One of Cleopatra's Nights and Other Fantastic Romances. Gautier Théophile

armed the point of the prow, showing that the vessel belonged to some personage of royal blood.

      In the centre of the vessel arose a flat-roofed cabin – a sort of naos, or tent of honor – colored and gilded, ornamented with palm-leaf mouldings, and lighted by four little square windows.

      Two chambers, both decorated with hieroglyphic paintings, occupied the horns of the crescent. One of them, the larger, had a second story of lesser height built upon it, like the châteaux gaillards of those fantastic galleys of the sixteenth century drawn by Della-Bella; the other and smaller chamber, which also served as a pilot-house, was surmounted with a triangular pediment.

      In lieu of a rudder, two immense oars, adjusted upon stakes decorated with stripes of paint, which served in place of our modern row-locks, extended into the water in rear of the vessel like the webbed feet of a swan; heads crowned with pshents, and bearing the allegorical horn upon their chins, were sculptured upon the handles of these huge oars, which were manœuvred by the pilot as he stood upon the deck of the cabin above.

      He was a swarthy man, tawny as new bronze, with bluish surface gleams playing over his dark skin; long oblique eyes, hair deeply black and all plaited into little cords, full lips, high cheek-bones, ears standing out from the skull – the Egyptian type in all its purity. A narrow strip of cotton about his loins, together with five or six strings of glass beads and a few amulets, comprised his whole costume.

      He appeared to be the only one on board the cangia; for the rowers bending over their oars, and concealed from view by the gunwales, made their presence known only through the symmetrical movements of the oars themselves, which spread open alternately on either side of the vessel, like the ribs of a fan, and fell regularly back into the water after a short pause.

      Not a breath of air was stirring; and the great triangular sail of the cangia, tied up and bound to the lowered mast with a silken cord, testified that all hope of the wind rising had been abandoned.

      The noonday sun shot his arrows perpendicularly from above; the ashen-hued slime of the river banks reflected the fiery glow; a raw light, glaring and blinding in its intensity, poured down in torrents of flame; the azure of the sky whitened in the heat as a metal whitens in the furnace; an ardent and lurid fog smoked in the horizon. Not a cloud appeared in the sky – a sky mournful and changeless as Eternity.

      The water of the Nile, sluggish and wan, seemed to slumber in its course, and slowly extend itself in sheets of molten tin. No breath of air wrinkled its surface, or bowed down upon their stalks the cups of the lotus-flowers, as rigidly motionless as though sculptured; at long intervals the leap of a bechir or fabaka expanding its belly scarcely caused a silvery gleam upon the current; and the oars of the cangia seemed with difficulty to tear their way through the fuliginous film of that curdled water. The banks were desolate, a solemn and mighty sadness weighed upon this land, which was never aught else than a vast tomb, and in which the living appeared to be solely occupied in the work of burying the dead. It was an arid sadness, dry as pumice stone, without melancholy, without reverie, without one pearly gray cloud to follow toward the horizon, one secret spring wherein to lave one's dusty feet; the sadness of a sphinx weary of eternally gazing upon the desert, and unable to detach herself from the granite socle upon which she has sharpened her claws for twenty centuries.

      So profound was the silence that it seemed as though the world had become dumb, or that the air had lost all power of conveying sound. The only noises which could be heard at intervals were the whisperings and stifled "chuckling" of the crocodiles, which, enfeebled by the heat, were wallowing among the bullrushes by the river banks; or the sound made by some ibis, which, tired of standing with one leg doubled up against its stomach, and its head sunk between its shoulders, suddenly abandoned its motionless attitude, and, brusquely whipping the blue air with its white wings, flew off to perch upon an obelisk or a palm-tree. The cangia flew like, an arrow over the smooth river-water, leaving behind it a silvery wake which soon disappeared; and only a few foam-bubbles rising to break at the surface of the stream bore testimony to the passage of the vessel, then already out of sight.

      The ochre-hued or salmon-colored banks unrolled themselves rapidly, like scrolls of papyrus, between the double azure of water and sky so similar in tint that the slender tongue of earth which separated them seemed like a causeway stretching over an immense lake, and that it would have been difficult to determine whether the Nile reflected the sky, or whether the sky reflected the Nile.

      The scene continually changed. At one moment were visible gigantic propylæa, whose sloping walls, painted with large panels of fantastic figures, were mirrored in the river; pylons with broad-bulging capitals; stairways guarded by huge crouching sphinxes, wearing caps with lappets of many folds, and crossing their paws of black basalt below their sharply projecting breasts; palaces, immeasurably vast, projecting against the horizon the severe horizontal lines of their entablatures, where the emblematic globe unfolded its mysterious wings like an eagle's vast-extending pinions; temples with enormous columns thick as towers, on which were limned processions of hieroglyphic figures against a background of brilliant white – all the monstrosities of that Titanic architecture. Again the eye beheld only land-scapes of desolate aridity – hills formed of stony fragments from excavations and building works, crumbs of that gigantic debauch of granite which lasted for more than thirty centuries; mountains exfoliated by heat, and mangled and striped with black lines which seemed like the cauterizations of a conflagration; hillocks humped and deformed, squatting like the criocephalus of the tombs, and projecting the outlines of their misshapen attitude against the sky-line; expanses of greenish clay, reddle, flour-white tufa; and from time to time some steep cliff of dry, rose-colored granite, where yawned the black mouths of the stone quarries.

      This aridity was wholly unrelieved; no oasis of foliage refreshed the eye; green seemed to be a color unknown to that nature; only some meagre palm-tree, like a vegetable crab, appeared from time to time in the horizon; or a thorny fig-tree brandished its tempered leaves like sword blades of bronze; or a carthamus-plant, which had found a little moisture to live upon in the shadow of some fragment of a broken column, relieved the general uniformity with a speck of crimson.

      After this rapid glance at the aspect of the landscape, let us return to the cangia with its fifty rowers, and, without announcing ourselves, enter boldly into the naos of honor.

      The interior was painted white with green arabesques, bands of vermilion, and gilt flowers fantastically shaped; an exceedingly fine rush matting covered the floor; at the further end stood a little bed, supported upon griffin's feet, having a back resembling that of a modern lounge or sofa; a stool with four steps to enable one to climb into bed; and (rather an odd luxury according to our ideas of comfort) a sort of hemicycle of cedar wood, supported upon a single leg, and designed to fit the nape of the neck so as to support the head of the person reclining.

      Upon this strange pillow reposed a most charming head, one look of which once caused the loss of half a world; an adorable, a divine head; the head of the most perfect woman that ever lived; the most womanly and most queenly of all women; an admirable type of beauty which the imagination of poets could never invest with any new grace, and which dreamers will find forever in the depths of their dreams – it is not necessary to name Cleopatra.

      Beside her stood her favorite slave Charmion, waving a large fan of ibis feathers; and a young girl was moistening with scented water the little reed blinds attached to the windows of the naos, so that the air might only enter impregnated with fresh odors.

      Near the bed of repose, in a striped vase of alabaster with a slender neck and a peculiarly elegant, tapering shape, vaguely recalling the form of a heron, was placed a bouquet of lotus-flowers, some of a celestial blue, others of a tender rose-color, like the finger-tips of Isis the great goddess.

      Either from caprice or policy, Cleopatra did not wear the Greek dress that day. She had just attended a panegyris,1 and was returning to her summer palace still clad in the Egyptian costume she had worn at the festival.

      Perhaps our fair readers will feel curious to know how Queen Cleopatra was attired on her return from the Mammisi of Hermonthis whereat were worshipped the holy triad of the god Mandou, the goddess Ritho, and their son, Harphra; luckily we are able to satisfy them in this regard.

      For

1

Panegyris; pl., panegyreis, – from the Greek [], – signifies the meeting of a whole people to worship at a common sanctuary or participate in a national religious festival. The assemblies at the Olympic, Pythian, Nemean, or Isthmian games were in this sense panegyreis. See Smith's Dict. Antiq. – (Trans.)