Theocritus
Theocritus, Bion and Moschus, Rendered into English Prose

Полная версия

It is impossible to give a clearer idea of the opulence and luxury of Alexandria and her kings, than will be conveyed by the description of the coronation-feast of Ptolemy Philadelphus. This great masquerade and banquet was prepared by the elder Ptolemy on the occasion of his admitting his son to share his throne. The entertainment was described (in a work now lost) by Callixenus of Rhodes, and the record has been preserved by Atheneaus (v. 25). The inner pavilion in which the guests of Ptolemy reclined, contained one hundred and thirty-five couches. Over the roof was placed a scarlet awning, with a fringe of white, and there were many other awnings, richly embroidered with mythological designs. The pillars which sustained the roof were shaped in the likeness of palm-trees, and of thyrsi, the weapons of the wine-god Dionysus. Round three outer sides ran arcades, draped with purple tissues, and with the skins of strange beasts. The fourth side, open to the air, was shady with the foliage of myrtles and laurels. Everywhere the ground was carpeted with flowers, though the season was mid-winter, with roses and white lilies and blossoms of the gardens. By the columns round the whole pavilion were arrayed a hundred effigies in marble, executed by the most famous sculptors, and on the middle spaces were hung works by the painters of Sicyon and tapestry woven with stories of the adventures of the gods. Above these, again, ran a frieze of gold and silver shields, while in the higher niches were placed comic, tragic, and satiric sculptured groups ‘dressed in real clothes,’ says the historian, much admiring this realism. It is impossible to number the tripods, and flagons, and couches of gold, resting on golden figures of sphinxes, the salvers, the bowls, the jewelled vases. The masquerade of this winter festival began with the procession of the Morning-star, Heosphoros, and then followed a masque of kings and a revel of various gods, while the company of Hesperus, the Evening-star followed, and ended all. The revel of Dionysus was introduced by men disguised as Sileni, wild woodland beings in raiment of purple and scarlet. Then came scores of satyrs with gilded lamps in their hands. Next appeared beautiful maidens, attired as Victories, waving golden wings and swinging vessels of burning incense. The altar of the God of the Vine was borne behind them, crowned and covered with leaves of gold, and next boys in purple robes scattered fragrant scents from golden salvers. Then came a throng of gold-crowned satyrs, their naked bodies stained with purple and vermilion, and among them was a tall man who represented the year and carried a horn of plenty. He was followed by a beautiful woman in rich attire, carrying in one hand branches of the palm-tree, in the other a rod of the peach-tree, starred with its constellated flowers. Then the masque of the Seasons swept by, and Philiscus followed, Philiscus the Corcyraean, the priest of Dionysus, and the favourite tragic poet of the court. After the prizes for the athletes had been borne past, Dionysus himself was charioted along, a gigantic figure clad in purple, and pouring libations out of a golden goblet. Around him lay huge drinking-cups, and smoking censers of gold, and a bower of vine leaves grew up, and shaded the head of the god. Then hurried by a crowd of priests and priestesses, Maenads, Bacchantes, Bassarids, women crowned with the vine, or with garlands of snakes, and girls bearing the mystic vannus Iacchi. And still the procession was not ended. A mechanical figure of Nysa passed, in a chariot drawn by eighty men, among clusters of grapes formed of precious stones, and the figure arose, and poured milk out of a golden horn. The Satyrs and Sileni followed close, and behind them six hundred men dragged on a wain, a silver vessel that held six hundred measures of wine. This was only the first of countless symbolic vessels that were carried past, till last came a multitude of sixteen hundred boys clad in white tunics, and garlanded with ivy, who bore and handed to the guests golden and silver vessels full of sweet wine. All this was only part of one procession, and the festival ended when Ptolemy and Berenice and Ptolemy Philadelphus had been crowned with golden crowns from many subject cities and lands.

This festival was obviously arranged to please the taste of a prince with late Greek ideas of pictorial display, and with barbaric wealth at his command. Theocritus himself enables us in the seventeenth idyl to estimate the opulence and the dominion of Ptolemy. He was not master of fertile Aegypt alone, where the Nile breaks the rich dank soil, and where myriad cities pour their taxes into his treasuries. Ptolemy held lands also in Phoenicia, and Arabia; he claimed Syria and Libya and Aethiopia; he was lord of the distant Pamphylians, of the Cilicians, the Lycians and the Carians, and the Cyclades owned his mastery. Thus the wealth of the richest part of the world flowed into Alexandria, attracting thither the priests of strange religions, the possessors of Greek learning, the painters and sculptors whose work has left its traces on the genius of Theocritus.

Looking at this early Alexandrian age, three points become clear to us. First, the fashion of the times was Oriental, Oriental in religion and in society. Nothing could be less Hellenic, than the popular cult of Adonis. The fifteenth idyl of Theocritus shows us Greek women worshipping in their manner at an Assyrian shrine, the shrine of that effeminate lover of Aphrodite, whom Heracles, according to the Greek proverb, thought ‘no great divinity.’ The hymn of Bion, with its luxurious lament, was probably meant to be chanted at just such a festival as Theocritus describes, while a crowd of foreigners gossiped among the flowers and embroideries, the strangely-shaped sacred cakes, the ebony, the gold, and the ivory. Not so much Oriental as barbarous was the impulse which made Ptolemy Philadelphus choose his own sister, Arsinoë, for wife, as if absolute dominion had already filled the mind of the Macedonian royal race with the incestuous pride of the Incas, or of Queen Hatasu, in an elder Egyptian dynasty. This nascent barbarism has touched a few of the Alexandrian poems even of Theocritus, and his panegyric of Ptolemy, of his divine ancestors, and his sister-bride is not much more Greek in sentiment than are those old native hymns of Pentaur to ‘the strong Bull,’ or the ‘Risen Sun,’ to Rameses or Thothmes.

Again, the early Alexandrian was what we call a ‘literary’ age. Literature was not an affair of religion and of the state, but ministered to the pleasure of individuals, and at their pleasure was composed. ⁶ The temper of the time was crudely critical. The Museum and the Libraries, with their hundreds of thousands of volumes, were hot-houses of grammarians and of learned poets. Callimachus, the head librarian, was also the most eminent man of letters. Unable, himself, to compose a poem of epic length and copiousness, he discouraged all long poems. He shone in epigrams, pedantic hymns, and didactic verses. He toyed with anagrams, and won court favour by discovering that the letters of ‘Arsinoë,’ the name of Ptolemy’s wife, made the words ίον Ηρας, the violet of Hera. In another masterpiece the genius of Callimachus followed the stolen tress of Queen Berenice to the skies, where the locks became a constellation. A contemporary of Callimachus was Zenodotus, the critic, who was for improving the Iliad and Odyssey by cutting out all the epic commonplaces which seemed to him to be needless repetitions. It is pretty plain that, in literary society, Homer was thought out of date and rococo. The favourite topics of poets were now, not the tales of Troy and Thebes, but the amorous adventures of the gods. When Apollonius Rhodius attempted to revive the epic, it is said that the influence of Callimachus quite discomfited the young poet. A war of epigrams began, and while Apollonius called Callimachus a ‘blockhead’ (so finished was his invective), the veteran compared his rival to the Ibis, the scavenger-bird. Other singers satirised each others’ legs, and one, the Aretino of the time, mocked at king Ptolemy and scourged his failings in verse. The literary quarrels (to which Theocritus seems to allude in Idyl VII, where Lycidas says he ‘hates the birds of the Muses that cackle in vain rivalry with Homer’) were as stupid as such affairs usually are. The taste for artificial epic was to return; although many people already declared that Homer was the world’s poet, and that the world needed no other. This epic reaction brought into favour Apollonius Rhodius, author of the Argonautica. Theocritus has been supposed to aim at him as a vain rival of Homer, but M. Couat points out that Theocritus was seventy when Apollonius began to write. The literary fashions of Alexandria are only of moment to us so far as they directly affected Theocritus. They could not make him obscure, affected, tedious, but his nature probably inclined him to obey fashion so far as only to write short poems. His rural poems are ειδύλλια, ‘little pictures.’ His fragments of epic, or imitations of the epic hymns are not

όσα πόντος άείδει

– not full and sonorous as the songs of Homer and the sea. ‘Ce poète est le moins naïf qui se puisse rencontrer, et il se dégage de son oeuvre un parfum de naïveté rustique.’ ⁷ They are, what a German critic has called them, mythologischen genre-bilder, cabinet pictures in the manner called genre, full of pretty detail and domestic feeling. And this brings us to the third characteristic of the age, – its art was elaborately pictorial. Poetry seems to have sought inspiration from painting, while painting, as we have said, inclined to genre, to luxurious representations of the amours of the gods or the adventures of heroes, with backgrounds of pastoral landscape. Shepherds fluted while Perseus slew Medusa.

The old order of things in Greece had been precisely the opposite of this Alexandrian manner. Homer and the later Homeric legends, with the tragedians, inspired the sculptors, and even the artisans who decorated vases. When a new order of subjects became fashionable, and when every rich Alexandrian had pictures or frescoes on his walls, it appears that the painters took the lead, that the initiative in art was theirs. The Alexandrian pictures perished long ago, but the relics of Alexandrian style which remain in the buried cities of Campania, in Pompeii especially, bear testimony to the taste of the period. ⁸ Out of nearly two thousand Pompeian pictures, it is calculated that some fourteen hundred (roughly speaking) are mythological in subject. The loves of the gods are repeated in scores of designs, and these designs closely correspond to the mythological poems of Theocritus and his younger contemporaries Bion and Moschus. Take as an example the adventure of Europa: Lord Tennyson’s lines, in The Palace of Art are intended to describe picture—

‘Or sweet Europa’s mantle blew unclasp’d,
From off her shoulder backward borne:
From one hand droop’d a crocus: one hand grasp’d
The mild bull’s golden horn.’

The words of Moschus also seem as if they might have derived their inspiration from a painting, the touches are so minute, and so picturesque —

‘Meanwhile Europa, riding on the back of the divine bull, with one hand clasped the beast’s great horn, and with the other caught up her garment’s purple fold, lest it might trail and be drenched in the hoar sea’s infinite spray. And her deep robe was blown out in the wind, like the sail of a ship, and lightly ever it wafted the maiden onward.’

Now every single ‘motive’ of this description, – Europa with one hand holding the bull’s horn, with the other lifting her dress, the wind puffing out her shawl like a sail, is repeated in the Pompeian wall-pictures, which themselves are believed to be derived from Alexandrian originals. There are more curious coincidences than this. In the sixth idyl of Theocritus, Damoetas makes the Cyclops say that Galatea ‘will send him many a messenger.’ The mere idea of describing the monstrous cannibal Polyphemus in love, is artificial and Alexandrian. But who were the ‘messengers’ of the sea-nymph Galatea? A Pompeian picture illustrates the point, by representing a little Love riding up to the shore on the back of a dolphin, with a letter in his hand for Polyphemus. Greek art in Egypt suffered from an Egyptian plague of Loves. Loves flutter through the Pompeian pictures as they do through the poems of Moschus and Bion. They are carried about in cages, for sale, like birds. They are caught in bird-traps. They don the lion-skin of Heracles. They flutter about baskets laden with roses; round rosy Loves, like the cupids of Boucher. They are not akin to ‘the grievous Love,’ the mighty wrestler who threw Daphnis a fall, in the first idyl of Theocritus. They are ‘the children that flit overhead, the little Loves, like the young nightingales upon the budding trees,’ which flit round the dead Adonis in the fifteenth idyl. They are the birds that shun the boy fowler, in Bion’s poem, and perch uncalled (as in a bronze in the Uffizi) on the grown man. In one or other of the sixteen Pompeian pictures of Venus and Adonis, the Loves are breaking their bows and arrows for grief, as in the hymn of Bion.

Enough has perhaps been said about the social and artistic taste of Alexandria to account for the remarkable differences in manner between the rustic idyls of Theocritus and the epic idyls of himself and his followers Moschus and Bion. In the rural idyls, Theocritus was himself and wrote to please himself. In the epic idyls, as in the Hymn to the Dioscuri, and in the two poems on Heracles, he was writing to please the taste of Alexandria. He had to choose epic topics, but he was warned by the famous saying of Callimachus (‘a great book is a great evil’) not to imitate the length of the epic. ⁹ He was also to shun close imitation of what are so easily imitated, the regular recurring formulae, the commonplace of Homer. He was to add minute pictorial touches, as in the description of Alcmena’s waking when the serpents attacked her child, – a passage rich in domestic pathos and incident which contrast strongly with Pindar’s bare narrative of the same events. We have noted the same pictorial quality in the Europa of Moschus. Our own age has often been compared to the Alexandrian epoch, to that era of large cities, wealth, refinement, criticism, and science; and the pictorial Idylls of the King very closely resemble the epico-idyllic manner of Alexandria. We have tried to examine the society in which Theocritus lived. But our impressions about the poet are more distinct. In him we find the most genial character; pious as Greece counted piety; tender as became the poet of love; glad as the singer of a happy southern world should be; gifted, above all, with humour, and with dramatic power. ‘His lyre has all the chords’; his is the last of all the perfect voices of Hellas; after him no man saw life with eyes so steady and so mirthful.

About the lives of the three idyllic poets literary history says little. About their deaths she only tells us through the dirge by Moschus, that Bion was poisoned. The lovers of Theocritus would willingly hope that he returned from Alexandria to Sicily, about the time when he wrote the sixteenth idyl, and that he lived in the enjoyment of the friendship and the domestic happiness and honour which he sang so well, through the golden age of Hiero (264 B.C.) No happier fortune could befall him who wrote the epigram of the lady of heavenly love, who worshipped with the noble wife of Nicias under the green roof of Milesian Aphrodite, and who prophesied of the return of peace and of song to Sicily and Syracuse.

THEOCRITUS

IDYL I

The shepherd Thyrsis meets a goatherd, in a shady place beside a spring, and at his invitation sings the Song of Daphnis. This ideal hero of Greek pastoral song had won for his bride the fairest of the Nymphs. Confident in the strength of his passion, he boasted that Love could never subdue him to a new question. Love avenged himself by making Daphnis desire a strange maiden, but to this temptation he never yielded, and so died a constant lover. The song tells how the cattle and the wild things of the wood bewailed him, how Hermes and Priapus gave him counsel in vain, and how with his last breath he retorted the taunts of the implacable Aphrodite.

The scene is in Sicily.

Thyrsis. Sweet, meseems, is the whispering sound of yonder pine tree, goatherd, that murmureth by the wells of water; and sweet are thy pipings. After Pan the second prize shalt thou bear away, and if he take the horned goat, the she-goat shalt thou win; but if he choose the she-goat for his meed, the kid falls to thee, and dainty is the flesh of kids e’er the age when thou milkest them.

The Goatherd. Sweeter, O shepherd, is thy song than the music of yonder water that is poured from the high face of the rock! Yea, if the Muses take the young ewe for their gift, a stall-fed lamb shalt thou receive for thy meed; but if it please them to take the lamb, thou shalt lead away the ewe for the second prize.

Thyrsis. Wilt thou, goatherd, in the nymphs’ name, wilt thou sit thee down here, among the tamarisks, on this sloping knoll, and pipe while in this place I watch thy flocks?

Goatherd. Nay, shepherd, it may not be; we may not pipe in the noontide. ’Tis Pan we dread, who truly at this hour rests weary from the chase; and bitter of mood is he, the keen wrath sitting ever at his nostrils. But, Thyrsis, for that thou surely wert wont to sing The Affliction of Daphnis, and hast most deeply meditated the pastoral muse, come hither, and beneath yonder elm let us sit down, in face of Priapus and the fountain fairies, where is that resting-place of the shepherds, and where the oak trees are. Ah! if thou wilt but sing as on that day thou sangest in thy match with Chromis out of Libya, I will let thee milk, ay, three times, a goat that is the mother of twins, and even when she has suckled her kids her milk doth fill two pails. A deep bowl of ivy-wood, too, I will give thee, rubbed with sweet bees’-wax, a twy-eared bowl newly wrought, smacking still of the knife of the graver. Round its upper edges goes the ivy winding, ivy besprent with golden flowers; and about it is a tendril twisted that joys in its saffron fruit. Within is designed a maiden, as fair a thing as the gods could fashion, arrayed in a sweeping robe, and a snood on her head. Beside her two youths with fair love-locks are contending from either side, with alternate speech, but her heart thereby is all untouched. And now on one she glances, smiling, and anon she lightly flings the other a thought, while by reason of the long vigils of love their eyes are heavy, but their labour is all in vain.

Beyond these an ancient fisherman and a rock are fashioned, a rugged rock, whereon with might and main the old man drags a great net for his cast, as one that labours stoutly. Thou wouldst say that he is fishing with all the might of his limbs, so big the sinews swell all about his neck, grey-haired though he be, but his strength is as the strength of youth. Now divided but a little space from the sea-worn old man is a vineyard laden well with fire-red clusters, and on the rough wall a little lad watches the vineyard, sitting there. Round him two she-foxes are skulking, and one goes along the vine-rows to devour the ripe grapes, and the other brings all her cunning to bear against the scrip, and vows she will never leave the lad, till she strand him bare and breakfastless. But the boy is plaiting a pretty locust-cage with stalks of asphodel, and fitting it with reeds, and less care of his scrip has he, and of the vines, than delight in his plaiting.

All about the cup is spread the soft acanthus, a miracle of varied work, ¹⁰ a thing for thee to marvel on. For this bowl I paid to a Calydonian ferryman a goat and a great white cream cheese. Never has its lip touched mine, but it still lies maiden for me. Gladly with this cup would I gain thee to my desire, if thou, my friend, wilt sing me that delightful song. Nay, I grudge it thee not at all. Begin, my friend, for be sure thou canst in no wise carry thy song with thee to Hades, that puts all things out of mind!

The Song of Thyrsis

Begin, ye Muses dear, begin the pastoral song! Thyrsis of Etna am I, and this is the voice of Thyrsis. Where, ah! where were ye when Daphnis was languishing; ye Nymphs, where were ye? By Peneus’s beautiful dells, or by dells of Pindus? for surely ye dwelt not by the great stream of the river Anapus, nor on the watch-tower of Etna, nor by the sacred water of Acis.