 by a species of demonstration so conclusive (viz., the
fitting of the projections of the fragments found among the dust into the
indentures upon the wall), that we are forced to believe the writer in earnest;
and no reasonable reader should suppose otherwise. But as the facts in relation
to all the figures are most singular (especially when taken in connection with
statements made in the body of the narrative), it may be as well to say a word
or two concerning them all - this, too, the more especially as the facts in
question have, beyond doubt, escaped the attention of Mr. Poe.
    Figure 1, then, figure 2, figure 3, and figure 5, when conjoined with one
another in the precise order which the chasms themselves presented, and when
deprived of the small lateral branches or arches (which, it will be remembered,
served only as a means of communication between the main chambers, and were of
totally distinct character), constitute an Ethiopian verbal root - the root To
be shady, - whence all the inflections of shadow or darkness.
    In regard to the left or most northwardly of the indentures in figure 4, it
is more than probable that the opinion of Peters was correct, and that the
hieroglyphical appearance was really the work of art, and intended as the
representation of a human form. The delineation is before the reader, and he
may, or may not, perceive the resemblance suggested; but the rest of the
indentures afford strong confirmation of Peters' idea. The upper range is
evidently the Arabic verbal root To be white, whence all the inflections of
brilliancy and whiteness. The lower range is not so immediately perspicuous. The
characters are somewhat broken and disjointed; nevertheless, it cannot be
doubted that, in their perfect state, they formed the full Egyptian word , The
region of the south. It should be observed that these interpretations confirm
the opinion of Peters in regard to the most northwardly of the figures. The arm
is outstretched toward the south.
    Conclusions such as these open a wide field for speculation and exciting
conjecture. They should be regarded, perhaps, in connection with some of the
most faintly-detailed incidents of the narrative; although in no visible manner
is this chain of connection complete. Tekeli-li! was the cry of the affrighted
natives of Tsalal upon discovering the carcass of the white animal picked up at
sea. This also was the shuddering exclamation of the captive Tsalalian upon
encountering the white materials in possession of Mr. Pym. This also was the
shriek of the swift-flying, white, and gigantic
