and spend most of his waking moments talking about them? Honestly, now"
"Good Lord, I could stand his talking about them. But"—Diane shuddered—"Lou, he loves them. Sits there, transfigured, like a saint contemplating the dewdrop glistening in the lotus cup."
"When I suggested, over at the Iron Gate, that you move in with me, I didn't know that you were married—they all called you la belle Livaudaise, and you were the life of everything—and least of all, I never suspected anyone had you enshrined in magnificence like this. Better think it over, Di—I've been through the mill, and I know."
Diane from the first had been fascinated by the exotic atmosphere in which Clarke had planted her after their marriage; but in the end, seeing how they had become a part of him, she half consciously hated them and their everlasting song of Bokhara and Herat of the Hundred Gardens: an unheard song to which Clarke listened, and replied in unspoken syllables. And thus it was that Diane learned that to live in Clarke's apartment would be to become an accessory to those precious fabrics that were his hard-ridden hobby; for no woman would fit Into the dim, smoky shadows of that titled salon unless bejeweled and diaphanously veiled she could dance with curious paces and gestures beneath the sullen glow of the great brazen mosque lamp as became the favorite of a khan in far-off Tartary. From the very beginning, Diane fought to keep her individuality untainted by the overwhelming personality of those damnably lovely fabrics from Shiraz and the dusty plains of Ferighan.
And Diane was right; for they dreamed, those old weavers, of the roses of Kirman, of the evening star that danced on the crest of Mount Zagros, of dancing girls in the gardens of Naishapur, of fountains that sprayed mistily in the moonlit valley of Zarab-shan; and all this they wove into what we now learn to catalogue as Sixteenth Century Persian, or whatever our best guess may be. Into his masterwork the weaver wove his soul; so that whoever lives with one of those imperishable sorceries that come out of the East must in the end feel its presence unless he be somewhat duller than die very wood of the loom on which it was woven.
Look upon wine as often as you wish, but beware of a Bokhara when it is red—red as the blood of slaughter—red as the embers of a plundered city—a redness charged with the quartered octagons of Turkestan—for in the end you will become enslaved to the silky splendor that once graced the tent floor of a Tekke prince. . . .
Diane was right; though Diane never suspected, even dimly, what in the end really did happen to Hammersmith Clarke. For, naturally enough, neither she nor anyone else saw or heard the Yellow Girl; that is, no one but Clarke: and he saw and heard too much.
Had she suspected—but she couldn't have. For who would imagine Fate riding to the crossroads in a truck of the American Express Company? It just isn't done; not until one looks back and sees that it could have happened in no other way.
But unheard-of things happen in Turkestan; and while one may pause for an evening's glamor beside some moon-kissed fountain in the valley of Zarabshan, and then march on, forgetting, there is that which does not forget, being undying and everlasting; so that though forgotten, it reaches forth across time and space, not only clinging to the pile of a
W.T.—8
