"I must go," said I, and I tried to rise.
"Don't move," she said, "for your life! We are lost if you move. Keep still—restrain yourself—shut your eyes."
I tried to do so, but could not. There was a horrible fascination about the scene which forced me to look and see all. The Kohen took the victim, and drawing it from the altar, threw it over the precipice to the ground beneath. Then a loud shout burst forth from the great crowd. "Sibgu Sibgin! Ranenu! Hodu lecosck!" which means, "Sacrifice the victims! Rejoice! Give thanks to darkness!"
Then another of the youths went forward amid the singing, and laid himself down to meet the same fate; and again the corpse was flung from the top of the pyramid, and again the shout arose. All the others came forward in the same manner. Oh, horrible, horrible, thrice horrible spectacle! I do not remember how I endured it. I sat there with Almah, trying to restrain myself as she had entreated me, more for her sake than for my own, a prey to every feeling of horror, anguish, and despair. How it all ended I do not know, nor do I know how I got away from the place; for I only remember coming back to my senses in the lighted grotto, with Almah bending anxiously over me.
After this there remained a dark mystery and an ever-present horror. I found myself among a people who were at once the gentlest of the human race and the most blood-thirsty—the kindest and the most cruel. This mild, amiable, and self-sacrificing Kohen, how was it possible that he should transform himself to a fiend incarnate? And for me and for Almah, what possible hope could there be? What fate might they have in reserve for us? Of what avail was all this profound respect, this incessant desire to please, this attention to our slightest wish, this comfort and luxury and splendor, this freedom of speech and action? Was it anything better than a mockery? Might it not be the shallow kindness of the priest to the victim reserved for the sacrifice? Was it, after all, in any degree better than the kindness of the cannibal savages on those drear outer shores who received us with such hospitality, but only that they might destroy us at last? Might they not all belong to the same race, dwelling as they did in caverns, shunning the sunlight, and blending kindness with cruelty? It was an awful thought!
Yet I had one consolation. Almah was with me, and so long as she was spared to me I could endure this life. I tried for her sake to resist the feelings that were coming over me. I saw that she too was a prey to ever-deepening sadness. She felt as I did, and this despair of soul might wreck her young life if there were no alleviation. And so I sought to alleviate her distress and to banish her sadness. The songs of these people had much impressed me; and one day, as I talked about this with Almah, she brought forth a musical instrument of peculiar shape, which was not unlike a guitar, though the shape was square and there were a dozen strings. Upon this she played, singing at the same time some songs of a plaintive character. An idea now occurred to me to have an instrument made according to my own plans, which should be nothing less than a violin. Almah was delighted at the proposal, and at once found a very clever workman, who under my direction succeeded in producing one which served my purpose well. I was a good violinist, and in this I was able to find solace for myself and for Almah for many a long hour.
The first time that I played was memorable. As the tones floated through the air they caught the ears of those outside, and soon great numbers came into the apartment, listening in amazement and in rapt attention. Even the painful light was disregarded in the pleasure of this most novel sensation, and I perceived that if the sense of sight was deficient among them, that of hearing was sufficiently acute. I played many times, and sometimes sang from among the songs of different nations; but those which these people liked best were the Irish and Scottish melodies—those matchless strains created by the genius of the Celtic race, and handed down from immemorial ages through long generations. In these there was nothing artificial, nothing transient. They were the utterance of the human heart, and in them there was that touch of nature which makes all men kin. These were the immortal passions which shall never cease to affect the soul of man, and which had power even here; the strains of love, of sadness, and of pathos were sweet and enticing to this gentle race; for in their mild manners and their outburst of cruelty they seemed to be not unlike the very race which had created this music, since the Celt is at once gentle and blood-thirsty.
I played "Tara," "Bonnie Doon," "The Last Rose of Summer," "The Land of the Leal," "Auld Lang Syne," "Lochaber." They stood entranced, listening with all their souls. They seemed to hunger and thirst after this music, and the strains of the inspired Celtic race seemed to come to them like the revelation of the glory of heaven. Then I played more lively airs. Some I played a second time, singing the words. They seemed eager to have the same one played often. At last a grisly thought came to me: it was that they would learn these sweet strains, and put their own words to them so as to use them at the awful sacrifices. After that I would play no more.
It is a land of tender love and remorseless cruelty. Music is all-powerful to awaken the one, but powerless to abate the other; and the eyes that weep over the pathetic strains of "Lochaber" can gaze without a tear upon the death-agonies of a slaughtered friend.