Academic Exercises (21 page)

We’ve now reached the point in this narrative at which I can justifiably start talking about myself. From now on, my actions and their consequences are significant enough to be worth recording. I am, of course, an unreliable witness, simply because most of what I’m about to assert can’t be proved by reference to external sources. You’ll have to form your own judgement of my professed motives and the credibility of my account. That doesn’t bother me unduly. I invite an appropriate degree of healthy scepticism. Besides, I’m presumably dead by now, and out of it, and so I couldn’t really give a damn.

As it happens, I don’t remember much about the week after Carchedonius burned the manuscript. People tell me I was wandering around in a sort of daze, either not answering or biting people’s heads off when they spoke to me. Everyone assumed there’d been a death in the family.

No such luck. For what it’s worth, I hadn’t spoken to my mother since my father’s trial. She seemed to think that I could’ve done something. I have no idea what she had in mind. Perhaps she thought I could pull Essecuivo out of my sleeve like a conjuror. The last I heard of my brother, he was in Mescarel, trying to sell diamonds and small, high-value works of art in a seriously flooded market. Either of them, or any of my relatives—I’d have shed a tear, of course, but life would have gone on. The
True Discovery
, on the other hand, was another matter entirely.

The eighth night after the burning, I was sitting in my rooms. I had a copy of Vabalathus’
Late Voyages
open on my desk; I was chasing down an obscure reference that might be taken as evidence to support the view that Essecuivo’s climate was temperate enough to support olive trees. Ridiculous; I knew they had olives in Essecuivo, because Aeneas had written about them in the book. But the garbled fragment in Vabalathus was open to at least two other interpretations, which meant I couldn’t substantiate my hypothesis, which meant that I had no solid foundation for my assertion that Essecuivo must lie below 62 degrees, the upper limit of cultivation of the olive. I was tempted to throw Vabalathus on the fire, except that for some reason I hadn’t lit one for the past eight days. Stupid; it was just starting to get cold.

That made me realise that I couldn’t go on. It was as though I’d reached an impassable barrier; a river in spate, a ravine, the sea. I could see where I wanted to go all too clearly. I could smell the woodsmoke, and hear the voices of children playing. But, having come so very far, I couldn’t cross the last hundred yards. I didn’t have enough provisions to go back the way I’d come. I was stranded.

The hell with that. I poured myself a large dose of brandy and made myself think long and hard about the nature of truth.

Take, for example, the concept
authenticity
. It’s crucial, seminal, to the business of scholarship. However, like, say, brandy, it can tolerate a certain degree of dilution. A translation, for example; the words you read aren’t the words the author wrote, but a translation can be allowed to possess qualified authenticity. Quotation and reporting; a substantial part of what we do is picking out nuggets of lost texts from the works of later authors who’ve quoted from them. Source-hunting, a favourite academic pastime; read a historian and try and figure out which of his facts and assertions were copied out from the earlier authority A (held to be accurate and reliable) and which were taken from B, who’s generally believed to have made it up as he went along. Manuscript tradition; we have very few very old manuscripts. Most of the works of the great authors of classical antiquity exist only in the form of later editions, copies of copies of copies of copies of the original. As soon as a page is translated, quoted, edited, it ceases to be truly authentic. But the snippet of Archelaus I’d been looking for in my relatively modern edition of Rocais’ translation of Vabalathus’
New Voyages
was, by all relevant criteria, authentic
enough
; and if only it had said what I wanted it to say, I’d have adduced it as proof of my assertions without a moment’s hesitation.

Well, then.

First, I needed something to write on. That wasn’t too hard. There’s plenty of three-hundred year old parchment around, if you know where to look. Fortuitously, I have a cousin who’s a lawyer. In the cool, dry cellar under his place of business there are thousands of packets of title deeds, many of them so old as to have lost any semblance of relevance years and years ago. I made up some story and he gave me a Deed of Rectification—something to do with sorting out a boundary dispute between two neighbours who subsequently both sold out to a third party, rendering the Deed entirely obsolete—which bore the countersignature of a Council official who’d been in office the year after Aeneas Peregrinus came back from Essecuivo. Perfect. How much more authentic can you get?

Back then, they used soot and oak-apple gall, ground fine, for ink. It comes off quite cleanly if you damp the parchment slightly and rub it down with a pumice stone. Naturally, you lose a tiny amount of thickness, but that’s not a problem; six out of ten old documents you come across have been written on pumiced-off parchment. The stuff cost money, after all, and people were thriftier back then. In fact, it was entirely in keeping with what we know about Aeneas that he’d have used second-hand parchment. He didn’t, in fact, but he could have. Should have, even.

Soot-and-oak-apple-gall ink is no trouble to make, if you happen to have read Theogenes’
On Various Arts
; it’s two centuries earlier than Aeneas, but nothing much changed in the intervening time. There’s a fine old oak in the Studium grounds that’s been there for at least two hundred and fifty years. It still drops acorns. Attention to detail, you see. Authenticity. For soot, I climbed up onto the leaded roof of the Old Hall and scrabbled around inside the chimney-cowls. I mined deep and came up with a rich vein of soot that could well have been there since Aeneas was a lad. I’m not sure I needed to go that far, but if a thing’s worth doing—

Style and handwriting. No problem. After all, I’m the world’s leading authority. If someone wanted to authenticate a piece of writing attributed to Aeneas, they’d come to me. Also, I’ve always had a gift for copying other people’s handwriting. Because my father was less than generous with my living allowance when I was an undergraduate at the Studium, I was forced to make ends meet by reproducing his signature on Company bills of exchange. Now my father’s handwriting was so bad that occasionally
his
bills were questioned by the clerks, but all of mine were cleared without question.

I made a trip to Corytona, where they’ve got two of the surviving Aeneas letters, and studied them carefully. I knew for a fact that Aeneas had written his book using a pen with a new-fangled (at that time) steel nib. But most authorities agree that steel nibs didn’t come in to general use for another twenty years or so, so I used an ordinary goose-quill.

Carmine, for the red illuminated capitals, was a serious headache. Back then, they made it by crushing dried beetles—not just any beetle, but a special kind only found in Maracanto, which is why it was expensive, which is why it was so fashionable as a decoration in manuscripts. These days we get carmine from grinding up a sort of rock they find at certain levels in the mines. Everyone says you can’t tell the difference. I can’t. But by that stage I was in no mood to take chances. Also, I felt a sort of
obligation
. If what I was doing was justified and right, it had to be done
properly
. As luck would have it, in the chemistry stores in the East Building, where nobody goes any more, I found a tiny, dusty old bottle containing six shrivelled, desiccated carmine beetles. For all I know, they could well have been there for three hundred years. With Theogenes open in front of me on the bench, I pounded them very carefully in a pestle, added the other bits and pieces, and came up with a beautiful deep red paste. Genuine authentic carmine ink.

Unfortunately, authentic genuine carmine ink fades over time. The colour I’d seen in the manuscript that Carchedonius had burned was more a sort of reddish-pink. As far as I know, there’s no way of artificially fading the stuff. In the end, I had to mix in finely-ground barley flour and a few drops of aqua orientalis, which gave me precisely the colour I wanted. It wasn’t right, of course. It was an entirely authentic, genuine and period-correct reddish-pink (the recipe is in Theogenes) and therefore, inevitably, a lie. I felt very bad about that, but really, I had no alternative.

As for the words themselves; once again, I was in the invaluable position of being the acknowledged expert. I’ve read every surviving word Aeneas wrote, many times. I know his turns of phrase, his verbal eccentricities, the rhythms and cadences, the pet phrases. That, and I have a really good memory for the written word; if I read something through once, I can usually regurgitate large chunks of it weeks or even months later. From my reading of the
True Discovery
I guess I could remember about a third of it word-perfect. I got that down on paper straight away, then set about filling in the gaps. As far as content goes, I was on pretty firm ground, since so much of what I’d seen in the manuscript was little more than a pre-emptive paraphrase of my own various papers, essays and dissertations. There were one or two things in the original that I couldn’t recall clearly or accurately enough to feel safe about including them, so, reluctantly, I left them out. I resisted the temptation to put in stuff from my own research that Aeneas had somehow neglected to include. I was proud of myself for that. I can see how easy it must be for a diplomat, say, or a commercial agent to overstep his authority in the heat of negotiations. I’d have loved to have put in my pet theory about the little cedarwood box full of crumbly red dust preserved in the archives of the Serio-Beselli at Anax; the family tradition says it was brought back by Aeneas’ ship’s doctor, and I’m convinced it’s a sample of rottenstone (whose properties were unknown until shortly after Aeneas’ return). It’d have been so easy to drop a casual mention of rottenstone, and how my friend the surgeon brought some home with him in a small box. That’s just the sort of throwaway anecdote Aeneas goes in for. But no. That would’ve been wrong, I’d never have forgiven myself.

From start to finish, recreating the manuscript took me seven weeks. I then put it up in the rafters in the roofspace above the Great Hall kitchens; there’s a flaw in the chimney lining, and smoke gets in there. Also, the air up there is very slightly damp and greasy. I’ve noticed that old manuscripts are often a bit clammy to the touch; the
True Discourse
hadn’t been, but I needed a provenance. It had to be something to do with the niece—after all, that had been what actually happened, and the manuscript tradition is in itself a valid subject for scholarship—but I couldn’t think of a convincing way of explaining how I’d got hold of something from the Dorcelli auction. After all, the auctioneer’s clerk would have records of who’d bought what, and my name would be conspicuously absent from it. That meant I’d have to invent a fictitious middleman, or else suborn a dealer in old manuscripts as an accomplice, which I was very reluctant to do. Instead, I decided to work backwards from a passing reference in the Ancusi diaries, which I’d known about for years but never gone into properly; Ortygia Ancusa, about a hundred and seventy years ago, talked about visiting the Dorcelli and expressing interest in some old maps and charts, which Lollius Dorcellus gave her as a gift. Ortygia was an amateur Essecuivo scholar (not a very good one). My theory would therefore be that the bundle of old maps that Lollius gave her included the
True Discourse
. It works, because Ortygia died of pneumonia not long after the visit, so wouldn’t have had time to go through the papers she’d been given and recognise the
True Discourse
for what it was. The papers would’ve been bundled away in the house archive and forgotten about. I’d been given permission to go through the Ancusi papers several years ago, but never got around to it; I happen to know, however, that the bulk of the archive is stored in a loft directly above the main kitchens.