And my first impression of the man deepened before many days were past. There was irresponsibility in him, insincerity somewhere, almost want of heart. His morality was certainly not to-day’s, and the mind in him was slippery. I think the modern world, to which he was unattached, confused and irritated him. A sense of insecurity came with him. His interest in George Isley was the interest in a psychological ‘specimen.’ I remembered how in his book he described the selection of individuals for certain functions of that marvellous worship, and the odd idea flashed through me--well, that Isley exactly suited some purpose of his re-creating energies. The man was keenly observant from top to toe, but not with his sight alone; he seemed to be aware of motives and emotions before he noticed the acts or gestures that these caused. I felt that he took me in as well. Certainly he eyed me up and down by means of this inner observation that seemed automatic with him. Moleson was not staying in our hotel; he had chosen one where social life was more abundant; but he came up frequently to lunch and dine, and sometimes spent the evening in Isley’s rooms, amusing us with his skill upon the piano, singing Arab songs, and chanting phrases from the ancient Egyptian rituals to rhythms of his own invention. The old Egyptian music, both in harmony and melody, was far more developed than I had realised, the use of sound having been of radical importance in their ceremonies. The chanting in particular he did with extraordinary effect, though whether its success lay in his sonorous voice, his peculiar increasing of the vowel sounds, or in anything deeper, I cannot pretend to say. The result at any rate was of a unique description. It brought buried Egypt to the surface; the gigantic Presence entered sensibly into the room. It came, huge and gorgeous, rolling upon the mind the instant he began, and something in it was both terrible and oppressive. The repose of eternity lay in the sound. Invariably, after a few moments of that transforming music, I saw the Valley of the Kings, the deserted temples, titanic faces of stone, great effigies coifed with zodiacal signs, but above all--the twin Colossi. I mentioned this latter detail. ‘Curious _you_ should feel that too--curious you should say it, I mean,’ Moleson replied, not looking at me, yet with an air as if I had said something he expected. ‘To me the Memnon figures express Egypt better than all the other monuments put together. Like the desert, they are featureless. They sum her up, as it were, yet leave the message unuttered. For, you see, they cannot.’ He laughed a little in his throat. ‘They have neither eyes nor lips nor nose; their features are gone.’ ‘Yet they tell the secret--to those who care to listen,’ put in Isley in a scarcely noticeable voice. ‘Just because they have no words. They still sing at dawn,’ he added in a louder, almost a challenging tone. It startled me.