The Blank Page
Isak Dinesen (Karen Blixen) from Last Tales
“Where the story-teller is loyal, eternally and unswervingly loyal to the story, there, in the end, silence will speak.”
By the ancient city gate sat an old coffee-brown, black-veiled woman who made her living by telling stories.
“You want a tale, sweet lady and gentleman? Indeed I have told many tales, one more than a thousand, since that time when I first let young men tell me, myself, tales of a red rose, two smooth lily buds, and four silky, supple, deadly entwining snakes. It was my mother’s mother, the black-eyed dancer, the often-embraced, who in the end-wrinkled like a winter apple and crouching beneath the mercy of the veil- took upon herself to teach me the art of story-telling. Her own mother’s mother had taught it to her, and both were better storytellers than I am. But that, by now, is of no consequence, since to the people they and I have become one, and I am most highly honoured because I have told stories for two hundred years.”
Now if she is well paid and in good spirits, she will go on.
“With my grandmother,” she said, “I went through a hard school. ‘Be loyal to the story,’ the old hag would say to me. ‘Be eternally and unswervingly loyal to the story.’ ‘Why must I be that, Grandmother?’ I asked her. ‘Am I to furnish you with reasons, baggage?’ she cried. ‘And you mean to be a story-teller! Why, you are to become a story-teller, and I shall give you my reasons! Hear then: Where the story-teller is loyal, eternally and unswervingly loyal to the story, there, in the end, silence will speak. Where the story has been betrayed, silence is but emptiness. But we, the faithful, when we have spoken our last word, will hear the voice of silence. Whether a small snotty lass understands it or not.’”
“Who then,” she continues, “tells a finer tale than any of us? Silence does. And where does one read a deeper tale than upon the most perfectly printed page of the most precious book? Upon the blank page. When a royal and gallant pen, in the moment of its highest inspiration, has written down its tale with the rarest ink of all – where, then, may one read a still deeper, sweeter, merrier and more cruel tale than that? Upon the blank page.”
The old beldame for a while says nothing, only giggles a little and munches with her toothless mouth.
“We,” she says at last, “the old women who tell stories, we know the story of the blank page. But we are somewhat averse to telling it, for it might well, among the uninitiated, weaken our own credit. All the same, I am going to make an exception with you, my sweet and pretty lady and gentleman of the generous hearts. I shall tell it to you.”
High up in the blue mountains of Portugal there stands an old convent for sisters of the Carmelite order, which is an illustrious and austere order. In ancient times the convent was rich, the sisters were all noble ladies, and miracles took place there. But during the centuries highborn ladies grew less keen on fasting and prayer, the great dowries flowed into the treasury of the convent, and today the few portionless and humble sisters live in but one wing of the vast crumbling structure, which looks as if it longed to become one with the gray rock itself. Yet they are still a blithe and active sisterhood. They take much pleasure in their holy meditations, and will busy themselves joyfully with that one particular task which did once, long, long ago, obtain for the convent a unique and strange privilege: they grow the finest flax and manufacture the most exquisite linen of Portugal.
The long field below the convent is plowed with gentle-eyed, milk-white bullocks, and the seed is skillfully sown out by labour-hardened virginal hands with mold under the nails. At the time when the flax field flowers, the whole valley becomes air-blue, the very colour of the apron which the blessed virgin put on to go out and collect eggs within St. Anne’s poultry yard, the moment before the Archangel Gabriel in mighty wing-strokes lowered himself onto the threshold of the house, and while high, high up a dove, neck-feathers raised and wings vibrating, stood like a small clear silver star in the sky. During this month the villagers many miles round raise their eyes to the flax field and ask one another: “Has the convent been lifted into heaven? Or have our good little sisters succeeded in pulling down heaven to them?”
Later in due course the flax is pulled, scutched and hackled; thereafter the delicate thread is spun, and the linen woven, and at the very end the fabric is laid out on the grass to bleach, and is watered time after time, until one may believe that snow has fallen round the convent walls. All this work is gone through with precision and piety and with such sprinklings and litanies as are the secret of the convent. For these reasons the linen, baled high on the backs of small gray donkeys and sent out through the convent gate, downwards and ever downwards to the towns, is as flower-white, smooth and dainty as was my own little foot when fourteen years old, I had washed it in the brook to go to a dance in the village.
Diligence, dear Master and Mistress, is a good thing, and religion is a good thing, but the very first germ of a story will come from some mystical place outside the story itself. Thus does the linen of the Convento Velho draw its true virtue from the fact that the very first linseed was brought home from the Holy Land itself by a crusader.
In the Bible, people who can read may learn about the lands of Lecha and Maresha, where flax is grown. I myself cannot read, and have never seen this book of which so much is spoken. But my grandmother’s grandmother as a little girl was the pet of an old Jewish rabbi and the learning she received from him has been kept and passed on in our family. So you will read, in the book of Joshua, of how Achsah the daughter of Caleb lighted from her ass and cried unto her father: “Give me a blessing! For thou hast now given me land; give me also the blessing of springs of water!” And he gave her the upper springs and the nether springs. And in the fields of Lecha and Maresha lived, later on, the families of them that wrought the finest linen of all. Our Portuguese crusader, whose own ancestors had once been great linen weavers of Tomar, as he rode through these same fields was struck by the quality of the flax and so tied a bag of seeds to the pommel of his saddle.
From this circumstance originated the first privilege of the convent, which was to procure bridal sheets for all the young princesses of the royal house.
I will inform you, dear lady and gentleman, that in the country of Portugal in very old and noble families a venerable custom has been observed. On the morning after the wedding of a daughter of the house, and before the morning had yet been handed over, the Chamberlain or High Steward from a balcony of the palace would hang out the sheet of the night and would solemnly proclaim: Virginem eam tenemus — “we declare her to have been a virgin.” Such a sheet was never afterwards washed or again lain on.
This time-honoured custom was nowhere more strictly upheld than within the royal house itself, and it has there subsisted till within living memory.
Now for many hundred years the convent in the mountains, in appreciation of the excellent quality of the linen delivered, has held its second high privilege: that of receiving back that central piece of the snow-white sheet which bore witness to the honour of a royal bride.
In the tall main wing of the convent, which overlooks an immense landscape of hills and valleys, there is a long gallery with a black-and-white marble floor. On the walls of the gallery, side by side, hangs a long row of heavy, gilt frames, each of them adorned with a coroneted plate of pure gold, on which is engraved the name of a princess: Donna Christina, Donna Ines, Donna Jacintha Lenora, Donna Maria. And each of these frames encloses a square cut from a royal wedding sheet.
Within the faded markings of the canvases people of some imagination and sensibility may read all the signs of the zodiac: the Scales, the Scorpion, the Lion, the Twins. Or they may there find pictures from their own world of ideas: a rose, a heart, a sword — or even a heart pierced through with a sword.
In days of old it would occur that a long, stately, richly coloured procession wound its way through the stone-gray mountain scenery, upwards to the convent. Princesses of Portugal, who were now queens or queen dowagers of foreign countries, Archduchesses, or Electresses, with their splendid retinue, proceeded here on a pilgrimage which was by nature, both sacred and secretly gay. From the flax field upwards the road rises steeply; the royal lady would have to descend from her coach to be carried this last bit of the way in a palanquin presented to the convent for the very same purpose.
Later on, up to our own day, it has come to pass — as it to pass when a sheet of paper is being burnt, that after all other sparks have run along the edge and died away, one last clear little spark will appear and hurry along after them — that a very old highborn spinster undertakes the journey to Convento Velho. She has once, a long long time ago, been playmate, friend and maid-of-honour to a young princess of Portugal. As she makes her way to the convent she looks round to see the view widen to all sides. Within the building a sister conducts her to the gallery and to the plate bearing the name of the princess she has once served, and there takes leave of her, aware of her wish to be alone.
Slowly, slowly a row of recollections passes through the small, venerable, skull-like head under its mantilla of black lace, and it nods to them in amicable recognition. The loyal friend and confidante looks back upon the young bride’s elevated married life with the elected royal consort. She takes stock of happy events and disappointments — coronations and jubilees, court intrigues and wars, the birth of heirs to the throne, the alliances of younger generations of princes and princesses, the rise or decline of dynasties. The old lady will remember how once, from the markings on the canvas, omens were drawn; now she will be able to compare the fulfillment to the omen, sighing a little and smiling a little. Each separate canvas with its coroneted name-plate has a story to tell, and each has been set up in loyalty to the story.
But in the midst of the long row there hangs a canvas which differs from the others. The frame of it is as fine and as heavy as any, and as proudly as any carries the golden plate with the royal crown. But on this one plate no name is inscribed, and the linen within the frame is snow-white from corner to comer, a blank page.
I beg of you, you good people who want to hear stories told: look at this page, and recognize the wisdom of my grandmother and of all old story-telling women!
For with what eternal and unswerving loyalty has not this canvas been inserted in the row! The story-tellers themselves before it draw their veils over their faces and are dumb. Because the royal papa and mama who one this canvas to be framed and hung up, had they not had the tradition of loyalty in their blood, might have left it out.
It is in front of this piece of pure white linen that the old princesses of Portugal — worldly wise, dutiful, long-suffering queens, wives and mothers — and their noble old playmates, bridesmaids and maids-of-honour have most often stood still.
It is in front of the blank page that old and young nuns, with the Mother Abbess herself, sink into deepest thought.