The Goddess of Atvatabar<br />Being the history of the discovery of the interior world and conquest of Atvatabar, William Richard Bradshaw [mobi reader txt] 📗

Her holiness greeted us with marked favor and offered both his majesty the king and myself her hand to kiss. The high officials and my officers and sailors were obliged to remain standing during the audience, according to the etiquette of the holy palace. His majesty the king and myself were allowed to seat ourselves on an elevated dais before the goddess. When thus seated, I had leisure to observe that she was arrayed in a single garment of quivering pale green silk, that caressed every [113] curve of her matchless figure and spread in myriad folds about her limbs and feet. On her head she wore a model of the jarcal, or bird of yearning, fashioned in precious terrelium. She wore also a jewelled belt of gold. The breast was embroidered with a golden emblem of the throne of the gods, the sacred ensign of Atvatabar. On her neck were circles of rich rose pearls whose light gleamed soft on the green lustre of her attire. On her head was the tiara of the goddess, the triple crown of Harikar.

Her holiness had an air of girlish frankness combined with royal dignity. She was so youthful that she could not have been more than twenty years old. She possessed a charming presence and a clear and musical voice. Her eyes were large and blue, and her finely-formed lips, like blood-red anemones, contrasted finely with the pale golden hue of her complexion.

Her features combined the witchery of a houri with the strength of intellect. They were sculptured and illuminated by a grandly-developed soul.

The odor of a high and steadfast virtue surrounded her. It was not the virtue of the ascetic, but rather that strength of soul that could triumph over temptation, that loved fair lights, fine raiment, sweet colors, and all the gladness and beauty of life.

In her soft right hand she bore a rod of divination, the spiritual sceptre of Atvatabar. On either side of her stood a twin soul in fond embrace as a guard of love.

The audience chamber was in itself a dream of grandeur and beauty. From the rose-tinted glass of the dome overhead a light soft and warm bathed all beneath with a peculiar sweetness. The lower part of the walls resembled the cloisters of a mosque. Behind pillars of solid silver a corridor ran all around the chamber. Here an artistic group of singers, clad in classic robes in soft colors, perambulated, singing as they went a refrain of penetrating sweetness. The audience listened with the deepest respect to the singing and to our conversation with the goddess. In the assembly were all the notables of the kingdom, poets, artists, musicians, inventors, sculptors, etc., as well as royal and sacerdotal officers.

The singing of the choir, that moved like an apparition of spirits in the dim cloisters, seemed to embody our thoughts and feelings. For myself the divine song was a draught of joy. It[114] was a breath of verdure, of flowers and fruits, of a warm and serene atmosphere made perfect by the presence of a peerless incarnation of man's universal soul.

Her holiness was pleased to say how honored she was by receiving us. Our advent in Atvatabar had created a profound impression upon the people, and she was no less curious to see us and learn from our own lips the story of the outer world. She was greatly interested in comparing the stalwart figures of our sailors with the less vigorous frames of the Atvatabarese. It could not be expected that men who handled objects and carried themselves in a land where gravity was reduced to a minimum could be so vigorous as men who belonged to a land of enormous gravity, whose resistance to human activity developed great strength of bone and muscle.

I informed her holiness regarding the geography, climate and peoples of the outer sphere. I gave her an account of the chief nations of the world from Japan to the United States. I spoke of Africa, Australia, and the Pacific islands. I spoke of Adam and Eve, of the Deluge, of Assyria and Egypt. Then I described the glory of Greece and the grandeur of Rome. I spoke of Caesar and Hannibal, Cleopatra and Antony. I spoke of Columbus, Galileo, Michael Angelo, Faraday, Dante, and Shakespeare. I described how art reigned in one kingdom or country and invention in another, and that the soul or spiritual nature was as yet a rare development.

"You tell me," said the goddess, "that Greece could chisel a statue, but could not invent a magnic engine, and that your own country, rich in machinery, is barren in art. This tells me the outer world is yet in a state of chaos and has not yet reached the development of Atvatabar. We have passed through all those stages. At first we were barbarous, then, as time produced order, art began to flourish. The artist, in his desire to glorify the few, lost sight of the misery of the many. Then came the reign of invention, of science, giving power to the meanest citizen. As democracy triumphed art was despised,[115] and a ribald press jeered at the sacred names of poet and priest. By degrees, as the pride and power of the wealthy few were curbed and the condition of the masses raised to a more uniform and juster level, universal prosperity, growing rapidly richer, produced a fusion of art and progress. The physical man made powerful by science and the soul developed by art naturally produced the result of spiritual freedom. The enfranchised soul became free to explore the mysteries of nature and obtain a mastery over the occult forces residing therein."

"In the outer sphere," I informed the goddess, "there has also existed in all ages an ardent longing for spiritual power over matter. But this power, which in many periods of history was really obtained, had been purchased by putting in practice the severest austerities of the body. Force of soul was the price of subjugation of passion and the various appetites of the body. The fakirs, yogis, jugglers, and adepts of India; the magicians, sorcerers and astrologers of Mesopotamia and Egypt; the alchemists, cabalists, and wizards of the middle ages, and the theosophists, spiritualists, clairvoyants, and mesmerists of the present time, were members of the same fraternity who have obtained their psychological powers from a study and practice of mystic philosophy or magic."

"You say that the outer-world magicians derived their powers of soul from abnegation of the body," said the goddess. "Now the soul priests of Atvatabar can do quite as wonderful things, I dare say, as your magicians, and they have never practised austerities, but, on the contrary, have developed the body as well as the soul. In the worship of the gods of science and invention, art and spirituality, both body, mind, and soul are exercised to their utmost capability. In all stages there is exultance, exercise, development. But I am deeply interested in your remarks. Tell me just what the principles of the worshippers of your Harikar are!"

"Spiritual culture in the outer world," I explained, "is obtained by a variety of religious beliefs, but the belief that most nearly resembles that of Atvatabar is that of the soul-worshippers, who deny the existence of any power beyond the human soul, teaching that it is only by our own inward light that we can rise to higher planes and reach at last to Nirvana, or passive blessedness. This inward light can only be truly followed by self-obliteration, fastings, penances, and repression[116] of desires and appetites of all kinds, carried on through an endless series of reincarnations. The final blessedness is a beatific absorption into the ocean of existence which pervades the universe."

"That is a different creed to that of Harikar in Atvatabar," said the goddess, "which is worship of body, mind, and soul. We believe with your Greeks in perfection of body and also with your Hindoos in perfection of soul. We re-enforce the powers of body and mind by science and invention, and the soul powers by art and spiritual love. We believe in magic and sorcery. Our religion is a state of ecstatic joy, chiefly found in the cultured friendship of counterpart souls, who form complete circles with each other. Enduring youth is the consummate flower of civilization. With us it lasts one hundred years, beginning with our twentieth birthday. There is no long and crucial stage of bodily abstinence from the good things of life; there is only abstinence from evil, from vice, selfishness, and unholy desire. Our religion is the trinity of body, mind, and spirit, in their utmost development. Such is the faith of Atvatabar."

"And such a faith," I replied, "with such a deity as your holiness, must profoundly sway the hearts of your people."

The goddess was a woman of intuition. Almost before I was aware of it myself she evidently discovered a sentiment underlying my words. She paused a moment, and before I could question her further regarding the peculiar creed of Atvatabar, said: "We will discuss these things more fully hereafter."

At a signal from the goddess the trumpets rang a blast announcing the audience at an end. With the summons music uttered a divine throbbing throughout the chamber, while the singers marched and sang gloriously in the cloisters.

As I sat, my soul swimming in a sea of ecstasy born of the blessed environment, I felt possessed of splendors and powers hitherto unknown and unfelt. A thrill of joy made hearts tremble beneath the crystal dome. It was a new lesson in art's mysterious peace.

[117]

A series of banquets and other entertainments followed each other during our stay at the palace of Tanje. The goddess had held frequent interviews with the professors and myself regarding the external sphere, and had examined our maps and charts with the greatest curiosity.

His majesty did not take nearly so much interest in our revelations as the goddess, being inert and prosaic in character.

On the morning of the fourth day of our stay at the palace of Tanje I received a visit from the grand chamberlain Cleperelyum, with a command from the goddess to meet her in her boudoir. Cleperelyum led me to the sacred apartment, which, when I entered, was vacant. The walls were models of decorative architecture, the panels being filled with silk tapestry of a pale yellow-green hue, the mouldings being ivory-white. The panelled frieze was filled with figures in violet and gold, and sea-green upholstery covered couch and divan, while the draperies were silks of cream and blue. It was a luxurious retreat. The carpet was a silk rug, soft as a bed of rose leaves, with a broad border in tones