The Asutra (17 page)

Polovits demonstrated the controls, then took the squad to a set of mock-ups. For three hours the group trained at the simulated controls; there was then a rest-break, then a two-hour demonstration of maintenance techniques which each man would be required to use on his vehicle. The sky darkened; with twilight came a fine rain. In the dismal graveloom the squad marched to the barracks. For supper the trough held a bland, sweet soup which the men dipped up with mugs. Polovits then .said, "Who among you wishes to learn the Great Song?"

Etzwane asked, "What is involved?"

Polovits decided that the question was legitimate. "The Great Song recounts the history of Kahei through symbolic sounds and sequences. The Ka communicate by singing themes of allusion, and you must do the same through the medium of a double-flute. The language is logical, flexible, and expressive, but difficult to learn."

'I wish to learn the Great Song," said Etzwane.

Polovits showed him a harsh grin. "I thought you . would decide as much. " And Etzwane decided that he did not like Polovits. The need for dissembling therefore increased; he must truckle and submit; he must throw himself into the program with apparent zeal.

Polovits seemed to perceive the flow of Etzwane's thoughts and made a cryptic observation, "In either case I will be satisfied."

For a period existence went quietly. The sun—or suns—never appeared; the dank gloom oppressed the spirits and made for dreariness and lethargy. The daily routine included calisthenics, periods of training in the lizard-cars, and work sessions, which might consist of food preparation, sorting of ores, shaping and polishing of swamp wood. Neatness was emphasized. Detachments policed the barracks and groomed the landscape. Etzwane wondered whether the insistence upon order reflected the will of the asutra or the Ka. Probably the Ka, he decided; it was unlikely that the asutra altered the personality of the Ka any more than they had affected Sajarano of Sershan, or Jurjin, or Jerd Finnerack, or Hozman Sore-throat. The asutra dictated policy and monitored conduct; otherwise it seemed to remain aloof from the life of its host.

Asutra were everywhere evident. Perhaps half the Ka carried asutra; mechanisms were guided by asutra, and Polovits spoke in awe of asutra-guided aircraft. The latter two functions seemed somewhat plebeian activity for the asutra, Etzwane reflected, and would indicate that asutra, no less than Ka, men, ahulph, and chumpa, were divided into categories and castes.

At the end of the day, an hour was set aside for hygiene, sexual activity, which was permitted on the floor of a shed between the male and female barracks, and general recreation. The evening rain, occurring soon after light left the sky, put a term to the period, and the slaves went to their barracks, where they slept on mounds of dried moss. As Polovits had asserted, no guards or fences restrained the slaves from flight into the hills. Etzwane learned that on rare occasions a slave did so choose to seek freedom. Sometimes the fugitive was never again seen; as often he returned to camp after three or four days of hunger and thirst and thankfully resumed the routine. According to one rumor, Polovits himself had fled into the hills and upon his return had become the most diligent slave of the camp.

Etzwane saw two men killed. The first, a stout man, disliked calisthenics and thought to outwit his corporal. The second man was Srenka, who ran amok. In both cases a Ka destroyed the offender with a spurt of energy. The Great Song of Kahei was for Etzwane a labor of love. The instructor was Kretzel, a squat old woman with a face concealed among a hundred folds and wrinkles. Her memory was prodigious, her disposition was easy, and she was always willing to entertain Etzwane with rumors and anecdotes. In her teaching she used a mechanism which reproduced the rasps, croaks, and warbles of the Great Song in its classic form. Kretzel then duplicated the tones on a pair of double-pipes and translated the significance into words. She made it clear that the Song was only incidentally music; that essentially it served as the basic semantic reference to Ka communication and conceptual thinking.

The Song consisted of fourteen thousand cantos, each a construction of thirty-nine to forty-seven phrases.

"What you will learn," said Kretzel, "is the simple First Style. The Second employs overtones, trills, and echoes; the Third inverts harmony and for emphasis reverses phrases; the Fourth combines the Second with augmentations and variations; the Fifth suggests rather than propounds. I know only the First, and superficially at that. The Ka use abbreviations, idioms, allusions, double and triple themes. The language is subtle."

Kretzel was far less rigorous than Polovits. She told all she knew without restraint. Did the asutra use or understand the Song? Kretzel rocked her shoulders indifferently back and forth. "Why concern yourself? You will never address yourself to the things. But they know the Song. They know everything, and have brought many changes to Kahei."

Encouraged by the woman's loquacity, Etzwane asked other questions. "How long have they been here? Where did they come from?"

"All this is made clear in the last seven hundred cantos, which report the tragedy which came to Kahei. This very land, the North Waste, has known many terrible battles. But now we must work, or the Ka will presume sloth."

Etzwane made himself a set of double-pipes, and as soon as he had subdued his aversion for the Ka musical intervals, which he found unnatural and discordant, he played the first canto of the Great Song with a skill to amaze the old woman. "Your dexterity is remarkable. Still, you must play accurately. Yes, my old ears are keen! Your tendency is to ornament and warp the phrases into the ways you know. Absolutely wrong! The Great Song becomes gibberish."

Sexual activity among the slaves was encouraged, but couples were not allowed to form permanent liaisons. Etzwane occasionally saw Rune the Willow Wand across the compound where the women performed their own exercises, and one day during the period of "free calisthenics " he took the trouble to approach her. She had lost something of her insouciance and nonchalant grace; she looked at him now without cordiality, and Etzwane saw that she failed to recognize him.

"I am Gastel Etzwane," he told her. "Do you remember the camp by the Vurush River where I played music and you dared me to knock away your cap?"

Rune's face showed no change of expression. "What do you want?"

"Sexual activity is not forbidden. If you are so inclined. I will apply to the corporal and specifically request that—"

She cut him short with a gesture. "I am not so inclined. Do you think I care to bear a child on this dreary gray hell? Go spend yourself on one of the old women, and bring no more blighted souls to life."

Etzwane expostulated, citing one principle, then another, but Rune's face became progressively harder. At last she turned and walked away. Etzwane somewhat wistfully returned to his calisthenics.

The days dragged by with a slowness Etzwane found maddening. He estimated their duration to be four or five hours longer than the days of Shant: a situation which upset his natural rhythms and made him alternately morose and nervously irritable. He learned the first twelve cantos of the Song, both the melodies and the associated significances. He began to practice basic communication, selecting and joining musical phrases. His dexterity was counterbalanced by an almost uncontrollable tendency to play notes and phrases as personal music, slurring here, extending there, inserting gracenotes and trills, until old Kretzel threw up her hands in exasperation. The sequence goes thus and so," and she demonstrated. "No more, no less! It conveys the idea of a vain search for crayfish along the shore of the Ocean Quagmire during the morning rain. You introduce random elements of other cantos to create a mishmash, a farrago of ideas. Each note must be just, neither under- nor over-blown! Otherwise you sing absurdities! "

Etzwane controlled his fingers and played the themes precisely as Kretzel had indicated. "Good!" she declared. "Now we proceed to the next canto, where proto-Ka, the Hiana, cross the mud flats and are annoyed by chirping insects."

Etzwane much preferred Kretzel's company to the peevish admonitions of Polovits, and he would have spent all his waking hours practicing the Great Song had she allowed. "Such diligence is wasted," said Kretzel. "I know the cantos; I can sing to the black ones in faltering First Style. This is all I can teach you. If you lived a hundred years you might begin to play Second Style, but never could you know the feeling, for you are not a Ka. Then there are Third, Fourth, and Fifth, and then the idioms and cursive forms, the converging and diverging harmonics, the antichords, the stops, the hisses and slurs. Life is too short; why exert yourself?"

Etzwane decided, nonetheless, to learn as best he could; he had nothing better to do with his time. Every day he found Polovits more detestable, and his only escape was to Kretzel. Or freedom in the hills. According to Polovits, the wilderness afforded neither food nor water, and Kretzel corroborated as much. His best hope of evading Polovits lay in the Great Song.... What of Ifness? The name seldom occurred to Etzwane. His old life was vague; by the day it dwindled and lost detail. Reality was Kahei; here alone was life. Sooner or later Ifness would appear; sooner or later there would be a rescue—so Etzwane told himself, but every day the idea became more and more abstract.

One afternoon Kretzel became bored with the Song. Complaining of cankerous gums she threw the pipes to a shelf. "Let them kill me; what difference does it make? I am too old to fight; I know the Song, so they stay my death, and I do not care; my bones will never know the soil of Durdane. You are young; you have hopes. One by one they will go, and nothing will be left but the bare fact of life. Then you will discover the transcendent value of life alone. . . . We have been through much hardship; we have known cruel times. When I was young they bred their copper warriors and trained them to spawn in human women, for what purpose I never knew."

Etzwane said, "I know well enough. The Roguskhoi were sent to Durdane. They devastated Shant and several great districts of Caraz. Is it not strange? They destroy the folk of Durdane, and at the same time capture them to use as slave warriors against their enemy."

"It is only another experiment," said Kretzel wisely. The Red Warriors failed, now they try a new weapon for their war. " She peered over her shoulder. "Take your pipes and play the Song. Polovits watches for slackness. Take heed of Polovits; he likes to kill. " She reached for her own pipes. "Ah, my poor, tortured gums! This is the nineteenth canto. The Sah and Aianu use raho fibers to wind rope and dig coral nut with blackwood sticks. You will hear both the schemes for blackwood and for rough wood employed in a rude scratching action, as is general usage. But you must carefully play the little-finger flutter, else the scheme is 'visiting a place where the quagmire may be distantly seen from Canto 9635."

Etzwane played the pipes, watching Polovits from the corner of his eye. Polovits paused to listen, then turned Etzwane a flinty glance and continued on his way.

Later in the day, during calisthenics, Polovits suddenly exploded into fury: "Crisply then! Do you de test exertion so much that you cannot put your hand to the ground? Never fear, I am watching, and your life is as fragile as a moth-shell. Why do you stand like a post?" "I await new orders, Corporal Polovits." "Your kind is the most venomous, always with a glib retort just short of insolence! Don't indulge in dreams of glory, my Song-playing virtuoso, you won't evade the worst of it! I assure you of this! So now: a hundred high leaps, for your health's sake; let them be agile, with a fine twinkling of the heels! "

In calmness and gravity Etzwane obeyed as best he could. Polovits watched with grim intentness, but could find no fault with the efforts. At last he turned and strode away. With a faint smile on his face, Etzwane returned to Kretzel's little office and practiced the nineteen cantos he already knew and learned the melody to cantos Twenty and Twenty-one from the reproducing machine. He would discover the semantic significance in due course.

Etzwane conducted himself with care, but Polovits was unrelenting. Etzwane's patience wore thin, and he decided to take positive action. Polovits, by some uncanny means, divined the fact of the decision and thrust his angular old face close to Etzwane's. "A dozen men have thought to best me, and can you guess where they lie at this moment? In the great hole. I know tricks you never heard of! I'm just waiting for a single insubordinate move, then you will learn the folly of proud attitudes on this sad world Kahei."

Etzwane had no choice but hypocrisy. He said politely, "I'm sorry if I have given offense; I want only to remain inconspicuous. Needless to say, I am not here by my own choice."

"You waste my time with your witticisms," bawled Polovits. "I intend to hear no more! " He strode away, and Etzwane went to practice the Song.

Kretzel inquired as to his lack of zest, and Etzwane explained that Polovits was about to take his life. Kretzel gave a whinny of shrill laughter. "That spleenful little dingbat; he's not worth the rumble of an ahulph's gut! He won't give you to death, because he's afraid to speak a lie. Do you think the Ka are fools? Come, I will teach you Canto 2023, wherein the stave-cutters kill a stone-roller because he dented their moss. Then you need only play the eleventh phrase should Polovits so much as raise a finger. Better! Tell old Polovits that you are rehearsing the Canto of Open Inspection, and that you consider his conduct slack. To work. Polovits-is of no more consequence than a bad smell."

"Gastel Etzwane," said Polovits, during the morning calisthenics. "You move with the grace and agility of a pregnant grampus. I cannot accept those kneebends as accomplished facts. Has your well-known musical virtuosity rendered you absentminded? Well, then, answer! I count your silence an insolence. How long must I suffer your slights?"