“Forth came, with slow and measured tread,
The ancient chorus, solemn, dread1,
And through the theatre’s ample bound
Stately they took their wonted round.”
Schiller.
After the passage of a few weeks, Zopyrus became convinced of a fact which caused him great concern. It was the growing love for him which Eumetis could ill conceal2. An alliance with the house of the aristocratic poet would be an honor. Zopyrus believed and rightly, that he had found favor with Pasicles and Cleodice. Still he knew that while he respected and admired Eumetis for the many desirable qualities which she possessed3, he did not love her as a man should love the woman whom he chooses out of all others to be his mate. The cognizance of this unreturned affection and his inability to rediscover the maiden4 who was the object of his love were the only obstacles which disturbed the course of an otherwise peaceful existence.
122
Sparta’s pernicious ambitions were timely frustrated5 and Athens surrounded by seven miles of solid masonry6 and with Themistocles as its temporary idol7, settled down to its pre-war mode of life. In the Agora the fishmonger’s bell announced the opening of fish-market, artisans went to their trade, the wealthy sought the shops and other public places or gossiped while they rested in the comfortable seats in the shady arcades8. But the ordinary routine was frequently interrupted by judicial9 duties or public services pertaining10 to religious festivals, Olympiads or theatrical11 performances, and it was upon the latter occasion that on this day the crowds were leaving the market-place and pursuing a westward12 direction to the theatre of Dionysus which was an amphitheatre situated13 on the southern slope of the Acropolis.
Entrance was procured14 for the public through great gates on the right and left which opened into the orchestra or circular pit where the chorus marched and sang between the acts. The orchestra was situated between the stage and the auditorium15 which had a seating capacity of thirty thousand. The stone seats which rose tier upon tier were very wide and actually consisted of three distinct parts; the first as a seat, the second as a gangway for those walking, and the third part was hollowed out a little for the feet of those sitting above. The whole semi-circular structure was cut by stairs which like radii16 divided it into sections to facilitate the locating of seats. At the top of each division upon a pedestal stood the bust17 of some god or goddess, that of Dionysus occupying the middle section or place of honor.
123
Considerably18 to the right and about half way down in the section of Aphrodite sat Pasicles, Cleodice, Polygnotus, Corinna, Zopyrus, Eumetis and the lad Mimnermus. Bright colored kerchiefs adorned19 the heads of the women all over the assemblage, giving a gala appearance to the scene. At intervals20 over the theatre there were raised seats with high ornate backs, arm-rests and cushions. These were reserved for judges and officials or for any who were deemed deserving to occupy them. In one of these seats near the front of the section of Dionysus sat the tragedian, Phrynichus, so privileged as the composer of the tragedy, “The Capture of Miletus,” which was about to be enacted21. Next to him was seated Aeschylus, his younger contemporary and staunch admirer.
Above the vast assembly stretched the azure22 sky across which an occasional fleecy cloud moved with the gentle breeze. Behind and above rose the Acropolis crowned with its marble ruins, and to the front of the audience, visible in the distance a little to the left of the stage was clearly discernible the conical outline of Hymettus, while farther to the east stretched the purple range of Anchesmus.
124
In his play, Phrynchius vividly23 presented to his spectators, the sad events of the downfall of the beautiful city of Miletus. He did not hesitate to blame certain Greek leaders who allowed themselves to be influenced by secret agents from the enemy, so that many ships treacherously24 sailed away at the opening of the battle. As the play proceeded the poet in gifted language put into the mouths of his actors, the tragic25 tale of the plunder26 of its dwellings27, the conflagration28 of its peerless temples and the captivity29 of its citizens. There arose in Zopyrus’ memory the pale, tear-stained face of his mother when she learned from the lips of her stern husband, the fate of her native city. Sixteen years before she had been taken to Sardis as the bride of the Persian satrap, but she had never forgotten the city of her birth, nor did she ever recover from the effect of its sad fate and the probable doom30 of friends and relatives. Zopyrus recalled how as a lad of fourteen he stood beside his mother’s death-bed and received from her lips the request to avenge31 the destruction of Miletus. Scalding tears filled his eyes as he sat with bowed head. Hearing a stifled32 sob33 he looked up and saw that Eumetis was likewise in tears. Thus encouraged, to discover that he was not alone moved to tears by the memory of a past tragedy that lived again before thousands, he scanned the multitude around him, to learn that many were weeping. Scarcely was there one who had not lost a loved one, or who was not in some way painfully reminded of disasters through conflict with the Persians. In this great common grief Zopyrus felt himself to be truly one in heart with the people about him.
While in this mood he felt a light caressing34 touch upon his arm, and turning met the eyes of Eumetis looking up to him with sympathetic understanding, and in their violet depths he read a truth which, because he was young and life held for him the possibilities which it offers to all who are ambitious, flattered while yet it sincerely pleased him. Before he realized what he was doing his hand sought hers and held it, delighting in the thrill of contact.
At the close of the drama a resonant35 voice from the stage addressed the throng36. It was the ex-archon, Conon.
125
“Citizens of Athens,” he cried, “will you let go unpunished the offender37 who has this day moved to tears, thousands? Is it without complaint that you listen to words which cause you to live again the miseries38 of the past? Has not Greece borne enough without being thus clearly reminded of past afflictions? I move you we fine the author one thousand drachmas as a punishment.”
Aeschylus was upon his feet in an instant.
“Rather should our friend here,” indicating Phrynichus, “be rewarded the sum of a thousand drachmas for the skill with which he depicted39 those scenes of woe40.”
“Pay no heed41 to Aeschylus!” cried a voice. “He is a poet who probably entertains like ambitions. Phrynichus should be fined, not only for his own misdeed, but as a warning to aspiring42 poets that we care not to have presented to us thus our national tragedies.”
The sympathies of the group who were around Pasicles were with Phrynichus and Aeschylus, and so likewise were hundreds of others, but the majority resented the fact that they had been forced to yield to tears. The motion carried and the tragedian was forced to pay the penalty inflicted43 upon him.
As the crowds were leaving the amphitheatre Zopyrus espied44 Aeschylus and said as he approached him: “That was a good word you spoke45 for your elder friend. Our sympathies were with him.”
126
“Phrynichus I believe,” answered Aeschylus, “would rather lose the thousand drachmas than have failed to stir the hearts of the Athenians as he did today. The light of victory was in his eye, and mark you, Zopyrus, Conon has not frightened me either, for I intend to work on my ‘Persæ’ with the hope that my audience too will melt into tears! But I have unpleasant news for you, my friend. I am leaving soon for Sicily to visit Hiero, tyrant46 of Syracuse. My promise to escort you to the Mysteries will have to hold over till another year, however you will find in the most noble Pasicles a worthy47 mystagogue, and it is my earnest desire that you become initiated48 into the Mysteries at once.”
“Shall I not see you again before you leave?” questioned Zopyrus much agitated49 at the thought of his friend’s imminent50 departure.
“I fear not, but time does not drag on the hands of youth, and,” he added with a smile, “you may find the girl of the Acropolis! Farewell.”
He was gone and there seemed a chaos51 in life where Aeschylus had once been. The truth-seeking poet had meant much to him since he had first met him in the home of Pasicles. He had known personally many poets and philosophers who in parasitic52 fashion drew their nourishment53 from the court of King Xerxes. They were neither original in their ideas, fearing to arouse the wrath54 of the king by any deviation55 from customs, nor were they sincere. Aeschylus would cater56 to no man, nor did he bow to public opinion. The truth clothed in forceful language, was what he presented to the Athenians, and they could take it or spurn57 it as they chose.
127
The sight of Eumetis waiting for him filled Zopyrus with a pleasant consciousness that the chaos might after all be filled with a living, loving personality, and he hastily joined her. Her slender face, usually serious, lighted up with joy as she beheld58 the youth approaching.
“The rest have gone on,” she said, “We must hasten if we are to overtake them.”
“Is it necessary that we overtake them?” asked Zopyrus in a voice that sounded unnatural59.
Eumetis blushed and shook her head in the negative. “No not if you prefer to delay.”
“I do, Eumetis, for I have something to say to you.” He paused a moment then continued: “Will the daughter of the aristocratic Pasicles deign60 to look upon Zopyrus whose origin is to her unknown, as a suitor?”
“You are mistaken, Zopyrus, if you think your parentage is unknown to my father. Aeschylus has revealed your identity to him, though I know not what it is and care not as long as Pasicles approves.”
For answer Zopyrus drew her arm within his own and together they crossed the Ceramicus as the shades of evening were beginning to descend61.
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1
dread
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| vt.担忧，忧虑；惧怕，不敢；n.担忧，畏惧 | |
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2
conceal
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| v.隐藏，隐瞒，隐蔽 | |
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3
possessed
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| adj.疯狂的；拥有的，占有的 | |
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4
maiden
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| n.少女，处女；adj.未婚的，纯洁的，无经验的 | |
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5
frustrated
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| adj.挫败的，失意的，泄气的v.使不成功( frustrate的过去式和过去分词 )；挫败；使受挫折；令人沮丧 | |
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6
masonry
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| n.砖土建筑；砖石 | |
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7
idol
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| n.偶像，红人，宠儿 | |
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8
arcades
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| n.商场( arcade的名词复数 )；拱形走道（两旁有商店或娱乐设施）；连拱廊；拱形建筑物 | |
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9
judicial
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| adj.司法的，法庭的，审判的，明断的，公正的 | |
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10
pertaining
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| 与…有关系的，附属…的，为…固有的(to) | |
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11
theatrical
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| adj.剧场的，演戏的；做戏似的，做作的 | |
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12
westward
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| n.西方，西部；adj.西方的，向西的；adv.向西 | |
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13
situated
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| adj.坐落在...的，处于某种境地的 | |
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14
procured
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| v.（努力）取得， （设法）获得( procure的过去式和过去分词 )；拉皮条 | |
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15
auditorium
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| n.观众席，听众席；会堂，礼堂 | |
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16
radii
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| n.半径；半径（距离）( radius的名词复数 )；用半径度量的圆形面积；半径范围；桡骨 | |
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17
bust
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| vt.打破；vi.爆裂；n.半身像；胸部 | |
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18
considerably
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| adv.极大地；相当大地；在很大程度上 | |
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19
adorned
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| [计]被修饰的 | |
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20
intervals
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| n.[军事]间隔( interval的名词复数 )；间隔时间；[数学]区间；（戏剧、电影或音乐会的）幕间休息 | |
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21
enacted
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| 制定（法律），通过（法案）( enact的过去式和过去分词 ) | |
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22
azure
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| adj.天蓝色的，蔚蓝色的 | |
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23
vividly
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| adv.清楚地，鲜明地，生动地 | |
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24
treacherously
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| 背信弃义地； 背叛地； 靠不住地； 危险地 | |
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25
tragic
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| adj.悲剧的，悲剧性的，悲惨的 | |
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26
plunder
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| vt.劫掠财物，掠夺；n.劫掠物，赃物；劫掠 | |
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27
dwellings
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| n.住处，处所( dwelling的名词复数 ) | |
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28
conflagration
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| n.建筑物或森林大火 | |
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29
captivity
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| n.囚禁；被俘；束缚 | |
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30
doom
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| n.厄运，劫数；v.注定，命定 | |
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31
avenge
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| v.为...复仇，为...报仇 | |
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32
stifled
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| （使）窒息， （使）窒闷( stifle的过去式和过去分词 )； 镇压，遏制； 堵 | |
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33
sob
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| n.空间轨道的轰炸机；呜咽，哭泣 | |
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34
caressing
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| 爱抚的，表现爱情的，亲切的 | |
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35
resonant
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| adj.(声音)洪亮的，共鸣的 | |
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36
throng
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| n.人群，群众；v.拥挤，群集 | |
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37
offender
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| n.冒犯者，违反者，犯罪者 | |
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38
miseries
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| n.痛苦( misery的名词复数 )；痛苦的事；穷困；常发牢骚的人 | |
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39
depicted
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| 描绘，描画( depict的过去式和过去分词 )； 描述 | |
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40
woe
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| n.悲哀，苦痛，不幸，困难；int.用来表达悲伤或惊慌 | |
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41
heed
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| v.注意，留意；n.注意，留心 | |
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42
aspiring
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| adj.有志气的；有抱负的；高耸的v.渴望；追求 | |
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43
inflicted
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| 把…强加给，使承受，遭受( inflict的过去式和过去分词 ) | |
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44
espied
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| v.看到( espy的过去式和过去分词 ) | |
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45
spoke
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| n.（车轮的）辐条；轮辐；破坏某人的计划；阻挠某人的行动 v.讲，谈（speak的过去式）；说；演说；从某种观点来说 | |
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46
tyrant
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| n.暴君，专制的君主，残暴的人 | |
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47
worthy
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| adj.(of)值得的，配得上的；有价值的 | |
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48
initiated
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| n. 创始人 adj. 新加入的 vt. 开始，创始，启蒙，介绍加入 | |
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49
agitated
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| adj.被鼓动的，不安的 | |
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50
imminent
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| adj.即将发生的，临近的，逼近的 | |
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51
chaos
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| n.混乱，无秩序 | |
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52
parasitic
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| adj.寄生的 | |
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53
nourishment
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| n.食物，营养品；营养情况 | |
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54
wrath
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| n.愤怒，愤慨，暴怒 | |
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55
deviation
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| n.背离，偏离；偏差，偏向；离题 | |
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56
cater
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| vi.(for/to)满足，迎合；(for)提供饮食及服务 | |
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57
spurn
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| v.拒绝，摈弃；n.轻视的拒绝；踢开 | |
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58
beheld
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| v.看，注视( behold的过去式和过去分词 )；瞧；看呀；（叙述中用于引出某人意外的出现）哎哟 | |
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59
unnatural
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| adj.不自然的；反常的 | |
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60
deign
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| v. 屈尊, 惠允 ( 做某事) | |
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61
descend
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| vt./vi.传下来，下来，下降 | |
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