tween them. It reached the little promontory. The wings appeared to fold themselves about the dwarfed figure that stood thereon—illuminating it for a moment. Then the light went out of them and they vanished—everything vanished.
A while passed, it may have been one minute or ten, when suddenly the priestess Papave, in obedience to some summons which we could not hear, crept by me. I knew that it was she because her woman's garments touched me as she went. Another space of silence and of deep darkness, during which I heard Papave return, breathing in short, sobbing gasps like one who is very frightened.
Ah! I thought, Ayesha has cast herself into the pit. The tragedy is finished!
Then it was that the wondrous music came. Of course it may have been only the sound of priests chanting beyond us, but I do not think so, since its quality was quite different to any that I heard in the temple before or afterwards: to any indeed that ever I heard upon the earth.
I cannot describe it, but it was awful to listen to, yet most entrancing. From the black, smoke-veiled pit where the fire had burned it welled and echoed—now a single heavenly voice, now a sweet chorus, and now an air-shaking thunder as of a hundred organs played to time.
That diverse and majestic harmony seemed to include, to express every human emotion, and I have often thought since then that in its all-embracing scope and range, this, the song or paean of her re-birth was symbolical of the infinite variety of Ayesha's spirit. Yet like that spirit it had its master notes; power, passion, suffering, mystery and loveliness. Also there could be no doubt as to the general significance of the chant by whomsoever it was sung. It was the changeful story of a mighty soul; it was worship, worship, worship of a queen divine!
Like slow clouds of incense fading to the bannered roof of some high choir, the bursts of unearthly melodies grew
