The hand that lit my cigarette, I saw, was trembling. A desire to do something violent woke in me suddenly—to move energetically, to push or drive something away.

‘What was it?’ I asked abruptly, in a louder, half-challenging voice, intended for the man at the piano. ‘Such a performance—upon others—without first asking their permission—seems to me unpermissible—it’s—[315]—’

And it was Moleson who replied. He ignored the end of my sentence as though he had not heard it. He strolled over to our side, taking a cigarette and pressing it carefully into shape between his long thin fingers.

‘You may well ask,’ he answered quietly; ‘but it’s not so easy to tell. We discovered it’—he nodded towards Isley—‘two years ago in the “Valley.” It lay beside a Priest, a very important personage, apparently, and was part of the Ritual he used in the worship of the sun. In the Museum now—you can see it any day at the Boulak—it is simply labelled “Hymn to Ra.” The period was Aknahton’s.’

‘The words, yes,’ put in Isley, who was listening closely.

‘The words?’ repeated Moleson in a curious tone. ‘There are no words. It’s all really a manipulation of the vowel sounds. And the rhythm, or chanting, or whatever you like to call it, I—I invented myself. The Egyptians did not write their music, you see.’ He suddenly searched my face a moment with questioning eyes. ‘Any words you heard,’ he said, ‘or thought you heard, were merely your own interpretation.’

I stared at him, making no rejoinder.

‘They made use of what they called a “root-language” in their rituals,’ he went on, ‘and it consisted entirely of vowel sounds. There were no consonants. For vowel sounds, you see, run on for ever without end or beginning, whereas consonants interrupt their flow and break it up and limit it. A consonant has no sound of its own at all. Real language is continuous.’

We stood a moment, smoking in silence. I understood then that this thing Moleson had done was based on definite knowledge. He had rendered[316] some fragment of an ancient Ritual he and Isley had unearthed together, and while he knew its effect upon the latter, he chanced it on myself. Not otherwise, I feel, could it have influenced me in the extraordinary way it did. In the faith and poetry of a nation lies its soul-life, and the gigantic faith of Egypt blazed behind the rhythm of that long, monotonous chant. There were blood and heart and nerves in it. Millions had heard it sung; millions had wept and prayed and yearned; it was ensouled by the passion of that marvellous civilisation that loved the godhead of the Sun, and that now hid, waiting but still alive, below the ground. The majestic faith of ancient Egypt poured up with it—that tremendous, burning elaboration of the after-life and of Eternity that was the pivot of those spacious days. For centuries vast multitudes, led by their royal priests, had uttered this very form and ritual—believed it, lived it, felt it. The rising of the sun remained its climax. Its spiritual power still clung to the great ruined symbols. The faith of a buried civilisation had burned back into the present and into our hearts as well.

And a curious respect for the man who was able to produce this effect upon two modern minds crept over me, and mingled with the repulsion that I felt. I looked furtively at his withered, dried-up features. He wore some vague and shadowy impress still of what had just been in him. There was a stony appearance in his shrunken cheeks. He looked smaller. I saw him lessened. I thought of him as he had been so short a time before, imprisoned in his great stone captors that had obsessed him....

‘There’s tremendous power in it,—an awful power,’ I stammered, more to break the oppressive pause than[317] for any desire in me to speak with him. ‘It brings back Egypt in some extraordinary way—ancient Egypt, I mean—brings it close—into the heart.’ My words ran on of their own accord almost. I spoke with a hush, unwittingly. There was awe in me. Isley had moved away towards the window, leaving me face to face with this strange incarnation of another age.

‘It must,’ he replied, deep light still glowing in his eyes, ‘for the soul of the old days is in it. No one, I think, can hear it and remain the same. It expresses, you see, the essential passion and beauty of that gorgeous worship, that splendid faith, that reasonable and intelligent worship of the sun, the only scientific belief the world has ever known. Its popular form, of course, was largely superstitious, but the sacerdotal form—the form used by the priests, that is—who understood the relationship between colour, sound and symbol, was——’

He broke off suddenly, as though he had been speaking to himself. We sat down. George Isley leaned out of the window with his back to us, watching the desert in the moonless night.

‘You have tried its effect before upon—others?’ I asked point-blank.

‘Upon myself,’ he answered shortly.

‘Upon others?’ I insisted.

He hesitated an instant.

‘Upon one other—yes,’ he admitted.

‘Intentionally?’ And something quivered in me as I asked it.

He shrugged his shoulders slightly. ‘I’m merely a speculative archaeologist,’ he smiled,[318] ‘and—and an imaginative Egyptologist. My bounden duty is to reconstruct the past so that it lives for others.’

An impulse rose in me to take him by the throat.

‘You know perfectly well, of course, the magical effect it’s sure—likely at least—to have?’

He stared steadily at me through the cigarette smoke. To this day I cannot think exactly what it was in this man that made me shudder.

‘I’m sure of nothing,’ he replied smoothly, ‘but I consider it quite legitimate to try. Magical—the word you used—has no meaning for me. If such a thing exists, it is merely scientific—undiscovered or forgotten knowledge.’ An insolent, aggressive light shone in his eyes as he spoke; his manner was almost truculent. ‘You refer, I take it, to—our friend—rather than to yourself?’

And with difficulty I met his singular stare. From his whole person something still emanated that was forbidding, yet overmasteringly persuasive. It brought back the notion of that invisible Web, that dim gauze curtain, that motionless Influence lying waiting at the centre for its prey, those monstrous and mysterious Items standing, alert and watchful, through the centuries. ‘You mean,’ he added lower, ‘his altered attitude to life—his going?’

To hear him use the words, the very phrase, struck me with sudden chill. Before I could answer, however, and certainly before I could master the touch of horror that rushed over me, I heard him continuing in a whisper. It seemed again that he spoke to himself as much as he spoke to me.

‘The soul, I suppose, has the right to choose its own conditions and surroundings. To pass elsewhere involves translation, not extinction.’ He smoked a moment in silence, then said another curious thing, looking up into my face with an expression of intense earnestness. Something genuine[319] in him again replaced the pose of cynicism. ‘The soul is eternal and can take its place anywhere, regardless of mere duration. What is there in the vulgar and superficial Present that should hold it so exclusively; and where can it find to-day the belief, the faith, the beauty that are the very essence of its life—where in the rush and scatter of this tawdry age can it make its home? Shall it flutter for ever in a valley of dry bones, when a living Past lies ready and waiting with loveliness, strength, and glory?’ He moved closer; he touched my arm; I felt his breath upon my face. ‘Come with us,’ he whispered awfully; ‘come back with us! Withdraw your life from the rubbish of this futile ugliness! Come back and worship with us in the spirit of the Past. Take up the old, old splendour, the glory, the immense conceptions, the wondrous certainty, the ineffable knowledge of essentials. It all lies about you still; it’s calling, ever calling; it’s very close; it draws you day and night—calling, calling, calling....’

His voice died off curiously into distance on the word; I can hear it to this day, and the soft, droning quality in the intense yet fading tone: ‘Calling, calling, calling.’ But his eyes turned wicked. I felt the sinister power of the man. I was aware of madness in his thought and mind. The Past he sought to glorify I saw black, as with the forbidding Egyptian darkness of a plague. It was not beauty but Death that I heard calling, calling, calling.

‘It’s real,’ he went on, hardly aware that I shrank,[320] ‘and not a dream. These ruined symbols still remain in touch with that which was. They are potent to-day as they were six thousand years ago. The amazing life of those days brims behind them. They are not mere masses of oppressive stone; they express in visible form great powers that still are—knowable.’ He lowered his head, peered up into my face, and whispered. Something secret passed into his eyes.

‘I saw you change,’ came the words below his breath, ‘as you saw the change in us. But only worship can produce that change. The soul assumes the qualities of the deity it worships. The powers of its deity possess it and transform it into its own likeness. You also felt it. You also were possessed. I saw the stone-faced deity upon your own.’

I seemed to shake myself as a dog shakes water from its body. I stood up. I remember that I stretched my hands out as though to push him from me and expel some creeping influence from my mind. I remember another thing as well. But for the reality of the sequel, and but for the matter-of-fact result still facing me to-day in the disappearance of George Isley—the loss to the present time of all George Isley was—I might have found subject for laughter in what I saw. Comedy was in it certainly. Yet it was both ghastly and terrific. Deep horror crept below the aspect of the ludicrous, for the apparent mimicry cloaked truth. It was appalling because it was real.

In the large mirror that reflected the room behind me I saw myself and Moleson; I saw Isley too in the background by the open window. And the attitude of all three was the attitude of hieroglyphics come to life. My arms indeed were stretched, but not stretched, as I had thought, in mere self-defence. They were stretched—unnaturally. The forearms made those strange obtuse angles that the old carved granite wears, the palms of the hands held[321] upwards, the heads thrown back, the legs advanced, the bodies stiffened into postures that expressed forgotten, ancient minds. The physical conformation of all three was monstrous; and yet reverence and truth dictated even the uncouthness of the gestures. Something in all three of us inspired the forms our bodies had assumed. Our attitudes expressed buried yearnings, emotions, tendencies—whatever they may be termed—that the spirit of the Past evoked.

I saw the reflected picture but for a moment. I dropped my arms, aware of foolishness in my way of standing. Moleson moved forward with his long, significant stride, and at the same instant Isley came up quickly and joined us from his place by the open window. We looked into each other’s faces without a word. There was this little pause that lasted perhaps ten seconds. But in that pause I felt the entire world slide past me. I heard the centuries rush by at headlong speed. The present dipped away. Existence was no longer in a line that stretched two ways; it was a circle in which ourselves, together with Past and Future, stood motionless at the centre, all details equally accessible at once. The three of us were falling, falling backwards....

‘Come!’ said the voice of Moleson solemnly, but with the sweetness as of a child anticipating joy. ‘Come! Let us go together, for the boat of Ra has crossed the Underworld. The darkness has been conquered. Let us go out together and find the dawn. Listen! It is calling, calling, calling....’

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