The Historical Romances of Georg Ebers

by Georg Ebers

The centre of attraction to all eyes was a wooden platform or pontoon, built far out into the stream; from thence the bride was to be flung into the watery embrace of the expectant bridegroom. Here the masters of the ceremonies had put forth their best efforts, and it was magnificently decorated with hangings and handkerchiefs, palm-leaves and flags; with heavy garlands of tamarisk and willow, mingled with bright blossoms of the lotos and mallow, lilies and roses; with devices emblematic of the province, and other gilt ornaments. Only the furthest end of it was unadorned and without even a railing, that there might be nothing to intercept the view of the "marriage."

Three hours before noon none were absent but those whose places were secured, and ere long curiosity brought them also to the spot. The town-watch found it required all their efforts to keep the front ranks of the people from being pushed into the river by those behind; indeed, this accident could not be everywhere guarded against; but, thanks to the shallow state of the water, no one was the worse. But the cries of those who were in danger nevertheless drowned the music of the bands performing on raised platforms and the shouts of applause which rose on all sides to hail Horapollo—who was here, there, everywhere on his white ass as brisk as a lad—or to greet some leading official.

And now and again loud cries of anguish were heard, or the closely-packed throng parted with exclamations of horror. A citizen had had a sunstroke, or had been seized by the plague. Then the fugitives dragged others away with them; screaming mothers trying to save their little ones from the crush on one hand and the contagion on the other, oversetting one dealer's truck, smashing the eggs and cakes of another. A whole party were pushed into a deep but half-dried up water-course; the guardians of the peace flourished their staves, yelling and making their victims yell in their efforts to restore order—but all this hardly affected the vast body of spectators, and suddenly peace reigned, the confusion subsided, the shrieks were silenced. Those who were doomed might fall or die, be crushed or plague-stricken. Trumpet calls and singing were heard approaching from the town: the procession, the Bridal procession was coming! Not a man but would have perished rather than be deprived of seeing a single act of this stupendous drama.

Those Arabs—what fools they were! Besides the Vekeel only three of their magnates were present, and those men whom no one knew. Even the Kadi was nowhere to be seen; and he must have forbidden the Moslem women to come, for not a single veiled beauty of the harem was visible. Not one Egyptian woman would have failed to appear if the plague had not kept so many imprisoned in their houses. Such a thing would never be seen again; this day's doings would be a tale to tell to future great-grandchildren!

The music and singing came nearer and nearer; and it did not indeed sound as if it were escorting a hapless creature to a fearful end. Blast after blast rang out from the trumpets, filling the air with festive defiance; cheerful bridal songs came nearer and nearer to the listeners, the shrill chorus of boys and maidens sounding above the deeper and stronger chant of youths and men of all ages; flutes piped a gay invitation to gladness; the dull roar of drums muttered like the distant waves in time to a march, broken by the clang of cymbals and the tinkle of bells hung around tambourines held high by girlish hands which struck, rattled and waved them above their flowing curls; lute players discoursed sweet music on the strings; and as this vast tide of mingled tones came closer, behind it there was still more music and more song.

To the ear the procession seemed endless, and the eye soon confirmed the impression.

All were listening, gazing, watching to see the Bride and her escort. Every eye seemed compelled to turn in the same direction; and presently there came: first the trumpeters on spirited horses, and these ranged themselves on each side of the road by the shore leading to the scene of the "marriage." In front of them the choir of women took their stand to the left and, on the right, the men who had marched after them. All alike were arrayed in light sea-green garments, and loaded with lotos-flowers. The women's hair, twined with white blossoms, flowed over their shoulders; the men carried bunches of papyrus and reeds;—they represented river gods that had risen from the stream.

Then came boys and bearded men, in white robes, with panther-skins on their shoulders, as the heathen priests had been wont to wear them. They were headed by two old men with long white beards, one holding a silver cup and the other a golden one, ready to fling them into the waves as a first offering, according to the practise of their forefathers, as Horapollo had described and ordered it. These went on to the pontoon, to its farthest end, and took their place on one side of the platform whence the Bride was to be cast into the river. Behind them came a large troop of flute-players and drummers, followed by fifty maidens holding tambourines, and fifty men all dressed and carrying emblems as followers of Dionysus, or Osiris-Bacchus, who had been worshipped here in the time of the Romans; with these came the drunken Silenus, goathoofed Satyrs and Pan, with his reed-pipes, all riding grey asses strangely bedaubed with yellow.

Then followed giraffes, elephants, ostriches, antelopes, gazelles; even some tamed lions and panthers were led past the wondering crowd; for this had been done in the famous procession in honor of the second Ptolemy, described by Callixenus of Rhodes.

Next came a large car drawn by twelve black horses, and on it a symbolical group of Famine and Pestilence overthrown; they were surrounded by shrieking black children, with pointed wings on their shoulders and horns on their foreheads, bound to stakes to represent the hosts of hell—a performance which they tried to make at once ghastly and droll.