diff options
| author | Roger Frank <rfrank@pglaf.org> | 2025-10-15 01:53:26 -0700 |
|---|---|---|
| committer | Roger Frank <rfrank@pglaf.org> | 2025-10-15 01:53:26 -0700 |
| commit | c65f466789e1d1c114b8ca030c4d1baee255079c (patch) | |
| tree | 19e82edd21f22f22ef058874535b410376ca6b47 /22662-h | |
Diffstat (limited to '22662-h')
| -rw-r--r-- | 22662-h/22662-h.htm | 1077 |
1 files changed, 1077 insertions, 0 deletions
diff --git a/22662-h/22662-h.htm b/22662-h/22662-h.htm new file mode 100644 index 0000000..d00e8bb --- /dev/null +++ b/22662-h/22662-h.htm @@ -0,0 +1,1077 @@ +<?xml version="1.0" encoding="iso-8859-1"?> + +<!DOCTYPE html + PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd" > + +<html xmlns="http://www.w3.org/1999/xhtml" lang="en"> + <head> + <title> + The Mummy's Foot, by Théophile Gautier + </title> + <style type="text/css" xml:space="preserve"> + + body { margin:5%; background:#faebd0; text-align:justify} + P { text-indent: 1em; margin-top: .25em; margin-bottom: .25em; } + H1,H2,H3,H4,H5,H6 { text-align: center; margin-left: 15%; margin-right: 15%; } + hr { width: 50%; text-align: center;} + .foot { margin-left: 20%; margin-right: 20%; text-align: justify; text-indent: -3em; font-size: 90%; } + blockquote {font-size: 97%; font-style: italic; margin-left: 10%; margin-right: 10%;} + .mynote {background-color: #DDE; color: #000; padding: .5em; margin-left: 10%; margin-right: 10%; font-family: sans-serif; font-size: 95%;} + .toc { margin-left: 10%; margin-bottom: .75em;} + .toc2 { margin-left: 20%;} + div.fig { display:block; margin:0 auto; text-align:center; } + div.middle { margin-left: 20%; margin-right: 20%; text-align: justify; } + .figleft {float: left; margin-left: 0%; margin-right: 1%;} + .figright {float: right; margin-right: 0%; margin-left: 1%;} + .pagenum {display:inline; font-size: 70%; font-style:normal; + margin: 0; padding: 0; position: absolute; right: 1%; + text-align: right;} + pre { font-style: italic; font-size: 90%; margin-left: 10%;} + +</style> + </head> + <body> +<pre xml:space="preserve"> + +The Project Gutenberg EBook of The Mummy's Foot, by Théophile Gautier + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: The Mummy's Foot + +Author: Théophile Gautier + +Translator: Lafcadio Hearn + +Release Date: September 18, 2007 [EBook #22662] +Last Updated: December 17, 2012 + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK THE MUMMY'S FOOT *** + + + + +Produced by David Widger + + + + + +</pre> + <p> + <br /> <br /> + </p> + <h1> + THE MUMMY'S FOOT + </h1> + <p> + <br /> + </p> + <h2> + By Théophile Gautier + </h2> + <p> + <br /> <br /> + </p> + <h3> + Translated By Lafcadio Hearn <br /> <br /> 1908 + </h3> + <p> + <br /> <br /> + </p> + <p> + I had entered, in an idle mood, the shop of one of those curiosity venders + who are called <i>marchands de bric-à-brac</i> in that Parisian <i>argot</i> + which is so perfectly unintelligible elsewhere in France. + </p> + <p> + You have doubtless glanced occasionally through the windows of some of + these shops, which have become so numerous now that it is fashionable to + buy antiquated furniture, and that every petty stockbroker thinks he must + have his <i>chambre au moyen âge</i>. + </p> + <p> + There is one thing there which clings alike to the shop of the dealer in + old iron, the ware-room of the tapestry maker, the laboratory of the + chemist, and the studio of the painter: in all those gloomy dens where a + furtive daylight filters in through the window-shutters the most + manifestly ancient thing is dust. The cobwebs are more authentic than the + gimp laces, and the old pear-tree furniture on exhibition is actually + younger than the mahogany which arrived but yesterday from America. + </p> + <p> + The warehouse of my bric-à-brac dealer was a veritable Capharnaum. All + ages and all nations seemed to have made their rendezvous there. An + Etruscan lamp of red clay stood upon a Boule cabinet, with ebony panels, + brightly striped by lines of inlaid brass; a duchess of the court of Louis + xv. nonchalantly extended her fawn-like feet under a massive table of the + time of Louis xiii., with heavy spiral supports of oak, and carven designs + of chimeras and foliage intermingled. + </p> + <p> + Upon the denticulated shelves of several sideboards glittered immense + Japanese dishes with red and blue designs relieved by gilded hatching, + side by side with enamelled works by Bernard Palissy, representing + serpents, frogs, and lizards in relief. + </p> + <p> + From disembowelled cabinets escaped cascades of silver-lustrous Chinese + silks and waves of tinsel, which an oblique sunbeam shot through with + luminous beads, while portraits of every era, in frames more or less + tarnished, smiled through their yellow varnish. + </p> + <p> + The striped breastplate of a damascened suit of Milanese armour glittered + in one corner; loves and nymphs of porcelain, Chinese grotesques, vases of + <i>céladon</i> and crackleware, Saxon and old Sèvres cups encumbered the + shelves and nooks of the apartment. + </p> + <p> + The dealer followed me closely through the tortuous way contrived between + the piles of furniture, warding off with his hand the hazardous sweep of + my coat-skirts, watching my elbows with the uneasy attention of an + antiquarian and a usurer. + </p> + <p> + It was a singular face, that of the merchant; an immense skull, polished + like a knee, and surrounded by a thin aureole of white hair, which brought + out the clear salmon tint of his complexion all the more strikingly, lent + him a false aspect of patriarchal <i>bonhomie</i>, counteracted, however, + by the scintillation of two little yellow eyes which trembled in their + orbits like two louis-d'or upon quicksilver. The curve of his nose + presented an aquiline silhouette, which suggested the Oriental or Jewish + type. His hands—thin, slender, full of nerves which projected like + strings upon the finger-board of a violin, and armed with claws like those + on the terminations of bats' wings—shook with senile trembling; but + those convulsively agitated hands became firmer than steel pincers or + lobsters' claws when they lifted any precious article—an onyx cup, a + Venetian glass, or a dish of Bohemian crystal. This strange old man had an + aspect so thoroughly rabbinical and cabalistic that he would have been + burnt on the mere testimony of his face three centuries ago. + </p> + <p> + 'Will you not buy something from me to-day, sir? Here is a Malay kreese + with a blade undulating like flame. Look at those grooves contrived for + the blood to run along, those teeth set backward so as to tear out the + entrails in withdrawing the weapon. It is a fine character of ferocious + arm, and will look well in your collection. This two-handed sword is very + beautiful. It is the work of Josepe de la Hera; and this <i>colichemarde</i> + with its fenestrated guard—what a superb specimen of handicraft!' + </p> + <p> + 'No; I have quite enough weapons and instruments of carnage. I want a + small figure,—something which will suit me as a paper-weight, for I + cannot endure those trumpery bronzes which the stationers sell, and which + may be found on everybody's desk.' + </p> + <p> + The old gnome foraged among his ancient wares, and finally arranged before + me some antique bronzes, so-called at least; fragments of malachite, + little Hindoo or Chinese idols, a kind of poussah-toys in jade-stone, + representing the incarnations of Brahma or Vishnoo, and wonderfully + appropriate to the very undivine office of holding papers and letters in + place. + </p> + <p> + I was hesitating between a porcelain dragon, all constellated with warts, + its mouth formidable with bristling tusks and ranges of teeth, and an + abominable little Mexican fetich, representing the god Vitziliputzili <i>au + naturel</i>, when I caught sight of a charming foot, which I at first took + for a fragment of some antique Venus. + </p> + <p> + It had those beautiful ruddy and tawny tints that lend to Florentine + bronze that warm living look so much preferable to the gray-green aspect + of common bronzes, which might easily be mistaken for statues in a state + of putrefaction. Satiny gleams played over its rounded forms, doubtless + polished by the amorous kisses of twenty centuries, for it seemed a + Corinthian bronze, a work of the best era of art, perhaps moulded by + Lysippus himself. + </p> + <p> + 'That foot will be my choice,' said to the merchant, who regarded me with + an ironical and saturnine air, and held out the object desired that I + might examine it more fully. + </p> + <p> + I was surprised at its lightness. It was not a foot of metal, but in sooth + a foot of flesh, an embalmed foot, a mummy's foot. On examining it still + more closely the very grain of the skin, and the almost imperceptible + lines impressed upon it by the texture of the bandages, became + perceptible. The toes were slender and delicate, and terminated by + perfectly formed nails, pure and transparent as agates. The great toe, + slightly separated from the rest, afforded a happy contrast, in the + antique style, to the position of the other toes, and lent it an aerial + lightness—the grace of a bird's foot. The sole, scarcely streaked by + a few almost imperceptible cross lines, afforded evidence that it had + never touched the bare ground, and had only come in contact with the + finest matting of Nile rushes and the softest carpets of panther skin. + </p> + <p> + 'Ha, ha, you want the foot of the Princess Hermonthis!' exclaimed the + merchant, with a strange giggle, fixing his owlish eyes upon me. 'Ha, ha, + ha! For a paper-weight! An original idea!—artistic idea!-Old Pharaoh + would certainly have been surprised had some one told him that the foot of + his adored daughter would be used for a paper-weight after he had had a + mountain of granite hollowed out as a receptacle for the triple coffin, + painted and gilded, covered with hieroglyphics and beautiful paintings of + the Judgment of Souls,' continued the queer little merchant, half audibly, + as though talking to himself. + </p> + <p> + 'How much will you charge me for this mummy fragment?' + </p> + <p> + 'Ah, the highest price I can get, for it is a superb piece. If I had the + match of it you could not have it for less than five hundred francs. The + daughter of a Pharaoh! Nothing is more rare.' + </p> + <p> + 'Assuredly that is not a common article, but still, how much do you want? + In the first place let me warn you that all my wealth consists of just + five louis. I can buy anything that costs five louis, but nothing dearer. + You might search my vest pockets and most secret drawers without even + finding one poor five-franc piece more.' + </p> + <p> + 'Five louis for the foot of the Princess Hermonthis! That is very little, + very little indeed. 'Tis an authentic foot,' muttered the merchant, + shaking his head, and imparting a peculiar rotary motion to his eyes. + 'Well, take it, and I will give you the bandages into the bargain,' he + added, wrapping the foot in an ancient damask rag. 'Very fine? Real damask—Indian + damask which has never been redyed. It is strong, and yet it is soft,' he + mumbled, stroking the frayed tissue with his fingers, through the + trade-acquired habit which moved him to praise even an object of such + little value that he himself deemed it only worth the giving away. + </p> + <p> + He poured the gold coins into a sort of mediaeval alms-purse hanging at + his belt, repeating: + </p> + <p> + 'The foot of the Princess Hermonthis to be used for a paper-weight!' + </p> + <p> + Then turning his phosphorescent eyes upon me, he exclaimed in a voice + strident as the crying of a cat which has swallowed a fish-bone: + </p> + <p> + 'Old Pharaoh will not be well pleased. He loved his daughter, the dear + man!' + </p> + <p> + 'You speak as if you were a contemporary of his. You are old enough, + goodness knows! but you do not date back to the Pyramids of Egypt,' I + answered, laughingly, from the threshold. + </p> + <p> + I went home, delighted with my acquisition. + </p> + <p> + With the idea of putting it to profitable use as soon as possible, I + placed the foot of the divine Princess Hermonthis upon a heap of papers + scribbled over with verses, in themselves an undecipherable mosaic work of + erasures; articles freshly begun; letters forgotten, and posted in the + table drawer instead of the letter-box, an error to which absent-minded + people are peculiarly liable. The effect was charming, <i>bizarre</i>, and + romantic. + </p> + <p> + Well satisfied with this embellishment, I went out with the gravity and + pride becoming one who feels that he has the ineffable advantage over all + the passers-by whom he elbows, of possessing a piece of the Princess + Hermonthis, daughter of Pharaoh. + </p> + <p> + I looked upon all who did not possess, like myself, a paper-weight so + authentically Egyptian as very ridiculous people, and it seemed to me that + the proper occupation of every sensible man should consist in the mere + fact of having a mummy's foot upon his desk. + </p> + <p> + Happily I met some friends, whose presence distracted me in my infatuation + with this new acquisition. I went to dinner with them, for I could not + very well have dined with myself. + </p> + <p> + When I came back that evening, with my brain slightly confused by a few + glasses of wine, a vague whiff of Oriental perfume delicately titillated + my olfactory nerves. The heat of the room had warmed the natron, bitumen, + and myrrh in which the <i>paraschistes</i>, who cut open the bodies of the + dead, had bathed the corpse of the princess. It was a perfume at once + sweet and penetrating, a perfume that four thousand years had not been + able to dissipate. + </p> + <p> + The Dream of Egypt was Eternity. Her odours have the solidity of granite + and endure as long. + </p> + <p> + I soon drank deeply from the black cup of sleep. For a few hours all + remained opaque to me. Oblivion and nothingness inundated me with their + sombre waves. + </p> + <p> + Yet light gradually dawned upon the darkness of my mind. Dreams commenced + to touch me softly in their silent flight. + </p> + <p> + The eyes of my soul were opened, and I beheld my chamber as it actually + was. I might have believed myself awake but for a vague consciousness + which assured me that I slept, and that something fantastic was about to + take place. + </p> + <p> + The odour of the myrrh had augmented in intensity, and I felt a slight + headache, which I very naturally attributed to several glasses of + champagne that we had drunk to the unknown gods and our future fortunes. + </p> + <p> + I peered through my room with a feeling of expectation which I saw nothing + to justify. Every article of furniture was in its proper place. The lamp, + softly shaded by its globe of ground crystal, burned upon its bracket; the + water-colour sketches shone under their Bohemian glass; the curtains hung + down languidly; everything wore an aspect of tranquil slumber. + </p> + <p> + After a few moments, however, all this calm interior appeared to become + disturbed. The woodwork cracked stealthily, the ash-covered log suddenly + emitted a jet of blue flame, and the discs of the pateras seemed like + great metallic eyes, watching, like myself, for the things which were + about to happen. + </p> + <p> + My eyes accidentally fell upon the desk where I had placed the foot of the + Princess Hermonthis. + </p> + <p> + Instead of remaining quiet, as behoved a foot which had been embalmed for + four thousand years, it commenced to act in a nervous manner, contracted + itself, and leaped over the papers like a startled frog. One would have + imagined that it had suddenly been brought into contact with a galvanic + battery. I could distinctly hear the dry sound made by its little heel, + hard as the hoof of a gazelle. + </p> + <p> + I became rather discontented with my acquisition, inasmuch as I wished my + paper-weights to be of a sedentary disposition, and thought it very + unnatural that feet should walk about without legs, and I commenced to + experience a feeling closely akin to fear. + </p> + <p> + Suddenly I saw the folds of my bed-curtain stir, and heard a bumping + sound, like that caused by some person hopping on one foot across the + floor. I must confess I became alternately hot and cold, that I felt a + strange wind chill my back, and that my suddenly rising hair caused my + night-cap to execute a leap of several yards. + </p> + <p> + The bed-curtains opened and I beheld the strangest figure imaginable + before me. + </p> + <p> + It was a young girl of a very deep coffee-brown complexion, like the + bayadère Amani, and possessing the purest Egyptian type of perfect beauty. + Her eyes were almond shaped and oblique, with eyebrows so black that they + seemed blue; her nose was exquisitely chiselled, almost Greek in its + delicacy of outline; and she might indeed have been taken for a Corinthian + statue of bronze but for the prominence of her cheek-bones and the + slightly African fulness of her lips, which compelled one to recognise her + as belonging beyond all doubt to the hieroglyphic race which dwelt upon + the banks of the Nile. + </p> + <p> + Her arms, slender and spindle-shaped like those of very young girls, were + encircled by a peculiar kind of metal bands and bracelets of glass beads; + her hair was all twisted into little cords, and she wore upon her bosom a + little idol-figure of green paste, bearing a whip with seven lashes, which + proved it to be an image of Isis; her brow was adorned with a shining + plate of gold, and a few traces of paint relieved the coppery tint of her + cheeks. + </p> + <p> + As for her costume, it was very odd indeed. + </p> + <p> + Fancy a <i>pagne</i>, or skirt, all formed of little strips of material + bedizened with red and black hieroglyphics, stiffened with bitumen, and + apparently belonging to a freshly unbandaged mummy. + </p> + <p> + In one of those sudden flights of thought so common in dreams I heard the + hoarse falsetto of the bric-à-brac dealer, repeating like a monotonous + refrain the phrase he had uttered in his shop with so enigmatical an + intonation: + </p> + <p> + 'Old Pharaoh will not be well pleased He loved his daughter, the dear + man!' + </p> + <p> + One strange circumstance, which was not at all calculated to restore my + equanimity, was that the apparition had but one foot; the other was broken + off at the ankle! + </p> + <p> + She approached the table where the foot was starting and fidgeting about + more than ever, and there supported herself upon the edge of the desk. I + saw her eyes fill with pearly gleaming tears. + </p> + <p> + Although she had not as yet spoken, I fully comprehended the thoughts + which agitated her. She looked at her foot—for it was indeed her own—with + an exquisitely graceful expression of coquettish sadness, but the foot + leaped and ran hither and thither, as though impelled on steel springs. + </p> + <p> + Twice or thrice she extended her hand to seize it, but could not succeed. + </p> + <p> + Then commenced between the Princess Hermonthis and her foot—which + appeared to be endowed with a special life of its own—a very + fantastic dialogue in a most ancient Coptic tongue, such as might have + been spoken thirty centuries ago in the syrinxes of the land of Ser. + Luckily I understood Coptic perfectly well that night. + </p> + <p> + The Princess Hermonthis cried, in a voice sweet and vibrant as the tones + of a crystal bell: + </p> + <p> + 'Well, my dear little foot, you always flee from me, yet I always took + good care of you. I bathed you with perfumed water in a bowl of alabaster; + I smoothed your heel with pumice-stone mixed with palm-oil; your nails + were cut with golden scissors and polished with a hippopotamus tooth; I + was careful to select <i>tatbebs</i> for you, painted and embroidered and + turned up at the toes, which were the envy of all the young girls in + Egypt. You wore on your great toe rings bearing the device of the sacred + Scarabseus, and you supported one of the lightest bodies that a lazy foot + could sustain.' + </p> + <p> + The foot replied in a pouting and chagrined tone: + </p> + <p> + 'You know well that I do not belong to myself any longer. I have been + bought and paid for. The old merchant knew what he was about. He bore you + a grudge for having refused to espouse him. This is an ill turn which he + has done you. The Arab who violated your royal coffin in the subterranean + pits of the necropolis of Thebes was sent thither by him. He desired to + prevent you from being present at the reunion of the shadowy nations in + the cities below. Have you five pieces of gold for my ransom?' + </p> + <p> + 'Alas, no! My jewels, my rings, my purses of gold and silver were all + stolen from me,' answered the Princess Hermonthis with a sob. + </p> + <p> + 'Princess,' I then exclaimed, 'I never retained anybody's foot unjustly. + Even though you have not got the five louis which it cost me, I present it + to you gladly. I should feel unutterably wretched to think that I were the + cause of so amiable a person as the Princess Hermonthis being lame.' + </p> + <p> + I delivered this discourse in a royally gallant, troubadour tone which + must have astonished the beautiful Egyptian girl. + </p> + <p> + She turned a look of deepest gratitude upon me, and her eyes shone with + bluish gleams of light. + </p> + <p> + She took her foot, which surrendered itself willingly this time, like a + woman about to put on her little shoe, and adjusted it to her leg with + much skill. + </p> + <p> + This operation over, she took a few steps about the room, as though to + assure herself that she was really no longer lame. + </p> + <p> + 'Ah, how pleased my father will be! He who was so unhappy because of my + mutilation, and who from the moment of my birth set a whole nation at work + to hollow me out a tomb so deep that he might preserve me intact until + that last day when souls must be weighed in the balance of Amenthi! Come + with me to my father. He will receive you kindly, for you have given me + back my foot.' + </p> + <p> + I thought this proposition natural enough. I arrayed myself in a + dressing-gown of large-flowered pattern, which lent me a very Pharaonic + aspect, hurriedly put on a pair of Turkish slippers, and informed the + Princess Hermonthis that I was ready to follow her. + </p> + <p> + Before starting, Hermonthis took from her neck the little idol of green + paste, and laid it on the scattered sheets of paper which covered the + table. + </p> + <p> + 'It is only fair,' she observed, smilingly, 'that I should replace your + paper-weight.' + </p> + <p> + She gave me her hand, which felt soft and cold, like the skin of a + serpent, and we departed. + </p> + <p> + We passed for some time with the velocity of an arrow through a fluid and + grayish expanse, in which half-formed silhouettes flitted swiftly by us, + to right and left. + </p> + <p> + For an instant we saw only sky and sea. + </p> + <p> + A few moments later obelisks commenced to tower in the distance; pylons + and vast flights of steps guarded by sphinxes became clearly outlined + against the horizon. + </p> + <p> + We had reached our destination. + </p> + <p> + The princess conducted me to a mountain of rose-coloured granite, in the + face of which appeared an opening so narrow and low that it would have + been difficult to distinguish it from the fissures in the rock, had not + its location been marked by two stelae wrought with sculptures. + </p> + <p> + Hermonthis kindled a torch and led the way before me. + </p> + <p> + We traversed corridors hewn through the living rock. Their walls, covered + with hieroglyphics and paintings of allegorical processions, might well + have occupied thousands of arms for thousands of years in their formation. + These corridors of interminable length opened into square chambers, in the + midst of which pits had been contrived, through which we descended by + cramp-irons or spiral stairways. These pits again conducted us into other + chambers, opening into other corridors, likewise decorated with painted + sparrow-hawks, serpents coiled in circles, the symbols of the <i>tau</i> + and <i>pedum</i>—prodigious works of art which no living eye can + ever examine—interminable legends of granite which only the dead + have time to read through all eternity. + </p> + <p> + At last we found ourselves in a hall so vast, so enormous, so + immeasurable, that the eye could not reach its limits. Files of monstrous + columns stretched far out of sight on every side, between which twinkled + livid stars of yellowish flame; points of light which revealed further + depths incalculable in the darkness beyond. + </p> + <p> + The Princess Hermonthis still held my hand, and graciously saluted the + mummies of her acquaintance. + </p> + <p> + My eyes became accustomed to the dim twilight, and objects became + discernible. + </p> + <p> + I beheld the kings of the subterranean races seated upon thrones—grand + old men, though dry, withered, wrinkled like parchment, and blackened with + naphtha and bitumen—all wearing <i>pshents</i> of gold, and + breastplates and gorgets glittering with precious stones, their eyes + immovably fixed like the eyes of sphinxes, and their long beards whitened + by the snow of centuries. Behind them stood their peoples, in the stiff + and constrained posture enjoined by Egyptian art, all eternally preserving + the attitude prescribed by the hieratic code. Behind these nations, the + cats, ibixes, and crocodiles contemporary with them—rendered + monstrous of aspect by their swathing bands—mewed, flapped their + wings, or extended their jaws in a saurian giggle. + </p> + <p> + All the Pharaohs were there—Cheops, Chephrenes, Psammetichus, + Sesostris, Amenotaph—all the dark rulers of the pyramids and + syrinxes. On yet higher thrones sat Chronos and Xixouthros, who was + contemporary with the deluge, and Tubal Cain, who reigned before it. + </p> + <p> + The beard of King Xixouthros had grown seven times around the granite + table upon which he leaned, lost in deep reverie, and buried in dreams. + </p> + <p> + Further back, through a dusty cloud, I beheld dimly the seventy-two + pre-adamite kings, with their seventy-two peoples, for ever passed away. + </p> + <p> + After permitting me to gaze upon this bewildering spectacle a few moments, + the Princess Hermonthis presented me to her father Pharaoh, who favoured + me with a most gracious nod. + </p> + <p> + 'I have found my foot again! I have found my foot!' cried the princess, + clapping her little hands together with every sign of frantic joy. 'It was + this gentleman who restored it to me.' + </p> + <p> + The races of Kemi, the races of Nahasi—all the black, bronzed, and + copper-coloured nations repeated in chorus: + </p> + <p> + 'The Princess Hermonthis has found her foot again!' + </p> + <p> + Even Xixouthros himself was visibly affected. + </p> + <p> + He raised his heavy eyelids, stroked his moustache with his fingers, and + turned upon me a glance weighty with centuries. + </p> + <p> + 'By Oms, the dog of Hell, and Tmei, daughter of the Sun and of Truth, this + is a brave and worthy lad!' exclaimed Pharaoh, pointing to me with his + sceptre, which was terminated with a lotus-flower. + </p> + <p> + 'What recompense do you desire?' + </p> + <p> + Filled with that daring inspired by dreams in which nothing seems + impossible, I asked him for the hand of the Princess Hermonthis. The hand + seemed to me a very proper antithetic recompense for the foot. + </p> + <p> + Pharaoh opened wide his great eyes of glass in astonishment at my witty + request. + </p> + <p> + 'What country do you come from, and what is your age?' + </p> + <p> + 'I am a Frenchman, and I am twenty-seven years old venerable Pharaoh.' + </p> + <p> + 'Twenty-seven years old, and he wishes to espouse the Princess Hermonthis + who is thirty centuries old!' cried out at once all the Thrones and all + the Circles of Nations. + </p> + <p> + Only Hermonthis herself did not seem to think my request unreasonable. + </p> + <p> + 'If you were even only two thousand years old,' replied the ancient king, + 'I would willingly give you the princess, but the disproportion is too + great; and, besides, we must give our daughters husbands who will last + well. You do not know how to preserve yourselves any longer. Even those + who died only fifteen centuries ago are already no more than a handful of + dust. Behold, my flesh is solid as basalt, my bones are bars of steel! + </p> + <p> + 'I will be present on the last day of the world with the same body and the + same features which I had during my lifetime. My daughter Hermonthis will + last longer than a statue of bronze. + </p> + <p> + 'Then the last particles of your dust will have been scattered abroad by + the winds, and even Isis herself, who was able to find the atoms of + Osiris, would scarce be able to recompose your being. + </p> + <p> + 'See how vigorous I yet remain, and how mighty is my grasp,' he added, + shaking my hand in the English fashion with a strength that buried my + rings in the flesh of my fingers. + </p> + <p> + He squeezed me so hard that I awoke, and found my friend Alfred shaking me + by the arm to make me get up. + </p> + <p> + 'Oh, you everlasting sleeper! Must I have you carried out into the middle + of the street, and fireworks exploded in your ears? It is afternoon. Don't + you recollect your promise to take me with you to see M. Aguado's Spanish + pictures?' + </p> + <p> + 'God! I forgot all, all about it,' I answered, dressing myself hurriedly. + 'We will go there at once. I have the permit lying there on my desk.' + </p> + <p> + I started to find it, but fancy my astonishment when I beheld, instead of + the mummy's foot I had purchased the evening before, the little green + paste idol left in its place by the Princess Hermonthis! + </p> + <p> + <br /> <br /> + </p> +<pre xml:space="preserve"> + + + + + +End of the Project Gutenberg EBook of The Mummy's Foot, by Théophile Gautier + +*** END OF THIS PROJECT GUTENBERG EBOOK THE MUMMY'S FOOT *** + +***** This file should be named 22662-h.htm or 22662-h.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/2/2/6/6/22662/ + +Produced by David Widger + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution. + + + +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase "Project +Gutenberg"), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +http://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. "Project Gutenberg" is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" +or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase "Project Gutenberg" appears, or with which the phrase "Project +Gutenberg" is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase "Project Gutenberg" associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original "Plain Vanilla ASCII" or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, "Information about donations to + the Project Gutenberg Literary Archive Foundation." + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +"Defects," such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right +of Replacement or Refund" described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE +TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE +LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR +INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH +DAMAGE. + +1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a +defect in this electronic work within 90 days of receiving it, you can +receive a refund of the money (if any) you paid for it by sending a +written explanation to the person you received the work from. If you +received the work on a physical medium, you must return the medium with +your written explanation. The person or entity that provided you with +the defective work may elect to provide a replacement copy in lieu of a +refund. If you received the work electronically, the person or entity +providing it to you may choose to give you a second opportunity to +receive the work electronically in lieu of a refund. If the second copy +is also defective, you may demand a refund in writing without further +opportunities to fix the problem. + +1.F.4. Except for the limited right of replacement or refund set forth +in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO +WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need, is critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at http://www.pglaf.org. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation's EIN or federal tax identification +number is 64-6221541. Its 501(c)(3) letter is posted at +http://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state's laws. + +The Foundation's principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at http://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit http://pglaf.org + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including checks, online payments and credit card donations. +To donate, please visit: http://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart is the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + + +Most people start at our Web site which has the main PG search facility: + + http://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. + + +</pre> + </body> +</html> |