The Malacia Tapestry by Brian W. Aldiss Read Free Book Online Page B

– namely we don’t have no security in the world. I am old and have a wife for to support, you are young and free but, believe me, the gods – and society, more important – are against us both. That is a political situation. I have two passions, art and justice. As I grow more old, justice becomes more importanter. I hate to see the poor grinded down by the rich, hate it.’
    â€˜That’s a natural law. I intend to be rich one day.’
    He scratched his head and sighed. ‘Then we will defer justice for a day later and instead talk about art. Is that more to your taste?’
    â€˜Tell me about your drama.’
    He sighed again, staring about the untidy workshop, shaking his head. ‘Young men care so little.’
    â€˜You have no business saying that. Why do the old always hold the young in contempt? I’m a fine actor, as you can discover if you enquire, and my art is my life. My life is my art. Tell me about this drama of yours, I ask you, if you want my help.’
    â€˜My dear young man … Well, let’s keep to art if you wish it! I have a love for all the arts, all the arts, including the drama, though I am always too much poor to pursue them. For the first mercurized production, I have written a contribution to drama, entitled Prince Mendicula : or, The Joyous Tragedy of the Prince and Patricia and General Gerald and Jemima. ’
    â€˜A striking title. What is a Joyous Tragedy exactly?’
    â€˜Well, Doleful Comedy, if you will – minor details aren’t too clear in my mind yet – clear, but not too clear … I have some troubles with detail . Indeed, for simplification on to glass, I plan a drama without detail …’
    â€˜Am I to be Prince Mendicula?’
    He beamed, showing his shortage of teeth. ‘You, my dear boy, you have insufficient years for to be Prince Mendicula. You shall play the dashing General Gerald.’ And he began to unravel the beauties of a plot which would enrich, if not indeed terminate, world drama. I paid what heed I could. As he talked with increasing rapidity, he took me to a lumber room and showed me some props for his drama. They were very poor, the clothes almost threadbare.
    My interest in Bengtsohn’s affairs was generated by the understanding that they would involve the divine Armida Hoytola. I began to see that there might also be profit for my career here; Bengtsohn was supported by a powerful patron, the Hoytola family, and, if the novelty of his mercurized melodrama were to catch popular fancy, it would be advantageous to have my name associated with it.
    I broke in on the old man’s account and said, ‘Will you not let me play the Prince?’
    He drummed the fingers of his left hand upon his stringy cheek. ‘Gerald is more suitable for you. You might make a good general. You are not venerable enough for Mendicula.’
    â€˜But I can make up my face with beard and black teeth and a patch and what-you-will. Whom have you marked out for this princely part?’
    He chewed his lip and said, ‘You understand this is a – what’s the word? – yes, unproved venture. We all take a chance from it. I cannot afford to pay for more than one real player, and that is yourself. Your looks and modest reputation will help. Whereas to play the Prince I rely on one of the boys in the workshop, the not ill-favoured man called Bonihatch.’
    â€˜Bonihatch? With the yellow whiskers? What acting experience has he? He’s just an apprentice!’
    â€˜For a mercurized play, little acting is required. Bonihatch is a good man, what I depend on. I must have Bonihatch, that’s my decision.’
    â€˜Well. The others? Princess Patricia?’
    â€˜For the Lady Jemima, with whom the prince is captivated, I will hire a seamstress who lives in this court, by name Letitia Zlatorog. She will be happy to work for a pittance. Her family has a sad history what exemplifies