Along the eastern side of this eyrie a broad divan invited one to rest. Over it were suspended Austrian and Bulgarian captures—a lance with a blood-stiffened pennant, a cuirass, entrenching tools, a steel helmet with an eloquent bullet-hole through the crown. Some few framed portraits of noted "aces" hung here and elsewhere, with two or three photographs of battle-planes. Three of the portraits were framed in symbolic black. Part of a smashed Taube propeller hung near.
As for the western side of Niss'rosh, this space between the two broad windows that looked out over the light-spangled city, the Hudson and the Palisades, was occupied by a magnificent Mercator's Projection of the world. This projection was heavily annotated with scores of comments penciled by a firm, virile hand. Lesser spaces were occupied by maps of the campaigns in Mesopotamia and the Holy Land. One map, larger than any save the Mercator, showed the Arabian Peninsula. A bold question-mark had been impatiently flung into the great, blank stretch of the interior; a question-mark eager, impatient, challenging.
It was at this map that the master of Niss'rosh, the eagle's nest, was peering as the curtain rises on our story. He was half reclining in a big, Chinese bamboo chair, with an attitude of utter and disheartening boredom. His crossed legs were stretched out, one heel digging into the soft pile of the Tabreez rug. Muscular arms folded in an idleness that irked them with aching weariness, he sat there, brooding, motionless.
Everything about the man spelled energy at bay, forces rusting, ennui past telling. But force still dominated. Force showed in the close-cropped, black hair and the small ears set close to the head; in the corded throat and heavy jaws; in the well-muscled shoulders, sinewed hands, powerful legs. This man was forty-one years old, and looked thirty-five. Lines of chest and waist were those of the athlete. Still, suspicions of fat, of unwonted softness, had begun to invade those lines. Here was a splendid body, here was a dominating mind in process of going stale.
The face of the man was a mask of weariness of the soul, which kills so vastly more efficiently than weariness of the body. You could see that weariness in the tired frown of the black brows, the narrowing of the dark eyes, the downward tug of the lips. Wrinkles of stagnation had began to creep into forehead and cheeks—wrinkles that no amount of gymnasium, of club life, of careful shaving, of strict hygiene could banish.
Through the west windows the slowly changing hues of gray, of mulberry, and dull rose-pink blurred in the sky, cast softened lights upon those wrinkles, but could not hide them. They revealed sad emptiness of purpose. This man was tired unto death, if ever man were tired.
He yawned, sighed deeply, stretched out his hand and took up a bit of a model mechanism from the table, where it had lain with other fragments of apparatus. For a moment he peered at it; then he tossed it back again, and yawned a second time.
"Business!" he growled. "'Swapped my reputation for a song,' eh?
Where's my commission, now?"
He got up, clasped his hands behind him, and walked a few times up and down the heavy rug, his footfalls silent.
"The business could have gone on without me!" he added, bitterly.
"And, after all, what's any business, compared to life?"