Bradshaw William Richard
The Goddess of Atvatabar
CHAPTER XX.
THE WORSHIP OF LYONE, SUPREME GODDESS
The worship of the goddess began with the appearance on a revolving stage between the nearest worshippers and the base of the throne itself of a veritable forest of trees about one hundred feet in width. There were trees like magnolias, oaks, elms and others splendid in foliage, and amid these there was an undergrowth of beds of the most brilliant flowers.
It was the work of the magicians and sorcerers!
There were thickets of camellias and rhododendrons, amid which bloomed flowers like scarlet geraniums, primroses, violets and poppies. What appeared to be apple, peach, cherry and hawthorn trees, all in full bloom, tossed their white and pink foam of flowers.
They were real trees and flowers, made to exist for a time by the sorcery of the masters of spirit power. They had never before known the outer air. The priests of Harikar had made them, and would dissipate them as living bodies are dissipated by death.
A sacred opera was chanted by the priests of invention, art, and spirituality, on their terraces of silver above the trees and flowers. As the music continued, groups of singers would at times sweep forth on wings and float in wheeling circles around the throne. Their delightful choruses swelling upward were like draughts of rich wine, keen and intoxicating. The priests and spiritual powers marching beneath filled the vast building with broad recitatives, full of vividly descriptive passages and finely contrasted measures, until the soul seemed melted in a sea of bliss.
The throne was bathed and caressed by a blue vapor of incense, while from the great dome above, filled with figures formed of enamelled glass, there streamed lights of all mysterious colors, that illuminated its gleaming sides and lit up the amphitheatre with ineffable effects.
A warm, rosy beam, falling perpendicularly, enveloped the goddess like a robe of transparent tissue. She sat, a living statue, the joy of every heart, the embodiment of a hopeless love that kept the worshipper in a fever of delicious unrest. Wherever the eye wandered, it always came back to the goddess; whatever the soul thought, its last thought was of her.
Amid a tempest of music and the thundering song of two hundred thousand voices repeating a litany of love, the throne itself began to revolve upon the silver cone that supported it. A fresh rapture took possession of the multitude.
In the soul of the goddess what must have been the joy of being surrounded by such an ocean of adoring love?
As I mused on the scene, I thought of the Coliseum at Rome raised to the glory of barbaric force, of empire founded on the blood of its victims, and, being such, has necessarily passed away, becoming a heap of ruins.
Here, thought I, is a temple founded on a nobler idea, the glory of the human soul, its ingenuity, art, and spiritual forces.
Many in the outer world would say it was an idolatrous attempt on the part of the creature to usurp the throne of its Creator. Yet it was strangely like the religion of such people themselves. There, as here, I thought, is the same worship of gold, the same dependence on the material products of man's invention, the same worship of art, the same idolatry of each other's souls between the sexes. There is this difference, however: in the outer world men pretend that they worship something else other than such objects; here they have the honesty to say what they do actually worship.
Apart from the idea of attempting to realize a friendship that can only exist in a realm that knows neither interest, fortune, time, ambition, temper, nor sensual love, their idolatry had one splendid truth to unfold, viz., the necessity of a soul for an arid and mechanical civilization. "Every intellect shall enfold a soul" was their motto, and there was this sanity in their creed that sentiment was the breath of its life. Science abhors sentiment; it is the cold investigation of that which once thrilled with the passion of life.
While the singing continued, a band of neophytes of occult force performed marvellous feats of magic, led by the Grand Sorcerer, Charka, chief of the magicians of Harikar. The people sat enraptured as miracle after miracle was performed. At the waving of fans by the adepts, plants issued from the hands of every god of gold, clothing the throne in one endless wreath of brilliant crimson blossoms and green foliage. The fans again waved and that crimson mass of flowers turned to a pale green, while again the green foliage changed to a vermilion color. The throne appeared like one enormous Bougainvillea glabra, whose leaves are flowers.
Again the fans were waved and the flowers changed to bloom all snowy-white, while the foliage became blue.
The adepts disappeared at a given signal and thereupon entered another band of beautiful girl adepts, who seated themselves, each body in a crouched mass with flowing drapery, around the base of the throne. These priestesses were in a state of catalepsy. The ego, or soul, in each case had been separated from the body, which floated in a state of apparent death. They had so developed their will by thinking enormous thoughts, yearning for spiritual power, that they could suspend the functions of the body and give all their existence to the soul. Thus hypnotized, it was stated their souls were floating freely in the dome above, in blessed converse, and that their reincarnation would afterward take place.
The organ rolled a blessed monotone, with variations exquisitely sweet. The light in the dome faded perceptibly by the magical shadowing of its windows until the rapt audience sat in complete darkness. A circle of electric lights burned around the goddess on the top of the throne, illuminating her figure. The lights faintly lit up the dome, and presently appeared as nude spectres the fifty souls of the priestesses who crouched beneath.
The organ, re-enforced with the wailing of a hundred violins, produced a storm of the most delirious music, while the souls flashed with a strange phosphorescence like a circle of fire. They wheeled with their arms extended horizontally, each aura lying at an angle of forty-five degrees with the horizon. Then, with hands clasping each other's feet, they became a vertical circle like the wheel of fortune, and thus went round and round. Again, they revolved in a circle faces downward, with arms and hands stretched in an attitude of worship, forming for the goddess a wreath of souls. Presently each soul sought its own body floating beneath. The bodies expanding themselves absorbed each its own soul. With the returning light of the outer sun the forest beneath the throne had disappeared and the circular stage was occupied by a band of sorcerers – each having balls of jelly of various colors floating before him. At the command of the grand sorcerer the balls would transform themselves into strange animals resembling cats, dogs, monkeys, serpents, geese, wolves, and eagles. This was a tableau representing man's supremacy over inferior life.
A company of twin souls of the greatest beauty and splendor of raiment took possession of the circular platform beneath the throne and thereupon danced in rhythmic circles wonderfully entrancing and involved, chanting, in harmony with the movement of their bodies, the following hymn to Lyone:
TO LYONE
I
Oh goddess, oh deity glorious,
With golden wan face, and the bloom
Of spirit and figure victorious!
Oh jewel that lighteneth gloom,
Men call thee the soul of a lover,
Invested with purest of clay,
A chrysalis, eager to hover
And fly from thy prison away!
II
A nautilus, blown on the tide-lave;
So naked a pearl and so pure,
Or coral, that sucks from the sea wave
Those marbles that ever endure!
Thus float on the ocean of being,
Or fathom its deep-flowing sea,
That feeling, believing, and seeing
Thy glory, will worshipped be!
III
With sense of the body made captive,
While that of the soul is complete.
For love of pure being, receptive,
So blessèd, extravagant, sweet.
Oh victim, thy joys are Meresa's,
Who died on the bosom Divine.
Her madness of rapture appeases
The hunger of soul that is thine!
IV
Inflammable impulse of beauty,
The breath of whose ardor is grief;
The God, in fulfilment of duty,
Hath stamped thee in highest relief!
From pots of auriferous metal,
Made pure by the torment of flame,
He pressed thee in fearful begettal,
A coinage too perfect for shame.
V
He made thee, most splendid, a flower,
A heavy sweet rose, to unfold
Some petals immortal, and shower
Their fragrance on earth frozen cold.
Oh golden-hued rose, in such fashion,
By the love of the world thou art sought
Thus flushed with the triumph of passion
Or pale with the splendor of thought!
VI
Oh soul, that inhales from the blossom
Delight in the rapture of breath,
A goddess aflame with her passion,
Ere beauty is wedded to death!
Oh virginal soul of the fountain,
Alive with the water of Youth,
All these, on the golden high mountain,
Thou dwellest, the image of Truth!
What followed was an intoxicating medley of dancing, song and magic. Circles of the fairest girls, arrayed in the most ravishing costumes, made the brain whirl with their gyrations. The oblation to the dancing gods wound up the performance, and the chorus of a thousand voices blended with the triumph of drums and explosions from musical artillery.
The incomparable girl goddess then rose to her feet and waved the blessing of Harikar over the multitude. The girdle of gold that clung to her figure blazed with a thousand jewels. Her tiara sparkled with enormous diamonds that were blue as sapphires, amber as topazes, green as emeralds and red as rubies. Accompanied by the wailing of music, the chant of megaphones, and the song of the enraptured people, she sank into the heart of the throne, glorious as she rose, herself its most precious jewel.
CHAPTER XXI.
AN AUDIENCE WITH THE SUPREME GODDESS
The palace of Tanje, situated about fifty miles from Calnogor, was the metropolitan palace of the supreme goddess. It was sculptured out of a hill of white marble, as were also its walls, enclosing a garden a square mile in extent.
In conformity with the programme prepared by his majesty, King Aldemegry Bhoolmakar, we were to be received by her holiness Lyone in her palace at Tanje. The thought of meeting the adorable figure that crowned the throne of the gods filled me with keenest delight.
I seemed about to visit, not a human being like myself, but a veritable deity. What honor, what pleasure, it would be to speak to her face to face, heart to heart. Disguise it as I might, a feeling for the goddess was being awakened in my soul. Was it the adoration of the worshipper, or was it the dawn of a sacrilegious passion?
It seemed a monstrous idea for any one to love in the ordinary meaning of the term a being so high and holy. I could only worship her afar off, like any adoring citizen of Atvatabar.
His majesty the king, together with Chief Minister Koshnili, Commander-in-Chief Coltonobory, Admiral Jolar and other dignitaries of the kingdom, did us the honor to escort us to Tanje.
The method of travel between Calnogor and Tanje was by means of the pneumatic tube, also a deity of invention. This consisted of a smooth tube six feet in diameter that curved over the country in a sinuous line, being supported on pillars at a height of twenty feet above the ground. A decorative car of gold ornamented in enamelled colors rode the crest of the tube, being connected with the piston inside. The car was steadied between rails on either side and swept over the earth with inconceivable rapidity. The distance from Calnogor to Tanje was traversed in thirty minutes.
A feeling of awe overcame the sailors as we approached the abode of the living symbol of the Holy Soul.
The palace was a noble pile of masonry as it glittered in the perpendicular sunlight. It stood two stories in height and was surmounted by a flattened central dome of colored glass, the ribs of the dome being of solid gold. The lower story was surrounded by a colonnade of pillars carved in the most grotesque shapes imaginable. The grand entrance on the north side was constructed of alternating pillars of platinum and gold, all three feet in thickness. From the towers brilliant banners, emblazoned with the figure of the throne of the gods, floated on the wind.
The apartments of the grand chamberlain were on the north side of the palace, where the pneumatic car was provided with a depot for the use of travellers.
Cleperelyum, the grand chamberlain, clad in white robes like an Arab chief, received us in the name of the goddess with marked deference and courtesy.
A guard of honor consisting of a thousand wayleals was drawn up around the palace. The audience chamber was a rectangular court in the centre of the building, whose ceiling was the roof of the palace itself, surmounted by the dome peculiar to the palaces of Atvatabar.
The hall leading to the presence chamber was lined with the priests and priestesses from Egyplosis in attendance on the goddess.
Led by the grand chamberlain, we arrived at the golden doors of the audience chamber, which were opened by the servitors of the palace. With trembling exultation I saw at the further end of the spacious apartment a royal seat of violet velvet whereon sat Lyone, the supreme goddess of Atvatabar.
As my eyes rested upon the goddess she appeared still more divine than before. It seemed an unhallowed act that rough sailors should venture into such spiritual precincts. We were awe-struck with the presence before us. As the grand chamberlain called out our names, we bowed low to that majestic spirit that seemed much more a deity than human flesh.
Her holiness greeted us with marked favor and offered both his majesty the king and myself her hand to kiss. The high officials and my officers and sailors were obliged to remain standing during the audience, according to the etiquette of the holy palace. His majesty the king and myself were allowed to seat ourselves on an elevated dais before the goddess. When thus seated, I had leisure to observe that she was arrayed in a single garment of quivering pale green silk, that caressed every curve of her matchless figure and spread in myriad folds about her limbs and feet. On her head she wore a model of the jarcal, or bird of yearning, fashioned in precious terrelium. She wore also a jewelled belt of gold. The breast was embroidered with a golden emblem of the throne of the gods, the sacred ensign of Atvatabar. On her neck were circles of rich rose pearls whose light gleamed soft on the green lustre of her attire. On her head was the tiara of the goddess, the triple crown of Harikar.
Her holiness had an air of girlish frankness combined with royal dignity. She was so youthful that she could not have been more than twenty years old. She possessed a charming presence and a clear and musical voice. Her eyes were large and blue, and her finely-formed lips, like blood-red anemones, contrasted finely with the pale golden hue of her complexion.
Her features combined the witchery of a houri with the strength of intellect. They were sculptured and illuminated by a grandly-developed soul.
The odor of a high and steadfast virtue surrounded her. It was not the virtue of the ascetic, but rather that strength of soul that could triumph over temptation, that loved fair lights, fine raiment, sweet colors, and all the gladness and beauty of life.
In her soft right hand she bore a rod of divination, the spiritual sceptre of Atvatabar. On either side of her stood a twin soul in fond embrace as a guard of love.
The audience chamber was in itself a dream of grandeur and beauty. From the rose-tinted glass of the dome overhead a light soft and warm bathed all beneath with a peculiar sweetness. The lower part of the walls resembled the cloisters of a mosque. Behind pillars of solid silver a corridor ran all around the chamber. Here an artistic group of singers, clad in classic robes in soft colors, perambulated, singing as they went a refrain of penetrating sweetness. The audience listened with the deepest respect to the singing and to our conversation with the goddess. In the assembly were all the notables of the kingdom, poets, artists, musicians, inventors, sculptors, etc., as well as royal and sacerdotal officers.
The singing of the choir, that moved like an apparition of spirits in the dim cloisters, seemed to embody our thoughts and feelings. For myself the divine song was a draught of joy. It was a breath of verdure, of flowers and fruits, of a warm and serene atmosphere made perfect by the presence of a peerless incarnation of man's universal soul.
CHAPTER XXII.
THE GODDESS LEARNS THE STORY OF THE OUTER WORLD
Her holiness was pleased to say how honored she was by receiving us. Our advent in Atvatabar had created a profound impression upon the people, and she was no less curious to see us and learn from our own lips the story of the outer world. She was greatly interested in comparing the stalwart figures of our sailors with the less vigorous frames of the Atvatabarese. It could not be expected that men who handled objects and carried themselves in a land where gravity was reduced to a minimum could be so vigorous as men who belonged to a land of enormous gravity, whose resistance to human activity developed great strength of bone and muscle.
I informed her holiness regarding the geography, climate and peoples of the outer sphere. I gave her an account of the chief nations of the world from Japan to the United States. I spoke of Africa, Australia, and the Pacific islands. I spoke of Adam and Eve, of the Deluge, of Assyria and Egypt. Then I described the glory of Greece and the grandeur of Rome. I spoke of Caesar and Hannibal, Cleopatra and Antony. I spoke of Columbus, Galileo, Michael Angelo, Faraday, Dante, and Shakespeare. I described how art reigned in one kingdom or country and invention in another, and that the soul or spiritual nature was as yet a rare development.
"You tell me," said the goddess, "that Greece could chisel a statue, but could not invent a magnic engine, and that your own country, rich in machinery, is barren in art. This tells me the outer world is yet in a state of chaos and has not yet reached the development of Atvatabar. We have passed through all those stages. At first we were barbarous, then, as time produced order, art began to flourish. The artist, in his desire to glorify the few, lost sight of the misery of the many. Then came the reign of invention, of science, giving power to the meanest citizen. As democracy triumphed art was despised, and a ribald press jeered at the sacred names of poet and priest. By degrees, as the pride and power of the wealthy few were curbed and the condition of the masses raised to a more uniform and juster level, universal prosperity, growing rapidly richer, produced a fusion of art and progress. The physical man made powerful by science and the soul developed by art naturally produced the result of spiritual freedom. The enfranchised soul became free to explore the mysteries of nature and obtain a mastery over the occult forces residing therein."
"In the outer sphere," I informed the goddess, "there has also existed in all ages an ardent longing for spiritual power over matter. But this power, which in many periods of history was really obtained, had been purchased by putting in practice the severest austerities of the body. Force of soul was the price of subjugation of passion and the various appetites of the body. The fakirs, yogis, jugglers, and adepts of India; the magicians, sorcerers and astrologers of Mesopotamia and Egypt; the alchemists, cabalists, and wizards of the middle ages, and the theosophists, spiritualists, clairvoyants, and mesmerists of the present time, were members of the same fraternity who have obtained their psychological powers from a study and practice of mystic philosophy or magic."
"You say that the outer-world magicians derived their powers of soul from abnegation of the body," said the goddess. "Now the soul priests of Atvatabar can do quite as wonderful things, I dare say, as your magicians, and they have never practised austerities, but, on the contrary, have developed the body as well as the soul. In the worship of the gods of science and invention, art and spirituality, both body, mind, and soul are exercised to their utmost capability. In all stages there is exultance, exercise, development. But I am deeply interested in your remarks. Tell me just what the principles of the worshippers of your Harikar are!"
"Spiritual culture in the outer world," I explained, "is obtained by a variety of religious beliefs, but the belief that most nearly resembles that of Atvatabar is that of the soul-worshippers, who deny the existence of any power beyond the human soul, teaching that it is only by our own inward light that we can rise to higher planes and reach at last to Nirvana, or passive blessedness. This inward light can only be truly followed by self-obliteration, fastings, penances, and repression of desires and appetites of all kinds, carried on through an endless series of reincarnations. The final blessedness is a beatific absorption into the ocean of existence which pervades the universe."
"That is a different creed to that of Harikar in Atvatabar," said the goddess, "which is worship of body, mind, and soul. We believe with your Greeks in perfection of body and also with your Hindoos in perfection of soul. We re-enforce the powers of body and mind by science and invention, and the soul powers by art and spiritual love. We believe in magic and sorcery. Our religion is a state of ecstatic joy, chiefly found in the cultured friendship of counterpart souls, who form complete circles with each other. Enduring youth is the consummate flower of civilization. With us it lasts one hundred years, beginning with our twentieth birthday. There is no long and crucial stage of bodily abstinence from the good things of life; there is only abstinence from evil, from vice, selfishness, and unholy desire. Our religion is the trinity of body, mind, and spirit, in their utmost development. Such is the faith of Atvatabar."
"And such a faith," I replied, "with such a deity as your holiness, must profoundly sway the hearts of your people."
The goddess was a woman of intuition. Almost before I was aware of it myself she evidently discovered a sentiment underlying my words. She paused a moment, and before I could question her further regarding the peculiar creed of Atvatabar, said: "We will discuss these things more fully hereafter."
At a signal from the goddess the trumpets rang a blast announcing the audience at an end. With the summons music uttered a divine throbbing throughout the chamber, while the singers marched and sang gloriously in the cloisters.
As I sat, my soul swimming in a sea of ecstasy born of the blessed environment, I felt possessed of splendors and powers hitherto unknown and unfelt. A thrill of joy made hearts tremble beneath the crystal dome. It was a new lesson in art's mysterious peace.