Читать книгу The Temptation of St. Antony; Or, A Revelation of the Soul - Gustave Flaubert - Страница 7

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HEN, a great shadow—more subtle than an ordinary shadow, from whose borders other shadows hang in festoons—traces itself upon the ground.

It is the Devil, resting against the roof of the cell and carrying under his wings—like a gigantic bat that is suckling its young—the Seven Deadly Sins, whose grinning heads disclose themselves confusedly.

Antony, his eyes still closed, remains languidly passive, and stretches his limbs upon the mat, which seems to him to grow softer every moment, until it swells out and becomes a bed; then the bed becomes a shallop, with water rippling against its sides.

To right and left rise up two necks of black soil that tower above the cultivated plains, with a sycamore here and there. A noise of bells, drums, and singers resounds at a distance. These are caused by people who are going down from Canopus to sleep at the Temple of Serapis. Antony is aware of this, and he glides, driven by the wind, between the two banks of the canal. The leaves of the papyrus and the red blossoms of the water-lilies, larger than a man, bend over him. He lies extended at the bottom of the vessel. An oar from behind drags through the water. From time to time rises a hot breath of air that shakes the thin reeds. The murmur of the tiny waves grows fainter. A drowsiness takes possession of him. He dreams that he is an Egyptian Solitary.

Then he starts up all of a sudden.

"Have I been dreaming? It was so pleasant that I doubted its reality. My tongue is burning! I am thirsty!"

He enters his cell and searches about everywhere at random.

"The ground is wet! Has it been raining? Stop! Scraps of food! My pitcher broken! But the water-bottle?"

He finds it.

"Empty, completely empty! In order to get down to the river, I should need three hours at least, and the night is so dark I could not see well enough to find my way there. My entrails are writhing. Where is the bread?"

After searching for some time he picks up a crust smaller than an egg.

"How is this? The jackals must have taken it, curse them!"

And he flings the bread furiously upon the ground.

This movement is scarcely completed when a table presents itself to view, covered with all kinds of dainties. The table-cloth of byssus, striated like the fillets of sphinxes, seems to unfold itself in luminous undulations. Upon it there are enormous quarters of flesh-meat, huge fishes, birds with their feathers, quadrupeds with their hair, fruits with an almost natural colouring; and pieces of white ice and flagons of violet crystal shed glowing reflections. In the middle of the table Antony observes a wild boar smoking from all its pores, its paws beneath its belly, its eyes half-closed—and the idea of being able to eat this formidable animal rejoices his heart exceedingly. Then, there are things he had never seen before—black hashes, jellies of the colour of gold, ragoûts, in which mushrooms float like water-lilies on the surface of a pool, whipped creams, so light that they resemble clouds.

And the aroma of all this brings to him the odour of the ocean, the coolness of fountains, the mighty perfume of woods. He dilates his nostrils as much as possible; he drivels, saying to himself that there is enough there to last for a year, for ten years, for his whole life!

In proportion as he fixes his wide-opened eyes upon the dishes, others accumulate, forming a pyramid, whose angles turn downwards. The wines begin to flow, the fishes to palpitate; the blood in the dishes bubbles up; the pulp of the fruits draws nearer, like amorous lips; and the table rises to his breast, to his very chin—with only one seat and one cover, which are exactly in front of him.

He is about to seize the loaf of bread. Other loaves make their appearance.

"For me! ... all! but——"

Antony draws back.

"In the place of the one which was there, here are others! It is a miracle, then, exactly like that the Lord performed! ... With what object? Nay, all the rest of it is not less incomprehensible! Ah! demon, begone! begone!"

He gives a kick to the table. It disappears.

"Nothing more? No!"

He draws a long breath.

"Ah! the temptation was strong. But what an escape I have had!"

He raises up his head, and stumbles against an object which emits a sound.

"What can this be?"

Antony stoops down.

"Hold! A cup! Someone must have lost it while travelling—nothing extraordinary!—--"

He wets his finger and rubs.

"It glitters! Precious metal! However, I cannot distinguish——"

He lights his torch and examines the cup.

"It is made of silver, adorned with ovolos at its rim, with a medal at the bottom."

He makes the medal resound with a touch of his finger-nail.

"It is a piece of money which is worth from seven to eight drachmas—not more. No matter! I can easily with that sum get myself a sheepskin."

The torch's reflection lights up the cup.

"It is not possible! Gold! yes, all gold!"

He finds another piece, larger than the first, at the bottom, and, underneath that many others.

"Why, here's a sum large enough to buy three cows—a little field!"

The cup is now filled with gold pieces.

"Come, then! a hundred slaves, soldiers, a heap wherewith to buy——"

Here the granulations of the cup's rim, detaching themselves, form a pearl necklace.

"With this jewel here, one might even win the Emperor's wife!"

With a shake Antony makes the necklace slip over his wrist. He holds the cup in his left hand, and with his right arm raises the torch to shed more light upon it. Like water trickling down from a basin, it pours itself out in continuous waves, so as to make a hillock on the sand—diamonds, carbuncles, and sapphires mingled with huge pieces of gold bearing the effigies of kings.

"What? What? Staters, shekels, darics, aryandics! Alexander, Demetrius, the Ptolemies, Cæsar! But each of them had not as much! Nothing impossible in it! More to come! And those rays which dazzle me! Ah! my heart overflows! How good this is! Yes! ... Yes! ... more! Never enough! It did not matter even if I kept flinging it into the sea; more would remain. Why lose any of it? I will keep it all, without telling anyone about it. I will dig myself a chamber in the rock, the interior of which will be lined with strips of bronze; and thither will I come to feel the piles of gold sinking under my heels. I will plunge my arms into it as if into sacks of corn. I would like to anoint my face with it—to sleep on top of it!"

He lets go the torch in order to embrace the heap, and falls to the ground on his breast. He gets up again. The place is perfectly empty!

"What have I done? If I died during that brief space of time, the result would have been Hell—irrevocable Hell!"

A shudder runs through his frame.

"So, then, I am accursed? Ah! no, this is all my own fault! I let myself be caught in every trap. There is no one more idiotic or more infamous. I would like to beat myself, or, rather, to tear myself out of my body. I have restrained myself too long. I need to avenge myself, to strike, to kill! It is as if I had a troop of wild beasts in my soul. I would like, with a stroke of a hatchet in the midst of a crowd——Ah! a dagger! ..."

He flings himself upon his knife, which he has just seen. The knife slips from his hand, and Antony remains propped against the wall of his cell, his mouth wide open, motionless—like one in a trance.

All the surroundings have disappeared.

He finds himself in Alexandria on the Panium—an artificial mound raised in the centre of the city, with corkscrew stairs on the outside.

In front of it stretches Lake Mareotis, with the sea to the right and the open plain to the left, and, directly under his eyes, an irregular succession of flat roofs, traversed from north to south and from east to west by two streets, which cross each other, and which form, in their entire length, a row of porticoes with Corinthian capitals. The houses overhanging this double colonnade have stained-glass windows. Some have enormous wooden cages outside of them, in which the air from without is swallowed up.

Monuments in various styles of architecture are piled close to one another. Egyptian pylons rise above Greek temples. Obelisks exhibit themselves like spears between battlements of red brick. In the centres of squares there are statues of Hermes with pointed ears, and of Anubis with dogs' heads. Antony notices the mosaics in the court-yards, and the tapestries hung from the cross-beams of the ceiling.

With a single glance he takes in the two ports (the Grand Port and the Eunostus), both round like two circles, and separated by a mole joining Alexandria to the rocky island, on which stands the tower of the Pharos, quadrangular, five hundred cubits high and in nine storys, with a heap of black charcoal flaming on its summit.

Small ports nearer to the shore intersect the principal ports. The mole is terminated at each end by a bridge built on marble columns fixed in the sea. Vessels pass beneath, and pleasure-boats inlaid with ivory, gondolas covered with awnings, triremes and biremes, all kinds of shipping, move up and down or remain at anchor along the quays.

Around the Grand Port there is an uninterrupted succession of Royal structures: the palace of the Ptolemies, the Museum, the Posideion, the Cæsarium, the Timonium where Mark Antony took refuge, and the Soma which contains the tomb of Alexander; while at the other extremity of the city, close to the Eunostus, might be seen glass, perfume, and paper factories.

Itinerant vendors, porters, and ass-drivers rush to and fro, jostling against one another. Here and there a priest of Osiris with a panther's skin on his shoulders, a Roman soldier, or a group of negroes, may be observed. Women stop in front of stalls where artisans are at work, and the grinding of chariot-wheels frightens away some birds who are picking up from the ground the sweepings of the shambles and the remnants of fish. Over the uniformity of white houses the plan of the streets casts, as it were, a black network. The markets, filled with herbage, exhibit green bouquets, the drying-sheds of the dyers, plates of colours, and the gold ornaments on the pediments of temples, luminous points—all this contained within the oval enclosure of the greyish walls, under the vault of the blue heavens, hard by the motionless sea. But the crowd stops and looks towards the eastern side, from which enormous whirlwinds of dust are advancing.

It is the monks of the Thebaïd who are coming, clad in goats' skins, armed with clubs, and howling forth a canticle of war and of religion with this refrain:

"Where are they? Where are they?"

Antony comprehends that they have come to kill the Arians.

All at once, the streets are deserted, and one sees no longer anything but running feet.

And now the Solitaries are in the city. Their formidable cudgels, studded with nails, whirl around like monstrances of steel. One can hear the crash of things being broken in the houses. Intervals of silence follow, and then the loud cries burst forth again. From one end of the streets to the other there is a continuous eddying of people in a state of terror. Several are armed with pikes. Sometimes two groups meet and form into one; and this multitude, after rushing along the pavements, separates, and those composing it proceed to knock one another down. But the men with long hair always reappear.

Thin wreaths of smoke escape from the corners of buildings. The leaves of the doors burst asunder; the skirts of the walls fall in; the architraves topple over.

Antony meets all his enemies one after another. He recognises people whom he had forgotten. Before killing them, he outrages them. He rips them open, cuts their throats, knocks them down, drags the old men by their beards, runs over children, and beats those who are wounded. People revenge themselves on luxury. Those who cannot read, tear the books to pieces; others smash and destroy the statues, the paintings, the furniture, the cabinets—a thousand dainty objects whose use they are ignorant of, and which, for that very reason, exasperate them. From time to time they stop, out of breath, and then begin again. The inhabitants, taking refuge in the court-yards, utter lamentations. The women lift their eyes to Heaven, weeping, with their arms bare. In order to move the Solitaries they embrace their knees; but the latter only dash them aside, and the blood gushes up to the ceiling, falls back on the linen clothes that line the walls, streams from the trunks of decapitated corpses, fills the aqueducts, and rolls in great red pools along the ground.

Antony is steeped in it up to his middle. He steps into it, sucks it up with his lips, and quivers with joy at feeling it on his limbs and under his hair, which is quite wet with it.

The night falls. The terrible clamour abates.

The Solitaries have disappeared.

Suddenly, on the outer galleries lining the nine stages of the Pharos, Antony perceives thick black lines, as if a flock of crows had alighted there. He hastens thither, and soon finds himself on the summit.

A huge copper mirror turned towards the sea reflects the ships in the offing.

Antony amuses himself by looking at them; and as he continues looking at them, their number increases.

They are gathered in a gulf formed like a crescent. Behind, upon a promontory, stretches a new city built in the Roman style of architecture, with cupolas of stone, conical roofs, marble work in red and blue, and a profusion of bronze attached to the volutes of capitals, to the tops of houses, and to the angles of cornices. A wood, formed of cypress-trees, overhangs it. The colour of the sea is greener; the air is colder. On the mountains at the horizon there is snow.

Antony is about to pursue his way when a man accosts him, and says:

"Come! they are waiting for you!"

He traverses a forum, enters a court-yard, stoops under a gate, and he arrives before the front of the palace, adorned with a group in wax representing the Emperor Constantine hurling the dragon to the earth. A porphyry basin supports in its centre a golden conch filled with pistachio-nuts. His guide informs him that he may take some of them. He does so.

Then he loses himself, as it were, in a succession of apartments.

Along the walls may be seen, in mosaic, generals offering conquered cities to the Emperor on the palms of their hands. And on every side are columns of basalt, gratings of silver filigree, seats of ivory, and tapestries embroidered with pearls. The light falls from the vaulted roof, and Antony proceeds on his way. Tepid exhalations spread around; occasionally he hears the modest patter of a sandal. Posted in the ante-chambers, the custodians—who resemble automatons—bear on their shoulders vermilion-coloured truncheons.

At last, he finds himself in the lower part of a hall with hyacinth curtains at its extreme end. They divide, and reveal the Emperor seated upon a throne, attired in a violet tunic and red buskins with black bands.