It would have been interesting to have assisted at the final festival when, beneath cyclopean arches, in the sunlight of clustered candelabra, amid the glitter of gold and white teeth, among the fair sultanas that were strewn like flowers through the throne-room of the imperial court, Belshazzar lay, smiling, amused rather than annoyed at the impudent menace of Cyrus. Babylon was impregnable. He knew it. But the subtle Jews, the indignant gods, the alienated priests to whom the Persian was a redeemer, of these he did not think. Daniel had indeed warned him and, vaguely, he had promised something which he had since forgot. Beyond, an orchestra was playing. Further yet, columns upheld a ceiling so lofty that it was lost. On the adjacent wall was a frieze of curious and chimerical beasts. Belshazzar was looking at them. In their dumb stupidity was a suggestion of the foe. The suggestion amused. Smiling still he raised a cup. Abruptly, before it could reach his lips, it fell with a clatter on the lapis lazuli of the floor beneath. Before him, on that wall, beneath those beasts, the necromancy of the priesthood had projected an armless, fluidic hand that mounted, descended, tracing with a forefinger the three luminous hierograms of his doom. The story, a little drama, was, with the tale concerning Nebuchadnezzar, that of Daniel, and other novels quite as strange, evolved long later in the wide leisures of Jerusalem. The fluidic hand did not appear. Even had it zigzagged there was no Belshazzar to frighten. Only the doom was real. Cyrus was clothed with it. To the trumpetings of heralds and the sheen of angels' wings, triumphantly he came. Then, presently, by royal decree, the Jews, manumitted and released, retraced their steps, burdened with spoil; with the lore of two distinct civilizations, which, fusing in the great square letters of the Pentateuch, was to become the poetry of all mankind. Babylon, ultimately, with her goblin gods and harlot goddess, sank into her own Aralu. Nourished there on dust, Lilit, with the sister vampires of eternal night, fed on her. V JEHOVAH A camel's-hair tent set in the desert was the first cathedral, the earliest cloister of latest ideals. Set not in one desert merely but in two, in the infinite of time as well as in that of space, there was about it a limitlessness in which the past could sleep, the future awake, and into which all things, the human, the divine, gods and romance, could enter. The human came first. Then the gods. Then romance. The divine was their triple expansion. It was an after growth, in other lands, that tears had watered. In the desert it was unimagined. Only the gods had been conceived.