IX
And forthwith his voice began a series of long-drawn cadences that seemed somehow the root-sounds of every tongue that ever was. A spell came over me I could touch and feel. A web encompassed me; my arms and feet became entangled; a veil of fine threads wove across my eyes. The enthralling power of the rhythm produced some magical movement in the soul. I was aware of life everywhere about me, far and near, in the dwellings of the dead, as also in the corridors of the iron hills. Thebes stood erect, and Memphis teemed upon the river banks. For the modern world fell, swaying, at this sound that restored the past, and in this past both men before me lived and had their being. The storm of present life passed o’er their heads, while they dwelt underground, obliterated, gone. Upon the wave of sound they went down into their recovered kingdom.
I shivered, moved vigorously, half rose up, then instantly sank back again, resigned and helpless. For I entered by their side, it seemed, the conditions of their strange captivity. My thoughts, my feelings, my point of view were transplanted to another centre. Consciousness shifted in me. I saw things from another’s point of view—antiquity’s.
The present forgotten but the past supreme, I lost Reality. Our room became a pin-point picture seen in a drop of water, while this subterranean world, replacing it, turned immense. My heart took on the gigantic, leisured stride of what had been. Proportions grew; size captured me; and magnitude, turned monstrous, swept mere measurement away. Some hand of golden sunshine picked me up and set me in the quivering web beside those other two. I heard the rustle of the settling threads; I heard the shuffling of the feet in sand; I heard the whispers in the dwellings of the dead. Behind the monotony of this sacerdotal music I heard them in their dim carved chambers. The ancient galleries were awake. The Life of unremembered ages stirred in multitudes about me.
The reality of so incredible an experience evaporates through the stream of language. I can only affirm this singular proof—that the deepest, most satisfying knowledge the Present could offer seemed insignificant beside some stalwart majesty of the Past that utterly usurped it. This modern room, holding a piano and two figures of To-day, appeared as a paltry miniature pinned against a vast transparent curtain, whose foreground was thick with symbols of temple, sphinx and pyramid, but whose background of stupendous hanging grey slid off towards a splendour where the cities of the Dead shook off their sand and thronged space to its ultimate horizons.... The stars, the entire universe, vibrating and alive, became involved in it. Long periods of time slipped past me. I seemed living ages ago.... I was living backwards....
The size and eternity of Egypt took me easily. There was an overwhelming grandeur in it that elbowed out all present standards. The whole place towered and stood up. The desert reared, the very horizons lifted; majestic figures of granite rose above the hotel, great faces hovered and drove past; huge arms reached up to pluck the stars and set them in the ceilings of the labyrinthine tombs. The colossal meaning of the ancient land emerged through all its ruined details ... reconstructed—burningly alive....
It became at length unbearable. I longed for the droning sounds to cease, for the rhythm to lessen its prodigious sweep. My heart cried out for the gold of the sunlight on the desert, for the sweet air by the river’s banks, for the violet lights upon the hills at dawn. And I resisted, I made an effort to return.
‘Your chant is horrible. For God’s sake, let’s have an Arab song—or the music of To-day!’
The effort was intense, the result was—nothing. I swear I used these words. I heard the actual sound of my voice, if no one else did, for I remember that it was pitiful in the way great space devoured it, making of its appreciable volume the merest whisper as of some bird or insect cry. But the figure that I took for Moleson, instead of answer or acknowledgment, merely grew and grew as things grow in a fairy tale. I hardly know; I certainly cannot say. That dwindling part of me which offered comments on the entire occurrence noted this extraordinary effect as though it happened naturally—that Moleson himself was marvellously increasing.
The entire spell became operative all at once. I experienced both the delight of complete abandonment and the terror of letting go what had seemed real. I understood Moleson’s sham laughter, and the subtle resignation of George Isley. And an amazing thought flashed birdlike across my changing consciousness—that this resurrection into the Past, this rebirth of the spirit which they sought, involved taking upon themselves the guise of these ancient symbols each in turn. As the embryo assumes each evolutionary stage below it before the human semblance is attained, so the souls of those two adventurers took upon themselves the various emblems of that intense belief. The devout worshipper takes on the qualities of his deity. They wore the entire series of the old-world gods so potently that I perceived them, and even objectified them by my senses. The present was their pre-natal stage; to enter the past they were being born again.
But it was not Moleson’s semblance alone that took on this awful change. Both faces, scaled to the measure of Egypt’s outstanding quality of size, became in this little modern room distressingly immense. Distorting mirrors can suggest no simile, for the symmetry of proportion was not injured. I lost their human physiognomies. I saw their thoughts, their feelings, their augmented, altered hearts, the thing that Egypt put there while she stole their love from modern life. There grew an awful stateliness upon them that was huge, mysterious, and motionless as stone.
For Moleson’s narrow face at first turned hawk-like in the semblance of the sinister deity, Horus, only stretched to tower above the toy-scaled piano; it was keen and sly and monstrous after prey, while a swiftness of the sunrise leaped from both the brilliant eyes. George Isley, equally immense of outline, was in general presentment more magnificent, a breadth of the Sphinx about his spreading shoulders, and in his countenance an inscrutable power of calm temple images. These were the first signs of obsession; but others followed. In rapid series, like lantern-slides upon a screen, the ancient symbols flashed one after another across these two extended human faces and were gone. Disentanglement became impossible. The successive signatures seemed almost superimposed as in a composite photograph, each appearing and vanished before recognition was even possible, while I interpreted the inner alchemy by means of outer tokens familiar to my senses. Egypt, possessing them, expressed herself thus marvellously in their physical aspect, using the symbols of her intense, regenerative power....
The changes merged with such swiftness into one another that I did not seize the half of them—till, finally, the procession culminated in a single one that remained fixed awfully upon them both. The entire series merged. I was aware of this single masterful image which summed up all the others in sublime repose. The gigantic thing rose up in this incredible statue form. The spirit of Egypt synthesised in this monstrous symbol, obliterated them both. I saw the seated figures of the grim Colossi, dipped in sand, night over them, waiting for the dawn....