The musician laughed to himself. ‘I meant that this hotel seems really an impertinence,’ he murmured, leaning down upon the notes he played upon so softly and so well; ‘and that it’s but the thinnest kind of pretence--when you come to think of it. We are in the desert really. The Colossi are outside, and all the emptied temples. Or ought to be,’ he added, raising his tone abruptly with a glance at me. He straightened up and stared out into the starry sky past George Isley’s shoulders. ‘That,’ he exclaimed with betraying vehemence, ‘is where we are and what we play to!’ His voice suddenly increased; there was a roar in it. ‘That,’ he repeated, ‘is the thing that takes our hearts away.’ The volume of intonation was astonishing. For the way he uttered the monosyllable suddenly revealed the man beneath the outer sheath of cynicism and laughter, explained his heartlessness, his secret stream of life. He, too, was soul and body in the past. ‘That’ revealed more than pages of descriptive phrases. His heart lived in the temple aisles, his mind unearthed forgotten knowledge; his soul had clothed itself anew in the seductive glory of antiquity: he dwelt with a quickening magic of existence in the reconstructed splendour of what most term only ruins. He and George Isley together had revivified a power that enticed them backwards; but whereas the latter struggled still, the former had already made his permanent home there. The faculty in me that saw the vision of streaming temples saw also this--remorselessly definite. Moleson himself sat naked at that piano. I saw him clearly then. He no longer masqueraded behind his sneers and laughter. He, too, had long ago surrendered, lost himself, gone out, and from the place his soul now dwelt in he watched George Isley sinking down to join him. He lived in ancient, subterranean Egypt. This great hotel stood precariously on the merest upper crust of desert. A thousand tombs, a hundred temples lay outside, within reach almost of our very voices. Moleson was merged with ‘that.’ This intuition flashed upon me like the picture in the sky; and both were true. And, meanwhile, this other thing he played had a surge of power in it impossible to describe. It was sombre, huge and solemn. It conveyed the power that his walk conveyed. There was distance in it, but a distance not of space alone. A remoteness of time breathed through it with that strange sadness and melancholy yearning that enormous interval brings. It marched, but very far away; it held refrains that assumed the rhythms of a multitude the centuries muted; it sang, but the singing was underground in passages that fine sand muffled. Lost, wandering winds sighed through it, booming. The contrast, after the modern, cheaper music, was dislocating. Yet the change had been quite naturally effected.