Part 21

From that instant--from the moment he rose and walked over the thick carpet--he fascinated me. The atmosphere his talk and stories had brought remained. His lean fingers ran over the keys, and at first he played fragments from popular musical comedies that were pleasant enough, but made no demand upon the attention. I heard them without listening. I was thinking of another thing--his walk. For the way he moved across those few feet of carpet had power in it. He looked different; he seemed another man; he was changed. I saw him curiously--as I sometimes now saw Isley too--bigger. In some manner that was both enchanting and oppressive, his presence from that moment drew my imagination as by an air of authority it held.

I left my seat in the far corner and dropped into a chair beside the window, nearer to the piano. Isley, I then noticed, had also turned to watch him. But it was George Isley not quite as he was now. I felt rather than saw the change. Both men had subtly altered. They seemed extended, their outlines shadowy.

Isley, alert and anxious, glanced up at the player, his mind of earlier years--for the expression of his face was plain--following the light music, yet with difficulty that involved effort, almost struggle. ‘Play that again, will you?’ I heard him say from time to time. He was trying to take hold of it, to climb back to a condition where that music had linked him to the present, to seize a mental structure that was gone, to grip hold tightly of it--only to find that it was too far forgotten and too fragile. It would not bear him. I am sure of it, and I can swear I divined his mood. He fought to realise himself as he had been, but in vain. In his dim corner opposite I watched him closely. The big black Blüthner blocked itself between us. Above it swayed the outline, lean and half shadowy, of Moleson as he played. A faint whisper floated through the room. ‘You are in Egypt.’ Nowhere else could this queer feeling of presentiment, of anticipation, have gained a footing so easily. I was aware of intense emotion in all three of us. The least reminder of To-day seemed ugly. I longed for some ancient forgotten splendour that was lost.

The scene fixed my attention very steadily, for I was aware of something deliberate and calculated on Moleson’s part. The thing was well considered in his mind, intention only half concealed. It was Egypt he interpreted by sound, expressing what in him was true, then observing its effect, as he led us cleverly towards--the past. Beginning with the present, he played persuasively, with penetration, with insistent meaning too. He had that touch which conjured up real atmosphere, and, at first, that atmosphere termed modern. He rendered vividly the note of London, passing from the jingles of musical comedy, nervous rag-times and sensuous Tango dances, into the higher strains of concert rooms and ‘cultured’ circles. Yet not too abruptly. Most dexterously he shifted the level, and with it our emotion. I recognised, as in a parody, various ultra-modern thrills: the tumult of Strauss, the pagan sweetness of primitive Debussy, the weirdness and ecstasy of metaphysical Scriabin. The composite note of To-day in both extremes, he brought into this private sitting-room of the desert hotel, while George Isley, listening keenly, fidgeted in his chair.

‘“Après-midi d’un Faune,”’ said Moleson dreamily, answering the question as to what he played. ‘Debussy’s, you know. And the thing before it was from “Til Eulenspiegel”--Strauss, of course.’

He drawled, swaying slowly with the rhythm, and leaving pauses between the words. His attention was not wholly on his listener, and in the voice was a quality that increased my uneasy apprehension. I felt distress for Isley somewhere. Something, it seemed, was coming; Moleson brought it. Unconsciously in his walk, it now appeared consciously in his music; and it came from what was underground in him. A charm, a subtle change, stole oddly over the room. It stole over my heart as well. Some power of estimating left me, as though my mind were slipping backwards and losing familiar, common standards.

‘The true modern note in it, isn’t there?’ he drawled; ‘cleverness, I think--intellectual--surface ingenuity--no depth or permanence--just the sensational brilliance of To-day.’ He turned and stared at me fixedly an instant. ‘Nothing _everlasting_,’ he added impressively. ‘It tells everything it knows--because it’s small enough----’

And the room turned pettier as he said it; another, bigger shadow draped its little walls. Through the open windows came a stealthy gesture of eternity. The atmosphere stretched visibly. Moleson was playing a marvellous fragment from Scriabin’s ‘Prometheus.’ It sounded thin and shallow. This modern music, all of it, was out of place and trivial. It was almost ridiculous. The scale of our emotion changed insensibly into a deeper thing that has no name in dictionaries, being of another age. And I glanced at the windows where stone columns framed dim sections of great Egypt listening outside. There was no moon; only deep draughts of stars blazed, hanging in the sky. I thought with awe of the mysterious knowledge that vanished people had of these stars, and of the Sun’s huge journey through the Zodiac....

And, with astonishing suddenness as of dream, there rose a pictured image against that starlit sky. Lifted into the air, between heaven and earth, I saw float swiftly past a panorama of the stately temples, led by Denderah, Edfu, Abou Simbel. It paused, it hovered, it disappeared. Leaving incalculable solemnity behind it in the air, it vanished, and to see so vast a thing move at that easy yet unhasting speed unhinged some sense of measurement in me. It was, of course, I assured myself, mere memory objectified owing to something that the music summoned, yet the apprehension rose in me that the whole of Egypt presently would stream past in similar fashion--Egypt as she was in the zenith of her unrecoverable past. Behind the tinkling of the modern piano passed the rustling of a multitude, the tramping of countless feet on sand.... It was singularly vivid. It arrested in me something that normally went flowing.... And when I turned my head towards the room to call attention to my strange experience, the eyes of Moleson, I saw, were laid upon my own. He stared at me. The light in them transfixed me, and I understood that the illusion was due in some manner to his evocation. Isley rose at the same moment from his chair. The thing I had vaguely been expecting had shifted closer. And the same moment the musician abruptly changed his key.

‘You may like this better,’ he murmured, half to himself, but in tones he somehow made echoing. ‘It’s more suited to the place.’ There was a resonance in the voice as though it emerged from hollows underground. ‘The other seems almost sacrilegious--here.’ And his voice drawled off in the rhythm of slower modulations that he played. It had grown muffled. There was an impression, too, that he did not strike the piano, but that the music issued from himself.

‘Place! What place?’ asked Isley quickly. His head turned sharply as he spoke. His tone, in its remoteness, made me tremble.

The musician laughed to himself. ‘I meant that this hotel seems really an impertinence,’ he murmured, leaning down upon the notes he played upon so softly and so well; ‘and that it’s but the thinnest kind of pretence--when you come to think of it. We are in the desert really. The Colossi are outside, and all the emptied temples. Or ought to be,’ he added, raising his tone abruptly with a glance at me.

He straightened up and stared out into the starry sky past George Isley’s shoulders.

‘That,’ he exclaimed with betraying vehemence, ‘is where we are and what we play to!’ His voice suddenly increased; there was a roar in it. ‘That,’ he repeated, ‘is the thing that takes our hearts away.’ The volume of intonation was astonishing.

For the way he uttered the monosyllable suddenly revealed the man beneath the outer sheath of cynicism and laughter, explained his heartlessness, his secret stream of life. He, too, was soul and body in the past. ‘That’ revealed more than pages of descriptive phrases. His heart lived in the temple aisles, his mind unearthed forgotten knowledge; his soul had clothed itself anew in the seductive glory of antiquity: he dwelt with a quickening magic of existence in the reconstructed splendour of what most term only ruins. He and George Isley together had revivified a power that enticed them backwards; but whereas the latter struggled still, the former had already made his permanent home there. The faculty in me that saw the vision of streaming temples saw also this--remorselessly definite. Moleson himself sat naked at that piano. I saw him clearly then. He no longer masqueraded behind his sneers and laughter. He, too, had long ago surrendered, lost himself, gone out, and from the place his soul now dwelt in he watched George Isley sinking down to join him. He lived in ancient, subterranean Egypt. This great hotel stood precariously on the merest upper crust of desert. A thousand tombs, a hundred temples lay outside, within reach almost of our very voices. Moleson was merged with ‘that.’

This intuition flashed upon me like the picture in the sky; and both were true.

And, meanwhile, this other thing he played had a surge of power in it impossible to describe. It was sombre, huge and solemn. It conveyed the power that his walk conveyed. There was distance in it, but a distance not of space alone. A remoteness of time breathed through it with that strange sadness and melancholy yearning that enormous interval brings. It marched, but very far away; it held refrains that assumed the rhythms of a multitude the centuries muted; it sang, but the singing was underground in passages that fine sand muffled. Lost, wandering winds sighed through it, booming. The contrast, after the modern, cheaper music, was dislocating. Yet the change had been quite naturally effected.

‘It would sound empty and monotonous elsewhere--in London, for instance,’ I heard Moleson drawling, as he swayed to and fro, ‘but here it is big and splendid--true. You hear what I mean,’ he added gravely. ‘You understand?’

‘What is it?’ asked Isley thickly, before I could say a word. ‘I forget exactly. It has tears in it--more than I can bear.’ The end of his sentence died away in his throat.

Moleson did not look at him as he answered. He looked at me.

‘You surely ought to know,’ he replied, the voice rising and falling as though the rhythm forced it. ‘You have heard it all before--that chant from the ritual we----’

Isley sprang up and stopped him. I did not hear the sentence complete. An extraordinary thought blazed into me that the voices of both men were not quite their own. I fancied--wild, impossible as it sounds--that I heard the twin Colossi singing to each other in the dawn. Stupendous ideas sprang past me, leaping. It seemed as though eternal symbols of the cosmos, discovered and worshipped in this ancient land, leaped into awful life. My consciousness became enveloping. I had the distressing feeling that ages slipped out of place and took me with them; they dominated me; they rushed me off my feet like water. I was drawn backwards. I, too, was changing--being changed.

‘I remember,’ said Isley softly, a reverence of worship in his voice. But there was anguish in it too, and pity; he let the present go completely from him; the last strands severed with a wrench of pain. I imagined I heard his soul pass weeping far away--below.

‘I’ll sing it,’ murmured Moleson, ‘for the voice is necessary. The sound and rhythm are utterly divine!’

IX

And forthwith his voice began a series of long-drawn cadences that seemed somehow the root-sounds of every tongue that ever was. A spell came over me I could touch and feel. A web encompassed me; my arms and feet became entangled; a veil of fine threads wove across my eyes. The enthralling power of the rhythm produced some magical movement in the soul. I was aware of life everywhere about me, far and near, in the dwellings of the dead, as also in the corridors of the iron hills. Thebes stood erect, and Memphis teemed upon the river banks. For the modern world fell, swaying, at this sound that restored the past, and in this past both men before me lived and had their being. The storm of present life passed o’er their heads, while they dwelt underground, obliterated, gone. Upon the wave of sound they went down into their recovered kingdom.

I shivered, moved vigorously, half rose up, then instantly sank back again, resigned and helpless. For I entered by their side, it seemed, the conditions of their strange captivity. My thoughts, my feelings, my point of view were transplanted to another centre. Consciousness shifted in me. I saw things from another’s point of view--antiquity’s.

The present forgotten but the past supreme, I lost Reality. Our room became a pin-point picture seen in a drop of water, while this subterranean world, replacing it, turned immense. My heart took on the gigantic, leisured stride of what had been. Proportions grew; size captured me; and magnitude, turned monstrous, swept mere measurement away. Some hand of golden sunshine picked me up and set me in the quivering web beside those other two. I heard the rustle of the settling threads; I heard the shuffling of the feet in sand; I heard the whispers in the dwellings of the dead. Behind the monotony of this sacerdotal music I heard them in their dim carved chambers. The ancient galleries were awake. The Life of unremembered ages stirred in multitudes about me.

The reality of so incredible an experience evaporates through the stream of language. I can only affirm this singular proof--that the deepest, most satisfying knowledge the Present could offer seemed insignificant beside some stalwart majesty of the Past that utterly usurped it. This modern room, holding a piano and two figures of To-day, appeared as a paltry miniature pinned against a vast transparent curtain, whose foreground was thick with symbols of temple, sphinx and pyramid, but whose background of stupendous hanging grey slid off towards a splendour where the cities of the Dead shook off their sand and thronged space to its ultimate horizons.... The stars, the entire universe, vibrating and alive, became involved in it. Long periods of time slipped past me. I seemed living ages ago.... I was living backwards....

The size and eternity of Egypt took me easily. There was an overwhelming grandeur in it that elbowed out all present standards. The whole place towered and stood up. The desert reared, the very horizons lifted; majestic figures of granite rose above the hotel, great faces hovered and drove past; huge arms reached up to pluck the stars and set them in the ceilings of the labyrinthine tombs. The colossal meaning of the ancient land emerged through all its ruined details ... reconstructed--burningly alive....

It became at length unbearable. I longed for the droning sounds to cease, for the rhythm to lessen its prodigious sweep. My heart cried out for the gold of the sunlight on the desert, for the sweet air by the river’s banks, for the violet lights upon the hills at dawn. And I resisted, I made an effort to return.

‘Your chant is horrible. For God’s sake, let’s have an Arab song--or the music of To-day!’

The effort was intense, the result was--nothing. I swear I used these words. I heard the actual sound of my voice, if no one else did, for I remember that it was pitiful in the way great space devoured it, making of its appreciable volume the merest whisper as of some bird or insect cry. But the figure that I took for Moleson, instead of answer or acknowledgment, merely grew and grew as things grow in a fairy tale. I hardly know; I certainly cannot say. That dwindling part of me which offered comments on the entire occurrence noted this extraordinary effect as though it happened naturally--that Moleson himself was marvellously increasing.

The entire spell became operative all at once. I experienced both the delight of complete abandonment and the terror of letting go what _had_ seemed real. I understood Moleson’s sham laughter, and the subtle resignation of George Isley. And an amazing thought flashed birdlike across my changing consciousness--that this resurrection into the Past, this rebirth of the spirit which they sought, involved taking upon themselves the guise of these ancient symbols each in turn. As the embryo assumes each evolutionary stage below it before the human semblance is attained, so the souls of those two adventurers took upon themselves the various emblems of that intense belief. The devout worshipper takes on the qualities of his deity. They wore the entire series of the old-world gods so potently that I perceived them, and even objectified them by my senses. The present was their pre-natal stage; to enter the past they were being born again.

But it was not Moleson’s semblance alone that took on this awful change. Both faces, scaled to the measure of Egypt’s outstanding quality of size, became in this little modern room distressingly immense. Distorting mirrors can suggest no simile, for the symmetry of proportion was not injured. I lost their human physiognomies. I saw their thoughts, their feelings, their augmented, altered hearts, the thing that Egypt put there while she stole their love from modern life. There grew an awful stateliness upon them that was huge, mysterious, and motionless as stone.

For Moleson’s narrow face at first turned hawk-like in the semblance of the sinister deity, Horus, only stretched to tower above the toy-scaled piano; it was keen and sly and monstrous after prey, while a swiftness of the sunrise leaped from both the brilliant eyes. George Isley, equally immense of outline, was in general presentment more magnificent, a breadth of the Sphinx about his spreading shoulders, and in his countenance an inscrutable power of calm temple images. These were the first signs of obsession; but others followed. In rapid series, like lantern-slides upon a screen, the ancient symbols flashed one after another across these two extended human faces and were gone. Disentanglement became impossible. The successive signatures seemed almost superimposed as in a composite photograph, each appearing and vanished before recognition was even possible, while I interpreted the inner alchemy by means of outer tokens familiar to my senses. Egypt, possessing them, expressed herself thus marvellously in their physical aspect, using the symbols of her intense, regenerative power....

The changes merged with such swiftness into one another that I did not seize the half of them--till, finally, the procession culminated in a single one that remained fixed awfully upon them both. The entire series merged. I was aware of this single masterful image which summed up all the others in sublime repose. The gigantic thing rose up in this incredible statue form. The spirit of Egypt synthesised in this monstrous symbol, obliterated them both. I saw the seated figures of the grim Colossi, dipped in sand, night over them, waiting for the dawn....

X

I made a violent effort, then, at self-assertion--an effort to focus my mind upon the present. And, searching for Moleson and George Isley, its nearest details, I was aware that I could not find them. The familiar figures of my two companions were not discoverable.

I saw it as plainly as I also saw that ludicrous, wee piano--for a moment. But the moment remained; the Eternity of Egypt stayed. For that lonely and terrific pair had stooped their shoulders and bowed their awful heads. They were in the room. They imaged forth the power of the everlasting Past through the little structures of two human worshippers. Room, walls, and ceiling fled away. Sand and the open sky replaced them.

The two of them rose side by side before my bursting eyes. I knew not where to look. Like some child who confronts its giants upon the nursery floor, I turned to stone, unable to think or move. I stared. Sight wrenched itself to find the men familiar to it, but found instead this symbolising vision. I could not see them properly. Their faces were spread with hugeness, their features lost in some uncommon magnitude, their shoulders, necks, and arms grown vast upon the air. As with the desert, there was physiognomy yet no personal expression, the human thing all drowned within the mass of battered stone. I discovered neither cheeks nor mouth nor jaw, but ruined eyes and lips of broken granite. Huge, motionless, mysterious, Egypt informed them and took them to herself. And between us, curiously presented in some false perspective, I saw the little symbol of To-day--the Blüthner piano. It was appalling. I knew a second of majestic horror. I blenched. Hot and cold gushed through me. Strength left me, power of speech and movement too, as in a moment of complete paralysis.

The spell, moreover, was not within the room alone; it was outside and everywhere. The Past stood massed about the very walls of the hotel. Distance, as well as time, stepped nearer. That chanting summoned the gigantic items in all their ancient splendour. The shadowy concourse grouped itself upon the sand about us, and I was aware that the great army shifted noiselessly into place; that pyramids soared and towered; that deities of stone stood by; that temples ranged themselves in reconstructed beauty, grave as the night of time whence they emerged; and that the outline of the Sphinx, motionless but aggressive, piled its dim bulk upon the atmosphere. Immensity answered to immensity.... There were vast intervals of time and there were reaches of enormous distance, yet all happened in a moment, and all happened within a little space. It was now and here. Eternity whispered in every second as in every grain of sand. Yet, while aware of so many stupendous details all at once, I was really aware of one thing only--that the spirit of ancient Egypt faced me in these two terrific figures, and that my consciousness, stretched painfully yet gloriously, included all, as She also unquestionably included them--and me.

For it seemed I shared the likeness of my two companions. Some lesser symbol, though of similar kind, obsessed me too. I tried to move, but my feet were set in stone; my arms lay fixed; my body was embedded in the rock. Sand beat sharply upon my outer surface, urged upwards in little flurries by a chilly wind. There was nothing felt: I _heard_ the rattle of the scattering grains against my hardened body....

And we waited for the dawn; for the resurrection of that unchanging deity who was the source and inspiration of all our glorious life.... The air grew keen and fresh. In the distance a line of sky turned from pink to violet and gold; a delicate rose next flushed the desert; a few pale stars hung fainting overhead; and the wind that brought the sunrise was already stirring. The whole land paused upon the coming of its mighty God....

Into the pause there rose a curious sound for which we had been waiting. For it came familiarly, as though expected. I could have sworn at first that it was George Isley who sang, answering his companion. There beat behind its great volume the same note and rhythm, only so prodigiously increased that, while Moleson’s chant had waked it, it now was independent and apart. The resonant vibrations of what he sang had reached down into the places where it slept. _They_ uttered synchronously. Egypt spoke. There was in it the deep muttering as of a thousand drums, as though the desert uttered in prodigious syllables. I listened while my heart of stone stood still. There were two voices in the sky. _They_ spoke tremendously with each other in the dawn:

‘So easily we still remain possessors of the land.... While the centuries roar past us and are gone.’