Nevertheless it must be said that none of all this partook in any way of those absurd optical illusions which are so easily contrived3 or of those arbitrary ideas on which a whole pseudo-scientific novel is sometimes built up. There is no question of a novel, but of a physical phenomenon, an absolutely natural phenomenon, the explanation of which, when it comes to be known, is also absolutely natural.
And I beg those who are not acquainted with this explanation not to try to guess it. Let them not worry themselves with suppositions and interpretations4. Let them forget, one by one, the theories over which I myself am lingering: all that has to do with B-rays, materializations, or the effect of solar heat. These are so many roads that lead nowhere. The best plan is to be guided by events, to have faith and to wait.
"It's finished, uncle, isn't it?" I asked.
"It's the beginning," he replied.
"How do you mean? The beginning of what? What's going to happen?"
"I don't know."
"You don't know? But you knew just now, about this, about those strange eyes! . . ."
"It all starts with that. But other things come afterwards, things which vary and which I know nothing about!"
"But how can that be possible?" I asked. "Do you mean to say that you don't know anything about them, you who prepared everything for them?"
"I prepared them, but I do not control them. As I told you, I have opened a door which leads into the darkness; and from that darkness unforeseen images emerge."
[Pg 41]"But is the thing that's coming of the same nature as those eyes?"
"No."
"Then what is it, uncle?"
"The thing that's coming will be a representation of images in conformity6 with what we are accustomed to see."
"Things which we shall understand, therefore?"
"Yes, we shall understand them; and yet they will be all the more incomprehensible."
I often wondered, during the weeks that followed, if my uncle's words were to be fully7 relied upon and if he had not uttered them in order to mislead me as to the origin and meaning of his discoveries. How indeed was it possible to think that the key to the riddle8 remained unknown to him? But at that moment I was wholly under his influence, steeped in the great mystery that surrounded us; and, with a constricted9 feeling at my heart, with all my overstimulated senses, I thought of nothing but gazing into the miraculous10 panel.
A movement on my uncle's part warned me. I gave a start. The dawn was rising over the grey surface.
I saw, first of all, a cloudy radiance whirling around a central point, towards which all the luminous11 spirals rushed and in which they were swallowed up while whirling upon themselves. Next, this point expanded into an ever wider circle, covered with a light, hazy12 veil which gradually dispersed13, revealing a vague, floating image, like the apparitions14 raised by spiritualists and mediums at their sittings.
Then followed as it were a certain hesitation15. The phantom16 image was striving with the diffuse17 shadow and seeking to attain18 life and light. Certain features became more pronounced. Outlines and separate planes took shape; and at last a flood of light issued from the phantom image and turned it into a dazzling picture, which seemed to be bathed in sunlight.
It was a woman's face.
I remember that at that moment my mental confusion was such that I felt like darting19 forward to feel the marvellous wall and lay my hands upon the living material in which the incredible phenomenon was vibrating. But my uncle dug his fingers into my arm:
"I won't have you move!" he growled20. "If you budge21 an inch, the whole thing will fade away. Look!"
I did not move; indeed, I doubt whether I could have done so. My legs were giving way beneath me. Both of us, my uncle and I, dropped into a sitting posture22 on the fallen trunk of a tree.
"Look, look!" he commanded.
The woman's face had approached in our direction until it was twice the size of life. The first thing that struck us was the cap, which was that of a nurse, with the head-band tightly drawn23 over the forehead and the veil around the head. The features, handsome and regular and still young, wore that look of almost divine dignity which the primitive24 painters used to give to the saints who are suffering or about to suffer martyrdom, a nobility compounded of pain and ecstasy25, of resignation and hope, of smiles and tears. Bathed in that light which really seemed to be an inward flame, the woman opened, upon a scene invisible to us, a pair of large dark eyes which, though filled with nameless terror, nevertheless were not afraid. The contrast was remarkable26: her resignation was defiant27; her fear was full of pride.
"Oh," stammered28 my uncle, "I seem to observe the same expression as in the Three Eyes which were there just now. Do you see: the same dignity, the same gentleness . . . and also the same dread29?"
"Yes," I replied, "it's the same expression, the same sequence of expressions."
And, while I spoke30 and while the woman still remained in the foreground, outside the frame of the picture, I felt certain recollections arise within me, as at the sight of the portrait of a person whose features are not entirely31 unfamiliar32. My uncle received the same impression, for he said:
"I seem to remember . . ."
But at that moment the strange face withdrew to the plane which it occupied at first. The mists that created a halo round it, drifted away. The shoulders came into view, followed by the whole body. We now saw a woman standing1, fastened by bonds that gripped her bust33 and waist to a post the upper end of which rose a trifle above her head.
Then all this, which hitherto had given the impression of fixed34 outlines, like the outlines of a photograph, for instance, suddenly became alive, like a picture developing into a reality, a statue stepping straight into life. The bust moved. The arms, tied behind, and the imprisoned35 shoulders were struggling against the cords that were hurting them. The head turned slightly. The lips spoke. It was no longer an image presented for us to gaze at: it was life, moving and living life. It was a scene taking place in space and time. A whole background[Pg 45] came into being, filled with people moving to and fro. Other figures were writhing36, bound to posts. I counted eight of them. A squad37 of soldiers marched up, with shouldered rifles. They wore spiked38 helmets.
My uncle observed:
"Edith Cavell."
"Yes," I said, with a start, "I recognize her: Edith Cavell; the execution of Edith Cavell."
Once more and not for the last time, in setting down such phrases as these, I realize how ridiculous they must sound to any one who does not know to begin with what they signify and what is the exact truth that lies hidden in them. Nevertheless, I declare that this idea of something absurd and impossible did not occur to the mind when it was confronted with the phenomenon. Even when no theory had as yet suggested the smallest element of a logical explanation, people accepted as irrefutable the evidence of their own eyes. All those who saw the thing and whom I questioned gave me the same answer. Afterwards, they would correct themselves and protest. Afterwards, they would plead the excuse of hallucinations or visions received by suggestion. But, at the time, even though their reason was up in arms and though they, so to speak, "kicked" against facts which had no visible cause, they were compelled to bow before them and to follow their development as they would the representation of a succession of real events.
A theatrical39 representation, if you like, or rather a cinematographic representation, for, on the whole, this was the impression that emerged most clearly from all the impressions received. The moment Miss Cavell's image had assumed the animation40 of life, I turned round to look for the apparatus41, standing in some corner of the Yard, which was projecting that animated42 picture; and, though I saw nothing, though I at once understood that in any case no projection43 could be effected in broad daylight and without omitting shafts44 of light, yet I received and retained that justifiable45 impression. There was no projector46, no, but there was a screen: an astonishing screen which received nothing from without, since nothing was transmitted, but which received everything from within. And that was really the sensation experienced. The images did not come from the outside. They sprang to the surface from within. The horizon opened out on the farther side of a solid material. The darkness gave forth47 light.
Words, words, I know! Words which I heap upon words before I venture to write those which express what I saw issuing from the abyss in which Miss Cavell was about to undergo the death-penalty. The execution of Miss Cavell! Of course I said to myself, if it was a cinematographic representation, if it was a film—and how could one doubt it?—at any rate it was a film like ever so many others, faked, fictitious48, based upon tradition, in a conventional setting, with paid performers and a heroine who had thoroughly49 studied the part. I knew that. But, all the same, I watched as though I did not know it. The miracle of the spectacle was so great that one was constrained50 to believe in the whole miracle, that is to say, in the reality of the representation. No fake was here. No make-believe. No part learned by heart. No performers and no setting. It was the actual scene. The actual victims. The horror which thrilled me during those few minutes was that which I should have felt had I beheld51 the murderous dawn of the 8th of October, 1915, rise across the thrice-accursed drill-ground.
It was soon over. The firing-platoon was drawn up in double file, on the right and a little aslant52, so that we saw the men's faces between the rifle-barrels. There were a good many of them: thirty, forty perhaps, forty butchers, booted, belted, helmeted, with their straps53 under their chins. Above them hung a pale sky, streaked54 with thin red clouds. Opposite them . . . opposite them were the eight doomed56 victims.
There were six men and two women, all belonging to the people or the lower middle-class. They were now standing erect57, throwing forward their chests as they tugged58 at their bonds.
An officer advanced, followed by four Feldwebel carrying unfurled handkerchiefs. Not any of the people condemned59 to death consented to have their eyes bandaged. Nevertheless, their faces were wrung60 with anguish61; and all, with an impulse of their whole being, seemed to rush forward to their doom55.
The officer raised his sword. The soldiers took aim.
A supreme62 effort of emotion seemed to add to the stature63 of the victims: and a cry issued from their lips. Oh, I saw and heard that cry, a fanatical and desperate cry in which the martyrs64 shouted forth their triumphant65 faith.
The officer's arm fell smartly. The intervening space appeared to tremble as with the rumbling66 of thunder. I had not the courage to look; and my eyes fixed themselves on the distracted countenance67 of Edith Cavell.
She also was not looking. Her eyelids68 were closed. But how she was listening! How her features contracted under the clash of the atrocious sounds, words of command, detonations69, cries of the victims, death-rattles, moans of agony. By what refinement70 of cruelty had her own end been delayed? Why was she condemned to that double torture of seeing others die before dying herself?
Still, everything must be over yonder. One party of the butchers attended to the corpses71, while the others formed into line and, pivoting72 upon the officer, marched towards Miss Cavell. They thus stepped out of the frame within which we were able to follow their movements; but I was able to perceive, by the gestures of the officer, that they were forming up opposite Nurse Cavell, between her and us.
The officer stepped towards her, accompanied by a military chaplain, who placed a crucifix to her lips. She kissed it fervently73 and tenderly. The chaplain then gave her his blessing74; and she was left alone. A mist once more shrouded75 the scene, leaving her whole figure full in the light. Her eyelids were still closed, her head erect and her body rigid76.
She was at that moment wearing a very sweet and very tranquil77 expression. Not a trace of fear distorted her noble countenance. She stood awaiting death with saintly serenity78.
And this death, as it was revealed to us, was neither very cruel nor very odious79. The upper part of the body fell forward. The head drooped80 a little to one side. But the shame of it lay in what followed. The officer stood close to the victim, revolver in hand. And he was pressing the barrel to his victim's temple, when, suddenly, the mist broke into dense81 waves and the whole picture disappeared. . . .
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1
standing
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| n.持续，地位；adj.永久的，不动的，直立的，不流动的 | |
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2
culmination
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| n.顶点；最高潮 | |
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3
contrived
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| adj.不自然的，做作的；虚构的 | |
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4
interpretations
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| n.解释( interpretation的名词复数 )；表演；演绎；理解 | |
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5
astounded
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| v.使震惊(astound的过去式和过去分词)；愕然；愕；惊讶 | |
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6
conformity
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| n.一致，遵从，顺从 | |
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7
fully
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| adv.完全地，全部地，彻底地；充分地 | |
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8
riddle
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| n.谜，谜语，粗筛；vt.解谜，给…出谜，筛，检查，鉴定，非难，充满于；vi.出谜 | |
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9
constricted
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| adj.抑制的，约束的 | |
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10
miraculous
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| adj.像奇迹一样的，不可思议的 | |
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11
luminous
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| adj.发光的，发亮的；光明的；明白易懂的；有启发的 | |
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12
hazy
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| adj.有薄雾的，朦胧的；不肯定的，模糊的 | |
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13
dispersed
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| adj. 被驱散的, 被分散的, 散布的 | |
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14
apparitions
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| n.特异景象( apparition的名词复数 )；幽灵；鬼；（特异景象等的）出现 | |
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15
hesitation
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| n.犹豫，踌躇 | |
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16
phantom
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| n.幻影，虚位，幽灵；adj.错觉的，幻影的，幽灵的 | |
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17
diffuse
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| v.扩散；传播；adj.冗长的；四散的，弥漫的 | |
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18
attain
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| vt.达到，获得，完成 | |
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19
darting
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| v.投掷，投射( dart的现在分词 )；向前冲，飞奔 | |
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20
growled
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| v.（动物）发狺狺声， （雷）作隆隆声( growl的过去式和过去分词 )；低声咆哮着说 | |
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21
budge
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| v.移动一点儿；改变立场 | |
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22
posture
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| n.姿势，姿态，心态，态度；v.作出某种姿势 | |
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23
drawn
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| v.拖，拉，拔出；adj.憔悴的，紧张的 | |
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24
primitive
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| adj.原始的；简单的；n.原(始)人，原始事物 | |
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25
ecstasy
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| n.狂喜，心醉神怡，入迷 | |
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26
remarkable
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| adj.显著的，异常的，非凡的，值得注意的 | |
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27
defiant
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| adj.无礼的，挑战的 | |
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28
stammered
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| v.结巴地说出( stammer的过去式和过去分词 ) | |
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29
dread
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| vt.担忧，忧虑；惧怕，不敢；n.担忧，畏惧 | |
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30
spoke
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| n.（车轮的）辐条；轮辐；破坏某人的计划；阻挠某人的行动 v.讲，谈（speak的过去式）；说；演说；从某种观点来说 | |
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31
entirely
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| ad.全部地，完整地；完全地，彻底地 | |
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32
unfamiliar
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| adj.陌生的，不熟悉的 | |
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33
bust
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| vt.打破；vi.爆裂；n.半身像；胸部 | |
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34
fixed
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| adj.固定的，不变的，准备好的；(计算机)固定的 | |
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35
imprisoned
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| 下狱，监禁( imprison的过去式和过去分词 ) | |
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36
writhing
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| （因极度痛苦而）扭动或翻滚( writhe的现在分词 ) | |
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37
squad
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| n.班，小队，小团体；vt.把…编成班或小组 | |
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38
spiked
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| adj.有穗的；成锥形的；有尖顶的 | |
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39
theatrical
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| adj.剧场的，演戏的；做戏似的，做作的 | |
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40
animation
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| n.活泼，兴奋，卡通片／动画片的制作 | |
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41
apparatus
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| n.装置，器械；器具，设备 | |
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42
animated
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| adj.生气勃勃的，活跃的，愉快的 | |
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43
projection
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| n.发射，计划，突出部分 | |
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44
shafts
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| n.轴( shaft的名词复数 )；（箭、高尔夫球棒等的）杆；通风井；一阵（疼痛、害怕等） | |
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45
justifiable
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| adj.有理由的，无可非议的 | |
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46
projector
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| n.投影机，放映机，幻灯机 | |
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47
forth
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| adv.向前；向外，往外 | |
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48
fictitious
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| adj.虚构的，假设的；空头的 | |
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49
thoroughly
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| adv.完全地，彻底地，十足地 | |
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50
constrained
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| adj.束缚的,节制的 | |
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51
beheld
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| v.看，注视( behold的过去式和过去分词 )；瞧；看呀；（叙述中用于引出某人意外的出现）哎哟 | |
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52
aslant
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| adv.倾斜地；adj.斜的 | |
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53
straps
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| n.带子( strap的名词复数 )；挎带；肩带；背带v.用皮带捆扎( strap的第三人称单数 )；用皮带抽打；包扎；给…打绷带 | |
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54
streaked
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| adj.有条斑纹的，不安的v.快速移动( streak的过去式和过去分词 )；使布满条纹 | |
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55
doom
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| n.厄运，劫数；v.注定，命定 | |
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56
doomed
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| 命定的 | |
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57
erect
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| n./v.树立，建立，使竖立；adj.直立的，垂直的 | |
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58
tugged
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| v.用力拉，使劲拉，猛扯( tug的过去式和过去分词 ) | |
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59
condemned
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| adj. 被责难的, 被宣告有罪的 动词condemn的过去式和过去分词 | |
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60
wrung
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| 绞( wring的过去式和过去分词 )； 握紧（尤指别人的手）； 把（湿衣服）拧干； 绞掉（水） | |
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61
anguish
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| n.(尤指心灵上的)极度痛苦，烦恼 | |
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62
supreme
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| adj.极度的，最重要的；至高的，最高的 | |
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63
stature
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| n.（高度）水平，（高度）境界，身高，身材 | |
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64
martyrs
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| n.martyr的复数形式；烈士( martyr的名词复数 )；殉道者；殉教者；乞怜者（向人诉苦以博取同情） | |
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65
triumphant
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| adj.胜利的，成功的；狂欢的，喜悦的 | |
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66
rumbling
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| n. 隆隆声, 辘辘声 adj. 隆隆响的 动词rumble的现在分词 | |
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67
countenance
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| n.脸色，面容；面部表情；vt.支持，赞同 | |
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68
eyelids
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| n.眼睑( eyelid的名词复数 )；眼睛也不眨一下；不露声色；面不改色 | |
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69
detonations
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| n.爆炸 （声）( detonation的名词复数 ) | |
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70
refinement
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| n.文雅；高尚；精美；精制；精炼 | |
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71
corpses
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| n.死尸，尸体( corpse的名词复数 ) | |
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72
pivoting
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| n.绕轴旋转，绕公共法线旋转v.（似）在枢轴上转动( pivot的现在分词 )；把…放在枢轴上；以…为核心，围绕（主旨）展开 | |
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73
fervently
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| adv.热烈地，热情地，强烈地 | |
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74
blessing
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| n.祈神赐福；祷告；祝福，祝愿 | |
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75
shrouded
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| v.隐瞒( shroud的过去式和过去分词 )；保密 | |
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76
rigid
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| adj.严格的，死板的；刚硬的，僵硬的 | |
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77
tranquil
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| adj. 安静的, 宁静的, 稳定的, 不变的 | |
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serenity
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| n.宁静，沉着，晴朗 | |
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odious
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| adj.可憎的，讨厌的 | |
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80
drooped
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| 弯曲或下垂，发蔫( droop的过去式和过去分词 ) | |
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dense
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| a.密集的，稠密的，浓密的；密度大的 | |
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