Читать книгу The Emperor. Complete - Георг Эберс, Georg Ebers - Страница 9

Titianus had ordered his charioteer to drive at once to Lochias. The road led past the prefect’s palace, his residence on the Bruchiom, and he paused there; for the letter which lay hidden in the folds of his toga, contained news, which, within a few hours, might put him under the necessity of not returning home till the following morning. Without allowing himself to be detained by the officials, subalterns, or lictors, who were awaiting his return to make communications, or to receive his orders, he went straight through the ante-room and the large public rooms for men, to find his wife in the women’s apartments which looked upon the garden. He met her at the door of her room, for she had heard his step approaching and came out to receive him.

“I was not mistaken,” said the matron with sincere pleasure. “How pleasant that you have been released so early to-day. I did not expect you till supper was over.”

“I have come only to go again,” replied Titianus, entering his wife’s room. “Have some bread brought to me and a cup of mixed wine; why—really! here stands all I want ready as if I had ordered it. You are right, I was with Sabina a shorter time than usual; but she exerted herself in that short time to utter as many sour words as if we had been talking for half a day. And in five minutes I must quit you again, till when?—the gods alone know when I shall return. It is hard even to speak the words, but all our trouble and care, and all poor Pontius’ zeal and pains-taking labor are in vain.”

As he spoke the prefect threw himself on a couch; his wife handed him the refreshment he had asked for, and said, as she passed her hand over his grey hair:

“Poor man! Has Hadrian then determined after all to inhabit the Caesareum?”

“No. Leave us, Syra—you shall see directly. Please read me Caesar’s letter once more. Here it is.” Julia unfolded the papyrus, which was of elegant quality, and began:

“Hadrian to his friend Titianus, the Governor of Egypt. The deepest secrecy—Hadrian greets Titianus, as he has so often done for years at the beginning of disagreeable business letters, and only with half his heart. But to-morrow he hopes to greet the dear friend of his youth, his prudent vicegerent, not merely with his whole soul, but with hand and tongue. And now to be more explicit, as follows: I come to-morrow morning, the fifteenth of December, towards evening, to Alexandria, with none but Antinous, the slave Mastor, and my private secretary, Phlegon. We land at Lochias, in the little harbor, and you will know my ship by a large silver star at the prow. If night should fall before I arrive there, three red lanterns at the end of the mast shall inform you of the friend that is approaching. I have sent home the learned and witty men whom you sent to meet me, in order to detain me, and gain time for the restoration of the old nest in which I had a fancy to roost with Minerva’s birds—which have not, I hope, all been driven out of it—in order that Sabina and her following may not lack entertainment, nor the famous gentlemen themselves be unnecessarily disturbed in their labors. I need them not. If perchance it was not you who sent them, I ask your pardon. An error in this matter would certainly involve some humiliation, for it is easier to explain what has happened than to foresee what is to come. Or is the reverse the truth? I will indemnify the learned men for their useless journey by disputing this question with them and their associates in the Museum. The rapid movement to which the philologer was prompted on my account will prolong his existence; he bristles with learning at the tip of every hair, and he sits still more than is good for him.

“We shall arrive in modest disguise and will sleep at Lochias; you know that I have rested more than once on the bare earth, and, if need be, can sleep as well on a mat as on a couch. My pillow follows at my heels—my big dog, which you know; and some little room, where I can meditate undisturbed on my designs for next year, can no doubt be found.

“I entreat you to keep my secret strictly. To none—man nor woman—and I beseech you as urgently as friend or Caesar ever besought a favor—let the least suspicion of my arrival be known. Nor must the smallest preparation betray whom it is you receive. I cannot command so dear a friend as Titianus, but I appeal to his heart to carry out my wishes.

“I rejoice to see you again; what delight I shall find in the whirl of confusion that I hope to find at Lochias. You shall take me to see the artists, who are, no doubt, swarming in the old castle, as the architect Claudius Venator from Rome, who is to assist Pontius with his advice. But this Pontius, who carried out such fine works for Herodes Atticus, the rich Sophist, met me at his house, and will certainly recognize me. Tell him, therefore, what I propose doing. He is a serious and trustworthy man, not a chatterbox or scatter-brained simpleton who loses his head. Thus you may take him into the secret, but not till my vessel is in sight. May all be well with you.”

“Well, what do you say to that?” asked Titianus, taking the letter from his wife’s hand. “Is it not more than vexatious—our work was going on so splendidly.”

“But,” said Julia thoughtfully and with a meaning smile. “Perhaps it might not have been finished in time. As matters now stand it need not be complete, and Hadrian will see the good intention all the same. I am glad about the letter, for it takes a great responsibility off your otherwise overloaded shoulders.”

“You always see the right side,” cried the prefect. “It is well that I came home, for I can await Caesar with a much lighter heart. Let me lock up the letter, and then farewell. This parting is for some hours from you, and from all peace for many days.”

Titianus gave her his hand. She held it firmly and said:

“Before you go I must confess to you that I am very proud.”

“You have every right to be.”

“But you have not said a word to me about keeping silence.”

“Because you have kept other tests—still, to be sure, you are a woman, and a very handsome one besides.”

“An old grandmother, with grey hair!”

“And still more upright and more charming than a thousand of the most admired younger beauties.”

“You are trying to convert my pride into vanity, in my old age.”

“No, no! I was only looking at you with an examining eye, as our talk led me to do, and I remembered that Sabina had lamented that handsome Julia was not looking well. But where is there another woman of your age with such a carriage, such unwrinkled features, so clear a brow, such deep kind eyes, such beautifully-polished arms—”

“Be quiet,” exclaimed his wife. “You make me blush.”

“And may I not be proud that a grandmother, who is a Roman, as my wife is, can find it so easy to blush? You are quite different from other women.”

“Because you are different from other men.”

“You are a flatterer; since all our children have left us, it is as if we were newly married again.”

“Ah! the apple of discord is removed.”

“It is always over what he loves best that man is most prompt to be jealous. But now, once more, farewell.”

Titianus kissed his wife’s forehead and hurried towards the door; Julia called him back and said:

“One thing at any rate we can do for Caesar. I send food every day down to the architect at Lochias, and to-day there shall be three times the quantity.”

“Good; do so.”

“Farewell, then.”

“And we shall meet again, when it shall please the gods and the Emperor.”

…

When the prefect reached the appointed spot, no vessel with a silver star was to be seen.

The sun went down and no ship with three red lanterns was visible.

The harbor-master, into whose house Titianus went, was told that he expected a great architect from Rome, who was to assist Pontius with his counsel in the works at Lochias, and he thought it quite intelligible that the governor should do a strange artist the honor of coming to meet him; for the whole city was well aware of the incredible haste and the lavish outlay of means that were being given to the restoration of the ancient palace of the Ptolemies as a residence for the Emperor.

While he was waiting, Titianus remembered the young sculptor Pollux, whose acquaintance he had made, and his mother in the pretty little gate-house. Well disposed towards them as he felt, he sent at once to old Doris, desiring her not to retire to rest early that evening, since he, the prefect, would be going late to Lochias.

“Tell her, too, as from yourself and not from me,” Titianus instructed the messenger, “that I may very likely look in upon her. She may light up her little room and keep it in order.”

No one at Lochias had the slightest suspicion of the honor which awaited the old palace.

After Verus had quitted it with his wife and Balbilla, and when he had again been at work for about an hour the sculptor Pollux came out of his nook, stretching himself, and called out to Pontius, who was standing on a scaffold:

“I must either rest or begin upon something new. One cures me of fatigue as much as the other. Do you find it so?”

“Yes, just as you do,” replied the architect, as he continued to direct the work of the slave-masons, who were fixing a new Corinthian capital in the place of an old one which had been broken.

“Do not disturb yourself,” Pollux cried up to him. “I only request you to tell my master Papias when he comes here with Gabinius, the dealer in antiquities, that he will find me at the rotunda that you inspected with me yesterday. I am going to put the head on to the Berenice; my apprentice must long since have completed his preparations; but the rascal came into the world with two left-hands, and as he squints with one eye everything that is straight looks crooked to him, and—according to the law of optics—the oblique looks straight. At any rate, he drove the peg which is to support the new head askew into the neck, and as no historian has recorded that Berenice ever had her neck on one side, like the old color-grinder there, I must see to its being straight myself. In about half an hour, as I calculate, the worthy Queen will no longer be one of the headless women.”

“Where did you get the new head?” asked Pontius. “From the secret archives of my memory,” replied Pollux. “Have you seen it?”

“Yes.”

“And do you like it?”

“Very much.”

“Then it is worthy to live,” sang the sculptor, and, as he quitted the hall, he waved his left-hand to the architect, and with his right-hand stuck a pink, which he had picked in the morning, behind his ear.

At the rotunda his pupil had done his business better than his master could have expected, but Pollux was by no means satisfied with his own arrangements. His work, like several others standing on the same side of the platform, turned its back on the steward’s balcony, and the only reason why he had parted with the portrait of Selene’s mother, of which he was so fond, was that his playfellow might gaze at the face whenever she chose. He found, however, to his satisfaction, that the busts were held in their places on their tall pedestals only by their own weight, and he then resolved to alter the historical order of the portrait-heads by changing their places, and to let the famous Cleopatra turn her back upon the palace, so that his favorite bust might look towards it.

In order to carry out this purpose then and there, he called some slaves up to help him in the alteration. This gave rise, more than once, to a warning cry, and the loud talking and ordering on this spot, for so many years left solitary and silent, attracted an inquirer, who, soon after the apprentice had begun his work, had shown herself on the balcony, but who had soon retreated after casting a glance at the dirty lad, splashed from head to foot with plaster. This time, however, she remained to watch, following every movement of Pollux as he directed the slaves; though, all the time and whatever he was doing, he turned his back upon her.

At last the portrait-head had found its right position, shrouded still in a cloth to preserve it from the marks of workmen’s hands. With a deep breath the artist turned full on the steward’s house, and immediately a clear merry voice called out:

“What, tall Pollux! It really is tall Pollux; how glad I am!”

With these words the girl on the balcony loudly clapped her hands; and as the sculptor hailed her in return, and shouted:

“And you are little Arsinoe, eternal gods! What the little thing has come to!” She stood on tip-toe to seem taller, nodded at him pleasantly, and laughed out: “I have not done growing yet; but as for you, you look quite dignified with the beard on your chin, and your eagle’s nose. Selene did not tell me till to-day that you were living down there with the others.”

The artist’s eyes were fixed on the girl, as if spellbound. There are poetic natures in which the imagination immediately transmutes every new thing that strikes the eyes or the intelligence, into a romance, or rapidly embodies it in verse; and Pollux, like many of his calling, could never set his eyes on a fine human form and face, without instantly associating them with his art.

“A Galatea—a Galatea without an equal!” thought he, as he stood with his eyes fixed on Arsinoe’s face and figure. “Just as if she had this instant risen from the sea—that form is just as fresh, and joyous, and healthy; and her little curls wave back from her brow as if they were still floating on the water; and now as she stoops, how full and supple in every movement. It is like a daughter of Nereus following the line of the as the waves as they rise into crests and dip again into watery valleys. She is like Selene and her mother in the shape of her head and the Greek cut of her face, but the elder sister is like the statue of Prometheus before it had a soul, and Arsinoe is like the Master’s work after the celestial fire coursed through her veins.”

The artist had felt and thought all this out in a few seconds, but the girl found her speechless admirer’s silence too long, and exclaimed impatiently:

“You have not yet offered me any proper greeting. What are you doing down there?”

“Look here,” he replied, lifting the cloth from the portrait, which was a striking likeness.

Arsinoe leaned far over the parapet of the balcony, shaded her eyes with her hand and was silent for more than a minute. Then she suddenly cried out loudly and exclaiming:

“Mother—it is my mother!” She flew into the room behind her.

“Now she will call her father and destroy all poor Selene’s comfort,” thought Pollux, as he pushed the heavy marble bust on which his gypsum head was fixed, into its right place.

“Well, let him come. We are the masters here now, and Keraunus dare not touch the Emperor’s property.” He crossed his arms and stood gazing at the bust, muttering to himself:

“Patchwork—miserable patchwork. We are cobbling up a robe for the Emperor out of mere rags; we are upholsterers and not artists. If it were only for Hadrian, and not for Diotima and her children, not another finger would I stir in the place.”

The path from the steward’s residence led through some passages and up a few steps to the rotunda, on which the sculptor was standing, but in little more than a minute from Arsinoe’s disappearance from the balcony she was by his side. With a heightened color she pushed the sculptor away from his work and put herself in the place where he had been standing, to be able to gaze at her leisure at the beloved features. Then she exclaimed again:

“It is mother—mother!” and the bright tears ran over her cheeks, without restraint from the presence of the artist, or the laborers and slaves whom she had flown past on her way, and who stared at her with as much alarm as if she were possessed.

Pollux did not disturb her. His heart was softened as he watched the tears running down the cheeks of this light-hearted child, and he could not help reflecting that goodness was indeed well rewarded when it could win such tender and enduring love as was cherished for the poor dead mother on the pedestal before him.

After looking for some time at the sculptor’s work Arsinoe grew calmer, and turning to Pollux she asked:

“Did you make it?”

“Yes,” he replied, looking down.

“And entirely from memory?”

“To be sure.”

“Do you know what?”

“Well.”

“This shows that the Sibyl at the festival of Adonis was right when she sang in the Jalemus that the gods did half the work of the artist.”

“Arsinoe!” cried Pollux, for her words made him feel as if a hot spring were seething in his heart, and he gratefully seized her hand; but she drew it away, for her sister Selene had come out on the balcony and was calling her.

It was for his elder playfellow and not for Arsinoe that Pollux had set his work in this place, but, just now, her gaze fell like a disturbing chill on his excited mood.

“There stands your mother’s portrait,” he called up to the balcony in an explanatory tone, pointing to the bust.

“I see it,” she replied coldly. “I will look at it presently more closely. Come up Arsinoe, father wants to speak to you.”

Again Pollux stood alone.

As Selene withdrew into the room, she gently shook her pale head, and said to herself:

“‘It was to be for me,’ Pollux said; something for me, for once—and even this pleasure is spoilt.”