The Orchard of Tears

by Sax Rohmer

They stood in the topmost gallery of the campanile looking down upon a miniature London. The viridescent ribbon of the Thames bound bridge to bridge running thematically through a symphony of grey and green and gold. A consciousness of power leapt high within Paul. Only the sun was above him, the sun and the suave immensity of space. How insignificant an episode was a human life, how futile and inept; a tiny note in a monstrous score. Below in the teeming streets moved a million such points, each one but a single note in this vast orchestration, a bird note, faint, inaudible 'mid the music of the spheres. Yet each to each was the centre of the Universe; all symbolised the triumph to the false Self-centre as opposed to the true God-centre. Men lived for the day because they doubted the morrow. Palaces and hovels, churches and theatres, all were products of this feverish striving of the ants to plumb the well of truth and scale the mountain of wisdom; to drain at a draught the gourd of life which the gods had filled in the world's morning. Thessaly began to speak again, standing at Paul's elbow, and his deep rich voice carried power and authority.

"Look at London and you look at an epitome of humanity. The best that man can do, and the worst, lie there beneath you. In that squat, grey, irregular mound which from earth level we recognise to be the Houses of Parliament, men are making laws. The laws which they are making are the laws of necessity—the necessity of slaying Prussians. Many of the larger buildings in the neighbourhood are occupied by temporary civil servants engaged in promulgating those laws. Thus by the passing of an Act having twenty clauses, twenty thousand clerks are created and five more hotels sequestered for their accommodation. No laws which do not bear directly or indirectly upon the slaying of Prussians have been made in recent years. This is sometimes called government, but used to be known as self-preservation when men dressed in yellow ochre and carried stone clubs.

"Eastward over the Thames hangs a pall of smoke. It is the smoke of Silvertown. Left, right, and all about are other palls. They are created by the furnaces of works which once were making useful things and beautiful things; paints and enamels and varnishes, pottery and metal ware, toys for sport and instruments of science. To-day they make instruments of death; high explosives to shatter flesh and bone to pulp and powder, deadly gases to sear men's eyes, to choke out human life. It is called work of national importance, but Christ would have wept to see it. Squatting in Whitehall—look, the setting sun strikes venomous sparks from its windows—is the War Office. Ponder well the name of this imposing pile—the War Office. Nearly two thousand years have elapsed since the last of the Initiates delivered His Sermon on the Mount. See! the city bristles with the spires of His churches; they are as thorns upon a briar-bush. Look north, the spire of a church terminates the prospect; south, it is the same; east and west—spires, spires, spires. And squatting grimly amid a thousand shrines of Jesus Christ is the War Office—the War Office, my friend. Watch how the spears of light strike redly into that canopy of foulness hanging above Kynoch's Works. A Ministry of Munitions controls all that poisonous activity. Mario, it is the second Crucifixion. The Jews crucified the Body; all the world has conspired to crucify the Spirit.

"The Word has failed. There lies the reading of your day dream, Mario, your dream of the Sheikh of El Wasr. Look how the shadow of the campanile creeps out beneath us, over church and War-Office-Annexe, over life and over death. Religion is a corpse and the world is its morgue. But out of corruption comes forth sweetness. No creature known to man possesses more intense vitality than the dermestes beetle which propagates in the skull of a mummy. From the ashes of the Cross you arise. Christ is dead; long live Christianity. Behold the world at your feet. Courage, my friend, open the Gates and lead mankind into the garden of the gods."

X

That Paul had established a platform strong enough to support the tower of a new gospel became evident. His second book of Revelations, The Key, was awaited eagerly by the whole of the civilised world. In determined opposition to the wishes of Bassett, unmoved by an offer from an American newspaper which would have created a record serial price, Paul had declined to print any part of The Key in a periodical. With the publication of The Gates, which but heralded a wider intent, he had become the central figure of the world. Politically he was regarded as a revolutionary so dangerous that he merited the highest respect, and the tactful attitude of the Roman Church was adopted by those temporal rulers who recognised in Paul Mario one who had almost grasped a power above the power of kings.

"In Galileo's days," said Thessaly on one occasion, "a man who proclaimed unpalatable truths was loaded with chains and hurled into a dungeon. Nowadays we load him with honours and raise him to the peerage, an even more effectual method of gagging him. Try to avoid the House of Peers, Mario. Your presence would disturb the orthodox slumbers of the bishops."

On the eve of the opening of the German offensive Paul received a long letter from Don which disturbed him very much. It was the outcome of Don's last interview with Flamby and represented the result of long deliberation. "I have had a sort of brain-wave," wrote Don in his whimsical fashion, "or rush of intellect to the brow. I suppose you recognise that you are now the outstanding figure of the War and consequently of the world? Such a figure always arises out of a great upheaval, as history shows. His presence is necessary to the readjustment of shattered things, I suppose—and he duly arrives. I take you to stand, Paul, for spiritual survival. You are the chosen retort of the White to the challenge of the Black, but I wonder if you have perceived the real inwardness of your own explanation of the War?

"You show it to be an upcrop of that primitive Evil which legend has embodied in the person of Lucifer. Has it occurred to you that the insidious process of corruption which you have followed step by step through the art, the music, the literature, the religion and the sociology of Germany may have been directed by someone? If you are the mouthpiece of the White, who is the mouthpiece of the Black? It is difficult to visualise such a personality, of course. We cannot imagine Pythagoras in his bath or even Shakespeare having his hair cut, and if What's-his-name revisited earth to-morrow I don't suppose anybody would know him. I often find it hard to realise that you, the old Paul with the foul briar pipe and the threadbare Norfolk, really wrote The Gates, not to mention Francesca. But you did, and I have been wondering if the Other Fellow—the Field-Marshal of the Powers of Darkness—is equally disappointing to look at—I mean, without halos, or, in his case, blue fire. In short, I have been wondering if, meeting him, one would recognise him? I have tried to imagine a sort of sinister Whisperer standing at the elbows of Germany's philosophers, scientists, artists and men of letters; one who was paving the way for a war that should lay religion in ashes. And now, Paul, forgive me if I seem to rave, but conditions here are not conducive to the production of really good literature—I wonder if you will divine where this line of reflection led me? The Whisperer, upon the ruins of the old creeds, would try to uprear a new creed—his own. You would be his obstacle. Would he attack you openly, or would he remain—the Whisperer? To adopt the delightful mediaeval language of the Salvation Army, watch for the Devil at your elbow.... I wish I could get home, if only for a day, not because I funk the crash which is coming at any moment now but because I should like to see The Key before, it goes to press...."

Paul read this strange letter many times. "The Whisperer ... would try to uprear a new creed—his own." Paul glanced at a bulky typescript which lay upon the table near his hand. The Key was complete and he had intended to deliver it in person to Bassett later the same morning. Strange doubts and wild surmises began to beat upon his brain and he shrank within himself, contemplative and somewhat fearful. A consciousness of great age crept over him like a shadow. He seemed to have known all things and to have wearied of all things, to have experienced everything and to have found everything to be nothing. Long, long ago he had striven as he was striving now to plant an orchard in the desert of life that men might find rest and refreshment on their journey through pathless time. Long, long ago he had doubted and feared—and failed. In some dim grove of the past he had revealed the secret of eternal rebirth to white-robed philosophers; in some vague sorrow that reached out of the ages and touched his heart he seemed to recognise that death had been his reward, and that he had welcomed death as a friend.