The Malacia Tapestry

‘You told me when we met that you had enemies and the State had eyes.’ The proposition was somehow more reasonable here in the stuffy darkness of his workshop than it had appeared in the sunlit street.

‘We must each trust each. We are both in a same situation – namely we don’t have security in the world. I am old and have a wife for to support, you are young and free but, believe me, the gods – and society, more important – are against us both. That is a political situation. I have two passions, art and justice. As I grow more old, justice becomes more important. I hate to see the poor grinded down by the rich, hate it.’

‘That’s a natural law. I intend to be rich one day.’

He scratched his head and sighed. ‘Then we will defer justice for a day later and instead talk about art. Is that more to your taste?’

‘Tell me about your drama.’

He sighed again, staring about the untidy workshop, shaking his head. ‘Young men care so little.’

‘You have no business saying that. Why do the old always hold the young in contempt? I’m a fine actor, as you can discover if you enquire, and my art is my life. My life is my art. Tell me about this drama of yours, I ask you, if you want my help.’

‘My dear young man … Well, let’s keep to art if you wish it! I have a love for all the arts, all the arts, including the drama, though I am always too much poor to pursue them. For the first mercurised production, I have written a contribution to drama, entitled, Prince Mendicula: or, The Joyous Tragedy of the Prince and Patricia and General Gerald and Jemima.’

‘A striking title. What is a Joyous Tragedy exactly?’

‘Well, Doleful Comedy, if you will – minor details aren’t too clear in my mind yet – clear, but not too clear … I have some troubles with detail. Indeed, for simplification on to glass, I plan a drama without detail …’

‘Am I to be Prince Mendicula?’

He beamed, showing his shortage of teeth. ‘You, my dear boy, you have insufficient years for to be Prince Mendicula. You shall play the dashing General Gerald.’ And he began to unravel the beauties of a plot which would enrich, if not indeed terminate, world drama. I paid what heed I could. As he talked with increasing rapidity, he took me to a lumber room and showed me some props for his drama. They were very poor, the clothes almost threadbare.

My interest in Bengtsohn’s affairs was generated by the understanding that they would involve divine Armida Hoytola. I began to see that there might also be profit for my career here; Bengtsohn was supported by a powerful patron, the Hoytola family, and, if the novelty of his mercurised melodrama were to catch popular fancy, it would be advantageous to have my name associated with it.

I broke in the old man’s account and said, ‘Will you not let me play the Prince?’

He drummed the fingers of his left hand upon his stringy cheek. ‘Gerald is more suitable for you. You might make a good general. You are not venerable enough for Mendicula.’

‘But I can make up my face with beard and black teeth and a patch and what-you-will. Whom have you marked out for this princely part?’

He chewed his lip and said, ‘You understand this is a – what’s the word? – yes, unproved venture. We all take a chance from it. I cannot afford to pay for more than one real player, and that is yourself. Your looks and modest reputation will help. Whereas to play the Prince I rely on one of the boys in the workshop, the not ill-favoured man called Bonihatch.’

‘Bonihatch? With the yellow whiskers? What acting experience has he? He’s just an apprentice!’

‘For mercurised play, little acting is required. Bonihatch is a good man, what I depend on. I must have Bonihatch, that’s my decision.’

‘Well. The others? Princess Patricia?’

‘For the Lady Jemima, with whom the prince is captivated, I will hire a seamstress who lives in this court, by name Letitia Zlatorog. She will be happy to work for a pittance. Her family has a sad history what exemplifies injustices. Her uncle is a friend of mine, a friend of poverty. A pretty girl, too, with quite an air about her, is little Letitia.’

‘And what blazing bundle of talent and beauty is destined for the role of Princess Patricia?’

He gave me another mouth-numbing smile.

‘Oh, I thought you had discovered that. The success of our enterprise, alas, depends heavily on my employer. So we are exploited. To satisfy his whim – and not from other reasons – the role of the Princess Patricia will be played by Armida Hoytola. It is a consolation that she is not ugly.’

‘Armida as Patricia … Well, you know that my art is all to me. It comes as a surprise to learn that Armida, whom I scarcely know, is also to act in your drama. Even so, I will work with you for the sake of this marvellous new form of drama you have perfected.’

‘Arrive here punctually at eight in the morning and that will suit me. There’ll be time enough for speeches then. And let’s keep secret the enterprise for a while. No boasting, if you can withstand it.’

It is a curious fact about old people that, like Bengtsohn, they do not necessarily soften if you speak them fair. It is almost as if they suspect you of being insincere. This trait manifests itself in my father. Whereas you can always get round friends of your own age.

But Bengtsohn was civil when I appeared next morning, cutting me a slice of solid bread-and-blood pudding for breakfast; he even paid my half a florin in advance for my work, from his own pocket. I helped him, his wife, and Bonihatch load up a cart with the things he needed, including the zahnoscope, a tent, several flats, and some costumes, before the others arrived. As we worked a true seigneur rolled up, the great Andrus Hoytola himself stepping down from his carriage.

Andrus Hoytola was a well-built, dignified man, lethargic of movement, with a large, calm face like a pale sea. He wore a flowered silk banyan over pantaloons that buckled at the knees. He had white silk stockings and his feet were thrust into slippers. His hair was in a short stumpy queue tied with grey velvet ribbon. He looked slowly about him.

I gave him a bow. Bengtsohn made a salute and said, ‘We are getting forward with our matters, sir.’

‘One would expect so.’ He helped himself to a pinch of snuff from a silver box and strolled across to regard the zahnoscope. I had hoped for an introduction; none was forthcoming. My consolation was the sight of his daughter Armida, who alighted from the other side of the carriage.

Her reserve was perhaps to be accounted for by the presence of her father. She evinced no surprise and little interest that I was engaged to act with her in the drama of Prince Mendicula; her attention was rather on her dress. Like her father, she was fashionably garbed, wearing a plain decolleté open robe of ice blue with long, tight sleeves which ended in time to display her neat wrists. When she walked, her skirts revealed a hint of ankle. A fragrance of patchouli hung about her. And what a beauty she was! Features that tended towards the porcine in her father were genuinely inspiring in Armida, especially when they lit as she said smilingly, ‘I see that the walls of neither monastery nor barracks have closed about you yet.’

‘A blessed reprieve.’

The cart was loaded and harnessed to a pair of mules, black of visage, long of ear, and inclined to foam at the mouth. We climbed on or walked behind, while the Hoytolas returned to their carriage. Bonihatch explained that we were heading for the Chabrizzi Palace beyond the Toi, where our play would be enacted.

The Palace of the Chabrizzis was set in a striking position at no great distance from Mantegan, where Katarina passed the days of her married life. The Palace was built under a last outcrop of the tawny Prilipit Mountains, to stare loftily across the city.

Within its gates we rolled to a stop in a weed-grown courtyard. Two urchins played by an elaborate fountain. Windows confronted us on all sides, straight-faced. To one side, cliffs loomed above the rooftops.

Everything was unloaded and placed on the flagstones. Armida climbed from her carriage. Her father merely sat back in his seat and suddenly, at a whim, drove away without speaking further to anyone.

Bonihatch made a face at Bengtsohn.

‘Looks as if the Council didn’t make up their mind regarding the hydrogenous balloon.’

‘Or maybe the zahnoscope either,’ said Bengtsohn grimly.

‘I’d prefer you not to discuss my father’s business,’ Armmida said. ‘Let’s get on.’

Later, the mule-cart was driven off. While a primitive outdoor stage was being set up, Armida talked to a timid girl in work clothes. I went over to speak with them and discovered that this was Letitia Zlatorog, the little seamstress engaged to play Lady Jemima.

It would be difficult to imagine anyone less fit for the role, although she was pretty enough in an insipid way. She was pale, her hands were red, and she had no mannerisms. She appeared all too conscious of the honour of meeting a player from the great Kemperer’s company. I took care to appear rather grand; nevertheless, when Armida’s attention was elsewhere, I slipped an arm about her waist to set her at ease.

Even more strongly than before, I felt that I, as the one professional member of this ludicrous cast, was entitled to play the Prince, and so be married to Armida. I knew how the simulated passions of the stage often translated by sympathetic magic into genuine passions off stage; to think of the cocky apprentice Bonihatch embracing Armida was not to be borne.

Having failed to convince Bengtsohn on this point, I took Bonihatch himself aside, intimating as tactfully as I could that as mine was the name which would win audiences, mine should be the right to play the title role of Mendicula.

‘Think of this as a co-operative enterprise,’ he said ‘in which all work as one, not for profit or fame, but for the common good. Or is such an ideal too much for your imagination?’

‘I see no disgrace in fame as a spur! You talk more like a Progressive than a player.’

He looked at me levelly. ‘I am a Progressive. I don’t wish to make an enemy of you, de Chirolo. Indeed, we’d all be glad to have your co-operation. But let’s have none of your fancy airs and graces round here.’

‘Take care how you speak to me. I imagine a good thrashing would impress you.’

‘I said I didn’t want to make an enemy of you –’