“Yes, I am real enough in my fashion,” she granted, laughing softly. Then suddenly she leaned toward him and her lips touched his throat. He felt their moist warmth a moment—and felt the sharp sting of her teeth that barely pierced his skin, withdrawing instantly. Before he could clasp her she eluded him again.
“It is the only kiss permitted to us at present,” she cried, and fled swiftly with soundless footfalls among the gleams and shadows of the sepulchers.
On the following afternoon a matter of urgent and unwelcome business called Valzain to the neighboring city of Psiom: a brief journey, but one that he seldom took.
He passed the ancient necropolis, longing for that nocturnal hour when he could hasten once more to a meeting with Morthylla. Her poignant kiss, which had drawn a few drops of blood, had left him greatly fevered and distraught. He, like that place of tombs, was haunted; and the haunting went with him into Psiom.
He had finished his business, the borrowing of a sum of money from a usurer. Standing at the usurer’s door, with that slightly obnoxious but necessary person beside him, he saw a woman passing on the street.
Her features, though not her dress, were those of Morthylla; and there was even the same tiny mole at one corner of her mouth. No phantom of the cemetery could have startled or dismayed him more profoundly.
“Who is that woman?” he asked the money-lender. “Do you know her?”
“Her name is Beldith. She is well-known in Psiom, being rich in her own right and having had numerous lovers. I’ve had a little business with her, though she owes me nothing at present. Should you care to meet her? I can easily introduce you.”
“Yes, I should like to meet her,” agreed Valzain. “She looks strangely like someone that I knew a long time ago.”
The usurer peered slyly at the poet. “She might not make too easy a conquest. It is said of late that she has withdrawn herself from the pleasures of the city. Some have seen her going out at night toward the old necropolis, or returning from it in the early dawn. Strange tastes, I’d say, for one who is little more than a harlot. But perhaps she goes out to meet some eccentric lover.”
“Direct me to her house,” Valzain requested. “I shall not need you to introduce me.”
“As you like.” The money-lender shrugged, looking a little disappointed. “It’s not far, anyway.”
Valzain found the house quickly. The woman Beldith was alone. She met him with a wistful and troubled smile that left no doubt of her identity.
“I perceive that you have learned the truth,” she said. “I had meant to tell you soon, for the deception could not have gone on much longer. Will you not forgive me?”
“I forgive you,” returned Valzain sadly. “But why did you deceive me?”
“Because you desired it. A woman tries to please the man whom she loves; and in all love there is more or less deception.
“Like you, Valzain, I had grown tired of pleasure. And I sought the solitude of the necropolis, so remote from carnal things. You too came, seeking solitude and peace—or some unearthly spectre. I recognized you at once. And I had read your poems. Knowing Morthylla’s legend, I thought to play a game with you. Playing it, I grew to love you…. Valzain, you loved me as the lamia. Can you not now love me for myself?”
“It cannot be,” averred the poet. “I fear to repeat the disappointment I have found in other women. Yet at least I am grateful for the hours you gave me. They were the best I have known—even though I have loved something that did not, and could not, exist. Farewell, Morthylla. Farewell, Beldith.”
When he had gone, Beldith stretched herself face downward among the cushions of her couch. She wept a little; and the tears made a dampness that quickly dried. Later she arose briskly enough and went about her household business.
After a time she returned to the loves and revelries of Psiom. Perhaps, in the end, she found such peace as may be given to those who have grown too old for pleasure.
But for Valzain there was no peace, no balm for this last and most bitter of disillusionments. Nor could he return to the carnalities of his former life. So it was that he finally slew himself, stabbing his throat to its deepest vein with a keen knife in the same spot which the false lamia’s teeth had bitten, drawing a little blood.
After his death, he forgot that he had died; forgot the immediate past with all its happenings and circumstances.
Following his talk with Famurza, he had gone forth from Famurza’s house and from the city of Umbri and had taken the road that passed the abandoned cemetery. Seized by an impulse to visit it, he had climbed the slope toward the marbles under a swelling moon that rose behind him.
Gaining the flat, expansive ground of the summit, where dwarfish dying yews disputed with leafless briars the intervals of slabs blotched with lichen, he recalled the tale that Famurza had mentioned, anent the lamia who was said to haunt the necropolis. Famurza, he knew well, was no believer in such legendry, and had meant only to mock his funereal mood. Yet, as a poet will, he began to play with the thought of some presence, immortal, lovely and evil, that dwelt amid the antique marbles and would respond to the evocation of one who, without positive belief, had longed vainly for visions from beyond mortality.
Through headstone aisles of moon-touched solitude, he came to a lofty mausoleum, still standing with few signs of ruin at the cemetery’s center. Beneath it, he had been told, were extensive vaults housing the mummies of an extinct royal family that had ruled over the twin cities Umbri and Psiom in former centuries. It was to this family that the princess Morthylla had belonged.
To his startlement a woman, or what appeared to be such, was sitting on a fallen shaft beside the mausoleum. He could not see her distinctly; the tomb’s shadow still enveloped her from the shoulders downward. The face alone, glimmering wanly, was lifted to the rising moon. Its profile was such as he had seen on antique coins.
“Who are you?” he asked, with a curiosity that overpowered his courtesy.
“I am the lamia Morthylla,” she replied.
SCHIZOID CREATOR
In the private laboratory which his practice as a psychiatrist had enabled him to build, equip and maintain, Dr. Carlos Moreno had completed certain preparations that were hardly in accord with the teachings of modern science. For these preparations he had drawn instruction from old grimoires, bequeathed by ancestors who had incurred the fatherly wrath of the Spanish Inquisition. According to a rather scurrilous family legend, other ancestors had been numbered among the Inquisitors.
At the end of the long room he had cleared the cluttered floor of its equipment, leaving only an immense globe of crystal glass that suggested an aquarium. About the globe he had traced with a consecrated knife, the sorcerers’ arthame, a circle inscribed with pentagrams and the various Hebrew names of the Deity. Also, at a distance of several feet, a smaller circle, similarly inscribed.
Wearing a seamless and sleeveless robe of black, he stood now within the smaller, protective circle. Upon his breast and forehead was bound the Double Triangle, wrought perfectly from several metals. A silver lamp, engraved with the same sign, afforded the sole light, shining on a stand beside him. Aloes, camphor and storax burned in censers set about him on the floor. In his right hand he held the arthame; in his left, a hazel staff with a core of magnetized iron.
Like Dr. Faustus, Moreno designed an evocation of the Devil. But not, however, for the same purpose that had inspired Faustus.
Pondering long and gravely on the painful mysteries of the cosmos, the discrepancy of good and evil, Moreno had at last conceived an explanation that was startlingly simple.