Orpheus in Mayfair, and Other Stories and SketchesBaring, Maurice
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Orpheus in Mayfair, and Other Stories and Sketches
Baring, Maurice
English fiction -- 20th century; Short stories
The glory of the sunrise was still in the sky, the fragrance of the
dawning summer (it was the 11th of June) was in the air. He walked
towards the East. The corn on the hills was green, and pink wild roses
fringed every plot of wheat. The grass was wet with dew. The city
glittered in the plain beneath, clean and fresh in the dazzling air;
it seemed a part of the pageant of summer, an unreal piece of imagery,
distinct and clear-cut, yet miraculous, like a mirage seen in mid-ocean.
“Truly,” he thought, “this is the city of the flower, and the lily is
its fitting emblem.”
But while his heart went out towards his native town he felt a sharp
pang as he remembered that the flower of flowers, the queen of the
lilies, had been mowed down by the scythe, and the city which to him had
heretofore been an altar was now a tomb. The lovely Virgilian dirge,
Manibus date lilia plenis . . .
His saltem accumulem donis et fungar inani
Munere,
rang in his ears, and he thought that he too must bring a gift and
scatter lilies on her grave; handfuls of lilies; but they must be
unfading flowers, wet with immortal tears. He pondered on this gift.
It must be a gift of song, a temple built in verse. But he was still
unsatisfied. No dirge, however tender and solemn; no elegy, however soft
and majestic; no song, however piteous, could be a sufficient offering
for the glorious being who had died in her youth and beauty. But what
could he fashion or build? He thought with envy of Arnolfo and of
Giotto: the one with his bricks could have built a tomb which would
prove to be one of the wonders of the world, and the other with his
brush could have fixed her features for ever, for the wonder of future
generations. And yet was not his instrument the most potent of all, his
vehicle the most enduring? Stones decayed, and colours faded, but verse
remained, outliving bronze and marble. Yes, his monument should be more
lasting than all the masterpieces of Giotto, than all the proud designs
of Arnolfo; but how should it be?
He had reached a narrow lane at the foot of a steep hill covered with
corn and dotted with olives. He lay down under a hedge in the shade.
The sun was shining on two large bramble bushes which grew on the hedge
opposite him. Above him, on his right, was a tall cypress tree standing
by itself, and the corn plots stretched up behind him till they reached
the rocky summits tufted with firs. Between the two bramble bushes
a spider had spun a large web, and he was sitting in the midst of it
awaiting his prey. But the bramble and the web were still wet with the
morning dew, whose little drops glistened in the sunshine like diamonds.
Every tiny thread and filament of the web was dewy and lit by the
newly-awakened sun. He lay on his back in the shade and pondered on the
shape and nature of his gift of song, and on the deathless flowers that
he must grow and gather and lay upon her tomb.
Public-domain text, read in full here on John Shaqi.
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