The eastern or Byzantine Empire has long been regarded in Europe as a world of far less interest than that which centred on the banks of the Tiber: a world of monotonous6 piety7 and little adventure or spirit, almost Chinese in its placid8 and unchanging adherence9 to traditional and very conventional forms. One is tempted10 to attribute this error, not merely to the longer concealment11 of Byzantine antiquities12 from our fathers and the superior attractiveness of Italy, but, in some measure, to the disproportion of Gibbon’s work. By the time the great historian has advanced only one or two centuries in the life of the East he finds that the superb generosity13 of his plan has committed him to an unachievable task, and he begins to compress whole chapters of the most vivid and adventurous14 history into a few disdainful pages; and as Finlay, the proper historian of the Greek civilization, not only lacks the charm which draws each generavition with fresh wonder to the volumes of Gibbon, but shares and expresses the same disdain4 for his subject, his work has not tended to redeem15 the Byzantine Empire from neglect. Of late years there has been some quickening of interest in the eastern Empire. Professor Bury in this country,1 M. Diehl in France, Schlumberger in Germany, and other historians, have done much to draw attention to the extraordinary interest and the very lively character of Byzantine life.
When we confine our attention, as we do in this volume, to the Court life and the personality of the imperial women, the interest rises to the pitch of romance, and is often sustained at that height for many chapters. Few Courts in the world have, in their thousand years of history, witnessed so much adventure, intrigue16, comedy and tragedy, as that of the Byzantine Empresses. From all quarters of the Empire, in the most varied17 ways, all sorts of women, from princesses to village girls, tavern18 girls or circus girls, make their way to the bronze-roofed palace and wear for a season the prodigious19 jewels and the glittering robes of an Empress of Constantinople; and, as there is no law or method of succession to the throne, the rise and fall of Emperors and Empresses gives a dramatic movement to the story. The notion that the eastern Empresses are enwrapped in a rigid20 piety and formalism, as they are in their stiff tunics21 of gold-cloth, is a ludicrous mistake. Their piety is usually external and superficial, and often they make not the least pretence22 of it; while, even whenvii it is obviously sincere, it is associated with a skill in casuistry which allows a free play of their ambitions, their passions, and even their criminal impulses. Indeed, it is only fair to say at the outset that if a reader passes from the gallery of the “pagan” Empresses into that of the Empresses of Constantinople in the hope of encountering more restful, more virtuous23 and more domestic types of womanhood, he will be grievously disappointed. We may not find a Messalina among them, but irregularity of life is more evenly distributed than among the Roman Empresses, ambition and intrigue are far more cultivated, and there is a strain of barbaric cruelty running through the greater part of the story which it would have been more pleasant, had it been consistent with truthfulness24, to omit. But the biographer should not be a moralist. My simple purpose is to depict25, as far as it is possible, the very varied types of womanhood which come into “the fierce light that beats about a throne” in that strange world where Greek and Roman and Syrian blood blend to produce a new character.
The difficulties of the task have been considerable, and may be urged in extenuation26 of some of the apparent defects of the story. Apart from sketches27 of the lives of five or six of the Byzantine Empresses, especially those in M. Diehl’s fine “Figures Byzantines,” the study is entirely28 new, and the material has had to be laboriously29 collected from the endless pages of the Greek chroniclers. These chroniclers are largely monks30, and in nearly all cases they are little disposed to speak of the imperial women until they either misbehave themselves or come to wield31 a mastery over men. Their references to the Empresses are usually brief and scattered32 sentences which have to be gleaned33 with care, and in hardly anyviii single case do even contemporary writers condescend34 to give us a portrait of an Empress. Seeing that, in addition, we have not (as in the case of Rome) any statues or portrait-busts of the Empresses, and the few representations of them which have survived (in miniatures, ivories, etc.) are lifeless and conventionalized pictures, it is not possible to bring them before the eye in as satisfactory a way as one could wish. In this, as in the preceding volume, I have utterly35 refused to follow the genial36 example of Roergas de Serviez, and allow imagination to come to the aid of fact. But I have carefully gathered and included all that is known about the eastern Empresses, and, lest it be thought that the less-known Empresses might alter the balance of vice37 or virtue38, I have inserted even the scanty39 references to these.
It remains40 only to explain the starting-point of the volume. In my “Empresses of Rome,” which includes all Empresses down to the fall of Rome, I necessarily included the early Empresses of the eastern series, when east and west were branches of one dominion41. It is therefore not necessary to repeat the story of the beautiful and languid Eudoxia, the daughter of a Frankish chief whom a palace intrigue raised to the purple, and who is one of the butts42 of St Chrysostom’s fiery43 sermons; nor of Eudocia, the Athenian girl who set out to find her father’s money and obtained a kingdom, who wrote poems in her native tongue and at last passed from the Court under a cloud of suspicion; nor of Pulcheria, the virgin-sister of Theodosius and rival of Eudocia, who ruled the Empire for her brother and, after his death, took to herself a nominal44 husband and, with Marcian, was governing the Eastern world at the time of the fall of Rome. I have adequately described her in the preceding volume, and the present story opens at her death in the year 453.
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1 frail | |
adj.身体虚弱的;易损坏的 | |
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2 quaint | |
adj.古雅的,离奇有趣的,奇怪的 | |
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3 victorious | |
adj.胜利的,得胜的 | |
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4 disdain | |
n.鄙视,轻视;v.轻视,鄙视,不屑 | |
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5 spacious | |
adj.广阔的,宽敞的 | |
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6 monotonous | |
adj.单调的,一成不变的,使人厌倦的 | |
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7 piety | |
n.虔诚,虔敬 | |
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8 placid | |
adj.安静的,平和的 | |
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9 adherence | |
n.信奉,依附,坚持,固着 | |
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10 tempted | |
v.怂恿(某人)干不正当的事;冒…的险(tempt的过去分词) | |
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11 concealment | |
n.隐藏, 掩盖,隐瞒 | |
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12 antiquities | |
n.古老( antiquity的名词复数 );古迹;古人们;古代的风俗习惯 | |
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13 generosity | |
n.大度,慷慨,慷慨的行为 | |
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14 adventurous | |
adj.爱冒险的;惊心动魄的,惊险的,刺激的 | |
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15 redeem | |
v.买回,赎回,挽回,恢复,履行(诺言等) | |
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16 intrigue | |
vt.激起兴趣,迷住;vi.耍阴谋;n.阴谋,密谋 | |
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17 varied | |
adj.多样的,多变化的 | |
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18 tavern | |
n.小旅馆,客栈;小酒店 | |
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19 prodigious | |
adj.惊人的,奇妙的;异常的;巨大的;庞大的 | |
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20 rigid | |
adj.严格的,死板的;刚硬的,僵硬的 | |
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21 tunics | |
n.(动植物的)膜皮( tunic的名词复数 );束腰宽松外衣;一套制服的短上衣;(天主教主教等穿的)短祭袍 | |
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22 pretence | |
n.假装,作假;借口,口实;虚伪;虚饰 | |
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23 virtuous | |
adj.有品德的,善良的,贞洁的,有效力的 | |
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24 truthfulness | |
n. 符合实际 | |
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25 depict | |
vt.描画,描绘;描写,描述 | |
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26 extenuation | |
n.减轻罪孽的借口;酌情减轻;细 | |
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27 sketches | |
n.草图( sketch的名词复数 );素描;速写;梗概 | |
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28 entirely | |
ad.全部地,完整地;完全地,彻底地 | |
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29 laboriously | |
adv.艰苦地;费力地;辛勤地;(文体等)佶屈聱牙地 | |
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30 monks | |
n.修道士,僧侣( monk的名词复数 ) | |
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31 wield | |
vt.行使,运用,支配;挥,使用(武器等) | |
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32 scattered | |
adj.分散的,稀疏的;散步的;疏疏落落的 | |
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33 gleaned | |
v.一点点地收集(资料、事实)( glean的过去式和过去分词 );(收割后)拾穗 | |
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34 condescend | |
v.俯就,屈尊;堕落,丢丑 | |
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35 utterly | |
adv.完全地,绝对地 | |
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36 genial | |
adj.亲切的,和蔼的,愉快的,脾气好的 | |
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37 vice | |
n.坏事;恶习;[pl.]台钳,老虎钳;adj.副的 | |
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38 virtue | |
n.德行,美德;贞操;优点;功效,效力 | |
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39 scanty | |
adj.缺乏的,仅有的,节省的,狭小的,不够的 | |
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40 remains | |
n.剩余物,残留物;遗体,遗迹 | |
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41 dominion | |
n.统治,管辖,支配权;领土,版图 | |
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42 butts | |
笑柄( butt的名词复数 ); (武器或工具的)粗大的一端; 屁股; 烟蒂 | |
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43 fiery | |
adj.燃烧着的,火红的;暴躁的;激烈的 | |
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44 nominal | |
adj.名义上的;(金额、租金)微不足道的 | |
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