The Three Eyes (Annotated)

Chapter 2 - THE “TRIANGULAR CIRCLES”-3

MY EMOTION, I AM CERTAIN, was just as great as Noel Dorgeroux's and my heart beat no less violently. My curiosity had reached its utmost bounds; moreover, I had a formidable intuition that I was about to enter into a region of mystery of which nothing, not even my uncle's disconcerting words, was able to give me the remotest idea. I was experiencing the contagion of what seemed to me in him to be a diseased condition; and I vainly strove to subject it in myself to the control of my reason. I was taking the impossible and the incredible for granted beforehand.

And yet I saw nothing at first; and there was, in fact, nothing. This part of the wall was bare. The only detail worthy of remark was that it was not vertical and that the whole base of the wall had been thickened so as to form a slightly inclined plane which sloped upwards to a height of nine feet. What was the reason for this work, when the wall did not need strengthening?

A coating of dark grey plaster, about half an inch thick, covered the whole panel. When closely examined, however, it was not painted over, but was rather a layer of some substance uniformly spread and showing no trace of a brush. Certain gleams proved that this layer was quite recent, like a varnish newly applied. I observed nothing else; and Heaven knows that I did my utmost to discover any peculiarity!

“Well, uncle?” I asked.

“Wait,” he said, in an agonized voice, “wait!... The first indication is beginning.”

“What indication?”

“In the middle... like a diffused light. Do you see it?”

“Yes, yes, I think I do.”

It was as when a little daylight is striving to mingle with the waning darkness. A lighter disk became marked in the middle of the panel; and this lighter shade spread towards the edges, while remaining more intense at its centre. So far there was no very decided manifestation of anything out of the way; the chemical reaction of a substance lately hidden by the curtain and now exposed to the daylight and the sun was quite enough to explain this sort of inner illumination. Yet something gave one the haunting though perhaps unreasonable impression that an extraordinary phenomenon was about to take place. For that was what I expected, as did my uncle Dorgeroux.

And all at once he, who knew the premonitory symptoms and the course of the phenomenon, started, as though he had received a shock.

At the same moment, the thing happened.

It was sudden, instantaneous. It leapt in a flash from the depths of the wall. Yes, I know, a spectacle cannot flash out of a wall, any more than it can out of a layer of dark-grey substance only half an inch thick. But I am setting down the sensation which I experienced, which is the same that hundreds and hundreds of people experienced afterwards, with a like clearness and a like certainty. It is no use carping at the undeniable fact: the thing shot out of the depths of the ocean of matter and it appeared violently, like the rays of a lighthouse flashing from the very womb of the darkness. After all, when we step towards a mirror, does our image not appear to us from the depth of that horizon suddenly unveiled?

Only, you see, it was not our image, my uncle Dorgeroux's or mine. Nothing was reflected, because there was nothing to reflect and no reflecting screen. What I saw was...

On the panel were three geometrical figures which might equally well have been badly described circles or triangles composed of curved circles. In the centre of these figures was drawn a regular circle, marked in the middle with a blacker point, as the iris is marked by the pupil.”

I am deliberately using the terminology which I employed to describe the images which my uncle had drawn in red chalk on the plaster of my room, for I had no doubt that he was then trying to reproduce those same figures, the appearance of which had already upset him.

“That's what you saw, isn't it, uncle?” I asked.

“Oh,” he replied, in a low voice, “I saw much more than that, very much more!... Wait and look right into them.”

I stared wildly at the three “triangular circles,” as I have called them. One of them was set above the two others; and these two, which were smaller and less regular but exactly alike, seemed, instead of looking straight before them, to turn a little to the right and to the left. Where did they come from? And what did they mean?

“Look,” repeated my uncle. “Do you see?”

“Yes, yes,” I replied, with a shudder. “The thing's moving!”

It was in fact moving. Or rather, no, it was not: the outlines of the geometrical figures remained stationary; and not a line shifted its place within. And yet from all this immobility something emerged which was nothing else than motion.

I now remembered my uncle's words:

“They're alive, aren't they? You can see them opening and showing alarm! They're alive!”

They were alive! The three triangles were alive! And, as soon as I experienced this precise and undeniable feeling that they were alive, I ceased to regard them as an assemblage of lifeless lines and began to see in them things which were like a sort of eyes, misshapen eyes, eyes different from ours, but eyes furnished with irises and pupils and throbbing in an abysmal darkness.

“They are looking at us!” I cried, quite beside myself and as feverish and unnerved as my uncle.

He nodded his head and whispered:

“Yes, that's what they're doing.”

The three eyes were looking at us. We were conscious of the scrutiny of those three eyes, without lids or lashes, but full of an intense life which was due to the expression that animated them, a changing expression, by turns serious, proud, noble, enthusiastic and, above all, sad, grievously sad.

I feel how improbable these observations must appear. Nevertheless they correspond most strictly with the reality as it was beheld at a later date by the crowds that thronged to Haut-Meudon Lodge. Like my uncle, like myself, those crowds shuddered before three combinations of motionless lines which had the most heart-rending expression, just as at other moments they laughed at the comical or gayer expression which they were compelled to read into those same lines.

And on each occasion the spectacle which I am now describing was repeated in exactly the same order. A brief pause, followed by a series of vibrations. Then, suddenly, three eclipses, after which the combination of three triangles began to turn upon itself, as a whole, slowly at first and then with increasing rapidity, which gradually became transformed into so swift a rotation that one distinguished nothing but a motionless rose-pattern.

After that, nothing. The panel was empty.