A Thorny Path — Complete. Georg EbersЧитать онлайн книгу.
“My worthy landlord has a charming model. He has not far to seek for a head for his best gems. His son, a Helios, or the great Macedonian whose name he bears; his daughter—you are right, Bion—the maid beloved of Eros. Now, if you can make verses, my young friend of the Muses, give us an epigram in a line or two which we may bear in mind as a compliment to our imperial visitor.”
“But not here—not in the burial-ground,” Melissa urged once more.
Among Glaukias’s companions was Argeios, a vain and handsome young poet, with scented locks betraying him from afar, who was fain to display the promptness of his poetical powers; and, even while the elder artist was speaking, he had run Alexander’s satirical remarks into the mold of rhythm. Not to save his life could he have suppressed the hastily conceived distich, or have let slip such a justifiable claim to applause. So, without heeding Melissa’s remonstrance, he flung his sky-blue mantle about him in fresh folds, and declaimed with comical emphasis:
“Down to earth did the god cast his son: but with mightier hand
Through it, to Hades, Caesar flung his brother the dwarf.”
The versifier was rewarded by a shout of laughter, and, spurred by the approval of his friends, he declared he had hit on the mode to which to sing his lines, as he did in a fine, full voice.
But there was another poet, Mentor, also of the party, and as he could not be happy under his rival’s triumph, he exclaimed: “The great dyer—for you know he uses blood instead of the Tyrian shell—has nothing of Father Zeus about him that I can see, but far more of the great Alexander, whose mausoleum he is to visit to-morrow. And if you would like to know wherein the son of Severus resembles the giant of Macedon, you shall hear.”
He thrummed his thyrsus as though he struck the strings of a lyre, and, having ended the dumb prelude, he sang:
“Wherein hath the knave Caracalla outdone Alexander?
He killed a brother, the hero a friend, in his rage.”
These lines, however, met with no applause; for they were not so lightly improvised as the former distich, and it was clumsy and tasteless, as well as dangerous thus to name, in connection with such a jest, the potentate at whom it was aimed. And the fears of the jovial party were only too well founded, for a tall, lean Egyptian suddenly stood among the Greeks as if he had sprung from the earth. They were sobered at once, and, like a swarm of pigeons on which a hawk swoops down, they dispersed in all directions.
Melissa beckoned to her brother to follow her; but the Egyptian intruder snatched the mantle, quick as lightning, from Alexander’s shoulders, and ran off with it to the nearest pine-torch. The young man hurried after the thief, as he supposed him to be, but there the spy flung the cloak back to him, saying, in a tone of command, though not loud, for there were still many persons among the graves:
“Hands off, son of Heron, unless you want me to call the watch! I have seen your face by the light, and that is enough for this time. Now we know each other, and we shall meet again in another place!”
With these words he vanished in the darkness, and Melissa asked, in great alarm:
“In the name of all the gods, who was that?”
“Some rascally carpenter, or scribe, probably, who is in the service of the night-watch as a spy. At least those sort of folks are often built askew, as that scoundrel was,” replied Alexander, lightly. But he knew the man only too well. It was Zminis, the chief of the spies to the night patrol; a man who was particularly inimical to Heron, and whose hatred included the son, by whom he had been befooled and misled in more than one wild ploy with his boon companions. This spy, whose cruelty and cunning were universally feared, might do him a serious mischief, and he therefore did not tell his sister, to whom the name of Zminis was well known, who the listener was.
He cut short all further questioning by desiring her to come at once to the mortuary hall.
“And if we do not find him there,” she said, “let us go home at once; I am so frightened.”
“Yes, yes,” said her brother, vaguely. “If only we could meet some one you could join.”
“No, we will keep together,” replied Melissa, decisively; and simply assenting, with a brief “All right,” the painter drew her arm through his, and they made their way through the now thinning crowd.
CHAPTER IV.
The houses of the embalmers, which earlier in the evening had shone brightly out of the darkness, now made a less splendid display. The dust kicked up by the crowd dimmed the few lamps and torches which had not by this time burned out or been extinguished, and an oppressive atmosphere of balsamic resin and spices met the brother and sister on the very threshold. The vast hall which they now entered was one of a long row of buildings of unburned bricks; but the Greeks insisted on some ornamentation of the simplest structure, if it served a public purpose, and the embalming-houses had a colonnade along their front, and their walls were covered with stucco, painted in gaudy colors, here in the Egyptian and there in the Greek taste. There were scenes from the Egyptian realm of the dead, and others from the Hellenic myths; for the painters had been enjoined to satisfy the requirements and views of visitors of every race. The chief attraction, however, this night was within; for the men whose duties were exercised on the dead had displayed the finest and best of what they had to offer to their customers.
The ancient Greek practice of burning the dead had died out under the Antonines. Of old, the objects used to deck the pyre had also been on show here; now there was nothing to be seen but what related to interment or entombment.
Side by side with the marble sarcophagus, or those of coarser stone, were wooden coffins and mummy-cases, with a place at the head for the portrait of the deceased. Vases and jars of every kind, amulets of various forms, spices and balsams in vials and boxes, little images in burned clay of the gods and of men, of which none but the Egyptians knew the allegorical meaning, stood in long rows on low wooden shelves. On the higher shelves were mummy bands and shrouds, some coarse, others of the very finest texture, wigs for the bald heads of shaven corpses, or woolen fillets, and simply or elaborately embroidered ribbons for the Greek dead.
Nothing was lacking of the various things in use for decking the corpse of an Alexandrian, whatever his race or faith.
Some mummy-cases, too, were there, ready to be packed off to other towns. The most costly were covered with fine red linen, wound about with strings of beads and gold ornaments, and with the name of the dead painted on the upper side. In a long, narrow room apart hung the portraits, waiting to be attached to the upper end of the mummy-cases of those lately deceased, and still in the hands of embalmers. Here, too, most of the lamps were out, and the upper end of the room was already dark. Only in the middle, where the best pictures were on show, the lights had been renewed.
The portraits were painted on thin panels of sycamore or of cypress, and in most of them the execution betrayed that their destiny was to be hidden in the gloom of a tomb.
Alexander’s portrait of Korinna was in the middle of the gallery, in a good light, and stood out from the paintings on each side of it as a genuine emerald amid green glass. It was constantly surrounded by a crowd of the curious and connoisseurs. They pointed out the beautiful work to each other; but, though most of them acknowledged the skill of the master who had painted it, many ascribed its superiority to the magical charm of the model. One could see in those wonderfully harmonious features that Aristotle was right when he discerned beauty in order and proportion; while another declared that he found there the evidence of Plato’s doctrine of the identity of the good and the beautiful—for this face was so lovely because it was the mirror of a soul which had been disembodied in the plenitude of maiden purity and virtue, unjarred by any discord; and this gave rise to a vehement discussion as to the essential nature of beauty and of virtue.