; and gave itself, helpless and sceptical, to the cult of the first idol who offered it a promise of relief. It thinks or pretends to think that this idol is its saviour. It is in fact its nemesis.

It is not only the literate opinion of the West who is mistaken. The prophet of mistake is himself likely to make mistakes. he fancies he brings wisdom to the world, while what he brings is obscurity and confusion. He fancies he brings a new prophecy, while what he brings is the fulfilling of an old curse.

I cannot finish these reflections about the prophet of the New Age without making a prophecy myself: in the forthcoming centuries, when our times can be looked at with some objectivity, the phenomenon of the New Age will be considered an offence, a statement against human intelligence.

Offences must forcefully come. Nothing can be done to avoid them. I won’t even suggest, as Jesus did, that a millstone be hanged on their bearer, and that he be drowned in the depth of the sea. For, as the hexagram 36 would say, he is already down deep. All I can do is leave to posterity, if it ever hears about these pages, a personal testimony of these obscure times: Not all, not all believed in the false prophet.(5)

 

NOTES:

1.      Written in September 1993.

2.      Book I, Ch. III.

3.      Partido dos Trabalhadores or Workers’ Party. [Translator’s note]

4.      Inscription on the Brazilian flag (Ordem e Progresso). [Translator’s note]

5.      I, having sent a copy of this chapter to Frei Betto before it was out in a book, received from him a two-line answer, which is a most singular psychological document. It goes like this: ‘In spite of your reservations, the event [Reception to Mr. Capra] was good for those who were there’. It must have been really cool, I think. But the illustrious friar did not understand me. It has never crossed my mind to devalue the event in itself – the organisation of the programme, the sound system or the toppings of the crackers. What I said is good for nothing is Mr. Capra’s philosophy; it goes without saying that celebrating it in a congress of intellectuals is as good as throwing money in the dustbin. The better the event, the more regrettable the waste. If by any means the sender intended to plead the quality of the event as an argument in support of Mr. Capra, this would be like saying that the price of the candle proves the quality of the corpse. Besides, what opinion could we have of a thinker who argues in support of a philosophy by claiming that it gives him the opportunity to go often to pleasant places? [Note of the 2nd edition]

 

Saturday, 6 June 2026

Saturday's Good Reading: “Puss in Boots” by Jacob and Wilhelm Grimm (translated into English by D. L. Ashliman).

 


A miller had three sons, his mill, a donkey, and a cat. The sons worked the mill, the donkey fetched the grain and carried away the flour, and the cat caught mice.

When the miller died the three sons divided the inheritance: The oldest received the mill, the second the donkey, and the third the cat, for nothing else was left for him.

Sadly he said to himself, "I got the worst of everything. My oldest brother can grind grain, my second one can ride his donkey, but what can I do with the cat? If I have a pair of fur gloves made from his pelt, then there'll be nothing left."

"Listen," said the cat, who had understood everything that he had said. "Don't kill me just to get a pair of inferior gloves from my pelt. Instead, have a pair of boots made for me so that I can go out and been seen by the people. Then I can come to your aid."

The miller's son was amazed that the cat could thusly speak. Now the cobbler was just passing by, so he called him in and had him measure the cat for a pair of boots. When they were finished the cat pulled them on, took a sack with a some grain in the bottom and a string with which it could be tied shut, threw it over his shoulder, and walked out the door on two legs, just like a human.

The ruler in the land at that time was a king who loved partridges. However, none were to be had. The woods were full of them, but they were so wary that no hunter could get to them. The cat knew this, and worked out a solution. Arriving in the woods he opened the sack, spread out the grain inside it, then laid the string in the grass, leading it behind a thicket. Then he hid himself, crept into the thicket and watched.

The partridges soon came by, found the grain, and one after the other hopped into the sack. When a good number were inside, the cat pulled the string shut, ran up and wrung the partridges' necks, then threw the sack over his shoulder and went straightaway to the king's palace.

The guard shouted, "Stop! Where to?"

"To the king," answered the cat.

"Are you crazy? A cat going to the king?"

"Just let him go," said another guard. "The king is often bored. Perhaps the cat can entertain him with his tricks."

The cat approached the king, bowed politely, and said, "My master, Count (and here he said a long and very distinguished name) extends his greetings to his majesty the king and sends him these partridges which he captured with snares."

The king was amazed to see such fine, fat partridges and hardly knew how to contain his joy. He ordered the cat to take as much gold from the treasury as he could carry in his sack, then said, "Take it to you master and thank him many times for his gift."

The poor miller's son was at home sitting at the window with his head in his hands. He had given everything he had for the cat's boots, and now he wondered what he might get in return.

Just then the cat stepped inside, threw the sack from his back, untied the string, and spread the gold out in front of the miller.

"Here is something for the boots. The king sends you his greetings and his thanks."

The miller was delighted with the wealth, although he could not understand where it had come from.

While taking off his boots, the cat explained everything to him, then added, "You now have plenty of money, but that's not enough. Tomorrow I'll pull my boots on again, and you shall become even more wealthy. I told the king that you are a count."

The next day, just as he said he would, the cat, appropriately booted, went hunting again and took the captured game to the king. Thus it continued every day, and every day the cat returned home with more gold. He was now so favored by the king that he was allowed to come and go as he pleased and to prowl around the palace wherever he wanted to.

One time the cat was warming himself by the fire in the king's birchen when the coachman came in cursing, "To the devil with the king and the princess! I wanted to go to the tavern for a drink and some card playing, but now I have to drive them to the lake."

After hearing this, the cat sneaked home and said to his master, "If you want to become a wealthy count, come with me to the lake and go bathing there."

The miller did not know what he should say to this, but he obeyed the cat, went with him to the lake, took off all his clothes, and jumped into the water. The cat picked up the clothes, carried them away, and hid them. He had scarcely done so when the king came riding by.

The cat cried out pitifully, "Oh, your majesty! My master was bathing here in the lake when a thief came and stole his clothes that were lying here on the shore. Now the count cannot come out of the water. If he stays there any longer he will catch a cold and die."

Hearing this, the king came to a stop and sent one of his people back to fetch some of the king's clothes. The count then put on these splendid clothes. Because the king already favored him because of the partridges, he invited him into the royal carriage and spoke to him in familiar terms. The princess had nothing against this, for the count was young and good looking, and she quite liked him.

Now the cat had run on ahead and had arrived at a great meadow where more than a hundred people were making hay.

"Whose meadow is this?" asked the cat.

"It belongs to the great sorcerer."

"Listen, the king will soon come this way, and when he asks whose meadow this is, you must answer, 'It belongs to the count.' If you do not do this, you'll all be killed."

With that the cat went on further, coming to a field of grain so large that no one could see its end. More than two hundred people were there cutting the grain.

"Who owns this grain, you people?"

"The sorcerer."

"Listen, the king will soon come this way, and when he asks whose grain this is, you must answer, 'It belongs to the count.' If you do not do this, you'll all be killed."

Finally the cat came to a magnificent forest. More than three hundred people were there felling the great oak trees and making lumber.

"Who owns this forest, you people?"

"The sorcerer."

"Listen, the king will soon come this way, and when he asks whose forest this is, you must answer, 'It belongs to the count.' If you do not do this, you'll all be killed."

The cat continued on further. Everyone stared at him because he looked so unusual, walking along in boots like a human. And they were afraid of him.

Soon he arrived at the sorcerer's place. He stepped boldly inside and walked up to the sorcerer, who looked at him scornfully.

"What do you want?"

The cat bowed politely and said, "I have heard that you can transform yourself any way that you please. I can well believe that you could transform yourself into an animal such as a dog, a fox, or even a wolf, but it seems to me that to transform yourself into an elephant would be quite impossible. I have come to see if you can do so."

The sorcerer said proudly, "That's nothing for me," and he instantly transformed himself into an elephant.

The cat pretended to be frightened and said, "That is unbelievable and unheard of. I would never have dreamed that you could do this. But even more difficult would be to transform yourself into a small animal, such as a mouse. You are certainly more powerful than any other sorcerer in the world, but that would be too much for you."

The sweet talk turned the sorcerer very friendly, and he said, "Oh yes, my dear little cat, I can do that too," then suddenly he was jumping around in the room as a mouse. The cat ran after him, caught him with one leap, and ate him up.

Meanwhile, the king had ridden along further with the count and the princess, coming to the great meadow.

"Who owns this hay?" he asked.

"The count," they all shouted. "You have a beautiful piece of land here, Lord Count," just as the cat had order them to do.

Then they came to the great field of grain.

"Who owns this grain, you people?"

"The Lord Count. Yes, Lord Count, you have a wonderful farm here!"

Then they came to the forest.

"Who owns this forest, you people?"

"The Lord Count."

The king was all the more amazed, and said, "Lord Count, you must be a very wealthy man. I do not believe that I myself have such a magnificent forest."

Finally they arrived at the palace. The cat was standing on the steps, and when the carriage came to a stop he jumped down, opened the door, and said, "Your majesty, you have arrived at the palace of my master, the count, and this honor will make him happy as long as he lives."

The king climbed out of the carriage and marveled at the magnificent building. It was almost larger and more beautiful than his own castle. The count then led the princess up the stairway and into the main hall, that shimmered with gold and precious stones.

Then the princess and the count were married, and when the king died the count became king with cat-in-boots as his prime minister.

Wednesday, 27 May 2026

Wednesday's Good Reading: "Phantoms" by Ivan Turgenev (translated into English by Constance Garnett).

 

'One instant . . . and the fairy tale is over,

And once again the actual fills the soul. . . .' — A. Fet.

 

I

For a long time I could not get to sleep, and kept turning from side to side. 'Confound this foolishness about table-turning!' I thought. 'It simply upsets one's nerves.' . . . Drowsiness began to overtake me at last. . . .

Suddenly it seemed to me as though there were the faint and plaintive sound of a harp-string in the room.

I raised my head. The moon was low in the sky, and looked me straight in the face. White as chalk lay its light upon the floor. . . . The strange sound was distinctly repeated.

I leaned on my elbow. A faint feeling of awe plucked at my heart. A minute passed, another. . . . Somewhere, far away, a cock crowed; another answered still more remote.

I let my head sink back on the pillow. 'See what one can work oneself up to,' I thought again, . . . 'there's a singing in my ears.'

After a little while I fell asleep—or I thought I fell asleep. I had an extraordinary dream. I fancied I was lying in my room, in my bed — and was not asleep, could not even close my eyes. And again I heard the sound. ... I turned over. . . . The moonlight on the floor began softly to lift, to rise up, to round off slightly above. . . . Before me, impalpable as mist, a white woman was standing motionless.

'Who are you?' I asked with an effort.

A voice made answer, like the rustle of leaves: 'It is I ... I ... I ... I have come for you.'

'For me? But who are you?'

'Come by night to the edge of the wood where there stands an old oak-tree. I will be there.'

I tried to look closely into the face of the mysterious woman — and suddenly I gave an involuntary shudder: there was a chilly breath upon me. And then I was not lying down, but sitting up in my bed; and where, as I fancied, the phantom had stood, the moonlight lay in a long streak of white upon the floor.

 

II

The day passed somehow. I tried, I remember, to read, to work . . . everything was a failure. The night came. My heart was throbbing within me, as though it expected something. I lay down, and turned with my face to the wall.

'Why did you not come?' sounded a distinct whisper in the room.

I looked round quickly.

Again she . . . again the mysterious phantom. Motionless eyes in a motionless face, and a gaze full of sadness.

'Come!' I heard the whisper again.

'I will come,' I replied with instinctive horror. The phantom bent slowly forward, and undulating faintly like smoke, melted away altogether. And again the moon shone white and untroubled on the smooth floor.

 

III

I passed the day in unrest. At supper I drank almost a whole bottle of wine, and all but went out on to the steps; but I turned back and flung myself into my bed. My blood was pulsing painfully.

Again the sound was heard. ... I started, but did not look round. All at once I felt that some one had tight hold of me from behind, and was whispering in my very ear: 'Come, come, come.' . . . Trembling with terror, I moaned out: 'I will come!' and sat up.

A woman stood stooping close to my very pillow. She smiled dimly and vanished. I had time, though, to make out her face. It seemed to me I had seen her before — but where, when? I got up late, and spent the whole day wandering about the country. I went to the old oak at the edge of the forest, and looked carefully all around.

Towards evening I sat at the open window in my study. My old housekeeper set a cup of tea before me, but I did not touch it. . . . I kept asking myself in bewilderment: 'Am not I going out of my mind?' The sun had just set: and not the sky alone was flushed with red; the whole atmosphere was suddenly filled with an almost unnatural purple. The leaves and grass never stirred, stiff as though freshly coated with varnish. In their stony rigidity, in the vivid sharpness of their outlines, in this combination of intense brightness and deathlike stillness, there was something weird and mysterious. A rather large grey bird suddenly flew up without a sound and settled on the very window sill. . . . I looked at it, and it looked at me sideways with its round, dark eye. 'Were you sent to remind me, then?' I wondered.

At once the bird fluttered its soft wings, and without a sound — as before — flew away. I sat a long time still at the window, but I was no longer a prey to uncertainty. I had, as it were, come within the enchanted circle, and I was borne along by an irresistible though gentle force, as a boat is borne along by the current long before it reaches the waterfall. I started up at last. The purple had long vanished from the air, the colours were darkened, and the enchanted silence was broken. There was the flutter of a gust of wind, the moon came out brighter and brighter in the sky that was growing bluer, and soon the leaves of the trees were weaving patterns of black and silver in her cold beams. My old housekeeper came into the study with a lighted candle, but there was a draught from the window and the flame went out. I could restrain myself no longer. I jumped up, clapped on my cap, and set off to the corner of the forest, to the old oak-tree.

 

IV

This oak had, many years before, been struck by lightning; the top of the tree had been shattered, and was withered up, but there was still life left in it for centuries to come. As I was coming up to it, a cloud passed over the moon: it was very dark under its thick branches. At first I noticed nothing special; but I glanced on one side, and my heart fairly failed me — a white figure was standing motionless beside a tall bush between the oak and the forest. My hair stood upright on my head, but I plucked up my courage and went towards the forest.

Yes, it was she, my visitor of the night. As I approached her, the moon shone out again. She seemed all, as it were, spun out of half-transparent, milky mist, — through her face I could see a branch faintly stirring in the wind; only the hair and eyes were a little dark, and on one of the fingers of her clasped hands a slender ring shone with a gleam of pale gold. I stood still before her, and tried to speak; but the voice died away in my throat, though it was no longer fear exactly I felt. Her eyes were turned upon me; their gaze expressed neither distress nor delight, but a sort of lifeless attention. I waited to see whether she would utter a word, but she remained motionless and speechless, and still gazed at me with her deathly intent eyes. Dread came over me again.

'I have come!' I cried at last with an effort. My voice sounded muffled and strange to me.

'I love you,' I heard her whisper.

'You love me!' I repeated in amazement.

'Give yourself up to me,' was whispered me again in reply.

'Give myself up to you! But you are a phantom; you have no body even.' A strange animation came upon me. 'What are you — smoke, air, vapour? Give myself up to you! Answer me first, Who are you? Have you lived upon the earth? Whence have you come?'

'Give yourself up to me. I will do you no harm. Only say two words: "Take me."'

I looked at her. 'What is she saying?' I thought. 'What does it all mean? And how can she take me? Shall I try?'

'Very well,' I said, and unexpectedly loudly, as though some one had given me a push from behind; 'take me!'

I had hardly uttered these words when the mysterious figure, with a sort of inward laugh, which set her face quivering for an instant, bent forward, and stretched out her arms wide apart. . . . I tried to dart away, but I was already in her power. She seized me, my body rose a foot from the ground, and we both floated smoothly and not too swiftly over the wet, still grass.

 

V

At first I felt giddy, and instinctively I closed my eyes. . . . A minute later I opened them again. We were floating as before; but the forest was now nowhere to be seen. Under us stretched a plain, spotted here and there with dark patches. With horror I felt that we had risen to a fearful height.

'I am lost; I am in the power of Satan,' flashed through me like lightning. Till that instant the idea of a temptation of the evil one, of the possibility of perdition, had never entered my head. We still whirled on, and seemed to be mounting higher and higher.

'Where will you take me?' I moaned at last.

'Where you like,' my companion answered. She clung close to me; her face was almost resting upon my face. But I was scarcely conscious of her touch.

'Let me sink down to the earth, I am giddy at this height.'

'Very well; only shut your eyes and hold your breath.'

I obeyed, and at once felt that I was falling like a stone flung from the hand . . . the air whistled in my ears. When I could think again, we were floating smoothly once more just above the earth, so that we caught our feet in the tops of the tall grass.

'Put me on my feet,' I began. 'What pleasure is there in flying? I'm not a bird.'

'I thought you would like it. We have no other pastime.'

'You? Then what are you?'

There was no answer.

'You don't dare to tell me that?'

The plaintive sound which had awakened me the first night quivered in my ears. Meanwhile we were still, scarcely perceptibly, moving in the damp night air.

'Let me go!' I said. My companion moved slowly away, and I found myself on my feet. She stopped before me and again folded her hands. I grew more composed and looked into her face; as before it expressed submissive sadness.

'Where are we?' I asked. I did not recognise the country about me.

'Far from your home, but you can be there in an instant.'

'How can that be done? by trusting myself to you again?'

'I have done you no harm and will do you none. Let us fly till dawn, that is all. I can bear you away wherever you fancy — to the ends of the earth. Give yourself up to me! Say only: "Take me!"'

'Well . . . take me!'

She again pressed close to me, again my feet left the earth — and we were flying.

 

VI

'Which way?' she asked me.

'Straight on, keep straight on.'

'But here is a forest.'

'Lift us over the forest, only slower.'

We darted upwards like a wild snipe flying up into a birch-tree, and again flew on in a straight line. Instead of grass, we caught glimpses of tree-tops just under our feet. It was strange to see the forest from above, its bristling back lighted up by the moon. It looked like some huge slumbering wild beast, and accompanied us with a vast unceasing murmur, like some inarticulate roar. In one place we crossed a small glade; intensely black was the jagged streak of shadow along one side of it. Now and then there was the plaintive cry of a hare below us; above us the owl hooted, plaintively too; there was a scent in the air of mushrooms, buds, and dawn-flowers; the moon fairly flooded everything on all sides with its cold, hard light; the Pleiades gleamed just over our heads. And now the forest was left behind; a streak of fog stretched out across the open country; it was the river. We flew along one of its banks, above the bushes, still and weighed down with moisture. The river's waters at one moment glimmered with a flash of blue, at another flowed on in darkness, as it were, in wrath. Here and there a delicate mist moved strangely over the water, and the water-lilies' cups shone white in maiden pomp with every petal open to its full, as though they knew their safety out of reach. I longed to pick one of them, and behold, I found myself at once on the river's surface . . . The damp air struck me an angry blow in the face, just as I broke the thick stalk of a great flower. We began to fly across from bank to bank, like the water-fowl we were continually waking up and chasing before us. More than once we chanced to swoop down on a family of wild ducks, settled in a circle on an open spot among the reeds, but they did not stir; at most one of them would thrust out its neck from under its wing, stare at us, and anxiously poke its beak away again in its fluffy feathers, and another faintly quacked, while its body twitched a little all over. We startled one heron; it flew up out of a willow bush, brandishing its legs and fluttering its wings with clumsy eagerness: it struck me as remarkably like a German. There was not the splash of a fish to be heard, they too were asleep. I began to get used to the sensation of flying, and even to find a pleasure in it; any one will understand me, who has experienced flying in dreams. I proceeded to scrutinise with close attention the strange being, by whose good offices such unlikely adventures had befallen me.

 

VII

She was a woman with a small un-Russian face. Greyish-white, half-transparent, with scarcely marked shades, she reminded one of the alabaster figures on a vase lighted up within, and again her face seemed familiar to me.

'Can I speak with you?' I asked.

'Speak.'

'I see a ring on your finger; you have lived then on the earth, you have been married?'

I waited . . . There was no answer.

'What is your name, or, at least, what was it?'

'Call me Alice.'

'Alice! That 's an English name! Are you an Englishwoman? Did you know me in former days?'

'No.'

'Why is it then you have come to me?'

'I love you.'

'And are you content?'

'Yes; we float, we whirl together in the fresh air.'

'Alice!' I said all at once, 'you are perhaps a sinful, condemned soul?'

My companion's head bent towards me. 'I don't understand you,' she murmured.

'I adjure you in God's name . . .' I was beginning.

'What are you saying?' she put in in perplexity. 'I don't understand.'

I fancied that the arm that lay like a chilly girdle about my waist softly trembled . . . .

'Don't be afraid,' said Alice, 'don't be afraid, my dear one!' Her face turned and moved towards my face. . . . I felt on my lips a strange sensation, like the faintest prick of a soft and delicate sting. . . . Leeches might prick so in mild and drowsy mood.

 

VIII

I glanced downwards. We had now risen again to a considerable height. We were flying over some provincial town I did not know, situated on the side of a wide slope. Churches rose up high among the dark mass of wooden roofs and orchards; a long bridge stood out black at the bend of a river; everything was hushed, buried in slumber. The very crosses and cupolas seemed to gleam with a silent brilliance; silently stood the tall posts of the wells beside the round tops of the willows; silently the straight whitish road darted arrow-like into one end of the town, and silently it ran out again at the opposite end on to the dark waste of monotonous fields.

'What town is this?' I asked.

'X . . .'

'X . . . in Y . . . province?'

'Yes.'

'I 'm a long distance indeed from home!'

'Distance is not for us.'

'Really?' I was fired by a sudden recklessness. 'Then take me to South America!

'To America I cannot. It's daylight there by now.'

'And we are night-birds. Well, anywhere, where you can, only far, far away.'

'Shut your eyes and hold your breath,' answered Alice, and we flew along with the speed of a whirlwind. With a deafening noise the air rushed into my ears. We stopped, but the noise did not cease. On the contrary, it changed into a sort of menacing roar, the roll of thunder . . .

'Now you can open your eyes,' said Alice.

 

IX

I obeyed . . . Good God, where was I?

Overhead, ponderous,smoke-like storm-clouds; they huddled, they moved on like a herd of furious monsters . . . and there below, another monster; a raging, yes, raging, sea . . . The white foam gleamed with spasmodic fury, and surged up in hillocks upon it, and hurling up shaggy billows, it beat with a sullen roar against a huge cliff, black as pitch. The howling of the tempest, the chilling gasp of the storm-rocked abyss, the weighty splash of the breakers, in which from time to time one fancied something like a wail, like distant cannon-shots, like a bell ringings — the tearing crunch and grind of the shingle on the beach, the sudden shriek of an unseen gull, on the murky horizon the disabled hulk of a ship — on every side death, death and horror . . . Giddiness overcame me, and I shut my eyes again with a sinking heart . . .

'What is this? Where are we?'

'On the south coast of the Isle of Wight opposite the Blackgang cliff where ships are so often wrecked,' said Alice, speaking this time with peculiar distinctness, and as it seemed to me with a certain malignant pleasure . . .

'Take me away, away from here . . . home! home!' I shrank up, hid my face in my hands . . . I felt that we were moving faster than before; the wind now was not roaring or moaning, it whistled in my hair, in my clothes . . . I caught my breath . . .

'Stand on your feet now,' I heard Alice's voice saying. I tried to master myself, to regain consciousness . . . I felt the earth under the soles of my feet, and I heard nothing, as though everything had swooned away about me . . . only in my temples the blood throbbed irregularly, and my head was still giddy with a faint ringing in my ears. I drew myself up and opened my eyes.

 

X

We were on the bank of my pond. Straight before me there were glimpses through the pointed leaves of the willows of its broad surface with threads of fluffy mist clinging here and there upon it. To the right a field of rye shone dimly; on the left stood up my orchard trees, tall, rigid, drenched it seemed in dew . . . The breath of the morning was already upon them. Across the pure grey sky stretched like streaks of smoke, two or three slanting clouds; they had a yellowish tinge, the first faint glow of dawn fell on them; one could not say whence it came; the eye could not detect on the horizon, which was gradually growing lighter, the spot where the sun was to rise. The stars had disappeared; nothing was astir yet, though everything was already on the point of awakening in the enchanted stillness of the morning twilight.

'Morning! see, it is morning!' cried Alice in my ear. 'Farewell till to-morrow.'

I turned round . . . Lightly rising from the earth, she floated by, and suddenly she raised both hands above her head. The head and hands and shoulders glowed for an instant with warm, corporeal light; living sparks gleamed in the dark eyes ; a smile of mysterious tenderness stirred the reddening lips. . . . A lovely woman had suddenly arisen before me. . . . But as though dropping into a swoon, she fell back instantly and melted away like vapour.

I remained passive.

When I recovered myself and looked round me, it seemed to me that the corporeal, palerosy colour that had flitted over the figure of my phantom had not yet vanished, and was enfolding me, diffused in the air. . . . It was the flush of dawn. All at once I was conscious of extreme fatigue and turned homewards. As I passed the poultry-yard, I heard the first morning cackling of the geese (no birds wake earlier than they do); along the roof at the end of each beam sat a rook, and they were all busily and silently pluming themselves, standing out in sharp outline against the milky sky. From time to time they all rose at once, and after a short flight, settled again in a row, without uttering a caw. . . . From the wood close by came twice repeated the drowsy, fresh chuck-chuck of the black-cock, beginning to fly into the dewy grass, overgrown by brambles. . . . With a faint tremor all over me I made my way to my bed, and soon fell into a sound sleep.

 

XI

The next night, as I was approaching the old oak, Alice moved to meet me, as if I were an old friend. I was not afraid of her as I had been the day before, I was almost rejoiced at seeing her; I did not even attempt to comprehend what was happening to me; I was simply longing to fly farther to interesting places.

Alice's arm again twined about me, and we took flight again.

'Let us go to Italy,' I whispered in her ear.

'Wherever you wish, my dear one,' she answered solemnly and slowly, and slowly and solemnly she turned her face towards me. It struck me as less transparent than on the eve; more womanlike and more imposing; it recalled to me the being I had had a glimpse of in the early dawn at parting.

'This night is a great night,' Alice went on. 'It comes rarely — when seven times thirteen . . .'

At this point I could not catch a few words.

'To-night we can see what is hidden at other times.'

'Alice!' I implored, 'but who are you, tell me at last?'

Silently she lifted her long white hand. In the dark sky, where her finger was pointing, a comet flashed, a reddish streak among the tiny stars.

'How am I to understand you?' I began, 'Or, as that comet floats between the planets and the sun, do you float among men . . . or what?'

But Alice's hand was suddenly passed before my eyes . . . It was as though a white mist from the damp valley had fallen on me . . .

'To Italy! to Italy!' I heard her whisper. 'This night is a great night!'

 

XII

The mist cleared away from before my eyes, and I saw below me an immense plain. But already, by the mere breath of the warm soft air upon my cheeks, I could tell I was not in Russia; and the plain, too, was not like our Russian plains. It was a vast dark expanse, apparently desert and not overgrown with grass; here and there over its whole extent gleamed pools of water, like broken pieces of looking-glass; in the distance could be dimly descried a noiseless motionless sea. Great stars shone bright in the spaces between the big beautiful clouds; the murmur of thousands, subdued but never-ceasing, rose on all sides, and very strange was this shrill but drowsy chorus, this voice of the darkness and the desert . . .

'The Pontine marshes,' said Alice. 'Do you hear the frogs? do you smell the sulphur?'

'The Pontine marshes . . . ' I repeated, and a sense of grandeur and of desolation came upon me. 'But why have you brought me here, to this gloomy forsaken place? Let us fly to Rome instead.'

'Rome is near,' answered Alice. . . . 'Prepare yourself!'

We sank lower, and flew along an ancient Roman road. A bullock slowly lifted from the slimy mud its shaggy monstrous head, with short tufts of bristles between its crooked backward-bent horns. It turned the whites of its dull malignant eyes askance, and sniffed a heavy snorting breath into its wet nostrils, as though scenting us.

'Rome, Rome is near . . . ' whispered Alice. 'Look, look in front. . . . '

I raised my eyes.

What was the blur of black on the edge of the night sky? Were these the lofty arches of an immense bridge? What river did it span? Why was it broken down in parts? No, it was not a bridge, it was an ancient aqueduct. All around was the holy ground of the Campagna, and there, in the distance, the Albanian hills, and their peaks and the grey ridge of the old aqueduct gleamed dimly in the beams of the rising moon. . . .

We suddenly darted upwards, and floated in the air before a deserted ruin. No one could have said what it had been: sepulchre, palace, or castle. . . . Dark ivy encircled it all over in its deadly clasp, and below gaped yawning a half-ruined vault. A heavy underground smell rose in my face from this heap of tiny closely-fitted stones, whence the granite facing of the wall had long crumbled away.

'Here,' Alice pronounced, and she raised her hand: 'Here! call aloud three times running the name of the mighty Roman!'

'What will happen?'

'You will see.'

I wondered. ' Divus Caius Julius Caesar! ' I cried suddenly; ' divus Caius Julius Caesar! ' I repeated deliberately; ' Caesar! '

 

XIII

The last echoes of my voice had hardly died away, when I heard . . . It is difficult to say what I did hear. At first there reached me a confused din the ear could scarcely catch, the endlessly-repeated clamour of the blare of trumpets, and the clapping of hands. It seemed that somewhere, immensely far away, at some fathomless depth, a multitude innumerable was suddenly astir, and was rising up, rising up in agitation, calling to one another, faintly, as if muffled in sleep, the suffocating sleeps of ages. Then the air began moving in dark currents over the ruin. . . . Shades began flitting before me, myriads of shades, millions of outlines, the rounded curves of helmets, the long straight lines of lances; the moonbeams were broken into momentary gleams of blue upon these helmets and lances, and all this army, this multitude, came closer and closer, and grew, in more and more rapid movement. . . . An indescribable force, a force fit to set the whole world moving, could be felt in it; but not one figure stood out clearly. . . . And suddenly I fancied a sort of tremor ran all round, as if it were the rush and rolling apart of some huge waves. . . . ' Caesar, Caesar venit! ' sounded voices, like the leaves of a forest when a storm has suddenly broken upon it . . . a muffled shout thundered through the multitude, and a pale stern head, in a wreath of laurel, with downcast eyelids, the head of the emperor, began slowly to rise out of the ruin. . . .

There is no word in the tongue of man to express the horror which clutched at my heart. ... I felt that were that head to raise its eyes, to part its lips, I must perish on the spot! 'Alice!' I moaned, 'I won't, I can't, I don't want Rome, coarse, terrible Rome. . . . Away, away from here!'

'Coward!' she whispered, and away we flew. I just had time to hear behind me the iron voice of the legions, like a peal of thunder . . . then all was darkness.

 

XIV

'Look round,' Alice said to me, 'and don't fear.'

I obeyed — and, I remember, my first impression was so sweet that I could only sigh. A sort of smoky-grey, silvery-soft, half-light, half-mist, enveloped me on all sides. At first I made out nothing: I was dazzled by this azure brilliance; but little by little began to emerge the outlines of beautiful mountains and forests; a lake lay at my feet, with stars quivering in its depths, and the musical plash of waves. The fragrance of orange flowers met me with a rush, and with it — and also as it were with a rush — came floating the pure powerful notes of a woman's young voice. This fragrance, this music, fairly drew me downwards, and I began to sink . . . to sink down towards a magnificent marble palace, which stood, invitingly white, in the midst of a wood of cypress. The music flowed out from its wide open windows, the waves of the lake, flecked with the pollen of flowers, splashed upon its walls, and just opposite, all clothed in the dark green of orange flowers and laurels, enveloped in shining mist, and studded with statues, slender columns, and the porticoes of temples, a lofty round island rose out of the water. . . .

'Isola Bella!' said Alice. . . . 'Lago Maggiore. . . .'

I murmured only 'Ah!' and continued to drop. The woman's voice sounded louder andclearer in the palace; I was irresistibly drawn towards it. . . . I wanted to look at the face of the singer, who, in such music, gave voice to such a night. We stood still before the window.

In the centre of a room, furnished in the style of Pompeii, and more like an ancient temple than a modern drawing-room, surrounded by Greek statues, Etruscan vases, rare plants, and precious stuffs, lighted up by the soft radiance of two lamps enclosed in crystal globes, a young woman was sitting at the piano. Her head slightly bowed and her eyes half-closed, she sang an Italian melody; she sang and smiled, and at the same time her face wore an expression of gravity, almost of sternness . . . a token of perfect rapture! She smiled . . . and Praxiteles' Faun, indolent, youthful as she, effeminate, and voluptuous, seemed to smile back at her from a corner, under the branches of an oleander, across the delicate smoke that curled upwards from a bronze censer on an antique tripod. The beautiful singer was alone. Spell-bound by the music, her beauty, the splendour and sweet fragrance of the night, moved to the heart by the picture of this youthful, serene, and untroubled happiness, I utterly forgot my companion, I forgot the strange way in which I had become a witness of this life, so remote, so completely apart from me, and I was on the pointof tapping at the window, of speaking . . .

I was set trembling all over by a violent shock — just as though I had touched a galvanic battery. I looked round. . . . The face of Alice was — for all its transparency — dark and menacing; there was a dull glow of anger in her eyes, which were suddenly wide and round. . . .

'Away!' she murmured wrathfully, and again whirling and darkness and giddiness. . . . Only this time not the shout of legions, but the voice of the singer, breaking on a high note, lingered in my ears. . . .

We stopped. The high note, the same note was still ringing and did not cease to ring in my ears, though I was breathing quite a different air, a different scent . . . a breeze was blowing upon me, fresh and invigorating, as though from a great river, and there was a smell of hay, smoke and hemp. The long-drawn-out note was followed by a second, and a third, but with an expression so unmistakable, a trill so familiar, so peculiarly our own, that I said to myself at once: 'That's a Russian singing a Russian song!' and at that very instant everything grew clear about me.

 

XV

We found ourselves on a flat riverside plain. To the left, newly-mown meadows, with rows of huge hayricks, stretched endlessly till they were lost in the distance; to the right extended the smooth surface of a vast mighty river, till it too was lost in the distance. Not far from the bank, big dark barges slowly rocked at anchor, slightly tilting their slender masts, like pointing fingers. From one of these barges came floating up to me the sounds of a liquid voice, and a fire was burning in it, throwing a long red light that danced and quivered on the water. Here and there, both on the river and in the fields, other lights were glimmering, whether close at hand or far away, the eye could not distinguish; they shrank together, then suddenly lengthened out into great blurs of light ; grasshoppers innumerable kept up an unceasimg: churr, persistent as the frogs of the Pontine marshes; and across the cloudless, but dark lowering sky floated from time to time the cries of unseen birds.

'Are we in Russia?' I asked of Alice.

'It is the Volga,' she answered.

We flew along the river-bank. 'Why did you tear me away from there, from that lovely country?' I began. 'Were you envious, or was it jealousy in you?'

The lips of Alice faintly stirred, and again there was a menacing light in her eyes. . . . But her whole face grew stony again at once.

'I want to go home,' I said.

'Wait a little, wait a little,' answered Alice. 'To-night is a great night. It will not soon return. You may be a spectator. . . . Wait a little.'

And we suddenly flew across the Volga in a slanting direction, keeping close to the water's surface, with the low impetuous flight of swallows before a storm. The broad waves murmured heavily below us, the sharp river breeze beat upon us with its strong cold wing . . . the high right bank began soon to rise up before us in the half-darkness. Steep mountains appeared with great ravines between. We came near to them.

'Shout: "Lads, to the barges!"' Alice whispered to me. I remembered the terror I had suffered at the apparition of the Roman phantoms. I felt weary and strangely heavy, as though my heart were ebbing away within me. I wished not to utter the fatal words; I knew beforehand that in response to them there would appear, as in the wolves' valley of the Freischütz, some monstrous thing; but my lips parted against my will, and in a weak forced voice I shouted, also against my will: 'Lads, to the barges!'

 

XVI

At first all was silence, even as it was at the Roman ruins, but suddenly I heard close to my very ear a coarse bargeman's laugh, and with a moan something dropped into the water and a gurgling sound followed. . . . I looked round: no one was anywhere to be seen, but from the bank the echo came bounding back, and at once from all sides rose a deafening din. There was a medley of everything in this chaos of sound: shouting and whining, furious abuse and laughter, laughter above everything; the plash of oars and the cleaving of hatchets, a crash as of the smashing of doors and chests, the grating of rigging and wheels, and the neighing of horses, and the clang of the alarm bell and the clink of chains, the roar and crackle of fire, drunken songs and quick, gnashing chatter, weeping inconsolable, plaintive despairing prayers, and shouts of command, the dying gasp and the reckless whistle, the guffaw and the thud of the dance . . . 'Kill them! Hang them! Drown them! rip them up! bravo! bravo! don't spare them!' could be heard distinctly; I could even hear the hurried breathing of men panting. And meanwhile all around, as far as the eye could reach, nothing could be seen, nothing was changed; the river rolled by mysteriously, almost sullenly, the very bank seemed more deserted and desolate — and that was all.

I turned to Alice, but she put her finger to her lips. . . .

'Stepan Timofeitch! Stepan Timofeitch is coming!' was shouted noisily all round; 'he is coming, our father, our ataman, our bread-giver!' As before I saw nothing but it seemed to me as though a huge body were moving straight at me. . . . 'Frolka! where art thou, dog?' thundered an awful voice. 'Set fire to every corner at once — and to the hatchet with them, the white-handed scoundrels!'

I felt the hot breath of the flame close by, and tasted the bitter savour of the smoke; and at the same instant something warm like blood spurted over my face and hands. . . . A savage roar of laughter broke out all round. . . .

I lost consciousness, and when I came to myself, Alice and I were gliding along beside the familiar bushes that bordered my wood, straight towards the old oak. . . .

'Do you see the little path?' Alice said to me, 'where the moon shines dimly and where are two birch-trees overhanging? Will you go there?'

But I felt so shattered and exhausted that I could only say in reply: 'Home! home!'

'You are at home,' replied Alice.

I was in fact standing at the very door of my house — alone. Alice had vanished. The yard-dog was about to approach, he scanned me suspiciously — and with a bark ran away.

With difficulty I dragged myself up to my bed and fell asleep without undressing.

 

XVII

All the following morning my head ached, and I could scarcely move my legs; but I cared little for my bodily discomfort; I was devoured by regret, overwhelmed with vexation.

I was excessively annoyed with myself. 'Coward!' I repeated incessantly; 'yes — Alice was right. What was I frightened of? how could I miss such an opportunity? . . . I might have seen Caesar himself — and I was senseless with terror, I whimpered and turned away, like a child at the sight of the rod. Razin, now — that's another matter. As a nobleman and landowner . . . though, indeed, even then what had I really to fear? Coward! coward!' . . .

'But wasn't it all a dream?' I asked myself at last. I called my housekeeper.

'Marfa, what o'clock did I go to bed yesterday — do you remember?'

'Why, who can tell, master? . . . Late enough, surely. Before it was quite dark you went out of the house; and you were tramping about in your bedroom when the night was more than half over. Just on morning — yes. And this is the third day it 's been the same. You 've something on your mind, it 's easy to see.'

'Aha-ha!' I thought. 'Then there 's no doubt about the flying. Well, and how do I look to-day?' I added aloud.

'How do you look? Let me have a look at you. You've got thinner a bit. Yes, and you 're pale, master; to be sure, there 's not a drop of blood in your face.'

I felt a slight twinge of uneasiness . . . I dismissed Marfa.

'Why, going on like this, you 'll die, or go out of your mind, perhaps,' I reasoned with myself, as I sat deep in thought at the window. 'I must give it all up. It 's dangerous. And now my heart beats so strangely. And when I fly, I keep feeling as though some one were sucking at it, or as it were drawing something out of it — as the spring sap is drawn out of the birch-tree, if you stick an axe into it. I 'm sorry, though. And Alice too. . . . She is playing cat and mouse with me . . . still she can hardly wish me harm. I will give myself up to her for the last time — and then. . . . But if she is drinking my blood? That's awful. Besides, such rapid locomotion cannot fail to be injurious; even in England, I 'm told, on the railways, it 's against the law to go more than one hundred miles an hour. . . .'

So I reasoned with myself — but at ten o'clock in the evening, I was already at my post before the old oak-tree.

 

XVIII

The night was cold, dull, grey; there was a feeling of rain in the air. To my amazement, I found no one under the oak; I walked several times round it, went up to the edge of the wood, turned back again, peered anxiously into the darkness. . . . All was emptiness. I waited a little, then several times I uttered the name, Alice, each time a little louder, . . . but she did not appear. I felt sad, almost sick at heart; my previous apprehensions vanished; I could not resign myself to the idea that my companion would not come back to me again.

'Alice! Alice! come! Can it be you will not come?' I shouted, for the last time.

A crow, who had been waked by my voice, suddenly darted upwards into a tree-top close by, and catching in the twigs, fluttered his wings. . . . But Alice did not appear.

With downcast head, I turned homewards. Already I could discern the black outlines of the willows on the pond's edge, and the light in my window peeped out at me through the apple-trees in the orchard — peeped at me, and hid again, like the eye of some man keeping watch on me — when suddenly I heard behind me the faint swish of the rapidly parted air, and something at once embraced and snatched me upward, as a buzzard pounces on and snatches up a quail. . . . It was Alice sweeping down upon me. I felt her cheek against my cheek, her enfolding arm about my body, and like a cutting cold her whisper pierced to my ear, 'Here I am.' I was frightened and delighted both at once. . . . We flew at no great height above the ground.

'You did not mean to come to-day? ' I said.

'And you were dull without me? You love me ? Oh, you are mine!'

The last words of Alice confused me. . . . I did not know what to say.

'I was kept,' she went on; 'I was watched.'

'Who could keep you?'

'Where would you like to go?' inquired Alice, as usual not answering my question.

'Take me to Italy — to that lake, you remember.'

Alice turned a little away, and shook her head in refusal. At that point I noticed for the first time that she had ceased to be transparent. And her face seemed tinged with colour; there was a faint glow of red over its misty whiteness. I glanced at her eyes . . . and felt a pang of dread; in those eyes something was astir — with the slow, continuous, malignant movement of the benumbed snake, twisting and turning as the sun begins to thaw it.

'Alice,' I cried, 'who are you? Tell me who you are.'

Alice simply shrugged her shoulders.

I felt angry . . . I longed to punish her; and suddenly the idea occurred to me to tell her to fly with me to Paris. 'That 's the place for you to be jealous,' I thought. 'Alice,' I said aloud, 'you are not afraid of big towns — Paris, for instance?'

'No.'

'Not even those parts where it is as light as in the boulevards?'

'It is not the light of day.'

'Good; then take me at once to the Boulevard des Italiens.'

Alice wrapped the end of her long hanging sleeve about my head. I was at once enfolded in a sort of white vapour full of the drowsy fragrance of the poppy. Everything disappeared at once; every light, every sound, and almost consciousness itself. Only the sense of being alive remained, and that was not unpleasant.

Suddenly the vapour vanished; Alice took her sleeve from my head, and I saw at my feet a huge mass of closely - packed buildings, brilliant light, movement, noisy traffic. ... I saw Paris.

 

XIX

I had been in Paris before, and so I recognised at once the place to which Alice had directed her course. It was the Garden of the Tuileries with its old chestnut-trees, its iron railings, its fortress moat, and its brutal-looking Zouave sentinels. Passing the palace, passing the Church of St. Roche, on the steps of which the first Napoleon for the first time shed French blood, we came to a halt high over the Boulevard des Italiens, where the third Napoleon did the same thing and with the same success. Crowds of people, dandies young and old, workmen in blouses, women in gaudy dresses, were thronging on the pavements; the gilded restaurants and cafes were flaring with lights; omnibuses, carriages of all sorts and shapes, moved to and fro along the boulevard; everything was bustle, everything was brightness, wherever one chanced to look. . . . But, strange to say, I had no inclination to forsake my pure dark airy height. I had no inclination to get nearer to this human ant-hill. It seemed as though a hot, heavy, reddish vapour rose from it, half-fragrance, half-stench; so many lives were flung struggling in one heap together there. I was hesitating. . . . But suddenly, sharp as the clang of iron bars, the voice of a harlot of the streets floated up to me; like an insolent tongue, it was thrust out, this voice; it stung me like the sting of a viper. At once I saw in imagination the strong, heavy-jawed, greedy, flat Parisian face, the mercenary eyes, the paint and powder, the frizzed hair, and the nosegay of gaudy artificial flowers under the high-pointed hat, the polished nails like talons, the hideous crinoline. . . . I could fancy too one of our sons of the steppes running with pitiful eagerness after the doll put up for sale. ... I could fancy him with clumsy coarseness and violent stammering, trying to imitate the manners of the waiters at Véfour's, mincing, flattering, wheedling . . . and a feeling of loathing gained possession of me. . . . 'No,'I thought, 'here Alice has no need to be jealous. . . .'

Meanwhile I perceived that we had gradually begun to descend. . . . Paris was rising to meet us with all its din and odour. . . .

'Stop,' I said to Alice. 'Are you not stifled and oppressed here?'

'You asked me to bring you here yourself.'

'I am to blame, I take back my word. Take me away, Alice, I beseech you. To be sure, here is Prince Kulmametov hobbling along the boulevard; and his friend. Serge Varaksin, waves his hand to him, shouting: "Ivan Stepanitch, allons souper, make haste, zhay angazha Rigol-bouche itself!" Take me away from these furnished apartments and maisons dorées, from the Jockey Club and the Figaro, from close-shaven military heads and varnished barracks, from sergents-de-ville with Napoleonic beards, and from glasses of muddy absinthe, from gamblers playing dominoes at the cafes, and gamblers on the Bourse, from red ribbons in button-holes, from M. de Four, inventor of 'matrimonial specialities,' and the gratuitous consultations of Dr. Charles Albert, from liberal lectures and government pamphlets, from Parisian comedies and Parisian operas, from Parisian wit and Parisian ignorance. . . . Away! away! away!'

'Look down,' Alice answered; 'you are not now in Paris.'

I lowered my eyes. . . . It was true. A dark plain, intersected here and there by the whitish lines of roads, was rushing rapidly by below us, and only behind us on the horizon, like the reflection of an immense conflagration, rose the great glow of the innumerable lights of the capital of the world.

 

XX

Again a veil fell over my eyes. . . . Again I lost consciousness. The veil was withdrawn at last. What was it down there below? What was this park, with avenues of lopped lime-trees, with isolated fir-trees of the shape of parasols, with porticoes and temples in the Pompadour style, with statues of satyrs and nymphs of the Bernini school, with rococo tritons in the midst of meandering lakes, closed in by low parapets of blackened marble? Wasn't it Versailles? No, it was not Versailles. A small palace, also rococo, peeped out behind a clump of bushy oaks. The moon shone dimly, shrouded in mist, and over the earth there was, as it were spread out, a delicate smoke. The eye could not decide what it was, whether moonlight or fog. On one of the lakes a swan was asleep; its long back was white as the snow of the frost-bound steppes, while glow-worms gleamed like diamonds in the bluish shadow at the base of a statue.

'We are near Mannheim,' said Alice; 'this is the Schwetzingen garden.'

'We are in Germany,' I thought, and I fell to listening. All was silence, except somewhere, secluded and unseen, the splash and babble of falling water. It seemed continually to repeat the same words: 'Aye, aye, aye, for aye, aye.' And all at once I fancied that in the very centre of one of the avenues, between clipped walls of green, a cavalier came tripping along in red-heeled boots, a gold-braided coat, with lace ruffs at his wrists, a light steel rapier at his thigh, smilingly offering his arm to a lady in a powdered wig and a gay chintz. . . . Strange, pale faces. . . . I tried to look into them. . . . But already everything had vanished, and as before there was nothing but the babbling water.

'Those are dreams wandering,' whispered Alice; 'yesterday there was much — oh, much — to see; to-day, even the dreams avoid man's eye. Forward! forward!'

We soared higher and flew farther on. So smooth and easy was our flight that it seemed that we moved not, but everything moved to meet us. Mountains came into view, dark, undulating, covered with forest; they rose up and swam towards us. . . . And now they were slipping by beneath us, with all their windings, hollows, and narrow glades, with gleams of light from rapid brooks among the slumbering trees at the bottom of the dales; and in front of us more mountains sprung up again and floated towards us. . . . We were in the heart of the Black Forest.

Mountains, still mountains . . . and forest, magnificent, ancient, stately forest. The night sky was clear; I could recognise some kinds of trees, especially the splendid firs, with their straight white trunks. Here and there on the edge of the forest, wild goats could be seen; graceful and alert, they stood on their slender legs and listened, turning their heads prettily and pricking up their great funnel-shaped ears. A ruined tower, sightless and gloomy, on the crest of a bare cliff, laid bare its crumbling turrets; above the old forgotten stones, a little golden star was shining peacefully. From a small almost black lake rose, like a mysterious wail, the plaintive croak of tiny frogs. I fancied other notes, long-drawn-out, languid like the strains of an æolian harp. . . . Here we were in the home of legend! The same delicate moonlight mist, which had struck me in Schwetzingen, was shed here on every side, and the farther away the mountains, the thicker was this mist. I counted up five, six, ten different tones of shadow at different heights on the mountain slopes, and over all this realm of varied silence the moon queened it pensively. The air blew in soft, light currents. I felt myself a lightness at heart, and, as it were, a lofty calm and melancholy. . . .

'Alice, you must love this country!'

'I love nothing.'

'How so? Not me?'

'Yes . . . you!' she answered indifferently.

It seemed to me that her arm clasped my waist more tightly than before.

'Forward! forward!' said Alice, with a sort of cold fervour.

'Forward!' I repeated.

 

XXI

A loud, thrilling cry rang out suddenly over our heads, and was at once repeated a little in front.

'Those are belated cranes flying to you, to the north,' said Alice; 'would you like to join them?'

'Yes, yes! raise me up to them.'

We darted upwards and in one instant found ourselves beside the flying flock.

The big handsome birds (there were thirteen of them) were flying in a triangle, with slow sharp flaps of their hollow wings; with their heads and legs stretched rigidly out, and their breasts stiffly pressed forward, they pushed on persistently and so swiftly that the air whistled about them. It was marvellous at such a height, so remote from all things living, to see such passionate, strenuous life, such unflinching will, untiringly cleaving their triumphant way through space. The cranes now and then called to one another, the foremost to the hindmost; and there was a certain pride, dignity, and invincible faith in these loud cries, this converse in the clouds. 'We shall get there, be sure, hard though it be,' they seemed to say, cheering one another on. And then the thought came to me that men, such as these birds — in Russia — nay, in the whole world, are few.

'We are flying towards Russia now,' observed Alice. I noticed now, not for the first time, that she almost always knew what I was thinking of. 'Would you like to go back?'

'Let us go back . . . or no! I have been in Paris; take me to Petersburg.'

'Now?'

'At once. . . . Only wrap my head in your veil, or it will go ill with me.'

Alice raised her hand . . . but before the mist enfolded me, I had time to feel on my lips the contact of that soft, dull sting. . . .

 

XXII

'Li-i-isten!' sounded in my ears a long drawn out cry. 'Li-i-isten!' was echoed back with a sort of desperation in the distance. 'Li-i-isten!' died away somewhere far, far away. I started. A tall golden spire flashed on my eyes; I recognised the fortress of St. Peter and St. Paul.

A northern, pale night! But was it night at all? Was it not rather a pallid, sickly daylight? I never liked Petersburg nights; but this time the night seemed even fearful to me; the face of Alice had vanished completely, melted away like the mist of morning in the July sun, and I saw her whole body clearly, as it hung, heavy and solitary on a level with the Alexander column. So here was Petersburg! Yes, it was Petersburg, no doubt. The wide empty grey streets; the greyish-white, and yellowish-grey and greyish-lilac houses, covered with stucco, which was peeling off, with their sunken windows, gaudy sign-boards, iron canopies over steps, and wretched little green-grocer's shops ; the façades, inscriptions, sentry-boxes, troughs; the golden cap of St Isaac's; the senseless motley Bourse; the granite walls of the fortress, and the broken wooden pavement; the barges loaded with hay and timber; the smell of dust, cabbage, matting, and hemp; the stony-faced dvorniks in sheep-skin coats, with high collars; the cab-drivers, huddled up dead asleep on their decrepit cabs — yes, this was Petersburg, our northern Palmyra. Everything was visible; everything was clear — cruelly clear and distinct — and everything was mournfully sleeping, standing out in strange huddled masses in the dull clear air. The flush of sunset — a hectic flush — had not yet gone, and would not be gone till morning from the white starless sky; it was reflected on the silken surface of the Neva while faintly-gurgling and faintly moving, the cold blue waves hurried on. . . .

'Let us fly away,' Alice implored.

And without waiting for my reply, she bore me away across the Neva, over the palace square to Liteiny Street. Steps and voices were audible beneath us; a group of young men, with worn faces, came along the street talking about dancing-classes. 'Sub-lieutenant Stolpakov's seventh!' shouted suddenly a soldier, standing half-asleep on guard at a pyramid of rusty bullets; and a little farther on, at an open window in a tall house, I saw a girl in a creased silk dress, without cuffs, with a pearl net on her hair, and a cigarette in her mouth. She was reading a book with reverent attention; it was a volume of the works of one of our modern Juvenals.

'Let us fly away!' I said to Alice.

One instant more, and there were glimpses below us of the rotting pine copses and mossy bogs surrounding Petersburg. We bent our course straight to the south; sky, earth, all grew gradually darker and darker. The sick night; the sick daylight; the sick town — all were left behind us.

 

XXIII

We flew more slowly than usual, and I was able to follow with my eyes the immense expanse of my native land gradually unfolding before me, like the unrolling of an endless panorama. Forests, copses, fields, ravines, rivers — here and there villages and churches — and again fields and forests and copses and ravines. . . . Sadness came over me, and a kind of indifferent dreariness. And I was not sad and dreary simply because it was Russia I was flying over. No. The earth itself, this flat surface which lay spread out beneath me; the whole earthly globe, with its populations, multitudinous, feeble, crushed by want, grief and diseases, bound to a clod of pitiful dust; this brittle, rough crust, this shell over the fiery sands of our planet, overspread with the mildew we call the organic, vegetable kingdom; these human flies, a thousand times paltrier than flies ; their dwellings glued together with filth, the pitiful traces of their tiny, monotonous bustle, of their comic struggle with the unchanging and inevitable, how revolting it all suddenly was to me. My heart turned slowly sick, and I could not bear to gaze longer on these trivial pictures, on this vulgar show. . . . Yes, I felt dreary, worse than dreary. Even pity I felt nothing of for my brother men: all feelings in me were merged in one which I scarcely dare to name: a feeling of loathing, and stronger than all and more than all within me was the loathing — for myself.

'Cease,' whispered Alice, 'cease, or I cannot carry you. You have grown heavy.'

'Home,' I answered her in the very tone in which I used to say the word to my coachman, when I came out at four o'clock at night from some Moscow friends', where I had been talking since dinner-time of the future of Russia and the significance of the commune. 'Home,' I repeated, and closed my eyes.

 

XXIV

But I soon opened them again. Alice seemed huddling strangely up to me she was almost pushing against me. I looked at her and my blood froze at the sight. One who has chanced to behold on the face of another a sudden look of intense terror, the cause of which he does not suspect, will understand me. By terror, overmastering terror, the pale features of Alice were drawn and contorted, almost effaced. I had never seen anything like it even on a living human face. A lifeless, misty phantom, a shade, . . . and this deadly horror. . . .

'Alice, what is it?' I said at last.

'She . . . she . . .' she answered with an effort. 'She.'

'She? Who is she?'

'Do not utter her name, not her name,' Alice faltered hurriedly. 'We must escape, or there will be an end to everything, and for ever. . . . Look, over there!'

I turned my head in the direction in which her trembling hand was pointing, and discerned something . . . something horrible indeed.

This something was the more horrible that it had no definite shape. Something bulky, dark, yellowish-black, spotted like a lizard's belly, not a storm-cloud, and not smoke, was crawling with a snake-like motion over the earth. A wide rhythmic undulating movement from above downwards, and from below upwards, an undulation recalling the malignant sweep of the wings of a vulture seeking its prey; at times an indescribably revolting grovelling on the earth, as of a spider stooping over its captured fly. . . . Who are you, what are you, menacing mass? Under her influence, I saw it, I felt it — all sank into nothingness, all was dumb. . . . A putrefying, pestilential chill came from it. At this chill breath the heart turned sick, and the eyes grew dim, and the hair stood up on the head. It was a power moving; that power which there is no resisting, to which all is subject, which, sightless, shapeless, senseless, sees all, knows all, and like a bird of prey picks out its victims, like a snake, stifles them and stabs them with its frozen sting. . . .

'Alice! Alice!' I shrieked like one in frenzy. 'It is death ! death itself!'

The wailing sound I had heard before broke from Alice's lips; this time it was more like a human wail of despair, and we flew. But our flight was strangely and alarmingly unsteady; Alice turned over in the air, fell, rushed from side to side like a partridge mortally wounded, or trying to attract a dog away from her young. And meanwhile in pursuit of us, parting from the indescribable mass of horror, rushed sort of long undulating tentacles, like outstretched arms, like talons. . . . Suddenly a huge shape, a muffled figure on a pale horse, sprang up and flew upwards into the very heavens. . . . Still more fearfully, still more desperately Alice struggled. 'She has seen! All is over! I am lost!' I heard her broken whisper. 'Oh, I am miserable! I might have profited, have won life, . . . and now. . . . Nothingness, nothingness!' It was too unbearable. ... I lost consciousness.

 

XXV

When I came to myself, I was lying on my back in the grass, feeling a dull ache all over me, as from a bad bruise. The dawn was beginning in the sky: I could clearly distinguish things. Not far off, alongside a birch copse, ran a road planted with willows: the country seemed familiar to me. I began to recollect what had happened to me, and shuddered all over directly my mind recalled the last, hideous apparition. . . .

'But what was Alice afraid of?' I thought. 'Can she too be subject to that power? Is she not immortal? Can she too be in danger of annihilation, dissolution? How is it possible?'

A soft moan sounded close by me. I turned my head. Two paces from me lay stretched out motionless a young woman in a white gown, with thick disordered tresses, with bare shoulders. One arm was thrown behind her head, the other had fallen on her bosom. Her eyes were closed, and on her tightly shut lips stood a fleck of crimson stain. Could it be Alice? But Alice was a phantom, and I was looking upon a living woman. I crept up to her, bent down. . . .

'Alice, is it you?' I cried. Suddenly, slowly quivering, the wide eyelids rose; dark piercing eyes were fastened upon me, and at the same instant lips too fastened upon me, warm, moist, smelling of blood . . . soft arms twined tightly round my neck, a burning, full heart pressed convulsively to mine. 'Farewell, farewell for ever!' the dying voice uttered distinctly, and everything vanished.

I got up, staggering like a drunken man, and passing my hands several times over my face, looked carefully about me. I found myself near the high road, a mile and a half from my own place. The sun had just risen when I got home.

All the following nights I awaited — and I confess not without alarm — the appearance of my phantom; but it did not visit me again. I even set off one day, in the dusk, to the old oak, but nothing took place there out of the common. I did not, however, overmuch regret the discontinuance of this strange acquaintance. I reflected much and long over this inexplicable, almost unintelligible phenomenon; and I am convinced that not only science cannot explain it, but that even in fairy tales and legends nothing like it is to be met with. What was Alice, after all? An apparition, a restless soul, an evil spirit, a sylphide, a vampire, or what? Sometimes it struck me again that Alice was a woman I had known at some time or other, and I made tremendous efforts to recall where I had seen her. . . . Yes, yes, I thought sometimes, directly, this minute, I shall remember. . . . In a flash everything had melted away again like a dream. Yes, I thought a great deal, and, as is always the way, came to no conclusion. The advice or opinion of others I could not bring myself to invite; fearing to be taken for a madman. I gave up all reflection upon it at last; to tell the truth, I had no time for it. For one thing, the emancipation had come along with the redistribution of property, etc.; and for another, my own health failed; I suffered with my chest, with sleeplessness, and a cough. I got thin all over. My face was yellow as a dead man's. The doctor declares I have too little blood, calls my illness by the Greek name, 'anæmia,' and is sending me to Gastein. The arbitrator swears that without me there 's no coming to an understanding with the peasants. Well, what 's one to do?

But what is the meaning of the piercingly-pure, shrill notes, the notes of an harmonica, which I hear directly any one's death is spoken of before me? They keep growing louder, more penetrating. . . . And why do I shudder in such anguish at the mere thought of annihilation?