PHANTASTES (With All Original Illustrations). George MacDonald

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СКАЧАТЬ well of the clearest water filled a mossy hollow in one corner. I drank, and felt as if I knew what the elixir of life must be; then threw myself on a mossy mound that lay like a couch along the inner end. Here I lay in a delicious reverie for some time; during which all lovely forms, and colours, and sounds seemed to use my brain as a common hall, where they could come and go, unbidden and unexcused. I had never imagined that such capacity for simple happiness lay in me, as was now awakened by this assembly of forms and spiritual sensations, which yet were far too vague to admit of being translated into any shape common to my own and another mind. I had lain for an hour, I should suppose, though it may have been far longer, when, the harmonious tumult in my mind having somewhat relaxed, I became aware that my eyes were fixed on a strange, time-worn bas-relief on the rock opposite to me. This, after some pondering, I concluded to represent Pygmalion, as he awaited the quickening of his statue. The sculptor sat more rigid than the figure to which his eyes were turned. That seemed about to step from its pedestal and embrace the man, who waited rather than expected.

      “A lovely story,” I said to myself. “This cave, now, with the bushes cut away from the entrance to let the light in, might be such a place as he would choose, withdrawn from the notice of men, to set up his block of marble, and mould into a visible body the thought already clothed with form in the unseen hall of the sculptor’s brain. And, indeed, if I mistake not,” I said, starting up, as a sudden ray of light arrived at that moment through a crevice in the roof, and lighted up a small portion of the rock, bare of vegetation, “this very rock is marble, white enough and delicate enough for any statue, even if destined to become an ideal woman in the arms of the sculptor.”

      I took my knife and removed the moss from a part of the block on which I had been lying; when, to my surprise, I found it more like alabaster than ordinary marble, and soft to the edge of the knife. In fact, it was alabaster. By an inexplicable, though by no means unusual kind of impulse, I went on removing the moss from the surface of the stone; and soon saw that it was polished, or at least smooth, throughout. I continued my labour; and after clearing a space of about a couple of square feet, I observed what caused me to prosecute the work with more interest and care than before. For the ray of sunlight had now reached the spot I had cleared, and under its lustre the alabaster revealed its usual slight transparency when polished, except where my knife had scratched the surface; and I observed that the transparency seemed to have a definite limit, and to end upon an opaque body like the more solid, white marble. I was careful to scratch no more. And first, a vague anticipation gave way to a startling sense of possibility; then, as I proceeded, one revelation after another produced the entrancing conviction, that under the crust of alabaster lay a dimly visible form in marble, but whether of man or woman I could not yet tell. I worked on as rapidly as the necessary care would permit; and when I had uncovered the whole mass, and rising from my knees, had retreated a little way, so that the effect of the whole might fall on me, I saw before me with sufficient plainness — though at the same time with considerable indistinctness, arising from the limited amount of light the place admitted, as well as from the nature of the object itself — a block of pure alabaster enclosing the form, apparently in marble, of a reposing woman. She lay on one side, with her hand under her cheek, and her face towards me; but her hair had fallen partly over her face, so that I could not see the expression of the whole. What I did see appeared to me perfectly lovely; more near the face that had been born with me in my soul, than anything I had seen before in nature or art. The actual outlines of the rest of the form were so indistinct, that the more than semi-opacity of the alabaster seemed insufficient to account for the fact; and I conjectured that a light robe added its obscurity. Numberless histories passed through my mind of change of substance from enchantment and other causes, and of imprisonments such as this before me. I thought of the Prince of the Enchanted City, half marble and half a man; of Ariel; of Niobe; of the Sleeping Beauty in the Wood; of the bleeding trees; and many other histories. Even my adventure of the preceding evening with the lady of the beech-tree contributed to arouse the wild hope, that by some means life might be given to this form also, and that, breaking from her alabaster tomb, she might glorify my eyes with her presence. “For,” I argued, “who can tell but this cave may be the home of Marble, and this, essential Marble — that spirit of marble which, present throughout, makes it capable of being moulded into any form? Then if she should awake! But how to awake her? A kiss awoke the Sleeping Beauty! a kiss cannot reach her through the incrusting alabaster.” I kneeled, however, and kissed the pale coffin; but she slept on. I bethought me of Orpheus, and the following stones — that trees should follow his music seemed nothing surprising now. Might not a song awake this form, that the glory of motion might for a time displace the loveliness of rest? Sweet sounds can go where kisses may not enter. I sat and thought. Now, although always delighting in music, I had never been gifted with the power of song, until I entered the fairy forest. I had a voice, and I had a true sense of sound; but when I tried to sing, the one would not content the other, and so I remained silent. This morning, however, I had found myself, ere I was aware, rejoicing in a song; but whether it was before or after I had eaten of the fruits of the forest, I could not satisfy myself. I concluded it was after, however; and that the increased impulse to sing I now felt, was in part owing to having drunk of the little well, which shone like a brilliant eye in a corner of the cave. It saw down on the ground by the “antenatal tomb,” leaned upon it with my face towards the head of the figure within, and sang — the words and tones coming together, and inseparably connected, as if word and tone formed one thing; or, as if each word could be uttered only in that tone, and was incapable of distinction from it, except in idea, by an acute analysis. I sang something like this: but the words are only a dull representation of a state whose very elevation precluded the possibility of remembrance; and in which I presume the words really employed were as far above these, as that state transcended this wherein I recall it:

      “Marble woman, vainly sleeping

      In the very death of dreams!

      Wilt thou — slumber from thee sweeping,

      All but what with vision teems —

      Hear my voice come through the golden

      Mist of memory and hope;

      And with shadowy smile embolden

      Me with primal Death to cope?

      “Thee the sculptors all pursuing,

      Have embodied but their own;

      Round their visions, form enduring,

      Marble vestments thou hast thrown;

      But thyself, in silence winding,

      Thou hast kept eternally;

      Thee they found not, many finding —

      I have found thee: wake for me.”

      As I sang, I looked earnestly at the face so vaguely revealed before me. I fancied, yet believed it to be but fancy, that through the dim veil of the alabaster, I saw a motion of the head as if caused by a sinking sigh. I gazed more earnestly, and concluded that it was but fancy. Neverthless I could not help singing again —

      “Rest is now filled full of beauty,

      And can give thee up, I ween;

      Come thou forth, for other duty

      Motion pineth for her queen.

      “Or, if needing years to wake thee

      From thy slumbrous solitudes,

      Come, sleep-walking, and betake thee

      To the friendly, sleeping woods.

      Sweeter dreams are in the forest,

      Round СКАЧАТЬ