I tried not to think about it and headed straight for the labyrinth.
This was the first time I entered it alone; the long shadows cast by the lamp on the floor terrified me as much as had the visions the previous night. At every moment I feared I would find myself before another mirror, because the magic of mirrors is such that even when you know they are mirrors they still upset you.
On the other hand, I did not try to orient myself, or to avoid the room with the perfumes that induce visions. I proceeded as if in the grip of a fever, nor did I know where I wanted to go. In fact, I did not move far from my starting point, because a short time later I found myself again in the heptagonal room by which I had entered. Here, on a table, some books were laid out that I did not seem to have seen the night before.
I guessed they were works that Malachi had withdrawn from the scriptorium and had not yet replaced on their proper shelves. I could not comprehend how far I was from the perfume room, because I felt dazed, which could be the effect of some effluvium that reached even that spot, or else of the things I had been pondering until then. I opened a richly illuminated volume that, by its style, seemed to me to come from the monasteries of Ultima Thule.
On a page where the holy Gospel of the apostle Mark began, I was struck by the image of a lion. I was certain it was a lion, even though I had never seen one in the flesh, and the artist had reproduced its features faithfully, inspired perhaps by the sight of the lions of Hibernia, land of monstrous creatures, and I was convinced that this animal, as for that matter the Physiologus says, concentrates in itself all the characteristics of the things at once most horrible and most regal. So that image suggested to me both the image of the Enemy and that of Christ our Lord, nor did I know by what symbolic key I was to read it, and I was trembling all over, out of fear and also because of the wind coming through the fissures in the walls.
The lion I saw had a mouth bristling with teeth, and a finely armored head like a serpent’s; the immense body was supported by four paws with sharp, fierce claws, and its coat resembled one of those rugs that later I saw brought from the Orient, with red and emerald scales on which were drawn, yellow as the plague, horrible and sturdy armatures of bone. Also yellow was the tail, which twisted from the rump to the head, ending in a final scroll of black and white tufts.
I was already quite awed by the lion (and more than once I had looked around as if I expected to see it suddenly appear behind me) when I decided to look at other pages and my eye fell, at the opening of the Gospel of Matthew, on the image of a man. I do not know why, but it frightened me more than the lion: the face was a man’s, but this man was sheathed in a kind of stiff chasuble that covered him to his feet, and this chasuble, or cuirass, was encrusted with red and yellow semiprecious stones. The head, which emerged enigmatically from a castle of rubies and topazes, seemed (how blasphemous terror made me!) that of the mysterious murderer whose impalpable trail we were following.
And then I realized why I linked the animal and the armored man so closely with the labyrinth: both illustrations, like all in that book, emerged from a pattern of interlocking labyrinths, which seemed all to refer to the tangle of rooms and corridors where I was. My eye became lost, on the page, along gleaming paths, as my feet were becoming lost in the troublous succession of the rooms of the library, and seeing my own wandering depicted on those parchments filled me with uneasiness and convinced me that each of those books was telling, through mysterious cachinnations, my present story. And I wondered if those pages did not already contain the story of future events in store for me.
I opened another book, and this seemed of the Hispanic school. The colors were violent, the reds suggested blood or fire. It was the book of Revelation of the apostle, and once again, as the night before, I happened upon the page of the mulier amicta sole. But it was not the same book; the illumination was different. Here the artist had dwelled at greater length on the woman’s form. I compared her face, her bosom, her curving thighs with the statue of the Virgin I had seen with Ubertino. The line was different, but this mulier also seemed very beautiful to me. I thought I should not dwell on these notions, and I turned several more pages.
I found another woman, but this time it was the whore of Babylon. I was not so much struck by her form as by the thought that she, too, was a woman like the other, and yet this one was the vessel of every vice, whereas the other was the receptacle of every virtue. But the forms were womanly in both cases, and at a certain point I could no longer understand what distinguished them. Again I felt an inner agitation; the image of the Virgin in the church became superimposed on that of the beautiful Margaret. “I am damned!” I said to myself. Or, “I am mad.” And I decided I should leave the library.
Luckily I was near the staircase. I rushed down, at the risk of stumbling and extinguishing the lamp. I found myself again under the broad vaults of the scriptorium, but I did not linger even there, and hurled myself down the stairs leading to the refectory.
Here I paused, gasping. The light of the moon came through the windows, very radiant, and I hardly needed the lamp, which would have been indispensable for cells and for passages of the library. Nevertheless, I kept it burning, as if to seek comfort. But I was still breathless, and I decided I should drink some water to calm my tension. Since the kitchen was near, I crossed the refectory and slowly opened one of the doors that led into the second half of the ground floor of the Aedificium.
And at this point my terror, instead of lessening, increased. Because I immediately realized someone else was in the kitchen, near the bread oven—or at least I realized a light was shining in that corner. Filled with fear, I blew mine out. Frightened as I was, I instilled fright, and in fact the other person (or persons) immediately put out their light, too. But in vain, because the moonlight illuminated the kitchen sufficiently to cast before me one or more confused shadows on the floor.
Frozen, I did not dare draw back, or advance. I heard a stammering sound, and I thought I heard, softly, a woman’s voice. Then from the shapeless group that could be discerned vaguely near the oven, a dark, squat form broke away and fled toward the outside door, evidently left ajar, closing it after himself.
I remained, on the threshold between refectory and kitchen, and so did a vague something near the oven. A vague and—how to say it?—moaning something. From the shadows, in fact, came a groan, a kind of subdued weeping, rhythmic sobs of fear.
Nothing gives a fearful man more courage than another’s fear, but it was not fear that impelled me toward the shadow. Rather, I would say, I was driven by an intoxication not unlike the one that had gripped me when I was having visions. In the kitchen there was something kin to the fumes that had overcome me in the library the night before. It was perhaps not the same substance, but on my overexcited senses it had the same effect. I sniffed a pungent smell of traganth, alum, and tartar, which cooks use to make wine aromatic. Or perhaps, as I learned later, in those days they were brewing beer, and it was prepared with the method of my country, with heather, swamp myrtle, and wild rosemary. All spices that intoxicated, more than my nostrils, my mind.
And while my rational instinct was to cry out “Vade retro!” and get away from the moaning thing that was certainly a succubus summoned for me by the Evil One, something in my vis appetitiva urged me forward, as if I wanted to take part in some marvel.
And so I approached the shadow, until, in the moonlight that fell from the high windows, I realized that it was a woman, trembling, clutching to her breast one hand holding a package, and drawing back, weeping, toward the mouth of the oven.
May God, the Blessed Virgin, and all the saints of paradise assist me in telling what then happened. Modesty, the dignity of my position (as an aged monk by now, in this handsome monastery of Melk, a haven of peace and serene meditation), would counsel me to take the most devout precautions. I should simply say that something evil took place and that it would not be meet to tell what it was, and so I would upset neither my reader nor myself.
But I have determined to tell, of those remote events, the whole truth, and truth is indivisible, it shines with
