Werther de Goethe, suffering from the knowledge of his, by the standards of his own time, unusual entrance into the world, doubtless felt himself apart from his fellows, though there was no objective reason why he should feel it. (I trust the reader will forgive my abandoning any attempt at a clumsy future tense). In a society where eccentricity is encouraged, where it is celebrated no matter how extreme its realization, Werther felt, we must assume, uncomfortable: wishing for peers who would demand some sort of conformity from him. He could not retreat into a repressive past age; it was well known that it was impossible to remain in the past (the phenomenon had a name at the End of Time: it was called the Morphail Effect), and he had an ordinary awareness of the futility of re-creating such an environment for himself — for he would have created it; the responsibility would still ultimately be his own. We can only sympathize with the irreconcilable difficulties of leading the life of a gloomy fatalist when one's fate is wholly, decisively, in one's own hands!

Like Jherek Carnelian, whose adventures I have recounted elsewhere, he was particularly liked by his fellows for his vast and often naive enthusiasm in whatever he did. Like Jherek, it was possible for Werther to fall completely in love — with Nature, with an idea, with Woman (or Man, for that matter).

It seemed to the Duke of Queens (from whom we have it on the excellent authority of Mrs Persson herself) that those with such a capacity must love themselves enormously and such love is enviable. The Duke, needless to say, spoke without disapproval when he made this observation: "To shower such largesse upon the Ego! He kneels before his soul in awe — it is a moody king, in constant need of gifts which must always seem rare!" And what is Sensation, our Moralists might argue, but Seeming Rarity? Last year's gifts re-gilded.

It might be true that young Werther (in years no more than half-a-millennium) loved himself too much and that his tragedy was his inability to differentiate between the self-gratifying sensation of the moment and what we would call a lasting and deeply felt emotion. We have a fragment of poetry, written, we are assured, by Werther for Mistress Christia:

At these times, I love you most when you are sleeping;

Your dreams internal, unrealized to the world at large:

And do I hear you weeping?

Most certainly a reflection of Werther's views, scarcely a description, from all that we know of her, of Mistress Christia's essential being.

Have we any reason to doubt her own view of herself? Rather, we should doubt Werther's view of everyone, including himself. Possibly this lack of insight was what made him so thoroughly attractive in his own time — le Grand Naif!

And, since we have quoted one, it is fair to quote the other, for happily we have another fragment, from the same source, of Mistress Christia's verse:

To have my body moved by other hands;

Not only those of Man ,

But Woman, too!

My Liberty in pawn to those who understand:

That Love, alone, is True .

Surely this displays an irony entirely lacking in Werther's fragment. Affectation is also here, of course, but affectation of Mistress Christia's sort so often hides an equivalently sustained degree of self-knowledge. It is sometimes the case in our own age that the greater the extravagant outer show the greater has been the plunge by the showman into the depths of his private conscience. Consequently, the greater the effort to hide the fact, to give the world not what one is, but what it wants. Mistress Christia chose to reflect with consummate artistry the desires of her lover of the day; to fulfil her ambition as subtly as did she reveals a person of exceptional perspicacity.

I intrude upon the flow of my tale with these various bits of explanation and speculation only, I hope, to offer credibility for what is to follow — to give a hint at a natural reason for Mistress Christia's peculiar actions and poor Werther's extravagant response. Some time has passed since we left our lovers. For the moment they have separated. We return to Werther…

Werther de Goethe's pile stood on the pinnacle of a black and mile-high crag about which, in the permanent twilight, black vultures swooped and croaked. The rare visitor to Werther's crag could hear the vultures' voices as he approached. "Nevermore!" and "Beware the Ides of March!" and "Picking a Chicken with You" were three of the least cryptic warnings they had been created to caw.

At the top of the tallest of his thin, dark towers, Werther de Goethe sat in his favourite chair of unpolished quartz, in his favourite posture of miserable introspection, wondering why Mistress Christia had decided to pay a call on My Lady Charlotina at Lake Billy the Kid.

"Why should she wish to stay here, after all?" He cast a suffering eye upon the sighing sea below. "She is a creature of light — she seeks colour, laughter, warmth, no doubt to try to forget some secret sorrow — she needs all the things I cannot give her. Oh, I am a monster of selfishness!" He allowed himself a small sob. But neither the sob nor the preceding outburst produced the usual satisfaction; self-pity eluded him. He felt adrift, lost, like an explorer without chart or compass in an unfamiliar land. Manfully, he tried again:

"Mistress Christia! Mistress Christia! Why do you desert me? Without you I am desolate! My pulsatile nerves will sing at your touch only! And yet it must be my doom forever to be destroyed by the very things to which I give my fullest loyalty. Ah, it is hard! It is hard!"

He felt a little better and rose from his chair of unpolished quartz, turning his power ring a fraction so that the wind blew harder through the unglazed windows of the tower and whipped at his hair, blew his cloak about, stung his pale, long face. He raised one jackbooted foot to place it on the low sill and stared through the rain and the wind at the sky like a dreadful, spreading bruise overhead, at the turbulent, howling sea below.

He pursed his lips, turning his power ring to darken the scene a little more, to bring up the wind's wail and the ocean's roar. He was turning back to his previous preoccupation when he perceived that something alien tossed upon the distant waves; an artefact not of his own design, it intruded upon his careful conception. He peered hard at the object, but it was too far away for him to identify it. Another might have shrugged it aside, but he was painstaking, even prissy, in his need for artistic perfection. Was this some vulgar addition to his scene made, perhaps, by the Duke of Queens in a misguided effort to please him?

He took his parachute (chosen as the only means by which he could leave his tower) from the wall and strapped it on, stepping through the window and tugging at the rip cord as he fell into space. Down he plummeted and the scarlet balloon soon filled with gas, the nacelle opening up beneath him, so that by the time he was hovering some feet above the sombre waves, he was lying comfortably on his chest, staring over the rim of his parachute at the trespassing image he had seen from his tower. What he saw was something resembling a great shell, a shallow boat of mother-of-pearl, floating on that dark and heaving sea.

In astonishment he now realized that the boat was occupied by a slight figure, clad in filmy white, whose face was pale and terrified. It could only be one of his friends, altering his appearance for some whimsical adventure. But which? Then he caught, through the rain, a better glimpse and he heard himself saying:

"A child? A child? Are you a child?"

She could not hear him; perhaps she could not even see him, having eyes only for the watery walls which threatened to engulf her little boat and carry her down to the land of Davy Jones. How could it be a child? He rubbed his eyes. He must be projecting his hopes — but there, that movement, that whimper! It was a child! Without doubt!