The Project Gutenberg eBook of The great illusion
This ebook is for the use of anyone anywhere in the United States and
most other parts of the world at no cost and with almost no restrictions
whatsoever. You may copy it, give it away or re-use it under the terms
of the Project Gutenberg License included with this ebook or online
at www.gutenberg.org. If you are not located in the United States,
you will have to check the laws of the country where you are located
before using this eBook.
Title: The great illusion
Author: Manly Bannister
Release date: April 12, 2024 [eBook #73383]
Language: English
Original publication: New York, NY: Headline Publications, Inc, 1956
Credits: Greg Weeks, Mary Meehan and the Online Distributed Proofreading Team at http://www.pgdp.net
*** START OF THE PROJECT GUTENBERG EBOOK THE GREAT ILLUSION ***
THE GREAT ILLUSION
By MANLY BANNISTER
_illustrated by_ KELLY FREAS
There was something phony about the whole set-up on
that planet. Their culture was counterfeit. But why
did they go to so much trouble to put on their act?
[Transcriber's Note: This etext was produced from
Super-Science Fiction February 1957.
Extensive research did not uncover any evidence that
the U.S. copyright on this publication was renewed.]
Cliff Rowley's lean jowls beaded with sweat in the stagnant warmth of
the tent. He tapped a bony finger on the camp table and glared at the
communicator.
"Clear out in a week! _Why?_"
Commander Waldo Spliid's tired voice trickled from the communicator
grid. Rowley would have appreciated video hook-up now. He wondered how
Spliid's features portrayed his thoughts.
"Here's final classification on Hume, Cliff. Category two X sub one."
"Closed world!" Rowley groaned. "We've only been here three months!"
"Eleven men in the field, Cliff. You're the odd ball. Everybody else
is satisfied. Hume is only a step above savagery in culture. Top rating
is satisfied. I don't like the conflicting picture of it, myself,
but...."
"Nor I," Rowley stabbed. The look in his hazel eyes hardened.
"You wouldn't," Spliid said calmly, "even without seeing the reports.
You're a percie, Cliff--our only psi-sensitive on Hume. But you've got
to do a lot more than you've done yet to impress top rating. They're
keener on the things you can't do than the things you can."
"A few more months, Commander...."
"A week, Cliff. Seven days. Get in and dig for all you're worth."
"Me and my little psychic shovel," Rowley commented bitterly.
A hum came out of the comm. Somewhere, far above the atmosphere of
Hume, the Survey ship, with Spliid on board, cruised among the stars.
"Clean up any questions you can," Spliid went on. "Bring your notes
up to date. The pilot boat will pick you up ... let's see ... this is
Wednesday ... Wednesday for us, anyway. Next Wednesday, then. Have
everything ready to load. And keep on reporting."
Rowley started to retort, thought better of it. He switched off the
comm.
Well, that did it. They'd had it, as far as Hume was concerned. And the
puzzle still stared him in the face--_him_, Rowley, the boy who was
going to do great things, like with teleconscious apprehension, with
psychometry, with....
Psi-sensitives were new in the Galactic Ethnological Survey
Corps--Galethsurv in the cryptic, telegraphic coding of service
vernacular. Spliid had not been sarcastic when he had called Rowley a
"percie", the abbreviated, half-humorous, half-scornful, scuttle-butt
designation for the percipients.
Percipiency was still too new in the ethnological service to evaluate.
A percie had hunches and feelings he was supposed to follow. Sometimes,
it seemed, a percipient vaulted completely over painful steps of
reasoning and "cogged" a conclusion that was often correct. The ability
could be valuable, if properly used. That's where Rowley's harness
rubbed. His wasn't being used.
He _knew_ something was wrong on Hume. But if Galethsurv wanted to
overlook his recommendation for further study, it should be no concern
of his.
But he couldn't run away from a problem that challenged him to solve it.
* * * * *
Long grass swished against his calves as he strolled thoughtfully down
toward the village of thatched, stone houses, bathed in the pink glow
of a setting sun. Blue smoke curled lazily over stone chimneys, and
even from this distance, he could hear the sharp, shrill voices of
children raised in play. He took in the scene with a single glance, the
stream running beside the village, the small, brown figures darting
about the grassy lanes.
The village was nestled in a hollow of the rolling land. Beyond it and
stalking around it to enclose it in a clasp of balsam, lay the great
pine forest of Hume. Not really pine, but an other-world equivalent of
it, each tree spaced a precise, geometrical distance from its neighbor,
towering toward flecks of burnt-orange and mauve-colored clouds in the
aquamarine sky.
The forest of Hume was gigantic, mystifying. It challenged the mind. It
covered the whole land surface of Hume with its geometrical spacing of
trees. And the people who populated Hume called themselves Keepers of
the Trees.
Rowley tried to grasp the fact that what he saw here was almost
endlessly repeated over the broad face of Hume. Why did he think that
the _real_ culture of Hume was otherwise than what he saw? A thousand
thousand villages, purpling in the swift-rushing sunset ... a myriad of
slender semi-savages, who spent their lives tending the trees. If he,
Rowley, could perceive more than other men, then what did he perceive
here? He wished he knew.
What _was_ the real culture? What lay behind this facade? Why did he
think the impressions of his ordinary senses reported only the outward
effect of a mere stage play? It was a mighty big play, performed for a
very small audience--the eleven investigators for Galethsurv. How could
he get to the bottom of the puzzle in the few days remaining, with no
more guide than an inexplicable "feeling" of falseness? Time was so
short!
The illusion of reality in the village was strong enough to overwhelm
him. Teramis was scratching in his garden while the light faded from
the sky. He waved and called out to Rowley as he went by. Teramis
had spent the day, with the rest of the villagers, among the trees,
removing moss and insects, clipping dead branches ... why?
Shy, big-eyed little kids, showing brown where they weren't clothed,
ran in the grassy streets. Unusually--unnecessarily--clean for the
offspring of a semi-savage people, he thought.
Tsu was drawing water from the creek as he came up. She paused,
holding the water jar against youthful breasts, restrained under the
taut fabric of her yellow sarong. Like others of her race, she was
surpassingly slender, breathtakingly beautiful in the liquid melody of
her movements. Her face was long, tanned, glowing with the ripeness of
youth. Her eyes, long, tip-tilted, were lidded with mystery, and her
black hair was substanceless shadow caressing her shoulders.
It almost came to him as he looked at her, greeted her. Did Tsu look
the part of a shy, savage maiden of the wild? He had to admit that she
did ... she looked like an over-enthusiastic video casting director's
idea of category two X sub one maidenhood.
The implications slipped from his mind as she clasped his hand. The
warm flesh of her palm felt firm against his.
An electric tingle wriggled up his arm. Not even the rigor of his
emotional conditioning could have prevented that much. It was not good
for field men to be bothered by emotions. It made their work difficult;
they found wives on sub-standard worlds and wanted to bring them out
to civilization; or, they reverted to the wilds themselves with their
mates. The Corps conditioned its men against anything like that, so
that emotional vagaries could not disturb the single-mindedness trained
into them--to discover and interpret in the field.
"Good evening, _sintaha_ Rowley," Tsu said.
He followed her into the house she shared with Smarin and Torl, her
parents. They greeted Rowley warmly, slim, smiling, happy as usual.
It was a stage play, performed for his benefit. He moved around among
the actors, but he was not an actor himself. He was the audience.
Rowley had been in this house often, always with a haunting sense of
wrongness. He knew it as well as he knew his own tent. Living room,
kitchen, two bedrooms and quarters for bathing. Clean people, the
natives of Hume.
Rowley sat on the stone stoop and contemplated the gathering shadows.
Tsu came out and sat close beside him. He asked her again about the
trees, why the people tended them.
"It is proper to tend the trees, _sintaha_ Rowley. We have done so
always."
Was she evading? Or did he fully understand her language, simple as it
was? He had learned it quickly, and had wondered at the time that it
was so similar in grammar and syntax to his own. An odd coincidence--or
deliberate casting, to impress the play more easily on the audience?
"Tomorrow," he said, "I should like to learn more about the trees."
"If it will please you," she said.
* * * * *
Another sun was setting. Another day had gone to join the fruitless
ones preceding it. The expedition among the trees had told him
nothing. Everything was the same as Tsu had explained several times
before. His alerted senses found no discrepancy. He was disappointed,
and he said as much in his evening report to Commander Spliid.
"It adds up," Spliid said encouragingly.
Rowley felt a glow.
"You get it?"
"No, frankly. But top rating must have the right slant. Where does
percipiency leave off and old fashioned imagination begin? You're
functioning like a percie, even when there's nothing to perceive."
"I thought _you_ weren't satisfied...."
"I'm not a percie, Cliff. Any dissatisfaction I may feel is aroused by
the conflicting reports of the field men. Anyway, we can probably clear
that up in the correlating department."
Rowley's heart sank. "You _are_ satisfied!"
The speaker hummed. Spliid said, flatly, "I've got to be. Everybody
else is ... except you."
Rowley grunted. "Six days! I'll try to uncover something."
Spliid's voice sounded worried. "I hate this, Cliff. Your talents can
be valuable to the Corps. We deal in cubic parsecs of space and aeons
of time. It takes more than ordinary reasoning power to cope with it."
"I believe you mean it," Rowley said.
"I do. So what's Hume? One world in millions."
Rowley's switched him off. He bit his lip. It was Galethsurv's
purpose to make single, cohesive sense out of the patch-work, and
tatterdemalion shreds of human culture that had been systematically
turned up in the galaxy. Where did the culture of Hume fit into that
overall pattern?
Galethsurv believed that the distribution of mankind among the stars
had not been accident. Where, then, had Man originated? It was
important to know. Remembrance of yesterday points the way toward a
more highly educated guess about tomorrow. Someday, Man would find out
if--or _why_--he had been deliberately seeded among the stars. And
then...?
* * * * *
"_Sintaha_ Rowley, are you not also Keepers of the Trees on your own
world?"
Tsu was so earnest with the question, Rowley was surprised. He made a
wry grimace, half humorous.
"Of course, we grow trees for fruit, for shade and beauty, to cut down
and make lumber for houses...."
She drew away from him, rigid, trembling.
"_You cut down trees!_"
He hadn't meant to make that slip. He knew her feeling for trees. Her
look accused him.
"I don't understand your attitude," he said lamely.
"Nor do I understand yours." She brooded silently. "It is different, I
suppose, on other worlds. The trees are different."
They sat in the lush grass, on the hillside below his tent. The toy
village lay at their feet, a cardboard set in miniature.
"Your people puzzle us, Tsu. You are too different from us...."
"We have tried to make it easy for you," she murmured.
Easy? Too easy, he thought. It was all too plain, too easy to
understand. That's why he couldn't understand a bit of it.
"We hope," he went on, "that by studying your world and others like it,
we may some day better understand the whole universe...."
"Or reach a better understanding of your own thoughts?"
She smiled. Her long eyes lidded heavily with amusement.
"Wherever we go," he continued doggedly, "we find people like
ourselves. Human beings. They are born; they grow up; they die. Human
culture is built around the processes of living and dying. Our beliefs
and actions stem from those facts--that we live and that we die. We are
emotionally affected by them. Sometimes, we know great happiness. Then
we remember that we die, and we suffer sorrow. I have seen no sadness
in your village. Everybody is happy. It ... it isn't natural. I wonder
how you would act if one of you were to die...."
She stirred restlessly, movement restricted by her clinging sarong.
"One of us will die for you," she said simply, "if you wish to study
it."
Sudden shock hammered at his brain. What a thing to say! What did she
mean? Was she really as simple as her language seemed to indicate? He
felt embarrassed.
"Tsu, you know I didn't mean...."
His eye caught a flicker of movement among the brown trunks of the
trees. A slim figure left their shadow, picked its way uphill through
the grasses, toward them. Rowley recognized Smarin, Tsu's father.
Smarin's slim ascetic face was expressionless, his long eyes hooded.
"Torl fell from the tree," he said. "Torl is dead. Come, Tsu."
Rowley felt hair prickle at the back of his neck. It seemed that Smarin
had come out, strictly on cue. Then he realized that Smarin had meant
it. The shock of a moment before intensified, expanded, pressurized
itself into every cell of his brain.
"Oh, no!" he said.
Tsu got lithely up. She looked down at him, lips drawn, eyes lidded
with slumbering sorrow.
"It was your wish, _sintaha_ Rowley. Come with us. Study and learn...."
* * * * *
"It could have been an accident," Rowley reported over the comm, "but I
have a feeling it was staged."
"You saw the dead woman?"
"She was dead, all right. They let me see that she was dead, then they
buried her--at the foot of the tree. No ceremony. Shallow grave--not
over a foot and a half deep."
"Then what?"
"Then they all went back to tending the trees. Tsu seemed happy as hell
about the whole thing. She hoped I had learned what I wanted, she said."
"I'm interested," Spliid broke in. "I'm coming down tonight, Cliff."
"Where are you now?"
"About a thousand miles east of you. I looked in on Stephans this
afternoon. I'll get down there after dark."
Sunsel glowed an arabesque of colors on the village at Rowley's feet.
The comm was silent. He switched it off.
Commander Waldo Spliid was a big, blond man. He bulked hugely at
Rowley's side, among the intense shadows of the trees. Hume had no
moon. Only the stars spattered a frail shine over the upper levels of
the forest.
Rowley said, softly, "Here's the grave."
Spliid flashed a light, briefly.
"What did they dig it with?"
"Spade--shovel."
"Steel blade?"
"Iron, anyway. I reported on that I don't know where they get metals."
Spliid flashed his light again, grunted.
"No marker."
Rowley nodded. "That's right. I thought about it at the time and
wondered. I thought of mentioning it to Tsu. Know why I didn't?"
Spliid grunted again.
"I thought, if I did, somebody would come out of the trees, bringing a
marker. Probably two sticks tied in a cross. Get what I mean?"
"Gimme the shovel," said Spliid.
Rowley handed him the collapsible entrenching tool he had been
carrying. The Commander bent his back, scooped at the dirt. He worked
swiftly, carefully, almost silently.
"About eighteen inches deep, you said?"
"About."
Spliid fell to again. The metal blade chinked dully on moist clods.
After a time, Spliid flashed his light again. His free hand entered
the cone of yellow shine, prodded the moist dirt. He was on his knees,
reaching far down into the hole he had dug.
"I've gone by loose dirt," he puffed. "There's no body here, Cliff."
"She was dead and I saw them bury her," Rowley insisted stubbornly.
"Maybe hypnotism. I felt they were putting on a show for me. I keep
asking myself why, and then I turn to the facts."
"What facts?"
"Why...." Rowley hesitated. "Hume has been classified a closed world.
I think that's what they want. If this world had been uninhabited when
Exploration turned it up, Colonisation would be surveying it now for
settlement. If the population had a civilization above Class G, we'd
be arranging to bring them up to the technological level of the rest of
the galaxy. But we shut a two X sub one world away from contact with
the galaxy to avoid disturbing the natural progress of the natives. How
many thousands of years before Hume will be ready? Somehow, I feel they
know more about us than we think they do ... and they're only too happy
to be left to themselves."
"Rubbish! Why?"
"Why do they want it, or why do I think so? I don't know the answer
either way. If you've ever seen a stage play, you'll understand what
I mean. Everything about a stage play is phoney. You watch the play,
knowing it isn't real. The scenery and backdrop are just painted
imitations. All right--but the actions of the characters on the stage
serve something like a catalyst. Your faculties of critical observation
are suspended, and the play becomes real. For the time of the play, you
are caught up in the illusion of reality that grips you. That's the
way it is here on Hume.
"You look around you in the broad light of day. You see a pastoral
idyll. Everybody's happy. Everybody gets along with everybody else.
All the people are beautiful, agreeable and kind. They have a simple
culture, too far down the scale to admit to intercourse with the rest
of the galaxy.
"Look twice, though, and you see something else...."
"All right," said Spliid. "Let's get back to camp."
The sloping canvas top of Rowley's tent bulked dimly in the starlight.
Spliid laid a heavy hand on Rowley's arm.
"I've been thinking, Cliff. There was never a body in that grave."
Rowley started. "Never was?"
"Don't ask me. It's your idea, with talk of stage plays and phoney
accidents. You made me feel it. I come down to find out. You've been
the victim of something ... I don't know what. Are you comforted?"
"No. If only we had more time!"
"We've got a few days," Spliid reassured him. "You've got a good idea
in that stage play simile. But the actors aren't very good, and the
directing is abominable. It takes a lot of rehearsal to make a good
play, Cliff."
For a long time after the pilot boat drifted down from the upper air
and whispered away toward the stars with Commander Spliid, Rowley stood
brooding, looking down into the pool of shadows hiding the village.
Stage play. Actors. What happens to the scenery when the audience goes
home? Rowley shrugged and went to bed.
* * * * *
In the morning, Rowley stirred together an unpalatable breakfast, then
went down into the village. The natives were already stirring. Children
ran in the grassy streets. The solid stone of the houses gleamed white
and gray, streaked and spotted with brown, crumbling at the corners.
The thatched roofs were ochre, glistening blue-grey with dew.
Painted scenery? The slender, racing children--hired extras? And
Tsu--the leading lady?
He felt miserable about disturbing Tsu and Smarin today. It was
intrusion on their period of mourning. Did they mourn on Hume?
There was nothing of mournful bereavement about the little stone house,
gay in the sunshine, with its clustering border of purple, rose and
yellow flowers. The inside was dark-brown dim, but he caught a glimpse
of movement. He stepped to the door, leaned with his hand on the jamb,
waiting to be noticed.
"_Sintaha_ Rowley! Good morning. Here is Tsu."
Rowley dug his nails into the door post. Tsu came out skipping, but he
was unaware of her. Torl ... Torl who was dead yesterday ... smiled at
him and retreated into the interior.
Tsu took his hand, brushing against him with her usual easy
familiarity. He realized that his fingers trembled in her grip.
He said, hoarsely, "That was Torl ... in there!"
Tsu laughed up into his face, long eyes bright.
"Why not? It is Torl's house, too!"
"But ... but ... yesterday...." He couldn't bring himself to say that
yesterday Torl had died and he had seen her buried.
Tsu seemed to divine the thought in his mind.
"Yesterday was yesterday, _sintaha_ Rowley. Yesterday, Torl died, and
you saw how it was. We hope you could make a good report of it."
He was silent as they walked. He stole occasional glances at her,
wondering. Somehow, the death and resurrection of Torl provided a key.
His brain was swamped with conjecture.
* * * * *
They left the village and climbed the hill. He had meant to sit with
Tsu and Smarin, to share their grief a while this morning, if they
would let him. Why he walked now, he could not say, save that his brain
was in a whirl. And Tsu accompanied him gaily, chattering nonsense
about the death of her mother.
He stopped, looked at the village below. While they were here, he would
ask Tsu for information about who lived where. He had already sketched
the village from his tent. He would write in the information as an
addition to his notes.
A thought struck him. Why label the props on the stage set? Labels
meant nothing ... unless you could see the set from the wings. It would
help, if he could do that.
"Let's sit here, Tsu," he said.
She sat, obediently, among the tall grasses, folding slim, long legs
under her like a child. He sat at her side, noting with relief that a
slight hump in the slope hid the village from sight. He took her hand
in his.
"I have thought of something," he said carefully. "Tell me about the
children. Let's take Yanek ... is that his name? He lives in the house
next to you. How old is he?"
She regarded him from the corners of her long eyes.
"Old? Yanek is as old as a child. He is as old as he is."
"How old is Yanek in years?"
She hesitated, biting her lip in puzzlement. "There is always Yanek,
_sintaha_ Rowley. Why should there be anything about him of years?"
She didn't know what he was talking about. Rowley felt excitement creep
along the channels of his veins.
"Can you remember when Yanek was born?"
The look in her eyes made his heart pound harder. She was alarmed!
He pressed on, relentlessly. "Yesterday, Torl died. Today, she lives.
You do not understand a simple thing like age. You do not remember when
Yanek was born, but he is not over seven or eight. Tsu ... tell me ...
are you and your people immortal?"
There was an anguish in his tone that made her drop her eyes.
"No," she said, without moving her lips.
That was the truth. His inner sense told him it was. And the truth
was disappointing. What had he expected? The key to immortality? The
Fountain of Youth? Men had sought it in ages past and never found it.
His thoughts darted. "If you cannot remember Yanek being born, perhaps
he was not born. Yet, you have families. There must be love...."
"Love, yes! We love each other, we love our world, our trees...."
"And if a young man loved you, Tsu, how would he say it?"
His heart was pounding fiercely now. A fierce zeal possessed him that
was not born of her nearness, the intimacy of their seclusion. His
conditioning against emotional storms had been too thorough for him to
break it now. It was something else that possessed him--the excitement
of the hunter viewing the first, sparse tracks of the game he seeks.
He had asked. It all depended now on her answer, for the mystery was
coming clear to him.
Her long eyes were heavy-lidded, candid, without guile.
"How would he among your people, _sintaha_ Rowley?"
He thought, wildly, _she doesn't know!_ He thought, she is
inexperienced. He thought again, she would _never_ know, unless...."
He slipped an arm around her bare shoulders and drew her to him.
"Like this," he said, looking down into her tip-tilted eyes.
Then he kissed her. Her sarong slipped....
* * * * *
"I am unhappy with you, Cliff," Commander Spliid said with chilly
formality. Rowley leaned back in his chair in Spliid's office aboard
the Survey ship. Spliid laid his pipe in the tray on his desk. He said,
"What happened to your daily reports?"
Rowley stuffed his own pipe, lit it.
"I thought you knew. I didn't make any."
Spliid's look of exasperation wavered and dimmed through the swirls of
blue smoke. It was all over now, and Rowley felt no sense of hurry.
Hume was a pinpoint of light in the star-carpeted vestibules of space
behind them. In another hour, they would shift into overdrive. Hume
would vanish from their lives forever.
"I assume," he said, "that Hume is now officially closed."
Spliid nodded. He fixed questioning gray eyes on Rowley.
"Good," said Rowley. "That's the way it will always be."
"Always?" Spliid fumbled with his pipe. "For our life-times, maybe...."
"Always," Rowley repeated. He drew on his pipe, enjoying the luxury of
keeping the Commander's curiosity at bay. "Human beings have no place
on Hume. I found that out the day after you dropped in on me. That's
why I made no reports. I just sat around, waiting for the pilot boat."
Spliid held a lighter to the dark-stained bowl of his pipe.
"So you're satisfied now, too?"
Rowley nodded noncommittally. "At first," he said distantly, "I
imagined crazy things--like a super-advanced race living underground,
giving us the bum's rush with a play-show they had rigged up."
"And you found out you were wrong," suggested Spliid.
"I found out I was partly right."
"I won't buy supermen living in caves, Cliff."
"Neither would I. The next crazy thing I thought was that the natives
were immortals and they didn't want us to share in it. Silly, huh?"
"Pretty silly," Spliid agreed drily.
"I knew they wanted to get rid of us," Rowley went on earnestly. "I
could feel it. But why? Most inferior races we run against _want_
contact with the galaxy...."
"They want refrigerators and washing machines, tractors, railroad
trains and automobiles," Spliid interrupted. "If we gave them, their
culture would go to pot in a generation. There's a reason for our
methods."
"A lot of little things about Hume didn't jibe," Rowley continued.
"Bathrooms, for instance."
"No bathrooms on Hume?" Spliid grinned.
"_Bath_ rooms, yes. Just bathing went on in there. And outside, where
the little house in back ought to be ... nothing." Rowley tamped the
ashes in his pipe, withdrew a blackened finger. "We take that sort of
thing for granted, you know. We assume proper facilities are around
someplace and don't give them a second thought. They weren't present in
the stage setting because they weren't needed."
"Come, now...!"
"Fact. Another fact: grass growing in the streets. The way those kids
played on it, it would have been worn away in a week. Slim evidence,
but it's part of the picture."
* * * * *
"What I'm interested in," said Spliid, "is the death. Did you learn
what they did with the body?"
"You were right," Rowley said. "There wasn't any. I saw Torl the next
day, alive and kicking. That's what put me off on the immortality
tangent."
Spliid grunted. "Another act in the play?"
"Yes, and badly directed. The director didn't understand death as we
do."
Spliid shook himself. "Now, wait...!"
"Honest and truly. How do we think of death--most of us? We believe in
somehow living on after death takes place--immortality of the soul. Can
you visualize how a stage director who didn't understand that concept
would cast it?"
"What do you think I am, a percie? Get on with it."
"Consider this, then. I gambled with my emotional adjustment
conditioning. There was one angle I hadn't exploited, because of that
conditioning. Sex."
"If you are trying to tell me you unloaded the conditioning _we_ give
you," Spliid interrupted, "I won't believe it!"
"No--I wouldn't. But, in the interest of ethnological investigation, I
_could_ grab a kiss. So I did."
"I see," drily.
"Not yet, you don't. I got no reaction. Like embracing a tree. Anyway,
I kissed her. Somehow...." He hesitated. "Her garment...."
"No wonder you made no report," growled Spliid. "Believe me, Cliff, I'm
going to have that conditioning process looked into!"
Rowley laughed, briefly. "No need for that. It's sound. You'll be
interested in what that slipping garment revealed."
"Another time, another place...."
"I saw a perfect, living statue!"
Spliid's eyes alerted. "A what?"
Spliid relaxed. "I think I know what you mean. Go on."
Rowley drew heavily on his pipe. A brooding look shadowed his lean face.
"I learned about Yanek then. I learned about Tsu and Smarin and Torl
and all the rest of them. If we weren't such damned prudes, Commander,
and I had flipped a sarong sooner, we'd have found everything out long
ago. You've heard about the sinner who was told he could remain in
Heaven only on condition he could pick Adam out of the crowd? He chose
the only man he could find ... without a navel."
"Maybe they lay eggs," Spliid suggested. "Oviparous."
Rowley gave him a look of humorous scorn. "Do statues lay eggs?"
Spliid's expression cleared. "By God! Now I _really_ understand you!"
"The natives of Hume couldn't reproduce in any manner. Naturally, I
wanted to know why. And the answer came to me--protective coloration
... camouflage!"
"Apparent. Camouflage for what?"
"You've heard the expression, if you can't lick 'em, join 'em...?"
"Sure, but...."
"But suppose you can't join 'em, either?" Rowley laughed, excitedly.
"You make like something they want to protect!... Know anything about
dryads, Commander?"
Spliid snorted. "Supernatural creatures that live in trees? Dryads
don't exist!"
"Neither do the people of Hume."
Spliid looked at him in such a way Rowley felt his sanity was being
weighed.
* * * * *
"Suppose you were a native of Hume, and some alien beings came along.
You could read their minds. You'd know right off they wouldn't
recognize you as a life-form like themselves. They might move right in
and destroy you without knowing it, and you would be unable to defend
yourself. That was actually the situation on Hume, and we were the
aliens. So the natives pretended they were a type of life-form we want
to protect."
"How was it done?" Spliid wanted to know.
"Mental projection. After the directors of the play read our minds,
they tried to reproduce what they found there. They slipped on the
points I mentioned, because those things meant little or nothing to
them. But they were enough to rob the play of its semblance of reality.
"Tsu, Smarin, Torl ... even the village itself ... were all
imaginary--not something we _thought_ we saw, but solidified mental
projections of the thoughts the natives had gleaned from our minds."
"I'm just beginning to see the real value of your talents, Cliff."
"Thanks," Rowley acknowledged briefly. "If _we_ have the right to
exclude inferior cultures from contact with us, a superior culture must
certainly have an equal right to exclude us from contact with theirs."
Spliid wagged his head, half smiling. His pipe had gone out and he
puffed at it without effect.
"I've been waiting for you to tell me who these 'directors' are," he
said.
Rowley grinned. "You won't believe this. The directors needed something
to keep their play actors busy ... some logical occupation of their
time. What could they find more logical--to them--than taking care of
trees? Because the directors themselves are the trees--the living,
intelligent forest of Hume. Fantastic, isn't it?"
Spliid sighed as if deeply gratified.
"If it weren't for one thing even more so, I'd say it was the most
fantastic thing I ever heard of."
"What's more fantastic than intelligent trees?"
"Human beings," said Spliid.
THE END
*** END OF THE PROJECT GUTENBERG EBOOK THE GREAT ILLUSION ***
Updated editions will replace the previous one—the old editions will
be renamed.
Creating the works from print editions not protected by U.S. copyright
law means that no one owns a United States copyright in these works,
so the Foundation (and you!) can copy and distribute it in the United
States without permission and without paying copyright
royalties. Special rules, set forth in the General Terms of Use part
of this license, apply to copying and distributing Project
Gutenberg™ electronic works to protect the PROJECT GUTENBERG™
concept and trademark. Project Gutenberg is a registered trademark,
and may not be used if you charge for an eBook, except by following
the terms of the trademark license, including paying royalties for use
of the Project Gutenberg trademark. If you do not charge anything for
copies of this eBook, complying with the trademark license is very
easy. You may use this eBook for nearly any purpose such as creation
of derivative works, reports, performances and research. Project
Gutenberg eBooks may be modified and printed and given away—you may
do practically ANYTHING in the United States with eBooks not protected
by U.S. copyright law. Redistribution is subject to the trademark
license, especially commercial redistribution.
START: FULL LICENSE
THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
To protect the Project Gutenberg™ mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase “Project
Gutenberg”), you agree to comply with all the terms of the Full
Project Gutenberg™ License available with this file or online at
www.gutenberg.org/license.
Section 1. General Terms of Use and Redistributing Project Gutenberg™
electronic works
1.A. By reading or using any part of this Project Gutenberg™
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or
destroy all copies of Project Gutenberg™ electronic works in your
possession. If you paid a fee for obtaining a copy of or access to a
Project Gutenberg™ electronic work and you do not agree to be bound
by the terms of this agreement, you may obtain a refund from the person
or entity to whom you paid the fee as set forth in paragraph 1.E.8.
1.B. “Project Gutenberg” is a registered trademark. It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement. There are a few
things that you can do with most Project Gutenberg™ electronic works
even without complying with the full terms of this agreement. See
paragraph 1.C below. There are a lot of things you can do with Project
Gutenberg™ electronic works if you follow the terms of this
agreement and help preserve free future access to Project Gutenberg™
electronic works. See paragraph 1.E below.
1.C. The Project Gutenberg Literary Archive Foundation (“the
Foundation” or PGLAF), owns a compilation copyright in the collection
of Project Gutenberg™ electronic works. Nearly all the individual
works in the collection are in the public domain in the United
States. If an individual work is unprotected by copyright law in the
United States and you are located in the United States, we do not
claim a right to prevent you from copying, distributing, performing,
displaying or creating derivative works based on the work as long as
all references to Project Gutenberg are removed. Of course, we hope
that you will support the Project Gutenberg™ mission of promoting
free access to electronic works by freely sharing Project Gutenberg™
works in compliance with the terms of this agreement for keeping the
Project Gutenberg™ name associated with the work. You can easily
comply with the terms of this agreement by keeping this work in the
same format with its attached full Project Gutenberg™ License when
you share it without charge with others.
1.D. The copyright laws of the place where you are located also govern
what you can do with this work. Copyright laws in most countries are
in a constant state of change. If you are outside the United States,
check the laws of your country in addition to the terms of this
agreement before downloading, copying, displaying, performing,
distributing or creating derivative works based on this work or any
other Project Gutenberg™ work. The Foundation makes no
representations concerning the copyright status of any work in any
country other than the United States.
1.E. Unless you have removed all references to Project Gutenberg:
1.E.1. The following sentence, with active links to, or other
immediate access to, the full Project Gutenberg™ License must appear
prominently whenever any copy of a Project Gutenberg™ work (any work
on which the phrase “Project Gutenberg” appears, or with which the
phrase “Project Gutenberg” is associated) is accessed, displayed,
performed, viewed, copied or distributed:
This eBook is for the use of anyone anywhere in the United States and most
other parts of the world at no cost and with almost no restrictions
whatsoever. You may copy it, give it away or re-use it under the terms
of the Project Gutenberg License included with this eBook or online
at www.gutenberg.org. If you
are not located in the United States, you will have to check the laws
of the country where you are located before using this eBook.
1.E.2. If an individual Project Gutenberg™ electronic work is
derived from texts not protected by U.S. copyright law (does not
contain a notice indicating that it is posted with permission of the
copyright holder), the work can be copied and distributed to anyone in
the United States without paying any fees or charges. If you are
redistributing or providing access to a work with the phrase “Project
Gutenberg” associated with or appearing on the work, you must comply
either with the requirements of paragraphs 1.E.1 through 1.E.7 or
obtain permission for the use of the work and the Project Gutenberg™
trademark as set forth in paragraphs 1.E.8 or 1.E.9.
1.E.3. If an individual Project Gutenberg™ electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any
additional terms imposed by the copyright holder. Additional terms
will be linked to the Project Gutenberg™ License for all works
posted with the permission of the copyright holder found at the
beginning of this work.
1.E.4. Do not unlink or detach or remove the full Project Gutenberg™
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg™.
1.E.5. Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg™ License.
1.E.6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including
any word processing or hypertext form. However, if you provide access
to or distribute copies of a Project Gutenberg™ work in a format
other than “Plain Vanilla ASCII” or other format used in the official
version posted on the official Project Gutenberg™ website
(www.gutenberg.org), you must, at no additional cost, fee or expense
to the user, provide a copy, a means of exporting a copy, or a means
of obtaining a copy upon request, of the work in its original “Plain
Vanilla ASCII” or other form. Any alternate format must include the
full Project Gutenberg™ License as specified in paragraph 1.E.1.
1.E.7. Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg™ works
unless you comply with paragraph 1.E.8 or 1.E.9.
1.E.8. You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg™ electronic works
provided that:
• You pay a royalty fee of 20% of the gross profits you derive from
the use of Project Gutenberg™ works calculated using the method
you already use to calculate your applicable taxes. The fee is owed
to the owner of the Project Gutenberg™ trademark, but he has
agreed to donate royalties under this paragraph to the Project
Gutenberg Literary Archive Foundation. Royalty payments must be paid
within 60 days following each date on which you prepare (or are
legally required to prepare) your periodic tax returns. Royalty
payments should be clearly marked as such and sent to the Project
Gutenberg Literary Archive Foundation at the address specified in
Section 4, “Information about donations to the Project Gutenberg
Literary Archive Foundation.”
• You provide a full refund of any money paid by a user who notifies
you in writing (or by e-mail) within 30 days of receipt that s/he
does not agree to the terms of the full Project Gutenberg™
License. You must require such a user to return or destroy all
copies of the works possessed in a physical medium and discontinue
all use of and all access to other copies of Project Gutenberg™
works.
• You provide, in accordance with paragraph 1.F.3, a full refund of
any money paid for a work or a replacement copy, if a defect in the
electronic work is discovered and reported to you within 90 days of
receipt of the work.
• You comply with all other terms of this agreement for free
distribution of Project Gutenberg™ works.
1.E.9. If you wish to charge a fee or distribute a Project
Gutenberg™ electronic work or group of works on different terms than
are set forth in this agreement, you must obtain permission in writing
from the Project Gutenberg Literary Archive Foundation, the manager of
the Project Gutenberg™ trademark. Contact the Foundation as set
forth in Section 3 below.
1.F.
1.F.1. Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
works not protected by U.S. copyright law in creating the Project
Gutenberg™ collection. Despite these efforts, Project Gutenberg™
electronic works, and the medium on which they may be stored, may
contain “Defects,” such as, but not limited to, incomplete, inaccurate
or corrupt data, transcription errors, a copyright or other
intellectual property infringement, a defective or damaged disk or
other medium, a computer virus, or computer codes that damage or
cannot be read by your equipment.
1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right
of Replacement or Refund” described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg™ trademark, and any other party distributing a Project
Gutenberg™ electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.
1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from. If you
received the work on a physical medium, you must return the medium
with your written explanation. The person or entity that provided you
with the defective work may elect to provide a replacement copy in
lieu of a refund. If you received the work electronically, the person
or entity providing it to you may choose to give you a second
opportunity to receive the work electronically in lieu of a refund. If
the second copy is also defective, you may demand a refund in writing
without further opportunities to fix the problem.
1.F.4. Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO
OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT
LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.
1.F.5. Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of
damages. If any disclaimer or limitation set forth in this agreement
violates the law of the state applicable to this agreement, the
agreement shall be interpreted to make the maximum disclaimer or
limitation permitted by the applicable state law. The invalidity or
unenforceability of any provision of this agreement shall not void the
remaining provisions.
1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg™ electronic works in
accordance with this agreement, and any volunteers associated with the
production, promotion and distribution of Project Gutenberg™
electronic works, harmless from all liability, costs and expenses,
including legal fees, that arise directly or indirectly from any of
the following which you do or cause to occur: (a) distribution of this
or any Project Gutenberg™ work, (b) alteration, modification, or
additions or deletions to any Project Gutenberg™ work, and (c) any
Defect you cause.
Section 2. Information about the Mission of Project Gutenberg™
Project Gutenberg™ is synonymous with the free distribution of
electronic works in formats readable by the widest variety of
computers including obsolete, old, middle-aged and new computers. It
exists because of the efforts of hundreds of volunteers and donations
from people in all walks of life.
Volunteers and financial support to provide volunteers with the
assistance they need are critical to reaching Project Gutenberg™’s
goals and ensuring that the Project Gutenberg™ collection will
remain freely available for generations to come. In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg™ and future
generations. To learn more about the Project Gutenberg Literary
Archive Foundation and how your efforts and donations can help, see
Sections 3 and 4 and the Foundation information page at www.gutenberg.org.
Section 3. Information about the Project Gutenberg Literary Archive Foundation
The Project Gutenberg Literary Archive Foundation is a non-profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service. The Foundation’s EIN or federal tax identification
number is 64-6221541. Contributions to the Project Gutenberg Literary
Archive Foundation are tax deductible to the full extent permitted by
U.S. federal laws and your state’s laws.
The Foundation’s business office is located at 809 North 1500 West,
Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up
to date contact information can be found at the Foundation’s website
and official page at www.gutenberg.org/contact
Section 4. Information about Donations to the Project Gutenberg
Literary Archive Foundation
Project Gutenberg™ depends upon and cannot survive without widespread
public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine-readable form accessible by the widest
array of equipment including outdated equipment. Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.
The Foundation is committed to complying with the laws regulating
charities and charitable donations in all 50 states of the United
States. Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements. We do not solicit donations in locations
where we have not received written confirmation of compliance. To SEND
DONATIONS or determine the status of compliance for any particular state
visit www.gutenberg.org/donate.
While we cannot and do not solicit contributions from states where we
have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.
International donations are gratefully accepted, but we cannot make
any statements concerning tax treatment of donations received from
outside the United States. U.S. laws alone swamp our small staff.
Please check the Project Gutenberg web pages for current donation
methods and addresses. Donations are accepted in a number of other
ways including checks, online payments and credit card donations. To
donate, please visit: www.gutenberg.org/donate.
Section 5. General Information About Project Gutenberg™ electronic works
Professor Michael S. Hart was the originator of the Project
Gutenberg™ concept of a library of electronic works that could be
freely shared with anyone. For forty years, he produced and
distributed Project Gutenberg™ eBooks with only a loose network of
volunteer support.
Project Gutenberg™ eBooks are often created from several printed
editions, all of which are confirmed as not protected by copyright in
the U.S. unless a copyright notice is included. Thus, we do not
necessarily keep eBooks in compliance with any particular paper
edition.
Most people start at our website which has the main PG search
facility: www.gutenberg.org.
This website includes information about Project Gutenberg™,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.
