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] 📗

The singers disappeared, and in their places a hundred wondrously-arrayed figures moved in the dance of pure being on the silver pavement. Lithe as leopards, with unclad limbs and feet, priest and priestess danced all the ecstasies of Egyplosis. The dancers were so young, so fresh, so tender, so beautiful, and so innocent, that it was a supreme joy to behold them. Rapture grew universal and lovers cried with hysterical shudderings. The rainbow-colored throng, moving to the music of the golden instruments, flashed upon the pavement like joy taking possession of the world!

I felt intensely sad for Lyone, who sat like a statue of golden marble, gazing on the abyss of joy beneath. Had the goddess no lover to press her to his heart amid the universal rapture? Alas! the immense dignity of her position and the unalterable laws of Atvatabar alike prevented any single soul from feeding the intense hunger that consumed her.

Accompanying the dancers, the unseen choir in the cloisters began to sing a new opera of love, and the strains of an "Ave, Lyone, bona dea," stole upon the senses like the bewildering sighs of angels, making one ache with delight. A story of romantic love once more sculptured the faces of priest and priestess with angelic beauty, as it rose on wings of song and swept in delightful moans upon the carven stone.[163]

It was a memorable scene, one never to be forgotten! The hieroglyphic walls, carved in high relief with the instruments of empire, the dome with its ten thousand fadeless lights, the terraces of twin-souls radiant with delight, the marvellous dancers, the superb music that seemed to shake the heart of the solid stone that enclosed us, and high over all the supreme goddess in whose honor all this adoration was made, seated in bliss on the throne of the gods—such was the situation at that moment.

It was a monstrous and a splendid joy!

Suddenly a roar of invincible music issued from gigantic tubes that pierced the body of the throne itself with fresh and warlike explosions of melody. I was filled with a maddening delight, until consciousness could hardly bear the strain any longer. I cried aloud, amid a Chimborazo of song, a hundred-cratered Popocatapetl of sweet strains. The audience, enraptured with the climax, became an inferno of passion, laughter tears and felicity!

The palace of the goddess at Egyplosis was a component part of the vast quadrangle known as the supernal palace. The view therefrom embraced the wide inner garden of the entire palace of temples, discovering jungles of shrubs and flowers of all imaginable hues, interspersed with lakes sleeping in their marble basins like enormous jewels. Fountains of solid silver gushed forth a brilliant foam of waters amid the embowering foliage, and there glad priests, in the society of priestesses sweeter than the flowers themselves, dreamed life away in enthusiastic peace. Surrounding all was the high and glorious palace, forming a background, on the design of which imagination and art had been entirely exhausted.

The scene the day following the Ritual of the installation of a twin-soul in the temple of Egyplosis was a boudoir in the palace of the goddess. It was a large apartment, whose walls were hung with panels of rose-colored velvet, embroidered with gray-green silk foliage. In one large tapestry, the hands of[164] loving priestesses had embroidered a scene in the garden of Egyplosis. On a dais, upon a couch of soft red silk upholstery sat Lyone, swathed in draperies of shrimp pink and pale peacock green, embroidered with ivory-white silk. A large terra-cotta silk rug, whose only ornament was an elaborate border, covered the floor. The goddess wore a belt of aquelium serpents having tulips in their mouths. Heavy terrelium bracelets adorned her wrists, and she wore a diminutive tiara on her head.

I sat on a luxurious seat, the sole guest of the goddess. I was rapidly learning from the divinity the mystery of Egyplosis. I was especially anxious to find out how the jewel of one hundred years of youth could be grafted into the ordinary existence. An idea so splendid seemed to be the germ of earthly immortality. We were discussing the subject of hopeless love, and I asked her if she considered life and love were the same element.

"Life and love are synonymous," she replied. "By love I mean the spiritual, ideal, romantic passion that is hopeless."

"Yes," I replied, "but does not the idea of inaccessibility create a worthless desire, that is, a desire for something that is forbidden or unattainable? The majority of men, I think, will prefer an every-day love with all its risks and imperfections to the shadowy ghost of a hopeless love. The hopeful love does no violence to nature such as is contemplated by the hopeless sentiment."

"You hardly understand me," said she; "the pleasure we aspire to is superior to any physical delight, and is an end in itself. It is romantic love, that blooms like a single flower in the crevices of a volcano. It is the quintessence of existence, the rarest wine of life, the expressed sweetness of difficulty and repression and long-suffering, the choicest holiday of the soul. We are willing to pay the price of hopelessness to taste such nectar. In the every-day world such joy only rarely exists. Interest, indulgence, ambition, fortune, time, temper and marriage destroy it. Youth, captivated by a beautiful face or a winning smile, thinks it has discovered its true counterpart, and so takes possession of the prize. It finds afterward it was mistaken, and all its life thenceforth becomes miserable."

"But," I replied, "if the world at large had discovered that your theory of love was the true one, it would long since have[165] acted on its discovery and put no destroying restraint or obligation on so precious a possession. But the world found that a thousand accidents would infallibly open the eyes of both parties to the fact that they possessed but few qualities in common, or in counterpart, and with such knowledge of good and evil they would infallibly separate. Hence the foundation of society would be torn asunder and the rising generation of helpless children become orphaned of home, the very bulwark of life. Society must have assurances that people do not get married simply as an experiment, but are willing to honorably undertake the mutual sacrifices their act carries with it."

"I have already admitted," said she, "that the joy of spiritual love hardly ever exists in its virgin force in the every-day world. I admit that the necessary regulations of society, although they tend to destroy it, must be enforced. The Atvatabar nation rests on the marriage idea. At one time in our history the people strove for ideal love and overthrew the ordinary marriage yoke without the restraint of reason. Law and order disappeared and social chaos reigned. The land was filled with the wailings of orphans whose parents had deserted them, and men and women formed new associates every day. Unbridled license devastated the country. Our lawgivers re-established the law of marriage as being the only law suitable to mankind. Man