Binovitch had the bird in him somewhere: in his features, certainly, with his piercing eye and hawk-like nose; in his movements, with his quick way of flitting, hopping, darting; in the way he perched on the edge of a chair; in the manner he pecked at his food; in his twittering, high-pitched voice as well; and, above all, in his mind. He skimmed all subjects and picked their heart out neatly, as a bird skims lawn or air to snatch its prey. He had the bird’s-eye view of everything. He loved birds and understood them instinctively; could imitate their whistling notes with astonishing accuracy. Their one quality he had not was poise and balance. He was a nervous little man; he was neurasthenic. And he was in Egypt by doctor’s orders.

Such imaginative, unnecessary ideas he had! Such uncommon beliefs!

“The old Egyptians,” he said laughingly, yet with a touch of solemn conviction in his manner, “were a great people. Their consciousness was different from ours. The bird idea, for instance, conveyed a sense of deity to them—of bird deity, that is: they had sacred birds—hawks, ibis, and so forth—and worshipped them.” And he put his tongue out as though to say with challenge, “Ha, ha!”

“They also worshipped cats and crocodiles and cows,” grinned Palazov. Binovitch seemed to dart across the table at his adversary. His eyes flashed; his nose pecked the air. Almost one could imagine the beating of his angry wings.

[42]“Because everything alive,” he half screamed, “was a symbol of some spiritual power to them. Your mind is as literal as a dictionary and as incoherent. Pages of ink without connected meaning! Verb always in the infinitive! If you were an old Egyptian, you—you”—he flashed and spluttered, his tongue shot out again, his keen eyes blazed—“you might take all those words and spin them into a great interpretation of life, a cosmic romance, as they did. Instead, you get the bitter, dead taste of ink in your mouth, and spit it over us like that”—he made a quick movement of his whole body as a bird that shakes itself—“in empty phrases.”

Khilkoff ordered another bottle of champagne, while Vera, his sister, said half nervously, “Let’s go for a drive; it’s moonlight.” There was enthusiasm at once. Another of the party called the head waiter and told him to pack food and drink in baskets. It was only eleven o’clock. They would drive out into the desert, have a meal at two in the morning, tell stories, sing, and see the dawn.

It was in one of those cosmopolitan hotels in Egypt which attract the ordinary tourists as well as those who are doing a “cure,” and all these Russians were ill with one thing or another. All were ordered out for their health, and all were the despair of their doctors. They were as unmanageable as a bazaar and as incoherent. Excess and bed were their routine. They lived, but none of them got better. Equally, none of them got angry. They talked in this strange personal way without a shred of malice or offence. The English, French, and Germans in the hotel watched them with remote amazement, referring to them as “that Russian lot.” Their energy was elemental. They never stopped. They merely disappeared when the pace became too fast, then reappeared again after a day or two, and resumed their “living” as before. Binovitch, despite his neurasthenia, was the life of the party. He was also a[43] special patient of Dr. Plitzinger, the famous psychiatrist, who took a peculiar interest in his case. It was not surprising. Binovitch was a man of unusual ability and of genuine, deep culture. But there was something more about him that stimulated curiosity. There was this striking originality. He said and did surprising things.

“I could fly if I wanted to,” he said once when the airmen came to astonish the natives with their biplanes over the desert, “but without all that machinery and noise. It’s only a question of believing and understanding——”

“Show us!” they cried. “Let’s see you fly!”

“He’s got it! He’s off again! One of his impossible moments.”

These occasions when Binovitch let himself go always proved wildly entertaining. He said monstrously incredible things as though he really did believe them. They loved his madness, for it gave them new sensations.

“It’s only levitation, after all, this flying,” he exclaimed, shooting out his tongue between the words, as his habit was when excited;[44] “and what is levitation but a power of the air? None of you can hang an orange in space for a second, with all your scientific knowledge; but the moon is always levitated perfectly. And the stars. D’you think they swing on wires? What raised the enormous stones of ancient Egypt? D’you really believe it was heaped-up sand and ropes and clumsy leverage and all our weary and laborious mechanical contrivances? Bah! It was levitation. It was the powers of the air. Believe in those powers, and gravity becomes a mere nursery trick—true where it is, but true nowhere else. To know the fourth dimension is to step out of a locked room and appear instantly on the roof or in another country altogether. To know the powers of the air, similarly, is to annihilate what you call weight—and fly.”

“Show us, show us!” they cried, roaring with delighted laughter.

“It’s a question of belief,” he repeated, his tongue appearing and disappearing like a pointed shadow. “It’s in the heart; the power of the air gets into your whole being. Why should I show you? Why should I ask my deity to persuade your scoffing little minds by any miracle? For it is deity, I tell you, and nothing else. I know it. Follow one idea like that, as I follow my bird idea—follow it with the impetus and undeviating concentration of a projectile—and you arrive at power. You know deity—the bird idea of deity, that is. They knew that. The old Egyptians knew it.”

“Oh, show us, show us!” they shouted impatiently, wearied of his nonsense-talk. “Get up and fly! Levitate yourself, as they did! Become a star!”

Binovitch turned suddenly very pale, and an odd light shone in his keen brown eyes. He rose slowly from the edge of the chair where he was perched. Something about him changed. There was silence instantly.

“I will show you,” he said calmly, to their intense amazement; “not to convince your disbelief, but to prove it to myself. For the powers of the air are with me here. I believe. And Horus, great falcon-headed symbol, is my patron god.”

The suppressed energy in his voice and manner was indescribable. There was a sense of lifting, upheaving power about him. He raised his arms; his face turned upward; he inflated his lungs with a deep, long breath, and his voice broke into a kind of singing cry, half prayer, half chant:

“O Horus,

Bright-eyed deity of wind,

[1]Feather my soul

Though earth’s thick air,

To know thy awful swiftness——”

[1] The Russian is untranslatable. The phrase means, “Give my life wings.”

[45]He broke off suddenly. He climbed lightly and swiftly upon the nearest table—it was in a deserted card-room, after a game in which he had lost more pounds than there are days in the year—and leaped into the air. He hovered a second, spread his arms and legs in space, appeared to float a moment, then buckled, rushed down and forward, and dropped in a heap upon the floor, while every one roared with laughter.

But the laughter died out quickly, for there was something in his wild performance that was peculiar and unusual. It was uncanny, not quite natural. His body had seemed, as with Mordkin and Nijinski, literally to hang upon the air a moment. For a second he gave the distressing impression of overcoming gravity. There was a touch in it of that faint horror which appals by its very vagueness. He picked himself up unhurt, and his face was as grave as a portrait in the academy, but with a new expression in it that everybody noticed with this strange, half-shocked amazement. And it was this expression that extinguished the claps of laughter as wind that takes away the sound of bells. Like many ugly men, he was an inimitable actor, and his facial repertory was endless and incredible. But this was neither acting nor clever manipulation of expressive features. There was something in his curious Russian physiognomy that made the heart beat slower. And that was why the laughter died away so suddenly.

“You ought to have flown farther,” cried some one. It expressed what all had felt.

“Icarus didn’t drink champagne,” another replied, with a laugh; but nobody laughed with him.

“You went too near to Vera,” said Palazov, “and passion melted the wax.” But his face twitched oddly as he said it. There was something he did not understand, and so heartily disliked.

The strange expression on the features deepened. It was arresting in a disagreeable, almost in a horrible,[46] way. The talk stopped dead; all stared; there was a feeling of dismay in everybody’s heart, yet unexplained. Some lowered their eyes, or else looked stupidly elsewhere; but the women of the party felt a kind of fascination. Vera, in particular, could not move her sight away. The joking reference to his passionate admiration for her passed unnoticed. There was a general and individual sense of shock. And a chorus of whispers rose instantly:

“Look at Binovitch! What’s happened to his face?”

“He’s changed—he’s changing!”

“God! Why he looks like a—bird!”

But no one laughed. Instead, they chose the names of birds—hawk, eagle, even owl. The figure of a man leaning against the edge of the door, watching them closely, they did not notice. He had been passing down the corridor, had looked in unobserved, and then had paused. He had seen the whole performance. He watched Binovitch narrowly, now with calm, discerning eyes. It was Dr Plitzinger, the great psychiatrist.

For Binovitch had picked himself up from the floor in a way that was oddly self-possessed, and precluded the least possibility of the ludicrous. He looked neither foolish nor abashed. He looked surprised, but also he looked half angry and half frightened. As some one had said, he “ought to have flown farther.” That was the incredible impression his acrobatics had produced—incredible, yet somehow actual. This uncanny idea prevailed, as at a séance where nothing genuine is expected to happen, and something genuine, after all, does happen. There was no pretence in this: Binovitch had flown.

And now he stood there, white in the face—with terror and with anger white. He looked extraordinary, this little, neurasthenic Russian, but he looked at the same time half terrific. Another thing, not commonly experienced by men, was in him, breaking out of him,[47] affecting directly the minds of his companions. His mouth opened; blood and fury shone in his blazing eyes; his tongue shot out like an ant-eater’s, though even in that the comic had no place. His arms were spread like flapping wings, and his voice rose dreadfully:

“He failed me, he failed me!” he tried to bellow. “Horus, my falcon-headed deity, my power of the air, deserted me! Hell take him! Hell burn his wings and blast his piercing sight! Hell scorch him into dust for his false prophecies! I curse him—I curse Horus!”

The voice that should have roared across the silent room emitted, instead, this high-pitched, bird-like scream. The added touch of sound, the reality it lent, was ghastly. Yet it was marvellously done and acted. The entire thing was a bit of instantaneous inspiration—his voice, his words, his gestures, his whole wild appearance. Only—here was the reality that caused the sense of shock—the expression on his altered features was genuine. That was not assumed. There was something new and alien in him, something cold and difficult to human life, something alert and swift and cruel, of another element than earth. A strange, rapacious grandeur had leaped upon the struggling features. The face looked hawk-like.

And he came forward suddenly and sharply toward Vera, whose fixed, staring eyes had never once ceased watching him with a kind of anxious and devouring pain in them. She was both drawn and beaten back. Binovitch advanced on tiptoe. No doubt he still was acting, still pretending this mad nonsense that he worshipped Horus, the falcon-headed deity of forgotten days, and that Horus had failed him in his hour of need; but somehow there was just a hint of too much reality in the way he moved and looked. The girl, a little creature, with fluffy golden hair, opened her lips; her cigarette fell to the floor; she shrank back; she looked for a moment like some smaller, coloured bird trying to escape from a great pursuing hawk; she screamed. Binovitch, his arms wide, his bird-[48]like face thrust forward, had swooped upon her. He leaped. Almost he caught her.

No one could say exactly what happened. Play, become suddenly and unexpectedly too real, confuses the emotions. The change of key was swift. From fun to terror is a dislocating jolt upon the mind. Some one—it was Khilkoff, the brother—upset a chair; everybody spoke at once; everybody stood up. An unaccountable feeling of disaster was in the air, as with those drinkers’ quarrels that blaze out from nothing, and end in a pistol-shot and death, no one able to explain clearly how it came about. It was the silent, watching figure in the doorway who saved the situation. Before any one had noticed his approach, there he was among the group, laughing, talking, applauding—between Binovitch and Vera. He was vigorously patting his patient on the back, and his voice rose easily above the general clamour. He was a strong, quiet personality; even in his laughter there was authority. And his laughter now was the only sound in the room, as though by his mere presence peace and harmony were restored. Confidence came with him. The noise subsided; Vera was in her chair again. Khilkoff poured out a glass of wine for the great man.

“The Czar!” said Plitzinger, sipping his champagne, while all stood up, delighted with his compliment and tact. “And to your opening night with the Russian ballet,” he added quickly a second toast, “or to your first performance at the Moscow Théâtre des Arts!” Smiling significantly, he glanced at Binovitch; he clinked glasses with him. Their arms were already linked, but it was Palazov who noticed that the doctor’s fingers seemed rather tight upon the creased black coat. All drank, looking with laughter, yet with a touch of respect, toward Binovitch, who stood there dwarfed beside the stalwart Austrian, and suddenly as meek and subdued as any mole. Apparently the abrupt change of key had taken his mind successfully off something else.

[49]“Of course—‘The Fire-Bird,’” exclaimed the little man, mentioning the famous Russian ballet. “The very thing!” he exclaimed. “For us,” he added, looking with devouring eyes at Vera. He was greatly pleased. He began talking vociferously about dancing and the rationale of dancing. They told him he was an undiscovered master. He was delighted. He winked at Vera and touched her glass again with his. “We’ll make our début together,” he cried. “We’ll begin at Covent Garden, in London. I’ll design the dresses and the posters ‘The Hawk and the Dove!’ Magnifique! I in dark grey, and you in blue and gold! Ah, dancing, you know, is sacred. The little self is lost, absorbed. It is ecstasy, it is divine. And dancing in air—the passion of the birds and stars—ah! they are the movements of the gods. You know deity that way—by living it.”

He went on and on. His entire being had shifted with a leap upon this new subject. The idea of realising divinity by dancing it absorbed him. The party discussed it with him as though nothing else existed in the world, all sitting now and talking eagerly together. Vera took the cigarette he offered her, lighting it from his own; their fingers touched; he was as harmless and normal as a retired diplomat in a drawing-room. But it was Plitzinger whose subtle manœuvring had accomplished the change so cleverly, and it was Plitzinger who presently suggested a game of billiards, and led him off, full now of a fresh enthusiasm for cannons, balls, and pockets, into another room. They departed arm in arm, laughing and talking together.

Their departure, it seemed, made no great difference at first. Vera’s eyes watched him out of sight, then turned to listen to Baron Minski, who was describing with gusto how he caught wolves alive for coursing purposes. The speed and power of the wolf, he said, was impossible to realise; the force of their awful leap, the strength of their teeth, which could bite through metal[50] stirrup-fastenings. He showed a scar on his arm and another on his lip. He was telling truth, and everybody listened with deep interest. The narrative lasted perhaps ten minutes or more, when Minski abruptly stopped. He had come to an end; he looked about him; he saw his glass, and emptied it. There was a general pause. Another subject did not at once present itself. Sighs were heard; several fidgeted; fresh cigarettes were lighted. But there was no sign of boredom, for where one or two Russians are gathered together there is always life. They produce gaiety and enthusiasm as wind produces waves. Like great children, they plunge whole-heartedly into whatever interest presents itself at the moment. There is a kind of uncouth gambolling in their way of taking life. It seems as if they are always fighting that deep, underlying, national sadness which creeps into their very blood.

“Midnight!” then exclaimed Palazov, abruptly, looking at his watch; and the others fell instantly to talking about that watch, admiring it and asking questions. For the moment that very ordinary timepiece became the centre of observation. Palazov mentioned the price. “It never stops,” he said proudly, “not even under water.” He looked up at everybody, challenging admiration. And he told how, at a country house, he made a bet that he would swim to a certain island in the lake, and won the bet. He and a girl were the winners, but as it was a horse they had bet, he got nothing out of it for himself, giving the horse to her. It was a genuine grievance in him. One felt he could have cried as he spoke of it. “But the watch went all the time,” he said delightedly, holding the gun-metal object in his hand to show, “and I was twelve minutes in the water with my clothes on.”

Yet this fragmentary talk was nothing but pretence. The sound of clicking billiard-balls was audible from the room at the end of the corridor. There was another pause. The pause, however, was intentional. It was not[51] vacuity of mind or absence of ideas that caused it. There was another subject, an unfinished subject that each member of the group was still considering. Only no one cared to begin about it till at last, unable to resist the strain any longer, Palazov turned to Khilkoff, who was saying he would take a “whisky-soda,” as the champagne was too sweet, and whispered something beneath his breath; whereupon Khilkoff, forgetting his drink, glanced at his sister, shrugged his shoulders, and made a curious grimace. “He’s all right now”—his reply was just audible—“he’s with Plitzinger.” He cocked his head sidewise to indicate that the clicking of the billiard-balls still was going on.

The subject was out: all turned their heads; voices hummed and buzzed; questions were asked and answered or half answered; eyebrows were raised, shoulders shrugged, hands spread out expressively. There came into the atmosphere a feeling of presentiment, of mystery, of things half understood; primitive, buried instinct stirred a little, the kind of racial dread of vague emotions that might gain the upper hand if encouraged. They shrank from looking something in the face, while yet this unwelcome influence drew closer round them all. They discussed Binovitch and his astonishing performance. Pretty little Vera listened with large and troubled eyes, though saying nothing. The Arab waiter had put out the lights in the corridor, and only a solitary cluster burned now above their heads, leaving their faces in shadow. In the distance the clicking of the billiard-balls still continued.

“It was not play; it was real,” exclaimed Minski vehemently. “I can catch wolves,” he blurted; “but birds—ugh!—and human birds!” He was half inarticulate. He had witnessed something he could not understand, and it had touched instinctive terror in him. “It was the way he leaped that put the wolf first into my mind, only it was not a wolf at all.” The others agreed and disagreed.[52] “It was play at first, but it was reality at the end,” another whispered; “and it was no animal he mimicked, but a bird, and a bird of prey at that!”

Vera thrilled. In the Russian woman hides that touch of savagery which loves to be caught, mastered, swept helplessly away, captured utterly and deliciously by the one strong enough to do it thoroughly. She left her chair and sat down beside an older woman in the party, who took her arm quietly at once. Her little face wore a perplexed expression, mournful, yet somehow wild. It was clear that Binovitch was not indifferent to her.

“It’s become an idée fixe with him,” this older woman said. “The bird idea lives in his mind. He lives it in his imagination. Ever since that time at Edfu, when he pretended to worship the great stone falcons outside the temple—the Horus figures—he’s been full of it.” She stopped. The way Binovitch had behaved at Edfu was better left unmentioned at the moment, perhaps. A slight shiver ran round the listening group, each one waiting for some one else to focus their emotion, and so explain it by saying the convincing thing. Only no one ventured. Then Vera abruptly gave a little jump.

“Hark!” she exclaimed, in a staccato whisper, speaking for the first time. She sat bolt upright. She was listening. “Hark!” she repeated. “There it is again, but nearer than before. It’s coming closer. I hear it.” She trembled. Her voice, her manner, above all her great staring eyes, startled everybody. No one spoke for several seconds; all listened. The clicking of the billiard-balls had ceased. The halls and corridors lay in darkness, and gloom was over the big hotel. Everybody was in bed.

“Hear what?” asked the older woman soothingly, yet with a perceptible quaver in her voice, too. She was aware that the girl’s arm shook upon her own.

“Do you not hear it, too?” the girl whispered.

All listened without speaking. All watched her paling[53] face. Something wonderful, yet half terrible, seemed in the air about them. There was a dull murmur, audible, faint, remote, its direction hard to tell. It had come suddenly from nowhere. They shivered. That strange racial thrill again passed into the group, unwelcome, unexplained. It was aboriginal; it belonged to the unconscious primitive mind, half childish, half terrifying.

“What do you hear?” her brother asked angrily—the irritable anger of nervous fear.

“When he came at me,” she answered very low, “I heard it first. I hear it now again. Listen! He’s coming.”

And at that minute, out of the dark mouth of the corridor, emerged two human figures, Plitzinger and Binovitch. Their game was over: they were going up to bed. They passed the open door of the card-room. But Binovitch was being half dragged, half restrained, for he was apparently attempting to run down the passage with flying, dancing leaps. He bounded. It was like a huge bird trying to rise for flight, while his companion kept him down by force upon the earth. As they entered the strip of light, Plitzinger changed his own position, placing himself swiftly between his companion and the group in the dark corner of the room. He hurried Binovitch along as though he sheltered him from view. They passed into the shadows down the passage. They disappeared. And every one looked significantly, questioningly, at his neighbour, though at first saying no word. It seemed that a curious disturbance of the air had followed them audibly.

Vera was the first to open her lips. “You heard it then,” she said breathlessly, her face whiter than the ceiling.

“Damn!” exclaimed her brother furiously.[54] “It was wind against the outside walls—wind in the desert. The sand is driving.”

Vera looked at him. She shrank closer against the side of the older woman, whose arm was tight about her.

“It was not wind,” she whispered simply. She paused. All waited uneasily for the completion of her sentence. They stared into her face like peasants who expected a miracle.

“Wings,” she whispered. “It was the sound of enormous wings.”

And at four o’clock in the morning, when they all returned exhausted from their excursion into the desert, little Binovitch was sleeping soundly and peacefully in his bed. They passed his door on tiptoe. But he did not hear them. He was dreaming. His spirit was at Edfu, experiencing with that ancient deity who was master of all flying life those strange enjoyments upon which his own troubled human heart was passionately set. Safe with that mighty falcon whose powers his lips had scorned a few hours before, his soul, released in vivid dream, went sweetly flying. It was amazing, it was gorgeous. He skimmed the Nile at lightning speed. Dashing down headlong from the height of the great Pyramid, he chased with faultless accuracy a little dove that sought vainly to hide from his terrific pursuit beneath the palm trees. For what he loved must worship where he worshipped, and the majesty of those tremendous effigies had fired his imagination to the creative point where expression was imperative.

Then suddenly, at the very moment of delicious capture, the dream turned horrible, becoming awful with the nightmare touch. The sky lost all its blue and sunshine. Far, far below him the little dove enticed him into nameless depths, so that he flew faster and faster, yet never fast enough to overtake it. Behind him came a great thing down the air, black, hovering, with gigantic wings outstretched. It had terrific eyes, and the beating of its feathers stole his wind away. It followed him, crowding[55] space. He was aware of a colossal beak, curved like a scimitar and pointed wickedly like a tooth of iron. He dropped. He faltered. He tried to scream.

Through empty space he fell, caught by the neck. The huge spectral falcon was upon him. The talons were in his heart. And in sleep he remembered then that he had cursed. He recalled his reckless language. The curse of the ignorant is meaningless; that of the worshipper is real. This attack was on his soul. He had invoked it. He realised next, with a touch of ghastly horror, that the dove he chased was, after all, the bait that had lured him purposely to destruction, and awoke with a suffocating terror upon him, and his entire body bathed in icy perspiration. Outside the open window he heard a sound of wings retreating with powerful strokes into the surrounding darkness of the sky.

The nightmare made its impression upon Binovitch’s impressionable and dramatic temperament. It aggravated his tendencies. He related it next day to Mme. de Drühn, the friend of Vera, telling it with that somewhat boisterous laughter some minds use to disguise less kind emotions. But he received no encouragement. The mood of the previous night was not recoverable; it was already ancient history. Russians never make the banal mistake of repeating a sensation till it is exhausted; they hurry on to novelties. Life flashes and rushes with them, never standing still for exposure before the cameras of their minds. Mme. de Drühn, however, took the trouble to mention the matter to Plitzinger, for Plitzinger, like Freud of Vienna, held that dreams revealed subconscious tendencies which sooner or later must betray themselves in action.

“Thank you for telling me,” he smiled politely, “but I have already heard it from him.” He watched her eyes for a moment, really examining her soul. “Binovitch, you see,” he continued, apparently satisfied with what he saw,[56] “I regard as that rare phenomenon—a genius without an outlet. His spirit, intensely creative, finds no adequate expression. His power of production is enormous and prolific; yet he accomplishes nothing.” He paused an instant. “Binovitch, therefore, is in danger of poisoning—himself.” He looked steadily into her face, as a man who weighs how much he may confide. “Now,” he continued, “if we can find an outlet for him, a field wherein his bursting imaginative genius can produce results—above all, visible results”—he shrugged his shoulders—“the man is saved. Otherwise”—he looked extraordinarily impressive—“there is bound to be sooner or later——”

“Madness?” she asked very quietly.

“An explosion, let us say,” he replied gravely. “For instance, take this Horus obsession of his, quite wrong archæologically though it is. Au fond it is megalomania of a most unusual kind. His passionate interest, his love, his worship of birds, wholesome enough in itself, finds no satisfying outlet. A man who really loves birds neither keeps them in cages nor shoots them nor stuffs them. What, then, can he do? The commonplace bird-lover observes them through glasses, studies their habits, then writes a book about them. But a man like Binovitch, overflowing with this intense creative power of mind and imagination, is not content with that. He wants to know them from within. He wants to feel what they feel, to live their life. He wants to become them. You follow me? Not quite. Well, he seeks to be identified with the object of his sacred, passionate adoration. All genius seeks to know the thing itself from its own point of view. It desires union. That tendency, unrecognised by himself, perhaps, and therefore subconscious, hides in his very soul.” He paused a moment.[57] “And the sudden sight of those majestic figures at Edfu—that crystallisation of his idée fixe in granite—took hold of this excess in him, so to speak—and is now focusing it toward some definite act. Binovitch sometimes—feels himself a bird! You noticed what occurred last night?”

She nodded; a slight shiver passed over her.

“A most curious performance,” she murmured; “an exhibition I never want to see again.”

“The most curious part,” replied the doctor coolly, “was its truth.”

“Its truth!” she exclaimed beneath her breath. She was frightened by something in his voice and by the uncommon gravity in his eyes. It seemed to arrest her intelligence. She felt upon the edge of things beyond her. “You mean that Binovitch did for a moment—hang—in the air?” The other verb, the right one, she could not bring herself to use.

The great man’s face was enigmatical. He talked to her sympathy, perhaps, rather than to her mind.

“Real genius,” he said smilingly, “is as rare as talent, even great talent, is common. It means that the personality, if only for one second, becomes everything; becomes the universe; becomes the soul of the world. It gets the flash. It is identified with the universal life. Being everything and everywhere, all is possible to it—in that second of vivid realisation. It can brood with the crystal, grow with the plant, leap with the animal, fly with the bird: genius unifies all three. That is the meaning of ‘creative.’ It is faith. Knowing it, you can pass through fire and not be burned, walk on water and not sink, move a mountain, fly. Because you are fire, water, earth, air. Genius, you see, is madness in the magnificent sense of being superhuman. Binovitch has it.”

He broke off abruptly, seeing he was not understood. Some great enthusiasm in him he deliberately suppressed.

“The point is,” he resumed, speaking more carefully,[58] “that we must try to lead this passionate constructive genius of the man into some human channel that will absorb it, and therefore render it harmless.”

“He loves Vera,” the woman said, bewildered, yet seizing this point correctly.

“But would he marry her?” asked Plitzinger at once.

“He is already married.”

The doctor looked steadily at her a moment, hesitating whether he should utter all his thought.

“In that case,” he said slowly after a pause, “it is better he or she should leave.”

His tone and manner were exceedingly impressive.

“You mean there’s danger?” she asked.

“I mean, rather,” he replied earnestly, “that this great creative flood in him, so curiously focused now upon his Horus-falcon-bird idea, may result in some act of violence——”

“Which would be madness,” she said, looking hard at him.

“Which would be disastrous,” he corrected her. And then he added slowly: “Because in the mental moment of immense creation he might overlook material laws.”

The costume ball two nights later was a great success. Palazov was a Bedouin, and Khilkoff an Apache; Mme. de Drühn wore a national head-dress; Minski looked almost natural as Don Quixote; and the entire Russian “set” was cleverly, if somewhat extravagantly, dressed. But Binovitch and Vera were the most successful of all the two hundred dancers who took part. Another figure, a big man dressed as a Pierrot, also claimed exceptional attention, for though the costume was commonplace enough, there was something of dignity in his appearance that drew the eyes of all upon him. But he wore a mask, and his identity was not discoverable.

It was Binovitch and Vera, however, who must have won the prize, if prize there had been, for they not only looked their parts, but acted them as well. The former in his dark grey feather tunic, and his falcon mask, complete even to the brown hooked beak and tufted talons,[59] looked fierce and splendid. The disguise was so admirable, yet so entirely natural, that it was uncommonly seductive. Vera, in blue and gold, a charming head-dress of a dove upon her loosened hair, and a pair of little dove-pale wings fluttering from her shoulders, her tiny twinkling feet and slender ankles well visible, too, was equally successful and admired. Her large and timid eyes, her flitting movements, her light and dainty way of dancing—all added touches that made the picture perfect.

How Binovitch contrived his dress remained a mystery, for the layers of wings upon his back were real; the large black kites that haunt the Nile, soaring in their hundreds over Cairo and the bleak Mokattam Hills, had furnished them. He had procured them none knew how. They measured four feet across from tip to tip; they swished and rustled as he swept along; they were true falcons’ wings. He danced with Nautch-girls and Egyptian princesses and Rumanian Gipsies; he danced well, with beauty, grace, and lightness. But with Vera he did not dance at all; with her he simply flew. A kind of passionate abandon was in him as he skimmed the floor with her in a way that made everybody turn to watch them. They seemed to leave the ground together. It was delightful, an amazing sight; but it was peculiar. The strangeness of it was on many lips. Somehow its queer extravagance communicated itself to the entire ball-room. They became the centre of observation. There were whispers.

“There’s that extraordinary bird-man! Look! He goes by like a hawk. And he’s always after that dove-girl. How marvellously he does it! It’s rather awful. Who is he? I don’t envy her.”

People stood aside when he rushed past. They got out of his way. He seemed forever pursuing Vera, even when dancing with another partner. Word passed from mouth to mouth. A kind of telepathic interest was established everywhere. It was a shade too real sometimes,[60] something unduly earnest in the chasing wildness, something unpleasant. There was even alarm.

“It’s rowdy; I’d rather not see it; it’s quite disgraceful,” was heard. “I think it’s horrible; you can see she’s terrified.”

And once there was a little scene, trivial enough, yet betraying this reality that many noticed and disliked. Binovitch came up to claim a dance, programme clutched in his great tufted claws, and at the same moment the big Pierrot appeared abruptly round the corner with a similar claim. Those who saw it assert he had been waiting, and came on purpose, and that there was something protective and authoritative in his bearing. The misunderstanding was ordinary enough—both men had written her name against the dance—but “No. 13, Tango” also included the supper interval, and neither Hawk nor Pierrot would give way. They were very obstinate. Both men wanted her. It was awkward.

“The Dove shall decide between us,” smiled the Hawk politely, yet his taloned fingers working nervously. Pierrot, however, more experienced in the ways of dealing with women, or more bold, said suavely:

“I am ready to abide by her decision”—his voice poorly cloaked this aggravating authority, as though he had the right to her—“only I engaged this dance before his Majesty Horus appeared upon the scene at all, and therefore it is clear that Pierrot has the right of way.”

At once, with a masterful air, he took her off. There was no withstanding him. He meant to have her and he got her. She yielded meekly. They vanished among the maze of coloured dancers, leaving the Hawk, disconsolate and vanquished, amid the titters of the onlookers. His swiftness, as against this steady power, was of no avail.

It was then that the singular phenomenon was witnessed first. Those who saw it affirm that he changed absolutely into the part he played. It was dreadful; it[61] was wicked. A frightened whisper ran about the rooms and corridors:

“An extraordinary thing is in the air!”

Some shrank away, while others flocked to see. There were those who swore that a curious, rushing sound was audible, the atmosphere visibly disturbed and shaken; that a shadow fell upon the spot the couple had vacated; that a cry was heard, a high, wild, searching cry: “Horus! bright deity of wind,” it began, then died away. One man was positive that the windows had been opened and that something had flown in. It was the obvious explanation. The thing spread horribly. As in a fire-panic, there was consternation and excitement. Confusion caught the feet of all the dancers. The music fumbled and lost time. The leading pair of tango dancers halted and looked round. It seemed that everybody pressed back, hiding, shuffling, eager to see, yet more eager not to be seen, as though something dangerous, hostile, terrible, had broken loose. In rows against the wall they stood. For a great space had made itself in the middle of the ball-room, and into this empty space appeared suddenly the Pierrot and the Dove.

It was like a challenge. A sound of applause, half voices, half clapping of gloved hands, was heard. The couple danced exquisitely into the arena. All stared. There was an impression that a set piece had been prepared, and that this was its beginning. The music again took heart. Pierrot was strong and dignified, no whit nonplussed by this abrupt publicity. The Dove, though faltering, was deliciously obedient. They danced together like a single outline. She was captured utterly. And to the man who needed her the sight was naturally agonizing—the protective way the Pierrot held her, the right and strength of it, the mastery, the complete possession.

“He’s got her!” some one breathed too loud, uttering the thought of all.[62] “Good thing it’s not the Hawk!”

And, to the absolute amazement of the throng, this sight was then apparent. A figure dropped through space. That high, shrill cry again was heard:

“Feather my soul ... to know thy awful swiftness!”

Its singing loveliness touched the heart, its appealing, passionate sweetness was marvellous, as from the gallery this figure of a man, dressed as a strong, dark bird, shot down with splendid grace and ease. The feathers swept; the swings spread out as sails that take the wind. Like a hawk that darts with unerring power and aim upon its prey, this thing of mighty wings rushed down into the empty space where the two danced. Observed by all, he entered, swooping beautifully, stretching his wings like any eagle. He dropped. He fixed his point of landing with consummate skill close beside the astonished dancers. He landed.

It happened with such swiftness it brought the dazzle and blindness as when lightning strikes. People in different parts of the room saw different details; a few saw nothing at all after the first startling shock, closing their eyes, or holding their arms before their faces as in self-protection. The touch of panic fear caught the entire room. The nameless thing that all the evening had been vaguely felt was come. It had suddenly materialised.

For this incredible thing occurred in the full blaze of light upon the open floor. Binovitch, grown in some sense formidable, opened his dark, big wings about the girl. The long grey feathers moved, causing powerful draughts of wind that made a rushing sound. An aspect of the terrible was about him, like an emanation. The great beaked head was poised to strike, the tufted claws were raised like fingers that shut and opened, and the whole presentment of his amazing figure focused in an attitude of attack that was magnificent and terrible. No one who saw it doubted. Yet there were those who swore that it was not Binovitch at all, but that another[63] outline, monstrous and shadowy, towered above him, draping his lesser proportions with two colossal wings of darkness. That some touch of strange divinity lay in it may be claimed, however confused the wild descriptions afterward. For many lowered their heads and bowed their shoulders. There was terror. There was also awe. The onlookers swayed as though some power passed over them through the air.

A sound of wings was certainly in the room.

Then some one screamed; a shriek broke high and clear; and emotion, ordinary human emotion, unaccustomed to terrific things, swept loose. The Hawk and Vera flew. Beaten back against the wall as by a stroke of whirlwind, the Pierrot staggered. He watched them go. Out of the lighted room they flew, out of the crowded human atmosphere, out of the heat and artificial light, the walled-in, airless halls that were a cage. All this they left behind. They seemed things of wind and air, made free happily of another element. Earth held them not. Toward the open night they raced with this extraordinary lightness as of birds, down the long corridor and on to the southern terrace, where great coloured curtains were hung suspended from the columns. A moment they were visible. Then the fringe of one huge curtain, lifted by the wind, showed their dark outline for a second against the starry sky. There was a cry, a leap. The curtain flapped again and closed. They vanished. And into the ball-room swept the cold draught of night air from the desert.

But three figures instantly were close upon their heels. The throng of half-dazed, half-stupefied onlookers, it seemed, projected them as though by some explosive force. The general mass held back, but, like projectiles, these three flung themselves after the fugitives down the corridor at high speed—the Apache, Don Quixote, and, last of them, the Pierrot. For Khilkoff, the brother, and Baron Minski, the man who caught wolves alive, had[64] been for some time keenly on the watch, while Dr. Plitzinger, reading the symptoms clearly, never far away, had been faithfully observant of every movement. His mask tossed aside, the great psychiatrist was now recognised by all. They reached the parapet just as the curtain flapped back heavily into place; the next second all three were out of sight behind it. Khilkoff was first, however, urged forward at frantic speed by the warning words the doctor had whispered as they ran. Some thirty yards beyond the terrace was the brink of the crumbling cliff on which the great hotel was built, and there was a drop of sixty feet to the desert floor below. Only a low stone wall marked the edge.

Accounts varied. Khilkoff, it seems, arrived in time—in the nick of time—to seize his sister, virtually hovering on the brink. He heard the loose stones strike the sand below. There was no struggle, though it appears she did not thank him for his interference at first. In a sense she was beside—outside—herself. And he did a characteristic thing: he not only brought her back into the ball-room, but he danced her back. It was admirable. Nothing could have calmed the general excitement better. The pair of them danced in together as though nothing was amiss. Accustomed to the strenuous practice of his Cossack regiment, this young cavalry officer’s muscles were equal to the semi-dead weight in his arms. At most the onlookers thought her tired, perhaps. Confidence was restored—such is the psychology of a crowd—and in the middle of a thrilling Viennese waltz he easily smuggled her out of the room, administered brandy, and got her up to bed. The absence of the Hawk, meanwhile, was hardly noticed; comments were made and then forgotten; it was Vera in whom the strange, anxious sympathy had centred. And, with her obvious safety, the moment of primitive, childish panic passed away. Don Quixote, too, was presently seen dancing gaily as though nothing untoward had happened; supper intervened; the[65] incident was over; it had melted into the general wildness of the evening’s irresponsibility. The fact that Pierrot did not appear again was noticed by no single person.

But Dr. Plitzinger was otherwise engaged, his heart and mind and soul all deeply exercised. A death-certificate is not always made out quite so simply as the public thinks. That Binovitch had died of suffocation in his swift descent through merely sixty feet of air was not conceivable; yet that his body lay so neatly placed upon the desert after such a fall was stranger still. It was not crumpled, it was not torn; no single bone was broken, no muscle wrenched; there was no bruise. There was no indenture in the sand. The figure lay sidewise as though in sleep, no sign of violence visible anywhere, the dark wings folded as a great bird folds them when it creeps away to die in loneliness. Beneath the Horus mask the face was smiling. It seemed he had floated into death upon the element he loved. And only Vera had seen the enormous wings that, hovering invitingly above the dark abyss, bore him so softly into another world. Plitzinger, that is, saw them, too, but he said firmly that they belonged to the big black falcons that haunt the Mokattam Hills and roost upon these ridges, close beside the hotel, at night. Both he and Vera, however, agreed on one thing: the high, sharp cry in the air above them, wild and plaintive, was certainly the black kite’s cry—the note of the falcon that passionately seeks its mate. It was the pause of a second, when she stood to listen, that made her rescue possible. A moment later and she, too, would have flown to death with Binovitch.

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