Nessim went away to the telephone again. He was wax pale now, with a hectic spot of pink in each cheek, and he spoke with the high sweet hysterical voice of his mother. Clea had already started for Karm Abu Girg, but it seemed that a part of the road had been washed away by a broken dyke. Selim doubted whether she could get through to the ferry that evening.
There now began a tremendous struggle in the breast of Narouz — a struggle to maintain an equilibrium between the forces battling within him. His musculature contracted in heavy bunches with the effort of waiting; his veins bunched out, polished to ebony with the strain, controlled by his will. He ground his teeth savagely together like a wild boar as he felt himself foundering. And Balthazar sat like an effigy, one hand upon his brow and the other fiercely holding the contorted muscles of his wrist.
He whispered in Arabic: ‘Rest, my darling. Easily, my loved one.’ His sadness gave him complete mastery of himself, complete calm.
Truth is so bitter that the knowledge of it confers a kind of luxury.
So it went for a while. Then lastly there burst from the hairy throat of the dying man a single tremendous word, the name of Clea, uttered in the cavernous voice of a wounded lion: a voice which combined anger, reproof and an overwhelming sadness in its sudden roar. So nude a word, her name, as simple as ‘God’ or ‘Mother’ — yet it sounded as if upon the lips of some dying conqueror, some lost king, conscious of the body and breath dissolving within him. The name of Clea sounded through the whole house, drenched by the splendour of his anguish, silencing the little knots of whispering servants and visitors, setting back the ears of the hunting dogs, making them crouch and fawn: ringing in Nessim’s mind with a new and terrifying bitterness too deep for tears. And as this great cry slowly faded, the intelligence of his death dawned upon them with a new and crushing weight — like the pressure of some great tomb door closing upon hope.
Immobile, ageless as pain itself, sat the defeated effigy of the doctor at the bedside of pain. He was thinking to himself, full of the bright fight of intellection: ‘A phrase like “out of the jaws of death” might mean something like that cry of Narouz’, its bravery. Or “out of the jaws of Hell”. It must mean the hell of a private mind. No, we can do nothing.’ The great voice thinned softly into the burring comb-andpaper sound of a long death-rattle, fading into the buzz of a fly caught in some remote spider’s web.
And now Nessim gave a single sweet sob out there on the balcony — the noise that a bamboo stem makes when it is plucked from the stalk. And like the formal opening bars of some great symphony this small sob was echoed below in the darkness, passed from lip to lip, heart to heart. Their sobs lighted one another — as candles take a light from one another — an orchestral fulfilment of the precious theme of sorrow, and a long quivering ragged moan came up out of the empty well to climb upwards towards the darkening sky, a long hushing sigh which mingled with the hushing of the rain upon Lake Mareotis. The death of Narouz had begun to be borne. Balthazar with lowered head was quoting softly to himself in Greek the lines: Now the sorrow of the knowledge of parting Moves like wind in the rigging of the ship Of the man’s death, figurehead of the white body, The sails of the soul being filled By the Ghost of the Breath, replete and eternal.
It was the signal for a release, for now the inescapably terrible scenes of a Coptic wake were to be enacted in the house, scenes charged with an ancient terror and abandon.
Death had brought the women into their kingdom, and made them free to deliver each her inheritance of sorrow. They crept forward in a body, gathering speed as they mounted the staircases, their faces rapt and transfigured now as they uttered the first terrible screaming. Their fingers were turned into hooks now, tearing at their own flesh, their breasts, their cheeks, with a lustful abandon as they moved swiftly up the staircase. They were uttering that curious and thrilling ululation which is called the zagreet, their tongues rippling on their palates like mandolines.
An ear—splitting chorus of tongue trills in various keys.
The old house echoed to the shrieks of these harpies as they took possession of it and invaded the room of death to circle round the silent corpse, still repeating the blood-curdling signal of death, full of an unbearable animal abandon. They began the dances of ritual grief while Nessim and Balthazar sat silent upon their chairs, their heads sunk upon their breasts, their hands clasped — the very picture of human failure. They allowed these fierce quivering screams to pierce them to the very quick of their beings. Only submission now to the ritual of this ancient sorrow was permissible: and sorrow had become an orgiastic frenzy which bordered on madness. The women were dancing now as they circled the body, striking their breasts and howling, but dancing in the slow measured figures of a dance recaptured from longforgotten friezes upon the tombs of the ancient world. They moved and swayed, quivering from throat to ankles, and they twisted and turned calling upon the dead man to rise. ‘Rise, my despair! Rise, my death! Rise, my golden one, my death, my camel, my protector! O beloved body full of seed, arise!’ And then the ghastly ululations torn from their throats, the bitter tears streaming from their torn minds. Round and round they moved, hypnotized by their own lamentations, infecting the whole house with their sorrow while from the dark courtyard below came the deeper, darker hum of their menfolk sobbing as they touched hands in consolation and repeated, to comfort one another: ‘Ma-a-lesh!
Let it be forgiven! Nothing avails our grief!’ So the sorrow multiplied and proliferated. From everywhere now the women came in numbers. Some had already put on the dress of ritual mourning — the dirty coverings of dark blue cotton. They had smeared their faces with indigo and rubbed ash from the fires into their black loosened tresses. They now answered the shrieks of their sisters above with their own, baring their glittering teeth, and climbed the stairs, poured into the upper rooms with the ruthlessness of demons. Room by room, with a systematic frenzy, they attacked the old house, pausing only to utter the same terrifying screams as they set about their work.
Bedsteads, cupboards, sofas were propelled out upon the balcony and hurled from there into the courtyard. At each new crash a fresh fever of screaming — the long bubbling zagreet — would break out and be answered from every corner of the house.
Now the mirrors were shivered into a thousand fragments, the pictures turned back to front, the carpets reversed. All the china and glass in the house — save for the ceremonial black coffee set which was kept for funerals — was now broken up, trampled on, shivered to atoms. It was all swept into a great mound on the balcony. Everything that might suggest the order and continuity of earthly life, domestic, personal or social, must be discarded now and obliterated. The systematic destruction of the memory of death itself in plates, pictures, ornaments or clothes…. The domestic furnishings of the house were-completely wrecked now, and everything that remained had been covered in black drapes.
Meanwhile, down below a great coloured tent had been pitched, a marquee, in which visiting mourners would come and sit through the whole of the ‘Night of Loneliness’ drinking coffee in silence from the black cups and listening to the deep thrilling moaning up above which swelled up from time to time into a new outbreak of screaming or the noise of a woman fainting, or rolling on the ground in a seizure. Nothing must be spared to make this great man’s funeral successful.