There was a tradition in Shakespeare’s day for Lear’s Fool, a sort of holy fool, to be played by the same actor who plays Cordelia—the Fool is never onstage when Cordelia is and he disappears completely when her major scenes begin—but this wasn’t going to work with tonight’s casting.

I would have given my left testicle to play the Fool, but Burbank got it.

Adam got the Old Man—what else? — and Philp was the courtly, brave, and courting Duke of Burgundy. Coeke was to be Curan, Gloucester’s retainer, and Hywo Gloucester.

The lesser roles, gentlemen, servants, soldiers, attendants, and messengers, were quickly parceled out. We knew all the parts—or were supposed to.

Pyk came up and tried to get Kemp’s attention, but our Fearless Leader was too busy making costume choices and discussing staging—Christ, we hated theater-in-the-round and prayed to Abraxas that this place would not be like Mezel-Goull.

“What is it, Pig?” I whispered.

“The Muse,” he whispered wetly in my ear.

“What about her?”

“You’d better come see, Wilbr.”

I followed him down through the engine room, through the double hatches, down the ladder to the tiny room holding the Muse’s sphere and mummy. I admit that I was a little nervous being in there just with Pig after watching the Muse’s gyrations and eyes opening an hour or so earlier.

Her eyes were still opened, but no longer empty. They were complete and blue and looking at me. No mummy now. The naked young woman floating in the blue fluid was more beautiful and younger than Aglaé. Her restored red hair floated around her like a fiery nimbus.

She did not quite smile at me but her gaze registered my presence.

I said to Pig, “Jesus Christ and Abraxas’s rooster’s balls. Let’s get the hell out of here.” And we did. But what I’d actually thought of in those seconds I stared into the resurrected Muse’s eyes was an old catechism line from Saint Jung: “The dream is like a woman. It will have the last word as it had the first.”

Saying it was an extraordinary performance of King Lear would not be praise enough. It was beyond extraordinary. It would have won the laurel wreath at any gathering of the Bard Troupes on Stratford and at any time in the last twelve hundred years or more. The legendary Barbassesserra could not have created a better Lear that night than Kemp did. His very exhaustion lent more credence to the king’s age, despair, and madness. And I have to admit that Condella was tragically radiant and perfectly, absurdly stubborn as Cordelia. After a few minutes, I forgot her age—so I had to assume the Poimen never noticed.

The Poimen.

They allowed us to extend and light our own stage from the Muse. The ship had recovered sufficiently to handle the stage and basic lighting, although the cabiri were not functional. We were able to use our dressing rooms and regular arras and stage exits. But we did not need a tent where we performed.

Our ship and stage were on a sort of shell within a bubble. I have no idea what energies kept the bubble intact, our air recycled, or the pressures of the alien ocean from rushing in. But the bubble was invisible and it did not distort vision in or out as glass or plastic would. We did not float around or bob; the stage felt as firm beneath us as it had the night before at Mezel-Goull, but this was obviously an illusion since some moments into the performance we realized that our stage and ship and bubble were rotating three hundred and sixty degrees, even turning as they rotated. At times we were completely upside down—the surface of the ocean invisible beneath our feet and stage and stern of the Muse—but somehow the stage was always down. Our inner ear did not register the changes and gravity did not vary. (In fact, the gravity itself was suspicious, since it felt one-Earth average on such a gigantic planet.) But the turning and rotation were very slow, so if one did not look out beyond the proscenium for any length of time, there was no vertigo involved. When I did look, it took my breath away.

The water—if it was water—was incredibly clear. I could see scores of the huge blue and green crystal towers, each lighted from within, each with a central twin shaft filled with rising and falling liquids and passengers, each rising into sunlight and atmosphere above—where countless more of the Poimen floated and flitted—and then into space above that, each also extending down to the purple depths miles beneath us.

The Poimen floated around us by the thousands or by the tens of thousands. Without staring I couldn’t tell, and one can’t stare at the audience during a performance, even when the fear of vertigo isn’t a factor. I could see that they were not all the same. Shafts of sunlight columning down from the rough seas above illuminated a bewildering variety of Poimen sizes, shapes, and iridescent colors. Some of the creatures were as large as Archon spacecraft; others as small as the koi in funeral ponds on Earth. All showed the same sort of flat face, black eyes, throbbing gills, and tiny arms, at least relative to their body size, and delicate hands as our first visitor in the sphere that had come through the Muse’s hull.

Kemp and Burbank had gone on about how they hated performing in theater-in-the-round as at Mezel-Goull, but here we were in a theater of three dimensions, with audience above, to the side, and partially beneath us, thousands of pairs of eyes focused on us from all directions, and all of them moving in our constantly rotating field of vision. A lesser troupe would have had trouble going on. We weren’t a lesser troupe.

Did the Poimen understand us? Did they get the slightest hint of what our “mimesis episode” was about? Could these sea-space creatures understand the foggiest outline of the themes and depths of Shakespeare’s tale of age and loss and ultimate devastation, much less follow the beautiful and archaic song of our language?

I had no idea. I’m sure Kemp and Burbank and Condella and the others carrying the burden of the performance had no idea. We carried on.

Burbank once told me that his father—who had led the Earth’s Men longer than any other person and who was almost certainly the finest actor ever to come out of our troupe—had said to him that King Lear precluded and baffled all commentary because the experience of it was beyond theater, beyond even the literature and art and music we had when humans had literature and art and music. King Lear and Hamlet, the older Burbank had told his son, went even beyond the false but beautiful holy scriptures humans used to have before the Archons and their superiors showed us the truth.The Torah, the Talmud, the New Testament, the Koran, the Upanishads, the Rig-Veda, the Agama, the Mahavastu, the Adi Granth, the Sutta Pitaka, the Dasab-humisvara, the Mahabharata, and the Bible, to name only a few, were false but beautiful, and important for evolving human hearts and minds, said the elder Burbank, but all receded before the unfathomable truths of Hamlet and King Lear. And where Hamlet explored the infinite bounds of consciousness, Lear delved the absolute depths of mortality, hoPeléssness, communication failed, trust betrayed, and the threads of chaos which weave our fates.

I think those are some of the words and phrases Burbank told me his father used. One does get in the habit of memorizing very quickly when traveling with actors.

They’d only been words to me until this night—pleasant theatrical hyperbole (which is redundant, Philp would argue, since all theater, however nuanced, is mimetic hyperbole of life)—but this day, this night, this performance of King Lear made me understand what Burbank’s father had been trying to say.

When Kemp, as Lear gone mad and wearing his crown of weeds and flowers, said to Hywo as the blinded Gloucester