Hypatia — or New Foes with an Old Face, Charles Kingsley [thriller novels to read TXT] 📗

was put in its place, and fitted together, forming a frame of coral branches intermingled with dolphins, Nereids, and Tritons. Four gigantic Cyclops then approached, staggering under the weight of a circular slab of green marble, polished to a perfect mirror, which they placed on the framework. The Graces wreathed its circumference with garlands of sea-weed, shells, and corallines, and the mimic sea was complete.

Peitho and the Graces retired a few steps, and grouped themselves with the Cyclops, whose grimed and brawny limbs, and hideous one-eyed masks, threw out in striking contrast the delicate hue and grace of the beautiful maiden figures; while Hephaestus turned toward the curtain, and seemed to await impatiently the forthcoming of the goddess.

Every lip was breathless with expectation as the flutes swelled louder and nearer; horns and cymbals took up the harmony; and, to a triumphant burst of music, the curtain rose, and a simultaneous shout of delight burst from ten thousand voices.

The scene behind represented a magnificent temple, half hidden in an artificial wood of tropic trees and shrubs, which filled the stage. Fauns and Dryads peeped laughing from among their stems, and gorgeous birds, tethered by unseen threads, fluttered and sang among their branches. In the centre an overarching avenue of palms led from the temple doors to the front of the stage, from which the mimic battlements had disappeared, and had been replaced, in those few moments, by a broad slope of smooth greensward, leading down into the orchestra, and fringed with myrtles, roses, apple-trees, poppies, and crimson hyacinths, stained with the life-blood of Adonis.

The folding doors of the temple opened slowly, the crash of instruments resounded from within; and, preceded by the musicians, came forth the triumph of Aphrodite, and passed down the slope, and down the outer ring of the orchestra.

A splendid car, drawn by white oxen, bore the rarest and gaudiest of foreign flowers and fruits, which young girls, dressed as Hours and Seasons, strewed in front of the procession and among the spectators.

A long line of beautiful youths and maidens, crowned with garlands, and robed in scarfs of purple gauze, followed by two and two. Each pair carried or led a pair of wild animals, captives of the conquering might of Beauty.

Foremost were borne, on the wrists of the actors, the birds especially sacred to the goddess—doves and sparrows, wrynecks and swallows; and a pair of gigantic Indian tortoises, each ridden by a lovely nymph, showed that Orestes had not forgotten one wish, at least, of his intended bride.

Then followed strange birds from India, parakeets, peacocks, pheasants silver and golden; bustards and ostriches: the latter, bestridden each by a tiny cupid, were led on in golden leashes, followed by antelopes and oryxes, elks from beyond the Danube, four-horned rams from the Isles of the Hyperborean Ocean, and the strange hybrid of the Libyan hills, believed by all spectators to be half-bull half-horse. And then a murmur of delighted awe ran through the theatre, as bears and leopards, lions and tigers, fettered in heavy chains of gold, and made gentle for the occasion by narcotics, paced sedately down the slope, obedient to their beautiful guides; while behind them, the unwieldy bulk of two double-horned rhinoceroses, from the far south, was overtopped by the long slender necks and large soft eyes of a pair of giraffes, such as had not been seen in Alexandria for more than fifty years.

A cry arose of ‘Orestes! Orestes! Health to the illustrious Prefect! Thanks for his bounty!’ And a hired voice or two among the crowd cried, ‘Hail to Orestes! Hail, Emperor of Africa!’.... But there was no response.

‘The rose is still in the bud,’ simpered Orestes to Hypatia. He rose, beckoned and bowed the crowd into silence; and then, after a short pantomimic exhibition of rapturous gratitude and humility, pointed triumphantly to the palm avenue, among the shadows of which appeared the wonder of the day—the huge tusks and trunk of the white elephant himself.

There it was at last! Not a doubt of it! A real elephant, and yet as white as snow. Sight never seen before in Alexandria—never to be seen again! ‘Oh, thrice blest men of Macedonia!’ shouted some worthy on high, ‘the gods are bountiful to you this day!’ And all mouths and eyes confirmed the opinion, as they opened wider and yet wider to drink in the inexhaustible joy and glory.

On he paced solemnly, while the whole theatre resounded to his heavy tread, and the Fauns and Dryads fled in terror. A choir of nymphs swung round him hand in hand, and sang, as they danced along, the conquering might of Beauty, the tamer of beasts and men and deities. Skirmishing parties of little winged cupids spread themselves over the orchestra, from left to right, and pelted the spectators with perfumed comfits, shot among them from their tiny bows arrows of fragrant sandal-wood, or swung smoking censers, which loaded the air with intoxicating odours.

The procession came on down the slope, and the elephant approached the spectators; his tusks were wreathed with roses and myrtles; his ears were pierced with splendid earrings, a jewelled frontlet hung between his eyes; Eros himself, a lovely winged boy, sat on his neck, and guided him with the point of a golden arrow. But what precious thing was it which that shell-formed car upon his back contained? The goddess! Pelagia Aphrodite herself?

Yes; whiter than the snow-white elephant—more rosy than the pink-tipped shell in which she lay, among crimson cushions and silver gauze, there shone the goddess, thrilling all hearts with those delicious smiles, and glances of the bashful playful eyes, and grateful wavings of her tiny hand, as the whole theatre rose with one accord, and ten thousand eyes were concentrated on the unequalled loveliness beneath them.

Twice the procession passed round the whole circumference of the orchestra, and then returning from the foot of the slope towards the central group around Hephaestus, deployed right and left in front of the stage. The lions and tigers were led away into the side passages; the youths and maidens combined themselves with the gentler animals into groups lessening gradually from the centre to the wings, and stood expectant, while the elephant came forward, and knelt behind the platform destined for the goddess.

The valves of the shell closed. The Graces unloosed the fastenings of the car. The elephant turned his trunk over his back, and, guided by the hands of the girls, grasped the shell, and lifting it high in air, deposited it on the steps at the back of the platform.

Hephaestus limped forward, and, with his most uncouth gestures, signified the delight which he had in bestowing such a sight upon his faithful artisans of Alexandria, and the unspeakable enjoyment which they were to expect from the mystic dance of the goddess; and then retired, leaving the Graces to advance in front of the platform, and with their arms twined round each other, begin Hypatia’s song of invocation.

As the first strophe died away, the valves of the shell reopened, and discovered Aphrodite crouching on one knee within. She raised her head, and gazed around the vast circle of seats. A mild surprise was on her countenance, which quickened into delightful wonder, and bashfulness struggling with the sense of new enjoyment and new powers. She glanced downward at herself; and smiled, astonished at her own loveliness; then upward at the sky; and seemed ready, with an awful joy, to spring up into the boundless void. Her whole figure dilated; she seemed to drink in strength from