Instead of playing pool after dinner at night, Bellairs found himself wandering, like Haroun Al Raschid, through the narrow ways of Cairo, mixing with the natives, studying their loves, and drinking their coffee. There were moments, retrograde moments, when he even wished to wear their dress, to drape his long-limbed British form in a flowing blue robe, and wrap his dark head in a bulging white turban. He resisted this devil of an idea; but the fact that it had ever come to him troubled him. And, partly to regain his manhood, his hard scepticism, his contempt of outside, delicate influences, he went up the Nile--and succumbed utterly to fantasy and to old romance. "I am no longer Jack Bellairs," he told himself one day, as the steamer on which he travelled neared Luxor on its way down the river from the First Cataract--"I am somebody else; some one who is touched by a sunset, and responsive to a gleam of rose on the Libyan Mountains, some one who dreams at night when the pipes wail under the palm-trees, some one who feels that the great river has life, and that the desert owns a wistful soul, and has a sweet armour with silence. Good-bye, Jack Bellairs! Go home to England--I stay here." And that evening he left the steamer, and took a room for a month at the Luxor Hotel. And that evening he cast the skin of his former self, and emerged, with fluttering wings, from the chrysalis of his identity. He was a bachelor, aged twenty-eight, and he was travelling alone; so there was no critical eye to mark the change in him, no chattering tongue to express surprise at his pleasant abandonment to the follies which make up the lives of sensitive artists and refined sensualists who can differentiate between the promenade of the "Empire," and the garden of love. As he stepped out into the Arab-haunted village that night, after dinner, Bellairs breathed a sigh of relief. For a month he would let himself go. Where to? He bent his steps towards the river, the Nile that is the pulsing blood in the veins of Egypt. Moored in the shadow of its brown banks lay a string of bright-eyed dahabeeyahs. From more than one of them came music. Bellairs, his cigarette his only companion, strolled slowly along listening idly in a pleasant dream. A woman's voice sang, asking "Ninon" what was her scheme of life. A man beat out his soul at the feet of "Medje." And, upon the deck of the last dahabeeyah, a woman played a fantastic mazurka. Bellairs was fond of music, and her performance was so clever, so full of nuances, understanding, wild passion, that he stood still to remark it more closely. "She has known many things, good and evil," he thought, as his mind noted the intellect that spoke in the changes of time, the regret and the gaiety that the touch demonstrated so surely and easily, as the mood of the composition changed. The music ceased.