After him followed a group of entirely naked men and women playing sackbuts, and another group playing recorders. Bringing up the rear, as the Procession curved, was a magnificent aggregation of men and women yowling away on bagpipes of all shapes and sizes. All of the men wore sporrans and nothing more; the women wore nothing at all. The music that emanated from this group was enough to unhinge the mind.
And then came the keyboard instruments, into the middle of which the five theremin-players had been stuck for no reason at all. The strange howls of this unearthly instrument filtered through the sound of pianos, harpsichords, psalters, clavichords, virginals and three gigantic electric organs pumping at full strength.
And bringing up the very rear of the Procession was a special decorated cart, full of color and holding a lone man with long white hair, wearing a rusty black suit and playing away, with great attention and care, on the largest steam calliope Forrester had ever met. Jets of steam fizzed out of the top, and music bawled from the interior of the massive thing as it went by, trailing the Procession into the woods, and the entire aggregation swung into a single song, hundred upon hundreds of musicians and singers all coming down hard on the opening strains of the Hymn to Dionysus:
"Mine eyes have seen the glory of the Lord who rules the wine—
He has trampled out the vintage of the grapes upon the vine!"
The twelve Priests picked up the palanquin and Forrester adjusted his weight so they wouldn't find it too heavy. It was impossible to think in the mass of noise and music that went on and on, as the Procession wound uptown through the paths of Central Park, and the musicians banged and scraped and blew and pounded and stroked and plucked, and the great Hymn rose into the air, filling the entire city with the bawled chorus as even the twelve Priests joined in, adding to the ear-splitting din:
"Glory, Glory, Dionysus!
Glory, Glory, Dionysus!
Glory, Glory, Dionysus!
While his wine goes flowing on!"
Forrester had always been disturbed by what he thought might have been a double meaning in that last line, but it didn't disturb him now. Nothing seemed to disturb him as the Procession wound on, and he was laughing uproariously and winking and nodding at his worshippers as they sang and played all around him, and the hours went by. Halfway there, he fished in the air and brought down the small golden disks with the picture of Dionysus on them that were a regular feature of the Processional, and flung them happily into the crowd ahead.
Only one was allowed per person, so there was not much scrambling, but some of the coins pattered down on the various instruments, and one landed in the old gentleman's middle-C water glass and had to be fished out before he could go on with the Hymn.
Carousing and noisy, the Procession finally reached the huge stand at the far end of the park, and the music stopped. On the stand was a whole new group of musicians: harpists, lyrists, players of the flageolet and dulcimer, two men sweating over glockenspiels, a group equipped with zithers and citharas and sitars, three women playing nose-flutes, two men with shofars, and a tall, blond man playing a clarino trumpet. As the Procession ground to a halt, this new band struck up the Hymn again, played it through twice, and then stopped.
Seven girls filed out onto the platform in front of the musicians. One was there representing every year since the last Sabbatical Bacchanal. Forrester, riding high on the palanquin, beamed down at them, roaring with happy laughter. They were all for him. Having been carried to one end of the park in triumph, he was now to march back at the head of his people, surrounded by seven of the most beautiful girls in New York.