Forrester watched her go out the rear door. He was alone. And the Autumn Bacchanal Processional was about to begin.
CHAPTER EIGHT
Noise! Forrester, seated in the great golden palanquin supported by twelve hefty Priests of Dionysus, had never seen or heard anything like it. He waited there on the steps of the little Temple-on-the-Green for the Procession to wind by, so that he could take his place at the end of it. But the Procession looked endless.
First came a corps of Priests and Myrmidons, leading their way stolidly through the paths of Central Park. Following them came the revelers, a mass of men and women marching, laughing, singing, shouting, dancing their way along to the accompaniment of more music than Forrester had ever dreamed of.
The Dionysians had practiced for months, and almost everything was represented. There were violinists prancing along, violists and a crew of long-haired gentlemen and ladies playing the viol da gamba and the viol d'amore; there were guitarists plunking madly away, banjo players strumming and ukelele addicts picking at their strings, somehow all chorusing together. In a special pair of floats there were bass players, bass fiddle players and cellists, jammed tightly together and somehow managing to draw enormous sounds and scratches out of the big instruments. And behind them came the main band of musicians.
The woodwinds followed: piccolo players piping, flutists fluting, oboe players, red-cheeked and glassy-eyed, concentrating on making the most piercing possible sounds, men playing English horns, clarinets, bass clarinets, bassoons and contra-bassoons, along with men playing serpents and, behind them, a dancing group fingering ocarinas and adding their bit to the general tumult, and two women tootling madly away on hoarse-sounding zootibars.
And then, near the center of the musicians, were the brass: trumpets and trumpets-a-piston, trombones and valve trombones and Fulk horns, all blatting away to split the sky with maddening sound, Sousaphones and saxophones and French horns and bass horns and hunting horns, and tubas along in their own little cart, six round-cheeked men lost in the curves of the great instruments, valiantly blowing away as they rolled by into the woods of the park, making the city itself resound with tremendous noise and shattering cadence. And behind them was the battery.
Kettle drums, bass drums, xylophones, Chinese gongs, vibraphones, snare drums and high-hat cymbals paraded by in carts, banged and stroked and tinkled enthusiastically by crew after crew of maddened tympanists. And then came the others, on foot: tambourines and wood blocks and parade cymbals and castanets. At the tail of this portion of the Procession came a single old man wearing spectacles and riding in a small cart drawn by a donkey. He had white hair and he was playing on a series of water-glasses filled to various levels. His ear was cocked toward the glasses with painstaking care. He was entirely inaudible in the general din, but he looked happy and satisfied; he was doing his bit.