Chapter 26: The Banquet on the Aerial Ship

The saloon, which was also the salle à manger, was situated in the centre of the ship. Thus the entire travellers could assemble together without disturbing the centre of gravity of the structure.

The saloon was composed of woven cane, and ornamented with a dado of sage-green silk, on which were embroidered storks, pheasants and eagles flying through space. An elongated table, also of wicker work, contained a sumptuous repast.

The goddess congratulated the guests on their safety, which proved that the skill that produced the Aeropher had successfully grappled with the difficult problem of aerial navigation.

The inventor of the Aeropher said it was the apex of mechanical skill. Invention had raised humanity from the depths of slavery, ignorance, and weakness to a height of empire undreamed of in earlier ages. Such material greatness expands the soul with godlike attributes. The ideal, inventive soul, the typical soul, was a god.

The poet said that the Aeropher was the symbol of that kind of poetry in which energy and art were in equipoise. It glorified mechanical skill. It had been prophesied that as civilization advanced poetry would decline. There was a period in the history of Atvatabar in which matters of taste, imagination and intellectual emotion had been utterly neglected by a universal preference for scientific and mechanical pursuits. The country was overrun with reasoners, debaters, metaphysicians, scientists and mechanical artists, but there were no poets. Such mechanical civilization was unfavorable to their development. The founding of such institutions as the art palace of Gnaphisthasia and the spiritual palace of Egyplosis had grafted on their modern life the soul life of more ancient times, until soul-worship had become the universal religion.

The goddess said that the aerial ship was the symbol of an ideal and passionate temperament resolved on discovering new spheres of spiritual beauty, so as to spiritualize the race. Such a soul ought to be free to surround itself with that atmosphere from which it absorbs life. It must choose its own weapons and armor, so as to be adequately equipped for the battle. In its eagerness to climb on discovering wings it must be accompanied by its own retinue of spirits, by enthusiastic and lasting friendships so consoling to its nature. Such was the idea of Egyplosis.

Captain Lavornal at this point stated that when the company regained the deck he would put the rotating wheel, placed at the stern of the ship, in motion, so as to produce the combination of a revolving as well as an onward flight.

“These wheels,” said he, “will spin us around, and by means of our double rudder we produce both vertical and lateral undulations, which, combined with the rotary movement of the deck, will produce a delirious sensation. All the abandon of great and strong birds are ours. We can imitate the sonorous sweep of the seemorgh, who plunges with supreme majesty in the abyss of air.”

“These elaborations of flight,” said Lyone, “are not pursued merely for physical pleasure, but in a mysterious way they are the moulders of the soul itself. That essence, re-enforced with such subtle and powerful enthusiasm, develops sensibility and assumes a grandeur and ecstasy unknown to those who merely travel on the earth. Each gesture of flight is a stride nearer omnipotence, an attribute more godlike by reason of its supremacy over those obstacles that crush and overwhelm.”