The Phantom Tollbooth - Juster Norton - Страница 14

“To be sure,” continued Alec; “but, as you know, the most important reason for going from one place to another is to see what’s in between, and they took great pleasure in doing just that. Then one day someone discovered that if you walked as fast as possible and looked at nothing but your shoes you would arrive at your destination much more quickly. Soon everyone was doing it. They all rushed down the avenues and hurried along the boulevards seeing nothing of the wonders and beauties of their city as they went.”

Milo remembered the many times he’d done the very same thing; and, as hard as he tried, there were even things on his own street that he couldn’t remember.

“No one paid any attention to how things looked, and as they moved faster and faster everything grew uglier and dirtier, and as everything grew uglier and dirtier they moved faster and faster, and at last a very strange thing began to happen. Because nobody cared, the city slowly began to disappear. Day by day the buildings grew fainter and fainter, and the streets faded away, until at last it was entirely invisible. There was nothing to see at all.”

“What did they do?” the Humbug inquired, suddenly taking an interest in things.

“Nothing at all,” continued Alec. “They went right on living here just as they’d always done, in the houses they could no longer see and on the streets which had vanished, because nobody had noticed a thing. And that’s the way they have lived to this very day.”

“Hasn’t anyone told them?” asked Milo.

“It doesn’t do any good,” Alec replied, “for they can never see what they’re in too much of a hurry to look for.”

“Why don’t they live in Illusions?” suggested the Humbug. “It’s much prettier.”

“Many of them do,” he answered, walking in the direction of the forest once again, “but it’s just as bad to live in a place where what you do see isn’t there as it is to live in one where what you don’t see is.”

“Perhaps someday you can have one city as easy to see as Illusions and as hard to forget as Reality,” Milo remarked.

“That will happen only when you bring back Rhyme and Reason,” said Alec, smiling, for he had seen right through Milo’s plans. “Now let’s hurry or we’ll miss the evening concert.”

They followed him quickly up a flight of steps which couldn’t be seen and through a door which didn’t exist. In a moment they had left Reality (which is sometimes a hard thing to tell) and stood in a completely different part of the forest.

The sun was dropping slowly from sight, and stripes of purple and orange and crimson and gold piled themselves on top of the distant hills. The last shafts of light waited patiently for a flight of wrens to find their way home, and a group of anxious stars had already taken their places.

“Here we are!” cried Alec, and, with a sweep of his arm, he pointed toward an enormous symphony orchestra. “Isn’t it a grand sight?”

There were at least a thousand musicians ranged in a great arc before them. To the left and right were the violins and cellos, whose bows moved in great waves, and behind them in numberless profusion the piccolos, flutes, clarinets, oboes, bassoons, horns, trumpets, trombones, and tubas were all playing at once. At the very rear, so far away that they could hardly be seen, were the percussion instruments, and lastly, in a long line up one side of a steep slope, were the solemn bass fiddles.

On a high podium in front stood the conductor, a tall, gaunt man with dark deep-set eyes and a thin mouth placed carelessly between his long pointed nose and his long pointed chin. He used no baton, but conducted with large, sweeping movements which seemed to start at his toes and work slowly up through his body and along his slender arms and end finally at the tips of his graceful fingers.

“I don’t hear any music,” said Milo.

“That’s right,” said Alec; “you don’t listen to this concert—you watch it. Now, pay attention.”

As the conductor waved his arms, he molded the air like handfuls of soft clay, and the musicians carefully followed his every direction.

“What are they playing?” asked Tock, looking up inquisitively at Alec.

“The sunset, of course. They play it every evening, about this time.”

“They do?” said Milo quizzically.

“Naturally,” answered Alec; “and they also play morning, noon, and night, when, of course, it’s morning, noon, or night. Why, there wouldn’t be any color in the world unless they played it. Each instrument plays a different one,” he explained, “and depending, of course, on what season it is and how the weather’s to be, the conductor chooses his score and directs the day. But watch: the sun has almost set, and in a moment you can ask Chroma himself.”

The last colors slowly faded from the western sky, and, as they did, one by one the instruments stopped, until only the bass fiddles, in their somber slow movement, were left to play the night and a single set of silver bells brightened the constellations. The conductor let his arms fall limply at his sides and stood quite still as darkness claimed the forest.

“That was a very beautiful sunset,” said Milo, walking to the podium.

“It should be,” was the reply; “we’ve been practicing since the world began.” And, reaching down, the speaker picked Milo off the ground and set him on the music stand. “I am Chroma the Great,” he continued, gesturing broadly with his hands, “conductor of color, maestro of pigment, and director of the entire spectrum.”

“Do you play all day long?” asked Milo when he had introduced himself.

“Ah yes, all day, every day,” he sang out, then pirouetted gracefully around the platform. “I rest only at night, and even then theyplay on.”

“What would happen if you stopped?” asked Milo, who didn’t quite believe that color happened that way.

“See for yourself!” roared Chroma, and he raised both hands high over his head. Immediately the instruments that were playing stopped, and at once all color vanished. The world looked like an enormous coloring book that had never been used. Everything appeared in simple black outlines, and it looked as if someone with a set of paints the size of a house and a brush as wide could stay happily occupied for years. Then Chroma lowered his arms. The instruments began again and the color returned.

“You see what a dull place the world would be without color?” he said, bowing until his chin almost touched the ground. “But what pleasure to lead my violins in a serenade of spring green or hear my trumpets blare out the blue sea and then watch the oboes tint it all in warm yellow sunshine. And rainbows are best of all—and blazing neon signs, and taxicabs with stripes, and the soft, muted tones of a foggy day. We play them all.”

As Chroma spoke, Milo sat with his eyes open wide, and Alec, Tock, and the Humbug looked on in wonder.

“Now I really must get some sleep.” Chroma yawned. “We’ve had lightning, fireworks, and parades for the last few nights, and I’ve had to be up to conduct them. But tonight is sure to be quiet.” Then, putting his large hand on Milo’s shoulder, he said, “Be a good fellow and watch my orchestra till morning, will you? And be sure to wake me at 5:23 for the sunrise. Good night, good night, good night.”

With that he leaped lightly from the podium and, in three long steps, vanished into the forest.

“That’s a good idea,” said Tock, making himself comfortable in the grass as the bug grumbled himself quickly to sleep and Alec stretched out in mid-air.

And Milo, full of thoughts and questions, curled up on the pages of tomorrow’s music and eagerly awaited the dawn.

11. Dischord and Dynne

One by one, the hours passed, and at exactly 5:22 (by Tock’s very accurate clock) Milo carefully opened one eye and, in a moment, the other. Everything was still purple, dark blue, and black, yet scarcely a minute remained to the long, quiet night.