The Complete Travel Books, Anecdotes & Memoirs of Mark Twain (Illustrated). Марк ТвенЧитать онлайн книгу.
lying about, the doorless doorways and the crumbled tops of the wilderness of walls, were wonderfully suggestive of the "burnt district" in one of our cities, and if there had been any charred timbers, shattered windows, heaps of debris, and general blackness and smokiness about the place, the resemblance would have been perfect. But no—the sun shines as brightly down on old Pompeii to-day as it did when Christ was born in Bethlehem, and its streets are cleaner a hundred times than ever Pompeiian saw them in her prime. I know whereof I speak—for in the great, chief thoroughfares (Merchant street and the Street of Fortune) have I not seen with my own eyes how for two hundred years at least the pavements were not repaired!—how ruts five and even ten inches deep were worn into the thick flagstones by the chariot-wheels of generations of swindled tax-payers? And do I not know by these signs that Street Commissioners of Pompeii never attended to their business, and that if they never mended the pavements they never cleaned them? And, besides, is it not the inborn nature of Street Commissioners to avoid their duty whenever they get a chance? I wish I knew the name of the last one that held office in Pompeii so that I could give him a blast. I speak with feeling on this subject, because I caught my foot in one of those ruts, and the sadness that came over me when I saw the first poor skeleton, with ashes and lava sticking to it, was tempered by the reflection that may be that party was the Street Commissioner.
No—Pompeii is no longer a buried city. It is a city of hundreds and hundreds of roofless houses, and a tangled maze of streets where one could easily get lost, without a guide, and have to sleep in some ghostly palace that had known no living tenant since that awful November night of eighteen centuries ago.
We passed through the gate which faces the Mediterranean, (called the "Marine Gate,") and by the rusty, broken image of Minerva, still keeping tireless watch and ward over the possessions it was powerless to save, and went up a long street and stood in the broad court of the Forum of Justice. The floor was level and clean, and up and down either side was a noble colonnade of broken pillars, with their beautiful Ionic and Corinthian columns scattered about them. At the upper end were the vacant seats of the Judges, and behind them we descended into a dungeon where the ashes and cinders had found two prisoners chained on that memorable November night, and tortured them to death. How they must have tugged at the pitiless fetters as the fierce fires surged around them!
Then we lounged through many and many a sumptuous private mansion which we could not have entered without a formal invitation in incomprehensible Latin, in the olden time, when the owners lived there—and we probably wouldn't have got it. These people built their houses a good deal alike. The floors were laid in fanciful figures wrought in mosaics of many-colored marbles. At the threshold your eyes fall upon a Latin sentence of welcome, sometimes, or a picture of a dog, with the legend "Beware of the Dog," and sometimes a picture of a bear or a faun with no inscription at all. Then you enter a sort of vestibule, where they used to keep the hat-rack, I suppose; next a room with a large marble basin in the midst and the pipes of a fountain; on either side are bedrooms; beyond the fountain is a reception-room, then a little garden, dining-room, and so forth and so on. The floors were all mosaic, the walls were stuccoed, or frescoed, or ornamented with bas-reliefs, and here and there were statues, large and small, and little fish-pools, and cascades of sparkling water that sprang from secret places in the colonnade of handsome pillars that surrounded the court, and kept the flower-beds fresh and the air cool. Those Pompeiians were very luxurious in their tastes and habits. The most exquisite bronzes we have seen in Europe, came from the exhumed cities of Herculaneum and Pompeii, and also the finest cameos and the most delicate engravings on precious stones; their pictures, eighteen or nineteen centuries old, are often much more pleasing than the celebrated rubbish of the old masters of three centuries ago. They were well up in art. From the creation of these works of the first, clear up to the eleventh century, art seems hardly to have existed at all—at least no remnants of it are left—and it was curious to see how far (in some things, at any rate,) these old time pagans excelled the remote generations of masters that came after them. The pride of the world in sculptures seem to be the Laocoon and the Dying Gladiator, in Rome. They are as old as Pompeii, were dug from the earth like Pompeii; but their exact age or who made them can only be conjectured. But worn, and cracked, without a history, and with the blemishing stains of numberless centuries upon them, they still mutely mock at all efforts to rival their perfections.
It was a quaint and curious pastime, wandering through this old silent city of the dead—lounging through utterly deserted streets where thousands and thousands of human beings once bought and sold, and walked and rode, and made the place resound with the noise and confusion of traffic and pleasure. They were not lazy. They hurried in those days. We had evidence of that. There was a temple on one corner, and it was a shorter cut to go between the columns of that temple from one street to the other than to go around—and behold that pathway had been worn deep into the heavy flagstone floor of the building by generations of time-saving feet! They would not go around when it was quicker to go through. We do that way in our cities.
Every where, you see things that make you wonder how old these old houses were before the night of destruction came—things, too, which bring back those long dead inhabitants and place the living before your eyes. For instance: The steps (two feet thick—lava blocks) that lead up out of the school, and the same kind of steps that lead up into the dress circle of the principal theatre, are almost worn through! For ages the boys hurried out of that school, and for ages their parents hurried into that theatre, and the nervous feet that have been dust and ashes for eighteen centuries have left their record for us to read to-day. I imagined I could see crowds of gentlemen and ladies thronging into the theatre, with tickets for secured seats in their hands, and on the wall, I read the imaginary placard, in infamous grammar, "POSITIVELY NO FREE LIST, EXCEPT MEMBERS OF THE PRESS!" Hanging about the doorway (I fancied,) were slouchy Pompeiian street-boys uttering slang and profanity, and keeping a wary eye out for checks. I entered the theatre, and sat down in one of the long rows of stone benches in the dress circle, and looked at the place for the orchestra, and the ruined stage, and around at the wide sweep of empty boxes, and thought to myself, "This house won't pay." I tried to imagine the music in full blast, the leader of the orchestra beating time, and the "versatile" So-and-So (who had "just returned from a most successful tour in the provinces to play his last and farewell engagement of positively six nights only, in Pompeii, previous to his departure for Herculaneum,") charging around the stage and piling the agony mountains high—but I could not do it with such a "house" as that; those empty benches tied my fancy down to dull reality. I said, these people that ought to be here have been dead, and still, and moldering to dust for ages and ages, and will never care for the trifles and follies of life any more for ever—"Owing to circumstances, etc., etc., there will not be any performance to-night." Close down the curtain. Put out the lights.
And so I turned away and went through shop after shop and store after store, far down the long street of the merchants, and called for the wares of Rome and the East, but the tradesmen were gone, the marts were silent, and nothing was left but the broken jars all set in cement of cinders and ashes: the wine and the oil that once had filled them were gone with their owners.
In a bake-shop was a mill for grinding the grain, and the furnaces for baking the bread: and they say that here, in the same furnaces, the exhumers of Pompeii found nice, well baked loaves which the baker had not found time to remove from the ovens the last time he left his shop, because circumstances compelled him to leave in such a hurry.
In one house (the only building in Pompeii which no woman is now allowed to enter,) were the small rooms and short beds of solid masonry, just as they were in the old times, and on the walls were pictures which looked almost as fresh as if they were painted yesterday, but which no pen could have the hardihood to describe; and here and there were Latin inscriptions—obscene scintillations of wit, scratched by hands that possibly were uplifted to Heaven for succor in the midst of a driving storm of fire before the night was done.
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