She, H. Rider Haggard [heaven official's blessing novel english .txt] 📗

resembled none that I have ever seen or heard of, being fashioned with a kind of waist at the centre, and swelling out above and below. At first we thought that this shape was meant to roughly symbolise or suggest the female form, as was a common habit amongst the ancient religious architects of many creeds. On the following day, however, as we went up the slopes of the mountain, we discovered a large quantity of the most stately looking palms, of which the trunks grew exactly in this shape, and I have now no doubt but that the first designer of those columns drew his inspiration from the graceful bends of those very palms, or rather of their ancestors, which then, some eight or ten thousand years ago, as now, beautified the slopes of the mountain that had once formed the shores of the volcanic lake.

At the façade of this huge temple, which, I should imagine, is almost as large as that of El-Karnac, at Thebes, some of the largest columns, which I measured, being between eighteen to twenty feet in diameter at the base, by about seventy feet in height, our little procession was halted, and Ayesha descended from her litter.

“There was a spot here, Kallikrates,” she said to Leo, who had run up to help her down, “where one might sleep. Two thousand years ago did thou and I and that Egyptian asp rest therein, but since then have I not set foot here, nor any man, and perchance it has fallen,” and, followed by the rest of us, she passed up a vast flight of broken and ruined steps into the outer court, and looked round into the gloom. Presently she seemed to recollect, and, walking a few paces along the wall to the left, halted.

“It is here,” she said, and at the same time beckoned to the two mutes, who were loaded with provisions and our little belongings, to advance. One of them came forward, and, producing a lamp, lit it from his brazier (for the Amahagger when on a journey nearly always carried with them a little lighted brazier, from which to provide fire). The tinder of this brazier was made of broken fragments of mummy carefully damped, and, if the admixture of moisture was properly managed, this unholy compound would smoulder away for hours.[3] As soon as the lamp was lit we entered the place before which Ayesha had halted. It turned out to be a chamber hollowed in the thickness of the wall, and, from the fact of there still being a massive stone table in it, I should think that it had probably served as a living-room, perhaps for one of the door-keepers of the great temple.

[3] After all we are not much in advance of the Amahagger in these matters. “Mummy,” that is pounded ancient Egyptian, is, I believe, a pigment much used by artists, and especially by those of them who direct their talents to the reproduction of the works of the old masters.—Editor.

Here we stopped, and after cleaning the place out and making it as comfortable as circumstances and the darkness would permit, we ate some cold meat, at least Leo, Job and I did, for Ayesha, as I think I have said elsewhere, never touched anything except cakes of flour, fruit and water. While we were still eating, the moon, which was at her full, rose above the mountain-wall, and began to flood the place with silver.

“Wot ye why I have brought you here to-night, my Holly?” said Ayesha, leaning her head upon her hand and watching the great orb as she rose, like some heavenly queen, above the solemn pillars of the temple. “I brought you—nay, it is strange, but knowest thou, Kallikrates, that thou liest at this moment upon the very spot where thy dead body lay when I bore thee back to those caves of Kôr so many years ago? It all returns to my mind now. I can see it, and horrible is it to my sight!” and she shuddered.

Here Leo jumped up and hastily changed his seat. However the reminiscence might affect Ayesha, it clearly had few charms for him.

“I brought you,” went on Ayesha presently, “that ye might look upon the most wonderful sight that ever the eye of man beheld—the full moon shining over ruined Kôr. When ye have done your eating—I would that I could teach you to eat naught but fruit, Kallikrates, but that will come after thou hast laved in the fire. Once I, too, ate flesh like a brute beast. When ye have done we will go out, and I will show you this great temple and the God whom men once worshipped therein.”

Of course we got up at once, and started. And here again my pen fails me. To give a string of measurements and details of the various courts of the temple would only be wearisome, supposing that I had them, and yet I know not how I am to describe what we saw, magnificent as it was even in its ruin, almost beyond the power of realisation. Court upon dim court, row upon row of mighty pillars—some of them (especially at the gateways) sculptured from pedestal to capital—space upon space of empty chambers that spoke more eloquently to the imagination than any crowded streets. And over all, the dead silence of the dead, the sense of utter loneliness, and the brooding spirit of the Past! How beautiful it was, and yet how drear! We did not dare to speak aloud. Ayesha herself was awed in the presence of an antiquity compared to which even her length of days was but a little thing; we only whispered, and our whispers seemed to run from column to column, till they were lost in the quiet air. Bright fell the moonlight on pillar and court and shattered wall, hiding all their rents and imperfections in its silver garment, and clothing their hoar majesty with the peculiar glory of the night. It was a wonderful sight to see the full moon looking down on the ruined fane of Kôr. It was a wonderful thing to think for how many thousands of years the dead orb above and the dead city below had gazed thus upon each other, and in the utter solitude of space poured forth each to each the tale of their lost life and long-departed glory. The white light fell, and minute by minute the quiet shadows crept across the grass-grown courts like the spirits of old priests haunting the habitations of their worship—the white light fell, and the long shadows grew till the beauty and grandeur of each scene and the untamed majesty of its present Death seemed to sink into our very souls, and speak more loudly than the shouts of armies concerning the pomp and splendour that the grave had swallowed, and even memory had forgotten.

“Come,” said Ayesha, after we had gazed and gazed, I know not for how long, “and I will show you the stony flower of Loveliness and Wonder’s very crown, if yet it stands to mock time with its beauty and fill the heart of man with longing for that which is behind the veil,” and, without waiting for an answer, she led us through two more pillared courts into the inner shrine of the old fane.

And there, in the centre of the inmost court, that might have been some fifty yards square, or a little more, we stood face to face with what is perhaps the grandest allegorical work of Art that the genius of her children has ever given to the world. For in the exact centre of the court, placed upon a thick square slab of rock, was a huge round ball of dark stone, some twenty feet in diameter, and standing on the ball was a colossal winged figure of a beauty so entrancing and divine that when I first gazed upon it, illuminated and shadowed as it was by the soft light of the moon, my breath stood still, and for an instant my heart ceased its beating.

The statue was hewn from marble so pure and white that even now, after all those ages, it shone as the moonbeams danced upon it, and its height was, I should say, a trifle over twenty feet. It was the winged figure of a woman of such marvellous loveliness and delicacy of form that the size seemed rather to add to than to detract from its so human and yet more spiritual beauty.