Slowly the centuries rolled on—perhaps ten, perhaps twenty—in a silence no longer even disturbed by the scratchings of the worms, long since dead. And a day came when, at the side of the entrance, the same blows were heard again. . . . And this time it was the robbers. Carrying torches in their hands, they rushed headlong in, with shouts and cries and, except in the safe hiding-place of the nine coffins, everything was plundered, the bandages torn off, the golden trinkets snatched from the necks of the mummies. Then, when they had sorted their booty, they walled up the entrance as before, and went their way, leaving an inextricable confusion of shrouds, of human bodies, of entrails issuing from shattered vases, of broken gods and emblems.
Afterwards, for long centuries, there was silence again, and finally, in our days, the double, then in its last weakness and almost non-existent, perceived the same noise of stones being unsealed by blows of pickaxes. The third time, the living men who entered were of a race never seen before. At first they seemed respectful and pious, only touching things gently. But they came to plunder everything, even the nine coffins in their still inviolate hiding-place. They gathered the smallest fragments with a solicitude almost religious. That they might lose nothing they even sifted the rubbish and the dust. But, as for Amenophis, who was already nothing more than a lamentable mummy, without jewels or bandages, they left him at the bottom of his sarcophagus of sandstone. And since that day, doomed to receive each morning numerous people of a strange aspect, he dwells alone in his hypogeum, where there is now neither a being nor a thing belonging to his time.
But yes, there is! We had not looked all round. There in one of the lateral chambers some bodies are lying, dead bodies—three corpses (unswathed at the time of the pillage), side by side on their rags. First, a woman, the queen probably, with loosened hair. Her profile has preserved its exquisite lines. How beautiful she still is! And then a young boy with the little greyish face of a doll. His head is shaved, except for that long curl at the right side, which denotes a prince of the royal blood. And the third a man. Ugh! How terrible he is—looking as if he found death a thing irresistibly comical. He even writhes with laughter, and eats a corner of his shroud as if to prevent himself from bursting into a too unseemly mirth.
And then, suddenly, black night! And we stand as if congealed in our place. The electric light has gone out—everywhere at once. Above, on the earth, midday must have sounded—for those who still have cognisance of the sun and the hours.
The guard who has brought us hither shouts in his Bedouin falsetto, in order to get the light switched on again, but the infinite thickness of the walls, instead of prolonging the vibrations, seems to deaden them; and besides, who could hear us, in the depths where we now are? Then, groping in the absolute darkness, he makes his way up the sloping passage. The hurried patter of his sandals and the flapping of his burnous grow faint in the distance, and the cries that he continues to utter sound so smothered to us soon that we might ourselves be buried. And meanwhile we do not move. But how comes it that it is so hot amongst these mummies? It seems as if there were fires burning in some oven close by. And above all there is a want of air. Perhaps the corridors, after our passage, have contracted, as happens sometimes in the anguish of dreams. Perhaps the long fissure by which we have crawled hither, perhaps it has closed in upon us.
But at length the cries of alarm are heard and the light is turned on again. The three corpses have not profited by the unguarded moments to attempt any aggressive movement. Their positions, their expressions have not changed: the queen calm and beautiful as ever; the man eating still the corner of his rags to stifle the mad laughter of thirty-three centuries.
The Bedouin is now returned, breathless from his journey. He urges us to come to see the king before the electric light is again extinguished, and this time for good and all. Behold us now at the end of the hall, on the edge of a dark crypt, leaning over and peering within. It is a place oval in form, with a vault of a funereal black, relieved by frescoes, either white or of the colour of ashes. They represent, these frescoes, a whole new register of gods and demons, some slim and sheathed narrowly like mummies, others with big heads and big bellies like hippopotami. Placed on the ground and watched from above by all these figures is an enormous sarcophagus of stone, wide open; and in it we can distinguish vaguely the outline of a human body: the Pharaoh!
At least we should have liked to see him better. The necessary light is forthcoming at once: the Bedouin Grand Master of Ceremonies touches an electric button and a powerful lamp illumines the face of Amenophis, detailing with a clearness that almost frightens you the closed eyes, the grimacing countenance, and the whole of the sad mummy. This theatrical effect took us by surprise; we were not prepared for it.
He was buried in magnificence, but the pillagers have stripped him of everything, even of his beautiful breastplate of tortoiseshell, which came to him from a far-off Oriental country, and for many centuries now he has slept half naked on his rags. But his poor bouquet is there still—of mimosa, recognisable even now, and who will ever tell what pious or perhaps amorous hand it was that gathered these flowers for him more than three thousand years ago.
The heat is suffocating. The whole crushing mass of this mountain, of this block of limestone, into which we have crawled through relatively imperceptible holes, like white ants or larvae, seems to weigh upon our chest. And these figures too, inscribed on every side, and this mystery of the hieroglyphs and the symbols, cause a growing uneasiness. You are too near them, they seem too much the masters of the exits, these gods with their heads of falcon, ibis and jackal, who, on the walls, converse in a continual exalted pantomime. And then the feeling comes over you, that you are guilty of sacrilege standing there, before this open coffin, in this unwonted insolent light. The dolorous, blackish face, half eaten away, seems to ask for mercy: “Yes, yes, my sepulchre has been violated and I am returning to dust. But now that you have seen me, leave me, turn out that light, have pity on my nothingness.”