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II. Humanity Appears upon the Scene, Hand in Hand with Trouble

           Itrosefromthesemiglobularmoundlikeaspikefromahelmet.ThefirstinstinctofanimaginativestrangermighthavebeentosupposeitthepersonofoneoftheCeltswhobuiltthebarrow,sofarhadallofmoderndatewithdrawnfromthescene.Itseemedasortoflastmanamongthem,musingforamomentbeforedroppingintoeternalnightwiththerestofhisrace.

           Theretheformstood,motionlessasthehillbeneath.Abovetheplainrosethehill,abovethehillrosethebarrow,andabovethebarrowrosethefigure.Abovethefigurewasnothingthatcouldbemappedelsewherethanonacelestialglobe.

           Suchaperfect,delicate,andnecessaryfinishdidthefiguregivetothedarkpileofhillsthatitseemedtobetheonlyobviousjustificationoftheiroutline.Withoutit,therewasthedomewithoutthelantern;withitthearchitecturaldemandsofthemassweresatisfied.Thescenewasstrangelyhomogeneous,inthatthevale,theupland,thebarrow,andthefigureaboveitamountedonlytounity.Lookingatthisorthatmemberofthegroupwasnotobservingacompletething,butafractionofathing.

           Theformwassomuchlikeanorganicpartoftheentiremotionlessstructurethattoseeitmovewouldhaveimpressedthemindasastrangephenomenon.Immobilitybeingthechiefcharacteristicofthatwholewhichthepersonformedportionof,thediscontinuanceofimmobilityinanyquartersuggestedconfusion.

           Yetthatiswhathappened.Thefigureperceptiblygaveupitsfixity,shiftedasteportwo,andturnedround

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