José Saramago - Baltasar and Blimunda

Baltasar goes down into the valley and makes for home, it is true there is still work to be done before the convent is finished, but since he has had such a long and arduous journey, having come all the way from Santo António do Tojal, remember, in a single day, he is entitled to stop earlier, once the oxen have been unyoked and fed. There are moments when time appears to be slow in passing, like a swallow building its nest in the eaves, it enters and leaves, comes and goes, but always within sight, and both we and the swallow might think that we are bound to go on like this for all eternity, or at least half of it, which would be no bad thing. But suddenly the swallow is there, then gone, it is no longer there, yet I saw it a moment ago, so where can it have disappeared to, as when we look into the mirror and think, Dear God, how time has passed, how I have aged, only yesterday I was the darling of the neighbourhood, and now both darling and neighbourhood are in decline. Baltasar possesses no mirrors, save for these eyes of ours, which watch him descend that mud track leading to the town, and it is they that tell him, Your beard is full of white hairs, Baltasar, your forehead is covered with wrinkles, Baltasar, your neck has become scraggy, Baltasar, your shoulders are beginning to droop, Baltasar, you are a shadow of your former self, Baltasar, but surely this is a question of our failing eyesight, because it is a woman, in fact, who is coming towards us, and where we saw an old man, she sees a young man, who is none other than the soldier whom she once asked, What is your name, perhaps it is not even him she sees but simply this dirty, white-haired, one-handed man, nicknamed Sete-Sóis, coming down the mud track, who, despite his haggard look, is a constant sun in this woman's life, not because he always shines, but because he is so forcefully alive, hidden by clouds and screened by eclipses, but alive, dear God, as arms are outstretched, Whose arms, you may ask, Why, his to her and hers to him, this ageing couple are the scandal of the town of Mafra as they hug each other in the public square, but perhaps because they have never had any children they still think of themselves as being younger than they are, poor deluded creatures, or perhaps they are the only two human beings who see themselves as they really are, which is the most difficult thing of all, and now watching them together, even we can perceive that they have suddenly become physically transformed.

During supper, Álvaro Diogo reveals that the statues must remain where they have been unloaded, for there is no time to set them in their respective niches, the consecration is due to take place on Sunday, and, however carefully they plan or hard they work, there is simply not enough time to put the finishing touches to the basilica, the sacristy has been completed, but the vaults still have to be plastered, and since they look bare it has been decided that they should be covered with hessian dipped in gesso to create the illusion that they have already been plastered and whitewashed, in this way the overall effect will be much more impressive, and even the absence of the dome will scarcely be noticed. Álvaro Diogo knows a great deal about these details, having been promoted from mason to stonecutter, then from stonecutter to carver, and he is held in esteem by his masters and foremen, for he is invariably punctual, hardworking, and reliable, and as capable with his hands as he is willing to please, in no sense can he be compared to the rabble of drovers who disobey orders on the slightest pretext, smell of dung and sweat, while he is covered in marble dust which whitens one's hands and beard and sticks to a man's clothing for the rest of his life. As in the case of Álvaro Diogo, and precisely for the rest of his brief life, because shortly he will fall from a wall that he need never have climbed, since it was not part of his job, to straighten a stone which he himself had dressed and therefore must surely have been cut properly. He will fall to his death from a height of almost thirty metres, and Inês Antónia, who at this moment is so proud of the favourable position her husband holds, will soon turn into a sorrowing widow who will live in fear lest her son meet a similar fate, the afflictions of the poor are never-ending. Álvaro Diogo also informs them that, prior to the consecration of the convent, the novices will be moved to two wings that have already been built over the kitchens, and this piece of news led Baltasar to point out that, since the plaster was still damp and the weather so cold, there was every likelihood of illness among the friars, whereupon Álvaro Diogo replied that there were braziers already burning night and day in the cells that had been completed, but even so, water was running down the walls, And what about the statues of the saints, Baltasar, were they difficult to transport, Not really, the greatest problem was actually loading them, but, with know-how and brute force as well as the patience of the oxen, we finally made it. Their conversation waned as the fire turned to embers in the hearth, Álvaro Diogo and Inês Antónia retired to bed, and we shall say nothing of Gabriel, who was already dozing off as he chewed his last mouthful of food, then Baltasar asked, Would you like to go to see the statues, Blimunda, the sky ought to be clear, and the moon will be up soon, Let's go, she replied.

The night was clear and cold. While they were climbing the slope to the Alto da Vela the moon appeared, enormous and blood-red, outlining first the bell towers, then the irregular projections of the upper walls, and in the distance the crest of the mountain that had been the cause of so much labour and cost so much gunpowder. Baltasar told Blimunda, Tomorrow I'm off to Monte Junto to see how the machine is faring, six months have passed since I was last there, and who knows what I shall find, I'll go with you, It's scarcely worth it, I'm leaving early, and if there's not much to repair, I shall be back before nightfall, I'd better go now, for later there will be festivities to mark the consecration, and if the rain persists the roads will be much worse, Be careful, Don't worry, I shall not be attacked by thieves or savaged by wolves, I'm not speaking about thieves or wolves, About what, then, I'm speaking about the machine, Stop fussing, woman, I shall go and come straight back, you can't ask more than that, Promise me you'll be careful, Don't fret, woman, my time has not yet come, I cannot help fretting, husband, for our time comes sooner or later.

They had walked up to the large square in front of the church, a massive structure that appeared to burgeon from the earth and rise into mid-air as if quite separate from the other buildings. Of the future palace there was nothing but the ground floor, and on either side stood wooden constructions where the religious ceremonies were to be held. It seems incredible that thirteen years of constant toil should have produced so little, the church unfinished, the convent rising to the second floor on two wings of the projected building, but the rest barely to the height of the doorways, and only forty cells ready for occupation whereas three hundred are needed. So little appears to have been achieved, yet it is a great deal, perhaps even too much. An ant advances across the threshing floor and seizes a beard of corn. From there to the ant-hill is a distance of ten metres, less than twenty paces if covered by a man. However, it is not a man making this journey but an ant. Now, the unfortunate thing about this construction at Mafra is that the work is being done by men rather than by giants, and if with this and similar projects, both in the past and the future, the idea is to prove that men are capable of doing the work of giants, then one must accept that it will take them as long as it takes the ant to cross the threshing floor, everything must be seen in its proper perspective, whether it be ant-hills or convents, a foundation stone or a beard of corn.