It was after dinner in his private room, and he had sat very silent in his corner until this sudden outburst. Moleson got up quietly without a word and moved over to the piano. I saw—or was it imagination merely?—a new expression slide upon his withered face. He meant mischief somewhere.

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[296] 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[297] 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[298] 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[299] 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[300] 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[301] 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.

[302]‘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!’

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