Uneasy Alliances tw-11 Page 8

  "It depicts an unsuccessful marriage of state, for one thing," said Glisselrand. "For another, there is that very powerful scene in which the High Priest forces the King to his will. One assumes the words were written originally at a time when the King of some country was overstepping his bounds, and when the magician who wrote it felt it appropriate to bend the will of the monarch to the wisdom of the temple."

  "Well, yes," said Feltheryn, looking up at last from the old parchment text of the play. His blue eyes focused on Giisselrand and he was struck, as always, by how beautiful she remained, even at - . .-Certainly more summers than was polite for a man to consider. (At least past fifty.) "But what has that to do with thee and me?"

  "Feltheryn, my darling," Glisselrand said patiently, "you know how the plays affect people's minds. Has it not occurred to you that Molin might be attempting to use us to get control of the prince?"

  "My darling," said Feltheryn, "the plays are magical, there is no doubt about that. But their magic is unpredictable. Surely Molin, as a priest, knows that he cannot depend on a performance of one of our plays to give him any precise results. The changes that occur in people upon seeing our plays are subtle, and like as not they will even go unnoticed. Molin saw the plays in Ranke. He knows they cannot be used, I am sure... . You must think more kindly of this fine man who has been good enough to arrange a theater for us, hire that charming painter, Lalo, to paint our scenery, and, most important, see that we are all fed until we are established in Sanctuary."

  "Perhaps," said Glisselrand after a moment. "But-1 do wonder at you, even after this many years. You are still such an innocefft! I wonder how you maintain it."

  This comment left Feltheryn bewildered so he returned to his memorizing of the text; a very normal reaction, as much of what his beloved leading lady said to him was beyond his understanding. In a moment he was absorbed again in the terrible scene in which the king discovers that his new young wife is in love with his son by a previous marriage. Feltheryn moved his hand to his brow and ran his fingers through his bushy white hair in rehearsal of a gesture of anguish. He did not notice Glisselrand's tender smile as she watched him.

  The company had lost many of its treasured articles of production in its final days in Ranke, and as The Power of Kings was a play replete with royalty, it behooved Feltheryn to replace certain crowns, sceptres, and other paraphernalia of rulership. To this end he headed for the bazaar of Sanctuary, accompanied by Snegelringe, who would play his son Karel in the play (Feltheryn always reserved the parts of kings for himself and left the younger, more romantic parts for his junior) and Lempchin, the boy who acted as factotum to the troupe. They were looking for a blacksmith, but one who had a certain flair and style about his work; for crowns and sceptres were a far cry, artistically, from horseshoes and barrel hoops.

  It was perhaps inevitable that they catch the attention of those who frequented the bazaar by day but who made their homes in either the Downwind or the Maze; for after so many years of being a king upon the stage Feltheryn moved with the authority of one, if not the wisdom.

  Certainly no true king would have been foolish enough to head for the bazaar with only one guard and a clumsy boy for company.

  It was luck, and very good luck, that the first to make an attempt upon the old actor's person was not one of Sanctuary's better thieves: otherwise the purse which Molin Torchholder had provided might have been lost. As it was; the apprentice pickpockets crashed into Feltheryn, the "master" of the gang (who had attained at least eighteen years despite his stupidity) rushed in with a knife-and learned quickly that actors must be as good with their swords in reality as upon the stage.

  Snegelringe's blade flew from its overly ornamented scabbard, moved in an overly flamboyant arc, and the attacking knife flew from a hand that spurted blood.

  The apprentices drew back, their eyes round with surprise as their master clutched his hand and staggered away with a yowl- They had clearly not expected Snegelringe, a paunchy man with a receding hairline, to have any speed of arms.

  "Death to all who ride against the King!" proclaimed Lempchin, in a voice that was strong enough but not yet deep enough for the stage. Then the boy spoiled his moment by giggling.

  Fortunately the apprentice pickpockets were not versed in the finer points of stage delivery, and they took Lempchin's statement seriously. They ran, scattering as thoroughly as the narrow street would allow.

  "Well played, my hearty!" said Feltheryn to Snegelringe. "But you, boy, you must learn never to break character until the curtain is down! Suppose they had not run? Suppose they had taken our defense as a joke?"

  "Why then," said Lempchin, "Master Snegelringe would have skewered them all!"

  "A pretty move, no doubt," said Feltheryn, and he lowered his deep voice an octave to where it sounded like the dead oracle from Nodrade. "But then should we have found ourselves with enemies, and be the target of every friend those fiends ever had. And one dark night when you must walk alone, the sharp blade would cut across your throat!"

  The boy gulped.

  "And we should have to find another boy to take your place emptying the chamber pots!" added Snegelringe.

  Lempchin's discomfort faded and he blushed. He did not really like Snegelringe, Feltheryn knew, but he respected the actor: in fact, he wanted to take his place some day, if he could just leam the lines and arrange an accident.

  "Come," said Feltheryn, rumpling the chubby boy's hair. "I see the place Lalo recommended, across the square ahead. While I talk to the blacksmith perhaps you can persuade his wife to read your palm. They say these S'danzo women read the future well, and she may see you upon the boards yet!"

  The interview with Dubro, the blacksmith, went well enough, though he apologized for his lack of expertise in fashioning crowns. The huge man was not pleased with the way Snegelringe lavished attention on his wife Illyra, but neither did he move to stop it. Feltheryn supposed the fellow would have felt foolish exhibiting jealousy over a pudgy actor with a receding hairline; and he did not feel it appropriate to disabuse the man of his illusions at just this point. Snegelringe's reputation as a ladies* man would spread through Sanctuary soon enough, causing the company problems aplenty. Let that happen later, after people were accustomed to coming to the plays. Then the troupe would be able to weather the criticism of their morals that even a town as corrupt as Sanctuary felt qualified to heap upon mere actors.

  As for the wife, Hlyra: Feltheryn wondered why it was she dressed as she did, making up her face in such a way that she appeared, to the untrained eye, like a crone. Was it because of the respect accorded to old age? (He knew well that such respect was more often an illusion of the young than a reality- His own years had earned him rather a grudging tolerance than respect. People did not defer to him, they waited for him to die so that they could take his place!) Or did she have some secret distress? She was not responding to Snegelringe's attentions as a woman might usually. The professional mask of a seeress was set well in place, but to Feltheryn's equally professional assessment she seemed mildly puzzled by it all; as if she could not understand why Snegelringe was flirting with her. Was it possible she did not know that actors used makeup as skillfully as S'danzo, and for much the same purpose? Was it possible she did not realize that Snegelringe could see beneath her mask to the lovely young woman?

  Feltheryn let the puzzle go, another observation of the human condition for his catalogue of character, and finished his business with Dubro.

  Lempchin had not found the seeress m a soft enough mood to give him a reading of the cards for free, so the boy begged for a pastry instead, and that led to Snegelringe boxing his ears as they left the bazaar to return to the theater.

  The theater itself was still under construction in the shell of a building that had burned during the plague riots. It was located between West Side Street and Processional, near enough to the palace that the prince could come at his convenience yet far enough away for the Rankan lords to retain the
ir feelings of respectability. Molin had at first proposed housing the actors at some distance from the actual playhouse, perhaps in Westside where there was new construction: but Glisselrand had made clear, with her wannest affectations, that a woman would feel unsafe going such a great distance alone, and that providing her with a dependable escort would cost Molin much more than was reasonable. She had phrased it in such a way that there was no room, short of acute rudeness, for the priest to suggest she provide her own escort, or do without. Thus the theater included an attached residence which, though small, was better than anything they might find among the workmen's quarters at Shambles Cross.

  The Architect of Vashanka had even taken a personal interest in the construction, as if the finishing of the walls on which he had so long labored was somehow not enough to occupy his creativity. He offered plans for a very lavish performing space and was not in the least offended when Feltheryn pointed out to him, with grave discretion, the need for a stage house at the top and dressing rooms below and behind the actual stage; not to mention space in the wings for the storage of properties to be brought on.

  The rebuilding had gone on apace and now the structure was beginning to look much the way Ranke's theaters looked. There was a proscenium, a thing never seen outside the capital, boxes for important people who wanted to be seen as much as they wanted to see, and a royal box for those nights when the prince wished to attend a performance. The theater was, after all, a political tool of some import for those, like the late Emperor, who knew how to use it.

  It was therefore not as great a surprise as it might have been when Feltheryn entered and found the Beysa Shupansea having tisane with Glisselrand in the foyer, surrounded by several ladies-in-waiting whose raiment was so splendid that it paled only before the Beysa herself.

  For a moment Feltheryn was awestruck. The cloth in the Beysa's dress alone could have footed the bill for the whole of the theater. She wore such riches as Ranke never saw, and she wore them well, her breasts thrust out voluptuously and yet with dignity, her head held with a pride that was neither unnatural nor condescending. The gorgeous snake coiling about her throat like a necklace was a priceless piece of theater!

  The only woman he had ever seen so queenly was Glisselrand herself, perhaps in the role of Adriana in Templesmoke: but of course he would not declare that to the Beysa. "Does not the day confound the night?" he quoted from The Archmage by way of greeting, for he had not yet learned her proper title of address. "Are not the stars but fragments of the light?"

  The Beysa smiled and the membranes on her eyes nictitated. She knew flattery, instantly understood why he chose to use it at this moment, and decided to accept it graciously.

  "I have come to see your theater," Shupansea said. "And perhaps to make my own small contribution to its success, if that would be appropriate and acceptable."

  Feltheryn decided he liked her.

  "But of course!" he said. "Has my lady shown it to you, or have you waited for my return?"

  "Your lady has shown it," said the Beysa, "and we have discussed my gift. She asked only that I accept a few sweets, and this lovely hot tisane she makes, while we awaited your approval."

  "If my lady approves it, then so do I," said Feltheryn. "But what is it that you so kindly offer, if I may ask?"

  "The Beysa," said Glisselrand (and her voice held the full rich lustre that it always did on stage) "has offered to have the royal box flocked with velvet. Not just the rails but the whole thing, inside and out. I think that is most kind of her, don't you?"

  "Not only kind, but generous," said Feltheryn. "May I assume from this that ..." (There was nothing for it, he had to use some title!)"... Your Highness plans to attend our humble offerings?"

  "It will be a great treat to see such plays as those the Rankans saw," said the Beysa. "Especially after so long here in Sanctuary. In my homeland there were many spectacles provided to amuse us, and I confess to missing them. I shall be most pleased indeed to come the very night you first perform."

  The irony of her using the past tense when referring to the plays performed in Ranke was not lost on Feltheryn, but he noted it only in passing. An occupied Royal Box inevitably meant a full house!

  Later, that night, Feltheryn had second thoughts about presenting The Power of Kings. In addition to the King, his son, and the leading lady, the play required a second young male, the son's best friend. It was the most sympathetic part in the play, for the friend, Rorem, died by an assassin's arrow in the last act, even in the midst of swearing his love for the prince, Karel. It was one of the great and moving scenes of the play, and one of the most mystical, for it was never explained. Like the events of real life, nobody ever discovered who killed Rorem, or why.

  The problem was that Rounsnouf, the company's comic, was the only person available to play the part; and Rounsnouf had discovered the Vulgar Unicom.

  To be sure, every town had its share of low dives; but the Vulgar Unicorn (Rounsnouf explained as best he could after much too much to drink) was special!

  "Master Feltheryn, I have never seen so many great character studies! The place is a treasure house' I could live there, absorbing the little moves they make, taking in the peculiar touches of their accents! There is a dark-haired boy who is all bluster and covered with knives, yet who possesses a wonderful vulnerability; I would not trust him with a gravestone, yet he appeals to my heart, . . - There was a young woman, clearly of the noblest birth, and yet trained as a gladiator! Can you imagine that? I dared to speak with her, and she told me that she chose to learn to fight! So fascinating! Oh, how I wish you would join me there!"

  It was not the wine, nor the ale, that thus gave Feltheryn misgivings: it was the seductive quality of observation the tavern offered. While all actors spent much time observing the details of character in their fellow humans, there was something about Rounsnouf that was like a hunger, and that fed off other people. He used every observation he made in his brilliant work in the plays, but when one encountered him backstage, or away from the theater, it was always disquieting. Glisselrand said she hated to leave him alone with Lempchm, not because she thought the comic would bugger the boy but because she wondered if she might come home and find him in the stewpot.

  "How are you coming with your part?" Feltheryn asked, not valuing the answer of a drunk but trusting to wine to bring out the truth.

  "I'll have it by opening," said Rounsnouf. "Never fear! It is only a small part, after all."

  "Yes," said Feltheryn, "but it is an important part, and it is not a comedy, it is a tragedy. You have played it before with less than glorious results, I might point out. I would appreciate it if you left off your observations until we have opened, and concentrated on the work at hand. The Vulgar Unicorn will not close nearly as soon as our play will."

  Rounsnouf sat down on the floor and folded his short, thick fingers intertwined. He shut his eyes, set too close together, and yawned. Then he scratched his butterball stomach under his motley tunic.

  "I suppose you are right," he said, entirely too agreeably. "I would like to be able to deliver Rorem's death speech without laughing. Oh thou whose blood runs in my veins, more closer yet than any brother. Thou, whose blood I chose against the call of nature ..."

  He fell back laughing and his legs stretched out so that his feet, too small for his body, wiggled in the air-

  "It sounds as if he has to use the outhouse!"

  Feltheryn held back his own laugh. Taken out of context, the little comic was right.

  "Come, Rounsnouf," Feltheryn said, offering his hand and helping the little man up. "I think that we had best to bed, else wake the house."

  "Let me see ..." the comic said as he gained his feet and shook himself. "The boy walked thus ..."

  And without any help he mounted the stairs, his body gliding sleekly in imitation of the shadow-spawned grace of one of the town's most notable thieves.

  Feltheryn sat down and considered: Rounsnouf had twice before become so
engrossed in his studies that he had completely missed performances. He could not be allowed to do so again, at least not this early in the game. One could not bind him to the theater, nor yet threaten him. He only sulked and gave a bad reading if you did that.

  What then?

  Feltheryn looked in the purse of gold that Molin had given him and contemplated the best and most necessary uses the money could be put to. Of these, assuring the performance actually occurred was certainly one of the best, and so he decided upon visiting the Vulgar Unicorn himself.

  But early the next morning he entertained a visitor who delayed his visit, a visitor who, of all those denizens of the empire he had entertained, was surely the most entertaining.

  He awoke with the feeling that the room was burning. He started to cry out where he lay but immediately stopped. He knew too well that people died from leaping up and breathing in the burning air that accumulated at the top of the room, sometimes not more than a hand's breadth above the sleeping face. He threw one hand out to anchor Glisselrand where she lay next to him, then thrust the other up to see at what level death hovered.

  Two surprises greeted his hands. The first was that Glisselrand was not there. The bed was empty but for him. The second was that the air above him was not burning, only warm.

  He focused his eyes more clearly, remembering as he always did in the morning that his eyes were not what they once were.

  He was not in his room after all, not in his own comfortable bed. He was lying, rather, on a chaise lounge of red-brown satin with a damask coverlet thrown over him. He was still in his long woolen nightshirt, and the lounge was large enough to accommodate two, but that was the only resemblance to the situation in which he had fallen asleep.

  He was in a low chamber with a black and white checked marble floor. Thick small carpets were scattered here and there and a huge fireplace blazed brightly not far away, the source of the heat that had made him think of fire. The walls of the room were paneled below the wainscoting with dark wood, but above they were covered with damascene silk of a dusky rose color. There were framed pictures on the walls, but Feltheryn found he could not look at them directly and see anything. They simply blurred.