Tales From Planet Earth Page 5

  Brant was so tired that when he awoke the sun was already high. He lay for a moment in the filtered half-light of the tent, recovering his senses and remembering where he was. Then he rose to his feet and went blinking into the daylight, shielding his eyes from the dazzling glare.

  The Sphinx seemed smaller than by night, though it was impressive enough. It was colored. Brant saw for the first time, a rich, autumnal gold, the color of no natural rock. He knew from this that it did not belong, as he had half suspected, to any prehistoric culture. It had been built by science from some inconceivably stubborn, synthetic substance, and Brant guessed that its creation must lie almost midway in time between him and the fabulous original which had inspired it.

  Slowly, half afraid of what he might discover, he turned his back upon the Sphinx and looked to the north. The hill fell away at his feet and the road went sweeping down the long slope as if impatient to greet the sea; and there at its end lay Shastar.

  It caught the sunlight and tossed it back to him, tinted with all the colors of its makers’ dreams. The spacious buildings lining the wide streets seemed unravished by time; the great band of marble that held the sea at bay was still unbreached; the parks and gardens, though long overgrown with weeds, were not yet jungles. The city followed the curve of the bay for perhaps two miles, and stretched half that distance inland: by the standards of the past, it was very small indeed. But to Brant it seemed enormous, a maze of streets and squares intricate beyond unraveling. Then he began to discern the underlying symmetry of its design, to pick out the main thoroughfares, and to see the skill with which its makers had avoided both monotony and discord.

  For a long time Brant stood motionless on the hilltop, conscious only of the wonder spread beneath his eyes. He was alone in all that landscape, a tiny figure lost and humble before the achievements of greater men. The sense of history, the vision of the long slope up which Man had been toiling for a million years or more, was almost overwhelming. In that moment it seemed to Brant that from his hilltop he was looking over Time rather than Space: and in his ears there whispered the soughing of the winds of eternity as they sweep into the past.

  Sunbeam seemed very nervous as they approached the outskirts of the city. She had never seen anything like this before in her life, and Brant could not help sharing her disquiet. However unimaginative one may be, there is something ominous about buildings that have been deserted for centuries—and those of Shastar had been empty for the better part of five thousand years.

  The road ran straight as an arrow between two tall pillars of white metal; like the Sphinx, they were tarnished but unworn. Brant and Sunbeam passed beneath these silent guardians and found themselves before a long, low building which must have served as some kind of reception point for visitors to the city.

  From a distance it had seemed that Shastar might have been abandoned only yesterday, but now Brant could see a thousand signs of desolation and neglect. The colored stone of the buildings was stained with the patina of age; the windows were gaping, skull-blank eyes, with here and there a miraculously preserved fragment of glass.

  Brant tethered Sunbeam outside the first building and made his way to the entrance across the rubble and thickly piled dirt. There was no door, if indeed there had ever been one, and he passed through the high, vaulted archway into a hall which seemed to run the full length of the structure. At regular intervals there were openings into further chambers, and immediately ahead of him a wide flight of stairs rose to the single floor above.

  It took him almost an hour to explore the building, and when he left he was infinitely depressed. His careful search had revealed absolutely nothing. All the rooms, great and small, were completely empty; he had felt like an ant crawling through the bones of a clean-picked skeleton.

  Out in the sunlight, however, his spirits revived a little. This building was probably only some sort of administrative office and would never have contained anything but records and information machines; elsewhere in the city, things might be different. Even so, the magnitude of the search appalled him.

  Slowly he made his way toward the sea front, moving awe-struck through the wide avenues and admiring the towering façades on either side. Near the center of the city he came upon one of its many parks. It was largely overgrown with weeds and shrubs, but there were still considerable areas of grass, and he decided to leave Sunbeam here while he continued his explorations. She was not likely to move very far away while there was plenty to eat.

  It was so peaceful in the park that for a while Brant was loath to leave it to plunge again into the desolation of the city. There were plants here unlike any that he had ever seen before, the wild descendants of those which the people of Shastar had cherished ages since. As he stood among the high grasses and unknown flowers, Brant heard for the first time, stealing through the calm stillness of the morning, the sound he was always to link with Shastar. It came from the sea, and though he had never heard it before in all his life, it brought a sense of aching recognition into his heart. Where no other voices sounded now, the lonely sea gulls were still calling sadly across the waves.

  It was quite clear that many days would be needed to make even the most superficial examination of the city, and the first thing to do would be to find somewhere to live. Brant spent several hours searching for the residential district before it began to dawn on him that there was something very peculiar about Shastar. All the buildings he entered were, without exception, designed for work, entertainment, or similar purposes; but none of them had been designed to live in. The solution came to him slowly. As he grew to know the pattern of the city, he noticed that at almost every street intersection there were low, single-storied structures of nearly identical form. They were circular or oval, and had many openings leading into them from all directions. When Brant entered one of them, he found himself facing a line of great metal gates, each with a vertical row of indicator lamps by its side. And so he knew where the people of Shastar had lived.

  At first the idea of underground homes was completely repellent to him. Then he overcame his prejudice, and realized how sensible, as well as how inevitable, this was. There was no need to clutter up the surface, and to block the sunlight, with buildings designed for the merely mechanical processes of sleeping and eating. By putting all these things underground, the people of Shastar had been able to build a noble and spacious city—and yet keep it so small that one could walk its whole length within an hour.

  The elevators were, of course, useless, but there were emergency stairways winding down into the darkness. Once all this underworld must have been a blaze of light, but Brant hesitated now before he descended the steps. He had his torch, but he had never been underground before and had a horror of losing his way in some subterranean catacombs. Then he shrugged his shoulders and started down the steps; after all, there was no danger if he took the most elementary precautions—and there were hundreds of other exits even if he did lose his way.

  He descended to the first level and found himself in a long, wide corridor stretching as far as his beam could penetrate. On either side were rows of numbered doors, and Brant tried nearly a dozen before he found one that opened. Slowly, even reverently, he entered the little home that had been deserted for almost half the span of recorded history.

  It was clean and tidy, for there had been no dust or dirt to settle here. The beautifully proportioned rooms were bare of furniture; nothing of value had been left behind in the leisurely, age-long exodus. Some of the semipermanent fittings were still in position; the food distributor, with its familiar selector dial, was so strikingly like the one in Brant’s own home that the sight of it almost annihilated the centuries. The dial still turned, though stiffly, and he would scarcely have been surprised to see a meal appear in the materialization chamber.

  Brant explored several more homes before he returned to the surface. Though he found nothing of value, he felt a growing sense of kinship toward the people who had lived here. Yet he sti
ll thought of them as his inferiors, for to have lived in a city—however beautiful, however brilliantly designed—was to Brant one of the symbols of barbarism.

  In the last home he entered he come across a brightly colored room with a fresco of dancing animals around the walls. The pictures were full of a whimsical humor that must have delighted the hearts of the children for whom they had been drawn. Brant examined the paintings with interest, for they were the first works of representative art he had found in Shastar. He was about to leave when he noticed a tiny pile of dust in one corner of the room, and bending down to investigate found himself looking at the still-recognizable fragments of a doll. Nothing solid remained save a few colored buttons, which crumbled to powder in his hand when he picked them up. He wondered why this sad little relic had been left behind by its owner; then he tiptoed away and returned to the surface and the lonely but sunlit streets. He never went to the underground city again.

  Toward evening he revisted the park to see that Sunbeam had been up to no mischief, and prepared to spend the night in one of the numerous small buildings scattered through the gardens. Here he was surrounded by flowers and trees, and could almost imagine he was home again. He slept better than he had done since he had left Chaldis, and for the first time for many days, his last waking thoughts were not of Yradne. The magic of Shastar was already working upon his mind; the infinite complexity of the civilization he had affected to despise was changing him more swiftly than he could imagine. The longer he stayed in the city, the more remote he would become from the naïve yet self-confident boy who had entered it only a few hours before.

  The second day confirmed the impressions of the first. Shastar had not died in a year, or even in a generation. Slowly its people had drifted away as the new—yet how old!—pattern of society had been evolved and humanity had returned to the hills and the forests. They had left nothing behind them, save these marble monuments to a way of life that was gone forever. Even if anything of value had remained, the thousands of curious explorers who had come here in the fifty centuries since would have taken it long ago. Brant found many traces of his predecessors; their names were carved on walls throughout the city, for this is one kind of immortality that men have never been able to resist.

  Tired at last by his fruitless search, he went down to the shore and sat on the wide stonework of the breakwater. The sea lying a few feet beneath him was utterly calm and of a cerulean blue; it was so still and clear that he could watch the fish swimming in its depths, and at one spot could see a wreck lying on its side with the seaweed streaming straight up from it like long, green hair. Yet there must be times, he knew, when the waves came thundering over the massive walls; for behind him the wide parapet was strewn with a thick carpet of stones and shells, tossed there by the gales of centuries.

  The enervating peacefulness of the scene, and the unforgettable object lesson in the futility of ambition that surrounded him on every side, took away all sense of disappointment or defeat. Though Shastar had given him nothing of material value, Brant did not regret his journey. Sitting here on the sea wall, with his back to the land and his eyes dazzled by that blinding blue, he already felt remote from his old problems, and could look back with no pain at all, but only a dispassionate curiosity, on all the heartache and the anxiety that had plagued him these last few months.

  He went slowly back into the city, after walking a little way along the sea front so that he could return by a new route. Presently he found himself before a large circular building whose roof was a shallow dome of some translucent material. He looked at it with little interest, for he was emotionally exhausted, and decided that it was probably yet another theater or concert hall. He had almost passed the entrance when some obscure impulse diverted him and he went through the open doorway.

  Inside, the light filtered through the ceiling with such little hindrance that Brant almost had the impression of being in the open air. The entire building was divided into numerous large halls whose purpose he realized with a sudden stir of excitement. The telltale rectangles of discoloration showed that the walls had once been almost covered with pictures; it was just possible that some had been left behind, and it would be interesting to see what Shastar could offer in the way of serious art. Brant, still secure in his consciousness of superiority, did not expect to be unduly impressed; and so the shock was all the greater when it came.

  The blaze of color along the whole length of the great wall smote him like a fanfare of trumpets. For a moment he stood paralyzed in the doorway, unable to grasp the pattern or meaning of what he saw. Then, slowly, he began to unravel the details of the tremendous and intricate mural that had burst suddenly upon his vision.

  It was nearly a hundred feet long, and was incomparably the most wonderful thing that Brant had ever seen in his life. Shastar had awed and overwhelmed him, yet its tragedy had left him curiously unmoved. But this struck straight at his heart and spoke in a language he could understand; and as it did so, the last vestiges of his condescension toward the past were scattered like leaves before a gale.

  The eye moved naturally from left to right across the painting, to follow the curve of tension to its moment of climax. On the left was the sea, as deep a blue as the water that beat against Shastar; and moving across its face was a fleet of strange ships, driven by tiered banks of oars and by billowing sails that strained toward the distant land. The painting covered not only miles of space but perhaps years of time; for now the ships had reached the shore, and there on the wide plain an army lay encamped, its banners and tents and chariots dwarfed by the walls of the fortress city it was beleaguering. The eye scaled those still inviolate walls and came to rest, as it was meant to do, upon the woman who stood upon them, looking down at the army that had followed her across the ocean.

  She was leaning forward to peer over the battlements, and the wind was catching her hair so that it formed a golden mist about her head. Upon her face was written a sadness too deep for words, yet one that did nothing to mar the unbelievable beauty of her face—a beauty that held Brant spellbound, for long unable to tear away his eyes. When at last he could do so, he followed her gaze down those seemingly impregnable walls to the group of soldiers toiling in their shadow. They were gathered around something so fore-shortened by perspective that it was some time before Brant realized what it was. Then he saw that it was an enormous image of a horse, mounted on rollers so that it could be easily moved. It roused no echoes in his mind, and he quickly returned to the lonely figure on the wall, around whom, as he now saw, the whole great design was balanced and pivoted. For as the eye moved on across the painting, taking the mind with it into the future, it came upon ruined battlements, the smoke of the burning city staining the sky, and the fleet returning homeward, its mission done.

  Brant left only when the light was so poor that he could no longer see. When the first shock had worn off, he had examined the great painting more closely; and for a while he had searched, but in vain, for the signature of the artist. He also looked for some caption or title, but it was clear that there had never been one—perhaps because the story was too well known to need it. In the intervening centuries, however, some other visitor to Shastar had scratched two lines of poetry on the wall:

  Is this the face that launched a thousand ships

  And burned the topless towers of Ilium?

  Ilium! It was a strange and magical name; but it meant nothing to Brant. He wondered whether it belonged to history or to fable, not knowing how many before him had wrestled with that same problem.

  As he emerged into the luminous twilight, he still carried the vision of that sad, ethereal loveliness before his eyes. Perhaps if Brant had not himself been an artist, and had been in a less susceptible state of mind, the impression would not have been so overwhelming. Yet it was the impression that the unknown master had set out to create, Phoenix-like, from the dying embers of a great legend. He had captured, and held for all future ages to see, that beauty whose service i
s the purpose of life, and its sole justification.

  For a long time Brant sat under the stars, watching the crescent moon sink behind the towers of the city, and haunted by questions to which he could never know the answers. All the other pictures in these galleries had gone, scattered beyond tracing, not merely throughout the world, but throughout the universe. How had they compared with the single work of genius that now must represent forever the art of Shastar?

  In the morning Brant returned, after a night of strange dreams. A plan had been formed in his mind; it was so wild and ambitious that at first he tried to laugh it away, but it would give him no peace. Almost reluctantly, he set up his little folding easel and prepared his paints. He had found one thing in Shastar that was both unique and beautiful: perhaps he had the skill to carry some faint echo of it back to Chaldis.

  It was impossible, of course, to copy more than a fragment of the vast design, but the problem of selection was easy. Though he had never attempted a portrait of Yradne, he would now paint a woman who, if indeed she had ever existed, had been dust for five thousand years.

  Several times he stopped to consider this paradox, and at last thought he had resolved it. He had never painted Yradne because he doubted his own skill, and was afraid of her criticism. That would be no problem here, Brant told himself. He did not stop to ask how Yradne would react when he returned to Chaldis carrying as his only gift the portrait of another woman.