The Bride of the Nile — Volume 12 by Georg Ebers (philippa perry book .TXT) 📖

on all sides to hail Horapollo—who was here, there, everywhere on his white ass as brisk as a lad—or to greet some leading official.

And now and again loud cries of anguish were heard, or the closely-packed throng parted with exclamations of horror. A citizen had had a sunstroke, or had been seized by the plague. Then the fugitives dragged others away with them; screaming mothers trying to save their little ones from the crush on one hand and the contagion on the other, oversetting one dealer's truck, smashing the eggs and cakes of another. A whole party were pushed into a deep but half-dried up water-course; the guardians of the peace flourished their staves, yelling and making their victims yell in their efforts to restore order—but all this hardly affected the vast body of spectators, and suddenly peace reigned, the confusion subsided, the shrieks were silenced. Those who were doomed might fall or die, be crushed or plague-stricken. Trumpet calls and singing were heard approaching from the town: the procession, the Bridal procession was coming! Not a man but would have perished rather than be deprived of seeing a single act of this stupendous drama.

Those Arabs—what fools they were! Besides the Vekeel only three of their magnates were present, and those men whom no one knew. Even the Kadi was nowhere to be seen; and he must have forbidden the Moslem women to come, for not a single veiled beauty of the harem was visible. Not one Egyptian woman would have failed to appear if the plague had not kept so many imprisoned in their houses. Such a thing would never be seen again; this day's doings would be a tale to tell to future great- grandchildren!

The music and singing came nearer and nearer; and it did not indeed sound as if it were escorting a hapless creature to a fearful end. Blast after blast rang out from the trumpets, filling the air with festive defiance; cheerful bridal songs came nearer and nearer to the listeners, the shrill chorus of boys and maidens sounding above the deeper and stronger chant of youths and men of all ages; flutes piped a gay invitation to gladness; the dull roar of drums muttered like the distant waves in time to a march, broken by the clang of cymbals and the tinkle of bells hung around tambourines held high by girlish hands which struck, rattled and waved them above their flowing curls; lute players discoursed sweet music on the strings; and as this vast tide of mingled tones came closer, behind it there was still more music and more song.

To the ear the procession seemed endless, and the eye soon confirmed the impression.

All were listening, gazing, watching to see the Bride and her escort. Every eye seemed compelled to turn in the same direction; and presently there came: first the trumpeters on spirited horses, and these ranged themselves on each side of the road by the shore leading to the scene of the "marriage." In front of them the choir of women took their stand to the left and, on the right, the men who had marched after them. All alike were arrayed in light sea-green garments, and loaded with lotos- flowers. The women's hair, twined with white blossoms, flowed over their shoulders; the men carried bunches of papyrus and reeds;—they represented river gods that had risen from the stream.

Then came boys and bearded men, in white robes, with panther-skins on their shoulders, as the heathen priests had been wont to wear them. They were headed by two old men with long white beards, one holding a silver cup and the other a golden one, ready to fling them into the waves as a first offering, according to the practise of their forefathers, as Horapollo had described and ordered it. These went on to the pontoon, to its farthest end, and took their place on one side of the platform whence the Bride was to be cast into the river. Behind them came a large troop of flute-players and drummers, followed by fifty maidens holding tambourines, and fifty men all dressed and carrying emblems as followers of Dionysus, or Osiris-Bacchus, who had been worshipped here in the time of the Romans; with these came the drunken Silenus, goathoofed Satyrs and Pan, with his reed-pipes, all riding grey asses strangely bedaubed with yellow.

Then followed giraffes, elephants, ostriches, antelopes, gazelles; even some tamed lions and panthers were led past the wondering crowd; for this had been done in the famous procession in honor of the second Ptolemy, described by Callixenus of Rhodes.

Next came a large car drawn by twelve black horses, and on it a symbolical group of Famine and Pestilence overthrown; they were surrounded by shrieking black children, with pointed wings on their shoulders and horns on their foreheads, bound to stakes to represent the hosts of hell—a performance which they tried to make at once ghastly and droll.

On another car the Goddess of the Inundation was to be seen. She sat amid sheaves, fruits, and garlands of vine; while round her were groups of children with apples and corn, pomegranates and bunches of dates, wine-jars and cups in their hands.

Presently there appeared in a large shell, as though lounging in a bath, the goddess of health; she was drawn by eight snow-white horses, and held in one hand a golden goblet and in the other a caduceus. After her came the river-god Nile, the bridegroom of the marriage, studied from the famous statue carried away from Alexandria by the Romans: a splendid and mighty bearded man, resting against an urn. Sixteen naked children—the sixteen ells that the river must rise for its overflow to bless the land —played round his herculean form, and a bridal wreath of lotos-flowers crowned his flowing locks. This car, which was decorated with crocodiles, sheaves, dates, grapes, and shells, was hailed with shouts of enthusiasm; it was escorted by old men in the costume of the heathen priesthood.

Behind this came more music and singers, with a troop of young men and maidens led by lute-players singing. These too were dressed as the genie, and nymphs of the river and were the groomsmen and bridesmaids in attendance on the betrothed.

The longer the procession lasted and the nearer the looked-for victim approached, the more eagerly attent were the gazing multitude.

When this group of youths and maidens had gone by, there was hardly a sound to be heard in the tribune and among the crowd. No one felt the fierce heat of the sun, no one heeded the thirst that parched every tongue; all eyes were bent in one direction; only the black Vekeel, whose colossal form towered up where he stood, occasionally sent a sinister and anxious glance towards the town. He expected to see smoke rising from the quarter near the prison, and suddenly his lips parted and he displayed his dazzlingly white teeth in a scornful laugh. That which he looked for had come to pass; the little grey cloud which he discerned grew blacker, and then, in the heart of it, rose a crimson glow which did not take its color from the sun. But of all those thousands he was the only one who looked behind him and observed it.

The bride's attendants had by this time taken their station on the pontoon; here came another band of youths with panther skins on their shoulders; and now—at last, at last—a car came swaying along, drawn by eight coal-black oxen dressed with green ostrich-feathers and water- plants.

The car was shaded by a tall canopy, supported by four poles, against which leaned four men in the robes of the heathen priesthood; this awning was lavishly decorated with wreaths of lotos and reeds, and fenced about with papyrus, bulrushes, tall grasses and blossoming river-weeds. Beneath it sat the queen of the festival—the Bride of the Nile.

Robed in white and closely veiled, she was quite motionless. Her long, thick brown hair fell over her shoulders; at her feet lay a wreath, and rare rose-colored lotos-flowers were strewn on the car.

The bishop had been sitting at her side, the first Christian priest, certainly, of all the swarms of monks and ecclesiastics in Memphis, who had ever appeared at such a scene of heathen abomination. He was now standing, looking down at the crowd with a deeply knit brow and menacing gaze. What good had come of the penitential sermons in all the churches, of his and his vicar's warnings and threats? In spite of all remonstrance he had mounted the car with the condemned victim, after administering the last consolations to her soul. It might cost him his life, but he would keep his promise.

In her hand Paula held two roses: one was Orion's last greeting delivered by Martina; the other Pulcheria had brought her early in the morning. Yesterday, in a lucid moment, her dying father had given her his fondest blessing, little knowing what hung over her; to-day he had not come to himself, and had neither noticed nor returned her parting kiss. Quite unconscious, he had been moved from the prison out of doors and to the house of Rufinus. Dame Joanna would not forego the privilege of giving him a resting-place and taking care of him till the end.

Orion's last note was placed in Paula's hands just before she set out; it informed her that his task was now successfully ended. He had been told that it was to-morrow, and not to-day, that the hideous act would be accomplished; and it was a consolation to her to know that he was spared the agony of following her in fancy in her fearful progress.

She had allowed the women who came to clothe her in bridal array to perform their task; among them was Emau, the chief warder's wife, and her overflowing compassion had done Paula good. But even in the prison-yard she had felt it unendurable to exhibit herself decked in her bridal wreaths to the gaping multitude; she had torn them from her and thrown them on the ground.

How long—how interminably long—had the road to the river appeared; but she had never raised her eyes to look at the curious crowd, never ceased lifting up her heart in prayer; and when her proud blood boiled, or despair had almost taken possession of her, she had grasped the bishop's hand and he had never wearied of encouraging her and exhorting her to cling to love and faith, and not even yet abandon all hope.

Thus they at last reached the pontoon at whose further end life would begin for her in another world. The shouts of the crowd were as loud, as triumphant, as expectant as ever; music and singing mingled with the roar of thousands of spectators; she allowed herself to be lifted from the car as though she were stunned, and followed the young men and maidens who formed the bridal train, and in alternate choruses sang the finest nuptial song of Sappho the fair Lesbian.

The bishop now made an attempt to address the people, but he was soon reduced to silence. So he once more joined Paula, and hand in hand they went on to the pier.

All she had in her of strength, pride, and heroic courage she summoned to her aid to enable her to walk these last few paces with her head erect, and without tottering; she had gone half way along the wooden structure, with a mien as lofty and majestic as though she were marching to command the obedience of the mob, when hoofs came thundering after her on the boards.

Old Horapollo, on his white ass, had overtaken her and stopped her on her road. Breathless, bathed in perspiration, scornful and triumphant, he desired her to remove her veil, and ordered the bishop to leave her and give up his place to the man who represented Father Nile—a gigantic farrier who followed him, somewhat embarrassed in his costume, but very ready to perform his part to the end.

The priest and Paula, however, refused to obey. At this the old man tore the veil from her face and signed to the Nile-God; he stepped forward and assumed his rights, after bowing respectfully to the prelate—who was forced to make way—and then led the Bride to the end of the platform. Here the two elders who had headed the procession in honor of Bacchus, cast the gold cups as offerings into the river, and then a lawyer, in the costume of a heathen priest, proceeded to expound, in