"Well, after much wandering and trying every winding6 in the interminable jumble7 of hills, we came at last at nightfall on just such a valley as Van Huyn had described. A valley with high, steep cliffs; narrowing in the centre, and widening out to the eastern and western ends. At daylight we were opposite the cliff and could easily note the opening high up in the rock, and the hieroglyphic8 figures which were evidently intended originally to conceal9 it.
"But the signs which had baffled Van Huyn and those of his time—and later, were no secrets to us. The host of scholars who have given their brains and their lives to this work, had wrested10 open the mysterious prison-house of Egyptian language. On the hewn face of the rocky cliff we, who had learned the secrets, could read what the Theban priesthood had had there inscribed11 nearly fifty centuries before.
"For that the external inscription12 was the work of the priesthood—and a hostile priesthood at that—there could be no living doubt. The inscription on the rock, written in hieroglyphic, ran thus:
"'Hither the Gods come not at any summons. The "Nameless One" has insulted them and is for ever alone. Go not nigh, lest their vengeance13 wither14 you away!'
"The warning must have been a terribly potent15 one at the time it was written and for thousands of years afterwards; even when the language in which it was given had become a dead mystery to the people of the land. The tradition of such a terror lasts longer than its cause. Even in the symbols used there was an added significance of alliteration16. 'For ever' is given in the hieroglyphics17 as 'millions of years'. This symbol was repeated nine times, in three groups of three; and after each group a symbol of the Upper World, the Under World, and the Sky. So that for this Lonely One there could be, through the vengeance of all the Gods, resurrection in neither the World of Sunlight, in the World of the Dead, or for the soul in the region of the Gods.
"Neither Mr. Trelawny nor I dared to tell any of our people what the writing meant. For though they did not believe in the religion whence the curse came, or in the Gods whose vengeance was threatened, yet they were so superstitious18 that they would probably, had they known of it, have thrown up the whole task and run away.
"Their ignorance, however, and our discretion19 preserved us. We made an encampment close at hand, but behind a jutting20 rock a little further along the valley, so that they might not have the inscription always before them. For even that traditional name of the place: 'The Valley of the Sorcerer', had a fear for them; and for us through them. With the timber which we had brought, we made a ladder up the face of the rock. We hung a pulley on a beam fixed to project from the top of the cliff. We found the great slab21 of rock, which formed the door, placed clumsily in its place and secured by a few stones. Its own weight kept it in safe position. In order to enter, we had to push it in; and we passed over it. We found the great coil of chain which Van Huyn had described fastened into the rock. There were, however, abundant evidences amid the wreckage22 of the great stone door, which had revolved23 on iron hinges at top and bottom, that ample provision had been originally made for closing and fastening it from within.
"Mr. Trelawny and I went alone into the tomb. We had brought plenty of lights with us; and we fixed them as we went along. We wished to get a complete survey at first, and then make examination of all in detail. As we went on, we were filled with ever-increasing wonder and delight. The tomb was one of the most magnificent and beautiful which either of us had ever seen. From the elaborate nature of the sculpture and painting, and the perfection of the workmanship, it was evident that the tomb was prepared during the lifetime of her for whose resting-place it was intended. The drawing of the hieroglyphic pictures was fine, and the colouring superb; and in that high cavern24, far away from even the damp of the Nile-flood, all was as fresh as when the artists had laid down their palettes. There was one thing which we could not avoid seeing. That although the cutting on the outside rock was the work of the priesthood, the smoothing of the cliff face was probably a part of the tomb-builder's original design. The symbolism of the painting and cutting within all gave the same idea. The outer cavern, partly natural and partly hewn, was regarded architecturally as only an ante-chamber25. At the end of it, so that it would face the east, was a pillared portico26, hewn out of the solid rock. The pillars were massive and were seven-sided, a thing which we had not come across in any other tomb. Sculptured on the architrave was the Boat of the Moon, containing Hathor, cow-headed and bearing the disk and plumes27, and the dog-headed Hapi, the God of the North. It was steered28 by Harpocrates towards the north, represented by the Pole Star surrounded by Draco and Ursa Major. In the latter the stars that form what we call the 'Plough' were cut larger than any of the other stars; and were filled with gold so that, in the light of torches, they seemed to flame with a special significance. Passing within the portico, we found two of the architectural features of a rock tomb, the Chamber, or Chapel29, and the Pit, all complete as Van Huyn had noticed, though in his day the names given to these parts by the Egyptians of old were unknown.
"The Stele30, or record, which had its place low down on the western wall, was so remarkable31 that we examined it minutely, even before going on our way to find the mummy which was the object of our search. This Stele was a great slab of lapis lazuli, cut all over with hieroglyphic figures of small size and of much beauty. The cutting was filled in with some cement of exceeding fineness, and of the colour of pure vermilion. The inscription began:
"'Tera, Queen of the Egypts, daughter of Antef, Monarch32 of the North and the South.' 'Daughter of the Sun,' 'Queen of the Diadems33'.
"The signs of sovereignty were given with a truly feminine profusion35 of adornment36. The united Crowns of Upper and Lower Egypt were, in especial, cut with exquisite37 precision. It was new to us both to find the Hejet and the Desher—the White and the Red crowns of Upper and Lower Egypt—on the Stele of a queen; for it was a rule, without exception in the records, that in ancient Egypt either crown was worn only by a king; though they are to be found on goddesses. Later on we found an explanation, of which I shall say more presently.
"Such an inscription was in itself a matter so startling as to arrest attention from anyone anywhere at any time; but you can have no conception of the effect which it had upon us. Though our eyes were not the first which had seen it, they were the first which could see it with understanding since first the slab of rock was fixed in the cliff opening nearly five thousand years before. To us was given to read this message from the dead. This message of one who had warred against the Gods of Old, and claimed to have controlled them at a time when the hierarchy38 professed39 to be the only means of exciting their fears or gaining their good will.
"The walls of the upper chamber of the Pit and the sarcophagus Chamber were profusely40 inscribed; all the inscriptions41, except that on the Stele, being coloured with bluish-green pigment42. The effect when seen sideways as the eye caught the green facets43, was that of an old, discoloured Indian turquoise44.
"We descended45 the Pit by the aid of the tackle we had brought with us. Trelawny went first. It was a deep pit, more than seventy feet; but it had never been filled up. The passage at the bottom sloped up to the sarcophagus Chamber, and was longer than is usually found. It had not been walled up.
"Within, we found a great sarcophagus of yellow stone. But that I need not describe; you have seen it in Mr. Trelawny's chamber. The cover of it lay on the ground; it had not been cemented, and was just as Van Huyn had described it. Needless to say, we were excited as we looked within. There must, however, be one sense of disappointment. I could not help feeling how different must have been the sight which met the Dutch traveller's eyes when he looked within and found that white hand lying lifelike above the shrouding47 mummy cloths. It is true that a part of the arm was there, white and ivory like.
"But there was a thrill to us which came not to Van Huyn!
"The end of the wrist was covered with dried blood! It was as though the body had bled after death! The jagged ends of the broken wrist were rough with the clotted48 blood; through this the white bone, sticking out, looked like the matrix of opal. The blood had streamed down and stained the brown wrappings as with rust5. Here, then, was full confirmation49 of the narrative50. With such evidence of the narrator's truth before us, we could not doubt the other matters which he had told, such as the blood on the mummy hand, or marks of the seven fingers on the throat of the strangled Sheik.
"I shall not trouble you with details of all we saw, or how we learned all we knew. Part of it was from knowledge common to scholars; part we read on the Stele in the tomb, and in the sculptures and hieroglyphic paintings on the walls.
"Queen Tera was of the Eleventh, or Theban Dynasty of Egyptian Kings which held sway between the twenty-ninth and twenty-fifth centuries before Christ. She succeeded as the only child of her father, Antef. She must have been a girl of extraordinary character as well as ability, for she was but a young girl when her father died. Her youth and sex encouraged the ambitious priesthood, which had then achieved immense power. By their wealth and numbers and learning they dominated all Egypt, more especially the Upper portion. They were then secretly ready to make an effort for the achievement of their bold and long-considered design, that of transferring the governing power from a Kingship to a Hierarchy. But King Antef had suspected some such movement, and had taken the precaution of securing to his daughter the allegiance of the army. He had also had her taught statecraft, and had even made her learned in the lore51 of the very priests themselves. He had used those of one cult52 against the other; each being hopeful of some present gain on its own part by the influence of the King, or of some ultimate gain from its own influence over his daughter. Thus, the Princess had been brought up amongst scribes, and was herself no mean artist. Many of these things were told on the walls in pictures or in hieroglyphic writing of great beauty; and we came to the conclusion that not a few of them had been done by the Princess herself. It was not without cause that she was inscribed on the Stele as 'Protector of the Arts'.
"But the King had gone to further lengths, and had had his daughter taught magic, by which she had power over Sleep and Will. This was real magic—"black" magic; not the magic of the temples, which, I may explain, was of the harmless or "white" order, and was intended to impress rather than to effect. She had been an apt pupil; and had gone further than her teachers. Her power and her resources had given her great opportunities, of which she had availed herself to the full. She had won secrets from nature in strange ways; and had even gone to the length of going down into the tomb herself, having been swathed and coffined53 and left as dead for a whole month. The priests had tried to make out that the real Princess Tera had died in the experiment, and that another girl had been substituted; but she had conclusively54 proved their error. All this was told in pictures of great merit. It was probably in her time that the impulse was given in the restoring the artistic55 greatness of the Fourth Dynasty which had found its perfection in the days of Chufu.
"In the Chamber of the sarcophagus were pictures and writings to show that she had achieved victory over Sleep. Indeed, there was everywhere a symbolism, wonderful even in a land and an age of symbolism. Prominence56 was given to the fact that she, though a Queen, claimed all the privileges of kingship and masculinity. In one place she was pictured in man's dress, and wearing the White and Red Crowns. In the following picture she was in female dress, but still wearing the Crowns of Upper and Lower Egypt, while the discarded male raiment lay at her feet. In every picture where hope, or aim, of resurrection was expressed there was the added symbol of the North; and in many places—always in representations of important events, past, present, or future—was a grouping of the stars of the Plough. She evidently regarded this constellation57 as in some way peculiarly associated with herself.
"Perhaps the most remarkable statement in the records, both on the Stele and in the mural writings, was that Queen Tera had power to compel the Gods. This, by the way, was not an isolated58 belief in Egyptian history; but was different in its cause. She had engraved59 on a ruby60, carved like a scarab, and having seven stars of seven points, Master Words to compel all the Gods, both of the Upper and the Under Worlds.
"In the statement it was plainly set forth61 that the hatred62 of the priests was, she knew, stored up for her, and that they would after her death try to suppress her name. This was a terrible revenge, I may tell you, in Egyptian mythology63; for without a name no one can after death be introduced to the Gods, or have prayers said for him. Therefore, she had intended her resurrection to be after a long time and in a more northern land, under the constellation whose seven stars had ruled her birth. To this end, her hand was to be in the air—'unwrapped'—and in it the Jewel of Seven Stars, so that wherever there was air she might move even as her Ka could move! This, after thinking it over, Mr. Trelawny and I agreed meant that her body could become astral at command, and so move, particle by particle, and become whole again when and where required. Then there was a piece of writing in which allusion64 was made to a chest or casket in which were contained all the Gods, and Will, and Sleep, the two latter being personified by symbols. The box was mentioned as with seven sides. It was not much of a surprise to us when, underneath65 the feet of the mummy, we found the seven-sided casket, which you have also seen in Mr. Trelawny's room. On the underneath part of the wrapping—linen of the left foot was painted, in the same vermilion colour as that used in the Stele, the hieroglyphic symbol for much water, and underneath the right foot the symbol of the earth. We made out the symbolism to be that her body, immortal66 and transferable at will, ruled both the land and water, air and fire—the latter being exemplified by the light of the Jewel Stone, and further by the flint and iron which lay outside the mummy wrappings.
"As we lifted the casket from the sarcophagus, we noticed on its sides the strange protuberances which you have already seen; but we were unable at the time to account for them. There were a few amulets67 in the sarcophagus, but none of any special worth or significance. We took it that if there were such, they were within the wrappings; or more probably in the strange casket underneath the mummy's feet. This, however, we could not open. There were signs of there being a cover; certainly the upper portion and the lower were each in one piece. The fine line, a little way from the top, appeared to be where the cover was fixed; but it was made with such exquisite fineness and finish that the joining could hardly be seen. Certainly the top could not be moved. We took it, that it was in some way fastened from within. I tell you all this in order that you may understand things with which you may be in contact later. You must suspend your judgment68 entirely69. Such strange things have happened regarding this mummy and all around it, that there is a necessity for new belief somewhere. It is absolutely impossible to reconcile certain things which have happened with the ordinary currents of life or knowledge.
"We stayed around the Valley of the Sorcerer, till we had copied roughly all the drawings and writings on the walls, ceiling and floor. We took with us the Stele of lapis lazuli, whose graven record was coloured with vermilion pigment. We took the sarcophagus and the mummy; the stone chest with the alabaster70 jars; the tables of bloodstone and alabaster and onyx and carnelian; and the ivory pillow whose arch rested on 'buckles71', round each of which was twisted an uraeus wrought72 in gold. We took all the articles which lay in the Chapel, and the Mummy Pit; the wooden boats with crews and the ushaptiu figures, and the symbolic73 amulets.
"When coming away we took down the ladders, and at a distance buried them in the sand under a cliff, which we noted74 so that if necessary we might find them again. Then with our heavy baggage, we set out on our laborious75 journey back to the Nile. It was no easy task, I tell you, to bring the case with that great sarcophagus over the desert. We had a rough cart and sufficient men to draw it; but the progress seemed terribly slow, for we were anxious to get our treasures into a place of safety. The night was an anxious time with us, for we feared attack from some marauding band. But more still we feared some of those with us. They were, after all, but predatory, unscrupulous men; and we had with us a considerable bulk of precious things. They, or at least the dangerous ones amongst them, did not know why it was so precious; they took it for granted that it was material treasure of some kind that we carried. We had taken the mummy from the sarcophagus, and packed it for safety of travel in a separate case. During the first night two attempts were made to steal things from the cart; and two men were found dead in the morning.
"On the second night there came on a violent storm, one of those terrible simooms of the desert which makes one feel his helplessness. We were overwhelmed with drifting sand. Some of our Bedouins had fled before the storm, hoping to find shelter; the rest of us, wrapped in our bournous, endured with what patience we could. In the morning, when the storm had passed, we recovered from under the piles of sand what we could of our impedimenta. We found the case in which the mummy had been packed all broken, but the mummy itself could nowhere be found. We searched everywhere around, and dug up the sand which had piled around us; but in vain. We did not know what to do, for Trelawny had his heart set on taking home that mummy. We waited a whole day in hopes that the Bedouins, who had fled, would return; we had a blind hope that they might have in some way removed the mummy from the cart, and would restore it. That night, just before dawn, Mr. Trelawny woke me up and whispered in my ear:
"'We must go back to the tomb in the Valley of the Sorcerer. Show no hesitation77 in the morning when I give the orders! If you ask any questions as to where we are going it will create suspicion, and will defeat our purpose."
"'All right!" I answered. "But why shall we go there?' His answer seemed to thrill through me as though it had struck some chord ready tuned78 within:
"'We shall find the mummy there! I am sure of it!' Then anticipating doubt or argument he added:
"'Wait, and you shall see!' and he sank back into his blanket again.
"The Arabs were surprised when we retraced79 our steps; and some of them were not satisfied. There was a good deal of friction80, and there were several desertions; so that it was with a diminished following that we took our way eastward81 again. At first the Sheik did not manifest any curiosity as to our definite destination; but when it became apparent that we were again making for the Valley of the Sorcerer, he too showed concern. This grew as we drew near; till finally at the entrance of the valley he halted and refused to go further. He said he would await our return if we chose to go on alone. That he would wait three days; but if by that time we had not returned he would leave. No offer of money would tempt76 him to depart from this resolution. The only concession82 he would make was that he would find the ladders and bring them near the cliff. This he did; and then, with the rest of the troop, he went back to wait at the entrance of the valley.
"Mr. Trelawny and I took ropes and torches, and again ascended83 to the tomb. It was evident that someone had been there in our absence, for the stone slab which protected the entrance to the tomb was lying flat inside, and a rope was dangling84 from the cliff summit. Within, there was another rope hanging into the shaft85 of the Mummy Pit. We looked at each other; but neither said a word. We fixed our own rope, and as arranged Trelawny descended first, I following at once. It was not till we stood together at the foot of the shaft that the thought flashed across me that we might be in some sort of a trap; that someone might descend46 the rope from the cliff, and by cutting the rope by which we had lowered ourselves into the Pit, bury us there alive. The thought was horrifying86; but it was too late to do anything. I remained silent. We both had torches, so that there was ample light as we passed through the passage and entered the Chamber where the sarcophagus had stood. The first thing noticeable was the emptiness of the place. Despite all its magnificent adornment, the tomb was made a desolation by the absence of the great sarcophagus, to hold which it was hewn in the rock; of the chest with the alabaster jars; of the tables which had held the implements87 and food for the use of the dead, and the ushaptiu figures.
"It was made more infinitely88 desolate89 still by the shrouded90 figure of the mummy of Queen Tera which lay on the floor where the great sarcophagus had stood! Beside it lay, in the strange contorted attitudes of violent death, three of the Arabs who had deserted91 from our party. Their faces were black, and their hands and necks were smeared92 with blood which had burst from mouth and nose and eyes.
"On the throat of each were the marks, now blackening, of a hand of seven fingers.
"For, most wonderful of all, across the breast of the mummied Queen lay a hand of seven fingers, ivory white, the wrist only showing a scar like a jagged red line, from which seemed to depend drops of blood."
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1
volatile
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| adj.反复无常的，挥发性的，稍纵即逝的，脾气火爆的；n.挥发性物质 | |
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prone
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| adj.(to)易于…的，很可能…的；俯卧的 | |
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3
fixed
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| adj.固定的，不变的，准备好的；(计算机)固定的 | |
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4
faltered
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| （嗓音）颤抖( falter的过去式和过去分词 )； 支吾其词； 蹒跚； 摇晃 | |
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5
rust
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| n.锈；v.生锈；(脑子)衰退 | |
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6
winding
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| n.绕，缠，绕组，线圈 | |
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7
jumble
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| vt.使混乱，混杂；n.混乱；杂乱的一堆 | |
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8
hieroglyphic
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| n.象形文字 | |
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conceal
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| v.隐藏，隐瞒，隐蔽 | |
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10
wrested
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| （用力）拧( wrest的过去式和过去分词 )； 费力取得； （从…）攫取； （ 从… ） 强行取去… | |
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11
inscribed
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| v.写，刻( inscribe的过去式和过去分词 )；内接 | |
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12
inscription
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| n.（尤指石块上的）刻印文字，铭文，碑文 | |
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13
vengeance
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| n.报复，报仇，复仇 | |
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14
wither
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| vt.使凋谢，使衰退，(用眼神气势等)使畏缩；vi.枯萎，衰退，消亡 | |
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15
potent
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| adj.强有力的，有权势的；有效力的 | |
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16
alliteration
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| n.（诗歌的）头韵 | |
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hieroglyphics
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| n.pl.象形文字 | |
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18
superstitious
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| adj.迷信的 | |
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19
discretion
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| n.谨慎；随意处理 | |
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jutting
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| v.（使）突出( jut的现在分词 )；伸出；（从…）突出；高出 | |
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21
slab
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| n.平板，厚的切片；v.切成厚板，以平板盖上 | |
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wreckage
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| n.（失事飞机等的）残骸，破坏，毁坏 | |
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revolved
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| v.（使）旋转( revolve的过去式和过去分词 )；细想 | |
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cavern
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| n.洞穴，大山洞 | |
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chamber
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| n.房间，寝室；会议厅；议院；会所 | |
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portico
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| n.柱廊，门廊 | |
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27
plumes
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| 羽毛( plume的名词复数 )； 羽毛饰； 羽毛状物； 升上空中的羽状物 | |
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28
steered
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| v.驾驶( steer的过去式和过去分词 )；操纵；控制；引导 | |
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29
chapel
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| n.小教堂，殡仪馆 | |
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30
stele
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| n.石碑，石柱 | |
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remarkable
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| adj.显著的，异常的，非凡的，值得注意的 | |
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monarch
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| n.帝王，君主，最高统治者 | |
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diadems
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| n.王冠，王权，带状头饰( diadem的名词复数 ) | |
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reign
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| n.统治时期，统治，支配，盛行；v.占优势 | |
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35
profusion
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| n.挥霍；丰富 | |
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adornment
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| n.装饰；装饰品 | |
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37
exquisite
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| adj.精美的；敏锐的；剧烈的，感觉强烈的 | |
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hierarchy
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| n.等级制度；统治集团，领导层 | |
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39
professed
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| 公开声称的，伪称的，已立誓信教的 | |
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profusely
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| ad.abundantly | |
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41
inscriptions
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| （作者）题词( inscription的名词复数 )； 献词； 碑文； 证劵持有人的登记 | |
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42
pigment
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| n.天然色素，干粉颜料 | |
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43
facets
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| n.（宝石或首饰的）小平面( facet的名词复数 )；（事物的）面；方面 | |
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44
turquoise
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| n.绿宝石；adj.蓝绿色的 | |
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45
descended
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| a.为...后裔的，出身于...的 | |
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46
descend
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| vt./vi.传下来，下来，下降 | |
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shrouding
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| n.覆盖v.隐瞒( shroud的现在分词 )；保密 | |
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clotted
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| adj.凝结的v.凝固( clot的过去式和过去分词 ) | |
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confirmation
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| n.证实，确认，批准 | |
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narrative
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| n.叙述，故事；adj.叙事的，故事体的 | |
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lore
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| n.传说；学问，经验，知识 | |
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cult
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| n.异教，邪教；时尚，狂热的崇拜 | |
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coffined
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| vt.收殓（coffin的过去式与过去分词形式） | |
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conclusively
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| adv.令人信服地，确凿地 | |
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artistic
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| adj.艺术(家)的，美术(家)的；善于艺术创作的 | |
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prominence
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| n.突出；显著；杰出；重要 | |
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constellation
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| n.星座n.灿烂的一群 | |
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isolated
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| adj.与世隔绝的 | |
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engraved
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| v.在（硬物）上雕刻（字，画等）( engrave的过去式和过去分词 )；将某事物深深印在（记忆或头脑中） | |
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ruby
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| n.红宝石，红宝石色 | |
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forth
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| adv.向前；向外，往外 | |
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hatred
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| n.憎恶，憎恨，仇恨 | |
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mythology
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| n.神话，神话学，神话集 | |
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allusion
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| n.暗示，间接提示 | |
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underneath
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| adj.在...下面，在...底下；adv.在下面 | |
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immortal
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| adj.不朽的；永生的，不死的；神的 | |
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amulets
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| n.护身符( amulet的名词复数 ) | |
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judgment
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| n.审判；判断力，识别力，看法，意见 | |
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entirely
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| ad.全部地，完整地；完全地，彻底地 | |
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alabaster
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| adj.雪白的；n.雪花石膏；条纹大理石 | |
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buckles
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| 搭扣，扣环( buckle的名词复数 ) | |
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wrought
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| v.引起；以…原料制作；运转；adj.制造的 | |
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symbolic
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| adj.象征性的，符号的，象征主义的 | |
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noted
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| adj.著名的，知名的 | |
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laborious
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| adj.吃力的，努力的，不流畅 | |
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tempt
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| vt.引诱，勾引，吸引，引起…的兴趣 | |
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hesitation
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| n.犹豫，踌躇 | |
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tuned
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| adj.调谐的，已调谐的v.调音( tune的过去式和过去分词 )；调整；（给收音机、电视等）调谐；使协调 | |
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retraced
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| v.折回( retrace的过去式和过去分词 )；回忆；回顾；追溯 | |
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friction
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| n.摩擦，摩擦力 | |
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eastward
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| adv.向东；adj.向东的；n.东方，东部 | |
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concession
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| n.让步，妥协；特许(权) | |
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ascended
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| v.上升，攀登( ascend的过去式和过去分词 ) | |
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84
dangling
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| 悬吊着( dangle的现在分词 )； 摆动不定； 用某事物诱惑…； 吊胃口 | |
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shaft
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| n.(工具的)柄，杆状物 | |
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horrifying
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| a.令人震惊的，使人毛骨悚然的 | |
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implements
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| n.工具( implement的名词复数 )；家具；手段；[法律]履行（契约等）v.实现( implement的第三人称单数 )；执行；贯彻；使生效 | |
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infinitely
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| adv.无限地，无穷地 | |
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89
desolate
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| adj.荒凉的，荒芜的；孤独的，凄凉的；v.使荒芜，使孤寂 | |
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shrouded
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| v.隐瞒( shroud的过去式和过去分词 )；保密 | |
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deserted
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| adj.荒芜的，荒废的，无人的，被遗弃的 | |
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92
smeared
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| 弄脏； 玷污； 涂抹； 擦上 | |
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awe
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| n.敬畏，惊惧；vt.使敬畏，使惊惧 | |
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