The Alexandria Quartet - Lawrence Durrell [186]
At a gate into a yard, weirdly lit by the feeble street-lamps, two figures in black are grappling each other, fight ing with a tremen-dous silent fury. They fall, rolling over and over from darkness into light and then back into darkness. Without a word spoken. At the Etoile there is a man hanging from a beam with his neck broken; but when you get close enough you see that it is only a black domino hanging from a nail. How strange that in order to free oneself from guilt by a disguise one should choose the very symbol of the Inquisitor, the cape and hood of the Spanish Inquisition.
But they are not all in domino — for many people are super-stitious about the dress and, besides, it can be hot to wear in a crowded room. So you will see many a harlequin and shepherdess, many an Antony and Cleopatra as you walk the streets of the city, many an Alexander. And as you turn into the great iron gates of the Cervonis’ house to present your card and climb into the warmth and light and drunkenness within, you will see outlined upon the darkness the feared and beloved shapes and outlines of friends and familiars now distorted into the semblances of clowns and zanies, or clothed in the nothingness of black capes and hoods, infernally joined in a rare and disoriented gaiety.
As if under pressure the laughter squirts up to the ceiling or else, like feathers from a torn quilt, drifts about in clumps in that fevered air. The two string bands, muted by the weight of human voices, labour on in the short staggered rhythms of a maniac jazz
— like the steady beating of an airpump. Here on the ballroom floor a million squeakers and trumpets squash and distort the sound while already the dense weight of the coloured paper streamers, hanging upon the shoulders of the dancers, sways like tropical seaweed upon rock-surfaces and trails in ankle-high drifts about the polished floors.
On the night in question, the first night of carnival, there was a dinner-party at the great house. On the long hall sofas the dominoes waited for their tenants while the candlelight still smouldered upon the faces of a Justine and Nessim now framed among the portraits which lined the ugly but imposing dining-room. Faces painted in oils matched by human faces lined by preoccupations and maladies of the soul — all gathered together, made one in the classical brilliance of candlelight. After dinner Justine and Nessim were to
go together to the Cervoni ball according to the yearly custom. According to custom too, Narouz at the last moment had excused himself. He would arrive upon the stroke of ten, just in time to claim a domino before the whole party set off, laughing and chattering, for the ball.
As always, he himself had preferred to ride into the city on his horse and to stable it with his friend the carpenter, but as a con-cession to the event he had struggled into an ancient suit of blue serge and had knotted a tie at his collar. Undress did not matter, since he too would later be wearing a domino. He walked lightly, swiftly across the ill-lit Arab quarter, drinking in the familiar sights and sounds, yet eager for the first sight of the maskers as he reached the end of Rue Fuad and found himself on the confines of the modern town.
At one corner stood a group of shrill-chattering women in domino bent upon mischief. From their language and accent he could detect at once that they were society women, Greeks. These black harpies caught hold of every passer-by to shout jests at him and to pluck at his hood if he were masked. Narouz too had to run the gauntlet: one caught hold of his hand and pretended to tell his fortune; another whispered a proposition in Arabic, setting his hand upon her thigh; the third cackled like a hen and shouted