The Djinn in the Nightingale's Eye Page 7

  And after a further time, Griselda gave birth to a son, and the husband, still intent on testing, had this child too taken from the breast and carried away to be killed. And Griselda kept steadily to her pact, assuring him that she was not grieved or hurt; that her two children had brought her only sickness at first ‘and after, woe and pain’.

  And then there was a lull in the narrative, said Gillian, a lull long enough for the young children who were secretly being brought up in Bologna to reach puberty, adolescence, a marriageable age. A lull as long as the space between Acts HI and IV of The Winter’s Tale during which Hermione the Queen is hidden away and thought to be dead, and her daughter, Perdita, abancloned and exposed, is brought up by shepherds, wooed by a Prince, and forced to flee to Sicily where she is happily reunited with her repentant father and her lost mother who appears on a pedestal as a statue and is miraculously given her life and happiness again by art. In The Winter’s Tale, said Gillian, the lovely daughter is the renewal of the mother, as the restoration of Persephone was the renewal of the fields in Spring, laid waste by the rage of Demeter, the mother-goddess. Here Gillian’s voice faltered. She looked out at the audience and told them how Paulina, Hermione’s friend and servant, had taken on the powers of witch, artist, storyteller, and had restored the lost queen to life. Personally, said Gillian, I have never been able to stomach-to bear-that plotted denouement, which is the opposite of the restoration of Persephone in Spring. For human beings do not die and spring up again like the grass and the corn, they live one life and get older. And from Hermione – and as you may know already, from Patient Griselda-most of that life has been taken by plotting, has been made into a grey void of forced inactivity.

  What did Griselda do whilst her son and, more particularly, her daughter were growing up? The story gallops. A woman’s life runs from wedding to childbirth to nothing in a twinkling of an eye. Chaucer gives no hint of subsequent children, though he insists that Griselda remained true in love and patience and submission. But her husband had to excess Paulina’s desire to narrate, to orchestrate, to direct. He busied himself, he gained a dispensation from the Pope to put away his wife Griselda, and to marry a young bride. The people muttered about the murdered children. But Walter, if we are to believe the story, went to his patient wife and told her that he intended to replace her with a younger and more acceptable bride, and that she must return to her father, leaving behind the rich clothes and jewels and other things which had been his gift. And still Griselda was patient, though Chaucer here gives her words of power in her patience which keep the reader’s sympathy, and fend off the reader’s impatience which might sever that sympathy.

  Naked, Griselda tells her husband, she came from her father, and naked she will return. But since he has taken all her old clothes she asks him for a smock to cover her nakedness, since ‘the womb in which your children lay, should not, as I walk, be seen bare before the people. Let me not,’ says Griselda, ‘go by the way like a worm. In exchange for my maidenhead, which I brought with me and cannot take away, give me a smock.’ And Walter graciously allows her the shift she stands in, to cover her nakedness.

  But Walter thought of other twists to the intrigue, since every twist made his plotted denouement more splendid and satisfactory. No sooner, it seemed, was Griselda back at home, than her husband was there, asking her to return to the castle and prepare the rooms and the feast for his new young bride. No one could do it better, he told her. You might think that the pact was over on her return to her father’s house, but this was not Griselda’s idea: patiently she returned, patiently she cooked, cleaned, prepared, made up the marriage bed.

  And the bridal procession arrived at the castle, with the beautiful girl in the midst, and Griselda worked away in the hall in her poor clothes, and the feast was set, and the lords and ladies sat down to eat. Now indeed, apparently, Griselda was a belated spectator at the wedding. Walter called Griselda to him and asked her what she thought of his wife and her beauty. And Griselda did not curse her, or indeed him, but answered always patiently, that she had never seen a fairer woman, and that she both beseeched and warned him ‘never to prick this tender maiden with tormenting’ as he had done her, for the young bride was softly brought up and would not endure it.

  And now Walter had his denouement, the end of his story, and revealed to Griselda that his bride was not his bride, but her daughter, and the squire her son, and that all would now be well and she would be happy, for he had done all this neither in malice nor in cruelty, but to test her good faith, which he had not found wanting. So now they could be reconciled.

  And what did Griselda do? asked Gillian Perholt? And what did she say, and what did she do? repeated Dr Perholt. Her audience was interested. It was not a story most of them knew beyond the title and its idea, Patient Griselda. Would the worm turn? one or two asked themselves, moved by Griselda’s image of her own naked flesh. They looked up to Dr Perholt for an answer, and she was silent, as if frozen. She stood on the stage, her mouth open to speak, and her hand out, in a rhetorical gesture, with the lights glittering on her eyeballs. She was an ample woman, a stout woman, with a soft clear skin, clothed in the kind of draped linen dress and jacket that is best for stout women, a stone-coloured dress and jacket, enlivened by blue glass beads.

  And Gillian Perholt stared out of glassy eyes and heard her voice fail. She was far away and long ago-she was a pillar of salt, her voice echoed inside a glass box, a sad piping like a lost grasshopper in winter. She could move neither fingers nor lips, and in the body of the hall, behind the grey-scarved women, she saw a cavernous form, a huge, female form, with a veiled head bowed above emptiness and long slack-sinewed arms, hanging loosely around emptiness, and a draped, cowled garment ruffling over the windy vacuum of nothing, a thing banal in its conventional awfulness, and for that very reason appalling because it was there, to be seen, her eyes could distinguish each fold, could measure the red rims of those swollen eyes, could see the cracks in the stretched lips of that toothless, mirthless mouth, could see that it was many colours, and all of them grey, grey. The creature was flat-breasted and its withered skin was exposed above the emptiness, the windy hole that was its belly and womb.

  This is what I am afraid of, thought Gillian Perholt, whose intelligence continued to work away, to think of ways to ascertain whether or not the thing was a product of hallucination or somehow out there on an unexpected wavelength.

  And just as Orhan rose to come to her help, seeing her stare like Macbeth at the feast, she began to speak again, as though nothing had happened, and the audience sighed and sat back, ill at ease but courteous.

  And what did Griselda do? asked Gillian Perholt. And what did Griselda say and what did she do? repeated Dr Perholt. First, all mazed, uncomprehending, she swooned. When she revived, she thanked her husband for having saved her children, and told her children that their father had cared for them tenderly – and she embraced both son and daughter, tightly, tightly, and still gripping them fell again into terrible unconsciousness, gripping so tightly that it was almost impossible for the bystanders to tear the children from her grasp. Chaucer does not say, the Clerk of Oxford does not say, that she was strangling them, but there is fear in his words, and in the power of her grip, all her stoppered and stunted energy forcing all three into unconsciousness, unknowing, absence from the finale so splendidly brought about by their lord and master.

  But of course, she was revived, and again stripped of her old clothes, and dressed in cloth of gold and crowned with jewels and restored to her place at the feast. To begin again.

  And I wish to say a few words, said Gillian Perholt, about the discomfort of this terrible tale. You might suppose it was one of that group of tales in which the father or king or lord tries to marry his daughter, after his wife’s death, as the original Leontes tried to marry Perdita in the tale that precedes The Winter’s Tale, the tale of a man seeking the return of spring and youth and fertility in ways inappropriate for human beings
as opposed to grass and the flowers of the field. This pattern is painful but natural, this human error which tales hasten to punish and correct. But the peculiar horror of Patient Griselda does not lie in the psychological terror of incest or even of age. It lies in the narration of the story and Walter’s relation to it. The story is terrible because Walter has assumed too many positions in the narration; he is hero, villain, destiny, God and narrator-there is no play in this tale, though the Clerk and Chaucer behind him try to vary its tone with reports of the people’s contradictory feelings, and with the wry final comment on the happy marriage of Griselda’s son, who

  fortunat was eek in mariage,

  Al putte he nat his wyf in greet assay.

  This world is nat so strong, it is no nay,

  As it hath been in olde tymes yoore.

  And the commentator goes on to remark that the moral is not that wives should follow Griseldis in humility, for this would be impossible, unattainable, even if desired. The moral is that of Job, says the Clerk, according to Petrarch, that human beings must patiently bear what comes to them. And yet our own response is surely outrage-at what was done to Griselda-at what was taken from her, the best part of her life, what could not be restored-at the energy stopped off. For the stories of women’s lives in fiction are the stories of stopped energies-the stories of Fanny Price, Lucy Snowe, even Gwendolen Harleth, are the stories of Griselda, and all come to that moment of strangling, willed oblivion.

  Gillian Perholt looked up. The creature, the ghoul, was gone. There was applause. She stepped down. Orhan, who was forthright and kind, asked if she felt unwell and she said that she had had a dizzy turn. She thought it was nothing to worry about. A momentary mild seizure. She would have liked to tell him about the apparition too, but was prevented. Her tongue lay like lead in her mouth, and the thing would not be spoken. What cannot be spoken continues its vigorous life in the veins, in the brain-cells, in the nerves. As a child she had known that if she could describe the grey men on the stairs, or the hag in the lavatory, they would vanish. But she could not. She imagined them lusciously and in terror and occasionally saw them, which was different.

  Orhan’s paper was the last in the conference. He was a born performer, and always had been, at least in Gillian’s experience. She remembered a student production of Hamlet in which they had both taken part. Orhan had been Hamlet’s father’s ghost and had curdled everyone’s blood with his deep-voiced rhetoric. His beard was now, as it had not been then, ‘a sable silvered’, and had now, as it had had then, an Elizabethan cut – though his face had sharpened from its youthful thoughtfulness and he now bore a resemblance, Gillian thought, to Bellini’s portrait of Mehmet the Conqueror. She herself had been Gertrude, although she had wanted to be Ophelia, she had wanted to be beautiful and go passionately mad. She had been the Queen who could not see the spirit stalking her bedchamber: this came into her mind, with a renewed, now purely imaginary vision of the Hermione-Griselda ghoul, as she saw Orhan, tall, imposing, smiling in his beard, begin to speak of Scheherazade and the djinniyah.

  It has to be admitted, said Orhan, that misogyny is a driving force of pre-modern story collections – perhaps especially of the frame stories-from Katha Sarit Sagara, The Ocean of Story, to the Thousand and One Nights, Alf Layla wa-Layla. Why this should be so has not, as far as I know, been fully explained, though there are reasons that could be put forward from social structures to depth psychology – the sad fact remains that women in these stories for the most part are portrayed as deceitful, unreliable, greedy, inordinate in their desires, unprincipled and simply dangerous, operating powerfully (apart from sorceresses and female ghouls and ogres) through the structures of powerlessness. What is peculiarly interesting about the Thousand and One Nights in terms of the subject of our conference, is the frame story, which begins with two kings driven to murderous despair by the treachery of women, yet has a powerful heroine-narrator, Scheherazade, who must daily save her own life from a blanket vicarious vengeance on all women by telling tales in the night, tales in the bed, in the bedchamber, to her innocent little sister – Scheherazade whose art is an endless beginning and delaying and ending and beginning and delaying and ending—a woman of infinite resource and sagacity, said Orhan smiling, who is nevertheless using cunning and manipulation from a position of total powerlessness with the sword of her fate more or less in her bedchamber hanging like the sword of Damocles by a metaphorical thread, the thread of her narrative, with her shroud daily prepared for her the next morning. For King Shahriyar, like Count Walter, has taken upon himself to be husband and destiny, leaving only the storytelling element, the plotting, to his wife, which is enough. Enough to save her, enough to provide space for the engendering and birth of her children, whom she hides from her husband as Walter hid his from Griselda, enough to spin out her life until it becomes love and happy-ever-after, so to speak, as Griselda’s does. For these tales are not psychological novels, are not concerned with states of mind or development of character, but bluntly with Fate, with Destiny, with what is prepared for human beings. And it has been excellently said by Pasolini the filmmaker that the tales in the Thousand and One Nights all end with the disappearance of destiny which ‘sinks back into the somnolence of daily life’. But Scheherazade’s own life could not sink back into somnolence until all the tales were told. So the dailiness of daily life is her end as it is Cinderella’s and Snow-White’s but not Mme Bovary’s or Julien Sorel’s who die but do not vanish into the afterlife of stories. But I am anticipating my argument, which, like my friend and colleague Dr Perholt’s argument, is about character and destiny and sex in the folktale, where character is not destiny as Novalis said it was, but something else is.

  And first I shall speak of the lives of women in the frame story, and then I shall briefly discuss the story of Camaralzaman and Princess Budoor, which is only half-told in the manuscripts of the Nights…

  Gillian Perholt sat behind the grey-scarved women and watched Orhan’s dark hooked face as he told of the two kings and brothers Shahriyar and Shahzaman, and of how Shahzaman, setting out on a journey to his brother, went back home to bid his wife farewell, found her in the arms of a kitchen boy, slew them both immediately, and set out on his journey consumed by despair and disgust. These emotions were only relieved when he saw from his brother’s palace window the arrival in a secret garden of his brother’s wife and twenty slave girls. Of these ten were white and ten black, and the black cast off their robes, revealing themselves to be young males, who busily tupped the white females, whilst the queen’s black lover Mas’ud came out of a tree and did the same for her. This amused and relieved Shahzaman, who saw that his own fate was the universal fate, and was able to demonstrate to his brother, at first incredulous and then desperate with shame and wrath, that this was so. So the two kings, in disgust and despondency, left the court and their life at the same moment and set out on a pilgrimage in search of someone more unfortunate than themselves, poor cuckolds as they were.

  Note, said Orhan, that at this time no one had attempted the lives of the queen and her black lover and the twenty lascivious slaves.

  And what the two kings met was a djinn, who burst out of the sea like a swaying black pillar that touched the clouds, carrying on his head a great glass chest with four steel locks. And the two kings (like Mas’ud before them) took refuge in a tree. And the djinn laid himself down to sleep, as luck, or chance, or fate would have it, under that very tree, and opened the chest to release a beautiful woman-one he had carried away on her wedding night-on whose lap he laid his head and immediately began to snore. Whereupon the woman indicated to the two kings that she knew where they were, and would scream and reveal their presence to the djinn unless they immediately came down and satisfied her burning sexual need. The two kings found this difficult, in the circumstances, but were persuaded by threats of immediate betrayal and death to do their best. And when they had both made love to the djinn’s stolen wife, as she lay with opened legs on
the desert sand under the tree, she took from both of them their rings, which she put away in a small purse on her person, which already contained ninety-eight rings of varying fashions and materials. And she told the two kings with some complacency that they were all the rings of men with whom she had been able to deceive the djinn, despite being locked in a glass case with four steel locks, kept in the depths of the raging roaring sea. And the djinn, she explained, had tried in vain to keep her pure and chaste, not realising that nothing can prevent or alter what is predestined, and that when a woman desires something, nothing can stop her.

  And the two kings concluded, after they were well escaped, that the djinn was more unfortunate than they were, so they returned to the palace, put Shahriyar’s wife and the twenty slaves to the sword, replaced the female slaves in the harem, and instituted the search for virgin brides who should all be put to death after one night ‘to save King Shahriyar from the wickedness and cunning of women’. And this led to Scheherazade’s resourceful plan to save countless other girls by substituting narrative attractions for those of inexperienced virginity, said Orhan, smiling in his beard, which took her a thousand and one nights. And in these frame stories, said Orhan, destiny for men is to lose dignity because of female rapacity and duplicity, and destiny for women is to be put to the sword on that account.