Caves of Terror

by Talbot Mundy

At intervals around the ledge were seated about a score of men, some solitary, some in groups of three; some were naked, others wore loin-cloths; all were silent, but they all took an obvious interest in us, and some of them were grinning. A few of them squatted, with their legs tucked under them, but most of them let their legs hang over the edge, and they all had an air of perfect familiarity with the surroundings as well as what can be best described as a "team look." You see the same air of careless competence around a well-managed circus lot.

King and I followed the Gray Mahatma down into the bowl, and under his directions seated ourselves exactly in the middle, King and I back to back and the Mahatma a little way from us and also with his back turned. In that position my back was toward the door we had entered by, but I was able to see nine narrow openings in the opposite wall about twenty feet higher than the ledge, and those openings may have had something to do with what followed, although I can't prove it.

Old gray-beard, who had admitted us, stood on the ledge like a picture of St. Simon Stylites, folding his arms under his flowing beard and looking almost ready to plunge downward, as if the bowl were a swimming tank.

However, he suddenly filled his great scrawny breast with air and boomed out one word. The golden light ceased to exist. There was no period of going, as there is even with electric light. He spoke, and it was not. Nothing whatever was visible. I held a finger up, and poked my eye before I knew it.

Then all at once there began the most delicious music, like Ariel singing in mid-air. It was subdued, but as clear as the ripple of a mountain stream over pebbles, and there was absolutely no locating it, for it seemed to come from everywhere at once, even from underneath us. And simultaneously with the music there began to be a dim light, which was all the more impossible to locate because it was never the same color in two places, nor even in one place for longer than a note of music lasted.

"Observe!" boomed the Gray Mahatma's solemn voice. "Color and sound are one. Both are vibration. You shall behold the color harmonies."

Presently the connection between sound and color began to be obvious. Each note had its color, and as that note was sounded the color appeared in a thousand places.

It was Eastern music. It filled the cavern, and as the pulse of it quickened the light danced, colors shooting this and that way like shuttles weaving a new sky. But there were no drum-beats yet, and the general effect was rather of dreaminess.

When the old gray-beard's voice boomed out at last from the ledge above us, and light and music ceased simultaneously, the effect was nauseating. It went to the pit of your stomach. The instantaneous darkness produced vertigo. You felt as if you were falling down an endless pit, and King and I clutched each other. The mere fact that we were squatting on a hard floor did not help matters, for the floor seemed to be falling too and to be turning around bewilderingly, just as the whorls of colored light had done. The gray-beard's voice boomed again; whereat there was more music, and light in tune to it.

This time, of all unexpected things, Beethoven's Overture to Leonore began to take visible form in the night, and I would rather be able to set down what we saw than write Homer's Iliad! It must be that we knew then all that Beethoven did. It was not just wind music, or mere strings, but a whole, full-volumed orchestra—where or whence there was no guessing; the music came at you from everywhere at once, and with it light, interpreting the music.