The Certainty of a Future Life in Mars: Being the Posthumous Papers of Bradford Torrey DoddGratacap, L. P. (Louis Pope)
Science
The Certainty of a Future Life in Mars: Being the Posthumous Papers of Bradford Torrey Dodd
Gratacap, L. P. (Louis Pope)
Mars (Planet) -- Fiction; Science fiction
"On we swept like a tide that advances upon a coast, encompasses each
salient rock, island and projection, and evading it by embracing it,
rises still further into the bays and harbors, and brings the full tide
at last to its most remote limits. So columns and stairways, halls, and
wings, and arms, of buildings successively were surged round, and the
vast complex pushed its way to the great Hall of Attention.
"This enormous structure was built somewhat to one side of the great
Observatories. It was rectangular, elevated and attained to by stairs on
every side. It resembles a huge Grecian temple, but the interior
treatment was quite contrasted. Externally it was made of the white
phosphorescent marble with colonnades of columns of the blue metal
supporting its projecting roofs. I was carried as by a cataract of
waters up its stairways. Already its bronze gates were swung wide open,
and through them the Martian army passed with impetuous stride. Learned
men, the leaders and great physicists, many of those I had seen in the
morning had reached the Hall. These were constantly augmented by new
arrivals from the more distant Schools of Philosophy, Design and Art,
while streaming in at every door came the joyous multitude, and the
great vault of the Hall of Attention resounded with the rolling chorus.
"It was a moving, an impossible spectacle. The balconies swept upward
to a wall of polished granite. They were supported by columns of mosaic
marble; the floor of roughened glass was concealed with benches of a
gray stone, whose backs were carved in a tracery of branches, over which
were thrown pale yellow rugs or shawls; the broad ceiling was divided
into deep, rectangular recesses _plafonded_ with opalescent glass, and
these recesses were made by the intersection of huge girders of the blue
metal, while provisions were made throughout for electric lighting by
tall glass cylinders, which glow like pillars of lambent flame, and
stood upright, affixed to the walls at regular intervals, or concealed
in cavities along the ceiling, or grouped like the fasces of the Roman
lictors, at the railings of the balconies.
"A wide platform occupied the center of this vast auditorium, and upon
this I was carried as by a wave of the sea. Here I touched the floor;
the accompanying crowds dispersed through the hall, which became filled,
and as it filled some unnoticed signal ushered the glow of the electric
ether in the cylinders, until a glory of radiance mingled with the
sunlight and illuminated the audience, whose songs had died away, and
who sat in attitudes of attention, their faces upturned, their blue
caps shining resplendently, like a surface of tempered steel.
Public-domain text, read in full here on John Shaqi.
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