But here there is only a more oppressive heat, stifling and withering, and we long to return to the open air, which was burning indeed, but was at least the air of life.
Hastily we descend: by steep staircases, by passages which slope so rapidly that they hurry us along of themselves, like slides; and it seems that we shall never ascend again, any more than the great mummy who passed here so long ago on his way to his eternal chamber. All this brings us, first of all, to a deep well--dug there to swallow up the desecrators in their passage--and it is on one of the sides of this oubliette, behind a casual stone carefully sealed, that the continuation of these funeral galleries was discovered. Then, when we have passed the well, by a narrow bridge that has been thrown across it, the stairs begin again, and the steep passages that almost make you run; but now, by a sharp bend, they have changed their direction.
And still we descend, descend. Heavens! how deep down this king dwells! And at each step of our descent we feel more and more imprisoned under the sovereign mass of stone, in the centre of all this compact and silent thickness.
*****
The little electric globes, placed apart like a garland, suffice now for our eyes which have forgotten the sun. And we can distinguish around us myriad figures inviting us to solemnity and silence. They are inscribed everywhere on the smooth, spotless walls of the colour of old ivory. They follow one another in regular order, repeating themselves obstinately in parallel rows, as if the better to impose upon our spirit, with gestures and symbols that are eternally the same. The gods and demons, the representatives of Anubis, with his black jackal's head and his long erect ears, seem to make signs to us with their long arms and long fingers: "No noise! Look, there are mummies here!" The wonderful preservation of all this, the vivid colours, the clearness of the outlines, begin to cause a kind of stupor and bewilderment. Verily you would think that the painter of these figures of the shades had only just quitted the hypogeum. All this past seems to draw you to itself like an abyss to which you have approached too closely. It surrounds you, and little by little masters you. It is so much at home here that it has /remained the present/.
Over and above the mere descent into the secret bowels of the rock there has been a kind of seizure with vertigo, which we had not anticipated and which has whirled us far away into the depths of the ages.
These interminable, oppressive passages, by which we have crawled to the innermost depths of the mountain, lead at length to something vast, the walls divide, the vault expands and we are in the great funeral hall, of which the blue ceiling, all bestrewn with stars like the sky, is supported by six pillars hewn in the rock itself. On either side open other chambers into which the electricity permits us to see quite clearly, and opposite, at the end of the hall, a large crypt is revealed, which one divines instinctively must be the resting-place of the Pharaoh. What a prodigious labour must have been entailed by this perforation of the living rock! And this hypogeum is not unique. All along the "Valley of the Kings" little insignificant doors--which to the initiated reveal the "Sign of the Shadow," inscribed on their lintels--lead to other subterranean places, just as sumptuous and perfidiously profound, with their snares, their hidden wells, their oubliettes and the bewildering multiplicity of their mural figures. And all these tombs this morning were full of people, and, if we had not had the good fortune to arrive after the usual hour, we should have met here, even in this dwelling of Amenophis, a battalion equipped by Messrs. Cook.
In this hall, with its blue ceiling, the frescoes multiply their riddles: scenes from the book of Hades, all the funeral ritual translated into pictures. On the pillars and walls crowd the different demons that an Egyptian soul was likely to meet in its passage through the country of shadows, and underneath the passwords which were to be given to each of them are recapitulated so as not to be forgotten.
For the soul used to depart simultaneously under the two forms of a flame[*] and a falcon[+] respectively. And this country of shadows, called also the west, to which it had to render itself, was that where the moon sinks and where each evening the sun goes down; a country to which the living were never able to attain, because it fled before them, however fast they might travel across the sands or over the waters. On its arrival there, the scared soul had to parley successively with the fearsome demons who lay in wait for it along its route. If at last it was judged worthy to approach Osiris, the great Dead Sun, it was subsumed in him and reappeared, shining over the world the next morning and on all succeeding mornings until the consummation of time--a vague survival in the solar splendour, a continuation without personality, of which one is scarcely able to say whether or not it was more desirable than eternal non-existence.
[*] The Khou, which never returned to our world.
[+] The Bai, which might, at its will, revisit the tomb.
And, moreover, it was necessary to preserve the body at whatever cost, for a certain /double/ of the dead man continued to dwell in the dry flesh, and retained a kind of half life, barely conscious. Lying at the bottom of the sarcophagus it was able to see, by virtue of those two eyes, which were painted on the lid, always in the same axis as the empty eyes of the mummy. Sometimes, too, this /double/, escaping from the mummy and its box, used to wander like a phantom about the hypogeum. And, in order that at such times it might be able to obtain nourishment, a mass of mummified viands wrapped in bandages were amongst the thousand and one things buried at its side. Even natron and oils were left, so that it might re-embalm itself, if the worms came to life in its members.