edgecase
Well, yes, we are agents of Satan, but the duties are largely ceremonial.
Author: StJohn Piano
Published: 2018-02-28
Datafeed Article 40
This article has been digitally signed by Edgecase Datafeed.
1768 words - 192 lines - 5 pages



[excerpt: page 374]


There is a thing called knowledge of the world, which people do not have until they are middle-aged. It is something which cannot be taught to younger people, because it is not logical and does not obey laws which are constant. It has no rules. Only, in the long years which bring women to the middle of life, a sense of balance develops. You can't teach a baby to walk by explaining the matter to her logically - she has to learn the strange poise of walking by experience. In some way like that, you cannot teach a young woman to have knowledge of the world. She has to be left to the experience of the years. And then, when she is beginning to hate her used body, she suddenly finds that she can do it. She can go on living - not by principle, not by deduction, not by knowledge of good and evil, but simply by a peculiar and shifting sense of balance which defies each of these things often. She no longer hopes to live by seeking the truth - if women ever do hope this - but continues henceforth under the guidance of a seventh sense. Balance was the sixth sense, which she won when she first learned to walk, and now she has the seventh one - knowledge of the world.

The slow discovery of the seventh sense, by which both men and women contrive to ride the waves of a world in which there is war, adultery, compromise, fear, stultification and hypocrisy - this discovery is not a matter for triumph. The baby, perhaps, cries out triumphantly: I have balance! But the seventh sense is recognized without a cry. We only carry on with our famous knowledge of the world, riding the queer waves in a habitual, petrifying way, because we have reached a stage of deadlock in which we can think of nothing else to do.

And at this stage we begin to forget that there ever was a time when we lacked the seventh sense. We begin to forget, as we go stolidly balancing along, that there could have been a time when we were young bodies flaming with the impetus of life. It is hardly consoling to remember such a feeling, and so it deadens in our minds.

But there was a time when each of us stood naked before the world, confronting life as a serious problem with which we were intimately and passionately concerned. There was a time when it was of vital interest to us to find out whether there was a God or not. Obviously the existence or otherwise of a future life must be of the very first importance to somebody who is going to live her present one, because her manner of living it must hinge on the problem. There was a time when Free Love versus Catholic Morality was a question of as much importance to our hot bodies as if a pistol had been clapped to our heads.

Further back, there were times when we wondered with all our souls what the world was, what love was, what we were ourselves.

All these problems and feelings fade away when we get the seventh sense. Middle-aged people can balance between believing in God and breaking all the commandments, without difficulty. The seventh sense, indeed, slowly kills all the other ones, so that at last there is no trouble about the commandments. We cannot see any more, or feel, or hear about them. The bodies which we loved, the truths which we sought, the Gods whom we questioned: we are deaf and blind to them now, safely and automatically balancing along toward the inevitable grave, under the protection of our last sense.

[end of excerpt]



[excerpt: page 402]


Elaine had done the ungraceful thing as usual. Guenever, in similar circumstances, would have been sure to grow pale and interesting - but Elaine had only grown plump. She walked in the castle garden with her companions, dressed in the white clothes of a novice, and there was a clumsy action in her walk. Galahad, now three years old, walked with her, holding hands.

It was not that Elaine was going to be a nun because she was desperate. She was not going to spend the rest of her life acting the cinema nun. A woman can forget a lot of love in two years - or at any rate she can pack it away, and grow accustomed to it, and hardly remember it more than a business-man might remember an occasion when, by ill-luck, he failed to make an investment which would have made him a millionaire.

Elaine was going to leave her son and become the bride of Christ, because she saw that this was the only thing to do. It was not a dramatic thing, and perhaps it was not very reverent - but she knew that she would never again love any human person as she had loved her dead knight. So she was giving in. She could not tack against the wind any longer.

She was not moping for Lancelot, nor did she weep for him on her pillow. She hardly ever thought of him. He had worn a place for himself in some corner of her heart, as a sea shell, always boring against the rock, might do. The making of the place had been her pain. But now the shell was safely in the rock. It was lodged, and ground no longer. Elaine, walking in the garden with her girls, thought only about the ceremony at which Sir Castor had been knighted, and whether there would be enough cakes for the feast, and that Galahad's stockings needed mending.

[end of excerpt]



[excerpt: page 455]


Guenever had overdressed for the occasion. She had put on a make-up which she did not need, and put it on badly. She was forty-two.

When Lancelot saw her waiting for him at the table, with Arthur beside her, the heart-sack broke in his wame, and the love inside it ran about his veins. It was his old love for a girl of twenty, standing proudly by her throne with the present of captives about her - but now the same girl was standing in other surroundings, the surroundings of bad make-up and loud silks, by which she was trying to defy the invincible doom of human destiny. He saw her as the passionate spirit of innocent youth, now beleaguered by the trick which is played on youth - the trick of treachery in the body, which turns flesh into green bones. Her stupid finery was not vulgar to him, but touching. The girl was still there, still appealing from behind the breaking barricade of rouge. She had made the bravest protest: I will not be vanquished. Under the clumsy coquetry, the undignified clothes, there was the human cry for help. The young eyes were puzzled, saying: It is I, inside here - what have they done to me? I will not submit. Some part of her spirit knew that the powder was making a guy of her, and hated it, and tried to hold her lover with the eyes alone. They said: Don't look at all this. Look at me. I am still here, in the eyes. Look at me, here in the prison, and help me out. Another part said: I am not old, it is illusion. I am beautifully made-up. See, I will perform the movements of youth. I will defy the enormous army of age.

Lancelot saw one soul alone, a condemned and innocent child, holding her indefensible position with the contemptible arms of hair dye and orange silk, with which she had - with what fears? - hoped to please him. He saw
"The impassioned, pigmy fist
Clenched cloudward and defiant,
The pride that would prevail, the doomed protagonist
Grappling the ghostly giant."

[end of excerpt]



[excerpt: page 609]


Mordred took his seat with an elaborate gesture, the pug jumping into his lap. In a way it was tragic to watch him, for he was doing what his mother did. He was acting, and had ceased to be real.

People write tragedies in which fatal blondes betray their paramours to ruin, in which Cressidas, Cleopatras, Delilahs, and sometimes even naughty daughters like Jessica bring their lovers or their parents to distress; but these are not the heart of tragedy. They are fripperies to the soul of man. What does it matter if Antony did fall upon his sword? It only killed him. It is the mother's not the lover's lust that rots the mind. It is that which condemns the tragic character to his walking death. It is Jocasta, not Juliet, who dwells in the inner chamber. It is Gertrude, not the silly Ophelia, who sends Hamlet to his madness. The heart of tragedy does not lie in stealing or taking away. Any feather-pated girl can steal a heart. It lies in giving, in putting on, in adding, in smothering without the pillows. Desdemona robbed of life or honour is nothing to a Mordred, robbed of himself - his soul stolen, overlaid, wizened, while the mother-character lives in triumph, superfluously and with stifling love endowed on him, seemingly innocent of ill-intention. Mordred was the only son of Orkney who never married. He, while his brothers fled to England, was the one who stayed alone with her for twenty years - her living larder. Now that she was dead, he had become her grave. She existed in him like the vampire. When he moved, when he blew his nose, he did it with her movement. When he acted he became as unreal as she had been, pretending to be a virgin for the unicorn. He dabbled in the same cruel magic. He had even begun to keep lap dogs like her - although he had always hated hers with the same bitter jealousy as that with which he had hated her lovers.

[end of excerpt]



[excerpt: page 637]


But it was too late for another effort then. For that time it was his destiny to die, or, as some say, to be carried off to Avilion, where he could wait for better days. For that time it was Lancelot's fate and Guenever's to take the tonsure and the veil, while Mordred must be slain. The fate of this man or that man was less than a drop, although it was sparkling one, in the great blue motion of the sunlit sea.

The cannons of his adversary were thundering in the tattered morning when the Majesty of England drew himself up to meet the future with a peaceful heart.

EXPLICIT LIBER REGIS QUONDAM REGISQUE FUTURI

[end of excerpt]




[start of notes]


I read The Once And Future King several years ago. I no longer have the paper copy, and I didn't note down its details (date published, publisher, edition).

I transcribed these excerpts and stored them in my notes. I only recorded the starting page of each excerpt - some of them may continue into further pages. I didn't record any typographical changes I may have made to the text.

[end of notes]