Hypatia - Charles Kingsley (best books to read for students txt) 📗

these were prisoners taken in arms against the Roman senate and people, and therefore worthy of immediate death: but that the Prefect, in his exceeding clemency toward them, and especial anxiety to afford the greatest possible amusement to the obedient and loyal citizens of Alexandria, had determined, instead of giving them at once to the beasts, to allow them to fight for their lives, promising to the survivors a free pardon if they acquitted themselves valiantly.

The poor wretches on the stage, when this proclamation was translated to them, set up a barbaric yell of joy, and brandished their spears and targets more fiercely than ever.

But their joy was short. The trumpets sounded the attack: a body of gladiators, equal in number to the savages, marched out from one of the two great side passages, made their obeisance to the applauding spectators, and planting their scaling-ladders against the front of the stage, mounted to the attack.

The Libyans fought like tigers; yet from the first, Hypatia, and Philammon also, could see that their promised chance of life was a mere mockery. Their light darts and naked limbs were no match for the heavy swords and complete armour of their brutal assailants, who endured carelessly a storm of blows and thrusts on heads and faces protected by visored helmets: yet so fierce was the valour of the Libyans, that even they recoiled twice, and twice the scaling- ladders were hurled down again, while more than one gladiator lay below, rolling in the death-agony.

And then burst forth the sleeping devil in the hearts of that great brutalised multitude. Yell upon yell of savage triumph, and still more savage disappointment, rang from every tier of that vast ring of seats, at each blow and parry, onslaught and repulse; and Philammon saw with horror and surprise that luxury, refinement, philosophic culture itself, were no safeguards against the infection of bloodthirstiness. Gay and delicate ladies, whom he had seen three days before simpering delight at Hypatia’s heavenward aspirations, and some, too, whom he seemed to recollect in Christian churches, sprang from their seats, waved their hands and handkerchiefs, and clapped and shouted to the gladiators. For, alas! there was no doubt as to which side the favour of the spectators inclined. With taunts, jeers, applause, entreaties, the hired ruffians were urged on to their work of blood. The poor wretches heard no voice raised in their favour: nothing but contempt, hatred, eager lust of blood, glared from those thousands of pitiless eyes; and, broken-hearted, despairing, they flagged and drew back one by one. A shout of triumph greeted the gladiators as they climbed over the battlement, and gained a footing on the stage. The wretched blacks broke up, and fled wildly from corner to corner, looking vainly for an outlet….

And then began a butchery …. Some fifty men, women, and children were cooped together in that narrow space …. And yet Hypatia’s countenance did not falter. Why should it? What were their numbers, beside the thousands who had perished year by year for centuries, by that and far worse deaths, in the amphitheatres of that empire, for that faith which she was vowed to re-establish. It was part of the great system; and she must endure it.

Not that she did not feel; for she, too, was woman; and her heart, raised far above the brutal excitement of the multitude, lay calmly open to the most poignant stings of pity. Again and again she was in the act to entreat mercy for some shrieking woman or struggling child; but before her lips could shape the words, the blow had fallen, or the wretch was whirled away from her sight in the dense undistinguishable mass of slayers and slain. Yes, she had begun, and she must follow to the end …. And, after all, what were the lives of those few semi-brutes, returning thus a few years earlier to the clay from which they sprang, compared with the regeneration of a world? .... And it would be over in a few minutes more, and that black writhing heap be still for ever, and the curtain fall …. And then for Venus Anadyomene, and art, and joy, and peace, and the graceful wisdom and beauty of the old Greek art, calming and civilising all hearts, and softening them into pure devotion for the immortal myths, the immortal deities, who had inspired their forefathers in the glorious days of old …. But still the black heap writhed; and she looked away, up, down, and round, everywhere, to avoid the sickening sight; and her eye caught Philammon’s gazing at her with looks of horror and disgust …. A thrill of shame rushed through her heart, and blushing scarlet, she sank her head, and whispered to Orestes—

‘Have mercy!—spare the rest!’

‘Nay, fairest vestal! The mob has tasted blood, and they must have their fill of it, or they will turn onus for aught I know. Nothing so dangerous as to check a brute, whether he be horse, dog, or man, when once his spirit is up. Ha! there is a fugitive! How well the little rascal runs!’

As he spoke, a boy, the only survivor, leaped from the stage, and rushed across the orchestra toward them, followed by a rough cur- dog.

‘You shall have this youth, if he reaches us.’

Hypatia watched breathless. The boy had just arrived at the altar in the centre of the orchestra, when he saw a gladiator close upon him. The ruffian’s arm was raised to strike, when, to the astonishment of the whole theatre, boy and dog turned valiantly to bay, and leaping on the gladiator, dragged him between them to the ground. The triumph was momentary. The uplifted hands, the shout of ‘Spare him!’ came too late. The man, as he lay, buried his sword in the slender body of the child, and then rising, walked coolly back to the side passages, while the poor cur stood over the little corpse, licking its hands and face, and making the whole building ring with his doleful cries. The attendants entered, and striking their hooks into corpse after corpse, dragged them out of sight, marking their path by long red furrows in the sand; while the dog followed, until his inauspicious howlings died away down distant passages.

Philammon felt sick and giddy, and half rose to escape. But Pelagia! .... No—he must sit it out, and see the worst, if worse than this was possible. He looked round. The people were coolly sipping wine and eating cakes, while they chatted admirably about the beauty of the great curtain, which had fallen and hidden the stage, and represented, on a ground of deep-blue sea, Europa carried by the bull across the Bosphorus, while Nereids and Tritons played around.

A single flute within the curtain began to send forth luscious strains, deadened and distant, as if through far-off glens and woodlands; and from the side passages issued three Graces, led by Peitho, the goddess of persuasion, bearing a herald’s staff in her hand. She advanced to the altar in the centre of the orchestra, and informed the spectators that, during the absence of Ares in aid of a certain great military expedition, which was shortly to decide the diadem of Rome, and the liberty, prosperity, and supremacy of Egypt and Alexandria, Aphrodite had returned to her lawful allegiance, and submitted for the time being to the commands of her husband, Hephaestus; that he, as the deity of artificers, felt a peculiar interest in the welfare of the city of Alexandria, the workshop of the world, and had, as a sign of his especial favour, prevailed upon his fair spouse to exhibit, for this once, her beauties to the assembled populace, and, in the unspoken poetry of motion, to represent to them the emotions with which, as she arose new-born from the sea, she first surveyed that fair expanse of heaven and earth of which she now reigned undisputed queen.

A shout of rapturous applause greeted this announcement, and forthwith limped from the opposite slip the lame deity himself, hammer and pincers on shoulder, followed by a train of gigantic Cyclops, who bore on their shoulders various pieces of gilded metal work.

Hephaestus, who was intended to supply the comic element in the vast pantomimic pageant, shambled forward with studied uncouthness, amid roars of laughter; surveyed the altar with ludicrous contempt; raised his mighty hammer, shivered it to pieces with a single blow, and beckoned to his attendants to carry off the fragments, and replace it with something more fitting for his august spouse.

With wonderful quickness the metal open-work was put in its place, and fitted together, forming a frame of coral branches intermingled with dolphins, Nereids, and Tritons. Four gigantic Cyclops then approached, staggering under the weight of a circular slab of green marble, polished to a perfect mirror, which they placed on the framework. The Graces wreathed its circumference with garlands of sea-weed, shells, and corallines, and the mimic sea was complete.

Peitho and the Graces retired a few steps, and grouped themselves with the Cyclops, whose grimed and brawny limbs, and hideous one- eyed masks, threw out in striking contrast the delicate hue and grace of the beautiful maiden figures; while Hephaestus turned toward the curtain, and seemed to await impatiently the forthcoming of the goddess.

Every lip was breathless with expectation as the flutes swelled louder and nearer; horns and cymbals took up the harmony; and, to a triumphant burst of music, the curtain rose, and a simultaneous shout of delight burst from ten thousand voices.

The scene behind represented a magnificent temple, half hidden in an artificial wood of tropic trees and shrubs, which filled the stage. Fauns and Dryads peeped laughing from among their stems, and gorgeous birds, tethered by unseen threads, fluttered and sang among their branches. In the centre an overarching avenue of palms led from the temple doors to the front of the stage, from which the mimic battlements had disappeared, and had been replaced, in those few moments, by a broad slope of smooth greensward, leading down into the orchestra, and fringed with myrtles, roses, apple-trees, poppies, and crimson hyacinths, stained with the life-blood of Adonis.

The folding doors of the temple opened slowly, the crash of instruments resounded from within; and, preceded by the musicians, came forth the triumph of Aphrodite, and passed down the slope, and down the outer ring of the orchestra.

A splendid car, drawn by white oxen, bore the rarest and gaudiest of foreign flowers and fruits, which young girls, dressed as Hours and Seasons, strewed in front of the procession and among the spectators.

A long line of beautiful youths and maidens, crowned with garlands, and robed in scarfs of purple gauze, followed by two and two. Each pair carried or led a pair of wild animals, captives of the conquering might of Beauty.

Foremost were borne, on the wrists of the actors, the birds especially sacred to the goddess—doves and sparrows, wrynecks and swallows; and a pair of gigantic Indian tortoises, each ridden by a lovely nymph, showed that Orestes had not forgotten one wish, at least, of his intended bride.

Then followed strange birds from India, parakeets, peacocks, pheasants silver and golden; bustards and ostriches: the latter, bestridden each by a tiny cupid, were led on in golden leashes, followed by antelopes and oryxes, elks from beyond the Danube, four- horned rams from the Isles of the Hyperborean Ocean, and the strange hybrid of the Libyan hills, believed by all spectators to be half- bull half-horse. And then a murmur of delighted awe ran through the theatre, as bears and leopards, lions and tigers, fettered