I was the first to leave—I said good-night to every one. I could hear their laughter as I waited at the bottom of the stairs for the Dvornik to let me out.
But when I was in the street the world was breathlessly still. I walked up the Prospect—no soul was in sight, only the scattered lamps, the pale snow, and the houses. At the end of the Canal I stopped. The silence was intense.
It seemed to me then that in the very centre of the Canal the ice suddenly cracked, slowly pulled apart, leaving a still pool of black water. The water slowly stirred, rippled, then a long, horned, and scaly head pushed up. I could see the shining scales on its thick side and the ribbed horn on the back of the neck. Beneath it the water stirred and heaved. With dead glazed eyes it stared upon the world, then slowly, as though it were drawn from below, it sank. The water rippled in narrowing circles—then all was still....
The moon came out from behind filmy shadow. The world was intensely light, and I saw that the ice of the canal had never been broken, and that no pool of black water caught the moon’s rays.
It was fiercely cold and I hurried home, pulling my Shuba more closely about me.
PART II — LAWRENCE
I
Of some of the events that I am now about to relate it is obvious that I could not have been an eye-witness—and yet, looking back from the strange isolation that is now my world I find it incredibly difficult to realise what I saw and what I did not. Was I with Nina and Vera on that Tuesday night when they stood face to face with one another for the first time? Was I with Markovitch during his walk through that marvellous new world that he seemed himself to have created? I know that I shared none of these things..., and yet it seems to me that I was at the heart of them all. I may have been told many things by the actors in those events—I may not. I cannot now in retrospect see any of it save as my own personal experience, and as my own personal experience I must relate it; but, as I have already said at the beginning of this book, no one is compelled to believe either my tale or my interpretation. Every man would, I suppose, like to tell his story in the manner of some other man. I can conceive the events of this part of my narration being interpreted in the spirit of the wildest farce, of the genteelest comedy, of the most humorous satire—“Other men, Other gifts.” I am a dull and pompous fellow, as Semyonov often tells me; and I hope that I never allowed him to see how deeply I felt the truth of his words.