Pharos, The Egyptian: A Romance. Boothby Guy
played, followed the singer, and when he had resumed his seat the violinist rose and once more took up her instrument.
This time there was no pause. With an abruptness that was startling, she burst into a wild barbaric dance. The notes danced and leaped upon each other in joyous confusion, creating an enthusiasm that was as instantaneous as it was remarkable. It was a tarantella of the wildest description – nay, I should rather say a dance of Satyrs. The player's eyes flashed above the instrument, her lithe, exquisite figure rocked and swayed beneath the spell of the emotion she was conjuring up. Faster and faster her bow swept across the strings, and as before, though now for a very different reason, her audience sat fascinated before her. The first work had been the outcome of despair, this was the music of unqualified happiness, of the peculiar joy of living – nay, of the very essence and existence of life itself. Then it ceased as suddenly as it had begun, and once more she bowed, put down her violin, and approached her hostess. The programme was at an end, and the enthusiastic audience clustered round to congratulate her. For my own part I was curiously ill at ease. In a vague sort of fashion I had appropriated her music to myself, and now I resented the praise the fashionable mob was showering upon her. Accordingly I drew back a little and made up my mind to get through the crowd and slip quietly away. By the time I was able to emerge from my corner, however, there was a movement at the end of the room, and it became evident that the player and her companion were also about to take their departure. Accompanied by Lord and Lady Medenham they approached the spot where I was standing, endeavouring to reach the door. Had it been possible I would have taken shelter behind my palm again in order that my presence might not have been observed. But it was too late. Lady Medenham had caught my eye, and now stopped to speak.
"Mr. Forrester," she said, "we have been permitted a great treat to-night, have we not? You must let me introduce you to the Fräulein Valerie de Vocxqal."
I bowed, and, despite the fact that, regarded in the light of her genius, such a thing was little better than an insult, followed the example of my betters and murmured a complimentary allusion to her playing and the pleasure she had given us. She thanked me, all the time watching me with grave, attentive eyes, into which there had suddenly flashed a light that was destined to puzzle me for a long time, and the reason of which I could not understand. Then came the crucial moment when Lady Medenham turned to me again, and said:
"Mr. Forrester, Monsieur Pharos has expressed a desire to be introduced to you. I told him yesterday I thought you would be here to-night. May I have the pleasure of making you acquainted with each other?"
Those cold, dead eyes fixed themselves steadily on mine, and, under their influence, I felt as if my brain were freezing.
"I am indeed honoured, sir," he said, "and I trust I may be permitted to express a hope of enlarging our acquaintance. I understand you are the painter of that very wonderful picture I saw at the Academy this afternoon? Allow me to offer you my congratulations upon it. It interested me more deeply than I can say, and on some future date I shall be grateful if you will let me talk to you upon the subject. The knowledge it displayed of the country and the period is remarkable in these days. May I ask how it was acquired?"
"My father was a famous Egyptologist," I replied. "All that I know I learned from him. Are you also familiar with the country?"
"There are few things and fewer countries with which I am not familiar," he replied, somewhat conceitedly, but still watching me and speaking with the same peculiar gravity. "Some day I shall hope to offer you conclusive evidence on that point. In the meantime the hour grows late. I thank you and bid you farewell."
Then, with a bow, he passed on, and a moment later I, too, had quitted the house and was making my way homeward, trying to collect my impressions of the evening as I went.
CHAPTER III
To infer that my introduction that evening to the beautiful violinist and her diabolical companion, Monsieur Pharos, produced no effect upon me, would be as idle as it would misleading. On leaving Medenham House I was conscious of a variety of sensations, among which attraction for the woman, repugnance for the man, and curiosity as to the history and relationship of both could be most easily distinguished. What was perhaps still more perplexing, considering the small, but none the less genuine, antagonism that existed between us, by the time I reached my own abode I had lost my first intense hatred for the man, and was beginning to look forward, with a degree of interest which a few hours before would have surprised me, to that next meeting which he had prophesied would so soon come to pass. Lightly as I proposed to myself to treat it, his extraordinary individuality must have taken a greater hold upon me than I imagined, for, as in the afternoon, I soon discovered that, try to divert my thoughts from it how I would, I could not dispel his sinister image from my mind. Every detail of the evening's entertainment was vividly photographed upon my brain, and without even the formality of shutting my eyes, I could see the crowded room, the beautiful violinist standing, instrument in hand, beside the piano, and in the chair at her feet her strange companion, huddled up beneath his rug.
By the time I reached home it was considerably past midnight; I was not, however, the least tired, so, exchanging my dress coat for an old velvet painting jacket, for which I entertained a lasting affection, I lit a cigar and began to promenade the room. It had been a fancy of mine when I first took the studio, which, you must understand, was of more than the usual size, to have it decorated in the Egyptian fashion, and, after my meeting with Pharos, this seemed to have a singular appropriateness. It was as if the quaint images of the gods, which decorated the walls, were watching me with almost human interest, and even the gilded countenance upon the mummy-case, in the alcove at the farther end, wore an expression I had never noticed on it before. It might have been saying: "Ah, my nineteenth century friend, your father stole me from the land of my birth, and from the resting-place the gods decreed for me; but beware, for retribution is pursuing you and is even now close upon your heels."
Cigar in hand, I stopped in my walk and looked at it, thinking as I did so of the country from which it had hailed, and of the changes that had taken place in the world during the time it had lain in its Theban tomb, whence it had emerged in the middle of the nineteenth century, with colouring as fresh, and detail as perfect, as on the day when the hieroglyphs had first left the artist's hand. It was an unusually fine specimen – one of the most perfect, indeed, of its kind ever brought to England, and, under the influence of the interest it now inspired in me, I went to an ancient cabinet on the other side of the room, and, opening a small drawer, took from it a bulky pocketbook, once the property of my father. He it was, as I have already said, who had discovered the mummy in question, and it was from him, at his death, in company with many other Egyptian treasures, that I received it.
As I turned the yellow, time-stained pages in search of the information I wanted, the clock of St. Jude's, in the street behind, struck one, solemnly and deliberately, as though it were conscious of the part it played in the passage of time into eternity. To my surprise the reference was more difficult to find than I had anticipated. Entries there were in hundreds; records of distances travelled, of measurements taken, evidence as to the supposed whereabouts of tombs, translations of hieroglyphics, paintings, and inscriptions, memoranda of amounts paid to Arab sheiks, details of stores and equipments, but for some time no trace of the information for which I was searching. At last, however, it struck me to look in the pocket contained in the cover of the book. My diligence was immediately rewarded, for there, carefully folded and hidden away, was the small square of parchment upon which my father had written the name once borne by the dead man, with a complete translation of the record upon the cartonnage itself. According to the statement here set forth, the coffin contained the mortal remains of a certain Ptahmes, Chief of the King's Magicians – an individual who flourished during the reign of Menptah (Amenepthes of the Greeks, but better known to the nineteenth century as the Pharaoh of the Exodus). For all I knew to the contrary, my silent property might have been one of that band of conjurors who pitted their wits against Moses, and by so doing had caused Pharaoh's heart to be hardened so that he would not let the Children go. Once more I stood looking at the stolid representation of a face before me, guessing at the history of the man within, and wondering whether his success in life had equalled his ambition, or was commensurate with his merits, and whether in that age, so long since dead, his heart had ever been thrilled by thoughts of love.
While