The poets whose adventures compose this chapter were real persons some of whose works yet remain, and their influence on poets who succeeded them is yet more important than their poetical1 remains2. The adventures recorded of them in the following stories rest on the same authority as other narratives3 of the “Age of Fable,” that is, of the poets who have told them. In their present form, the first two are translated from the German, Arion from Schlegel, and Ibycus from Schiller.
ARION
Arion was a famous musician, and dwelt in the court of Periander, king of Corinth, with whom he was a great favorite. There was to be a musical contest in Sicily, and Arion longed to compete for the prize. He told his wish to Periander, who besought4 him like a brother to give up the thought. “Pray stay with me,” he said, “and be contented5. He who strives to win may lose.” Arion answered, “A wandering life best suits the free heart of a poet. The talent which a god bestowed6 on me, I would fain make a source of pleasure to others. And if I win the prize, how will the enjoyment7 of it be increased by the consciousness of my widespread fame!” He went, won the prize, and embarked8 with his wealth in a Corinthian ship for home. On the second morning after setting sail, the wind breathed mild and fair. “O Periander,” he exclaimed, “dismiss your fears! Soon shall you forget them in my embrace. With what lavish9 offerings will we display our gratitude10 to the gods, and how merry will we be at the festal board!” The wind and sea continued propitious11. Not a cloud dimmed the firmament12. He had not trusted too much to the ocean—but he had to man. He overheard the seamen13 exchanging hints with one another, and found they were plotting to possess themselves of his treasure. Presently they surrounded him loud and mutinous14, and said, “Arion, you must die! If you would have a grave on shore, yield yourself to die on this spot; but if otherwise, cast yourself into the sea.” “Will nothing satisfy you but my life?” said he. “Take my gold, and welcome. I willingly buy my life at that price.” “No, no; we cannot spare you. Your life would be too dangerous to us. Where could we go to escape from Periander, if he should know that you had been robbed by us? Your gold would be of little use to us, if on returning home, we could never more be free from fear.” “Grant me, then,” said he, “a last request, since nought16 will avail to save my life, that I may die, as I have lived, as becomes a bard17. When I shall have sung my death song, and my harp18-strings shall have ceased to vibrate, then I will bid farewell to life, and yield uncomplaining to my fate.” This prayer, like the others, would have been unheeded,—they thought only of their booty,—but to hear so famous a musician, that moved their rude hearts. “Suffer me,” he added, “to arrange my dress. Apollo will not favor me unless I be clad in my minstrel garb19.”
He clothed his well-proportioned limbs in gold and purple fair to see, his tunic20 fell around him in graceful21 folds, jewels adorned22 his arms, his brow was crowned with a golden wreath, and over his neck and shoulders flowed his hair perfumed with odors. His left hand held the lyre, his right the ivory wand with which he struck its chords. Like one inspired, he seemed to drink the morning air and glitter in the morning ray. The seamen gazed with admiration23. He strode forward to the vessel’s side and looked down into the deep blue sea. Addressing his lyre, he sang, “Companion of my voice, come with me to the realm of shades. Though Cerberus may growl24, we know the power of song can tame his rage. Ye heroes of Elysium, who have passed the darkling flood,—ye happy souls, soon shall I join your band. Yet can ye relieve my grief? Alas25, I leave my friend behind me. Thou, who didst find thy Eurydice, and lose her again as soon as found; when she had vanished like a dream, how didst thou hate the cheerful light! I must away, but I will not fear. The gods look down upon us. Ye who slay26 me unoffending, when I am no more, your time of trembling shall come. Ye Nereids, receive your guest, who throws himself upon your mercy!” So saying, he sprang into the deep sea. The waves covered him, and the seamen held on their way, fancying themselves safe from all danger of detection.
But the strains of his music had drawn27 round him the inhabitants of the deep to listen, and Dolphins followed the ship as if chained by a spell. While he struggled in the waves, a Dolphin offered him his back, and carried him mounted thereon safe to shore. At the spot where he landed, a monument of brass28 was afterwards erected29 upon the rocky shore, to preserve the memory of the event.
When Arion and the dolphin parted, each to his own element, Arion thus poured forth30 his thanks: “Farewell, thou faithful, friendly fish! Would that I could reward thee; but thou canst not wend with me, nor I with thee. Companionship we may not have. May Galatea, queen of the deep, accord thee her favor, and thou, proud of the burden, draw her chariot over the smooth mirror of the deep.”
Arion hastened from the shore, and soon saw before him the towers of Corinth. He journeyed on, harp in hand, singing as he went, full of love and happiness, forgetting his losses, and mindful only of what remained, his friend and his lyre. He entered the hospitable31 halls, and was soon clasped in the embrace of Periander. “I come back to thee, my friend,” he said. “The talent which a god bestowed has been the delight of thousands, but false knaves32 have stripped me of my well-earned treasure; yet I retain the consciousness of wide spread fame.” Then he told Periander all the wonderful events that had befallen him, who heard him with amazement33. “Shall such wickedness triumph?” said he. “Then in vain is power lodged34 in my hands. That we may discover the criminals, you must remain here in concealment35, and so they will approach without suspicion.” When the ship arrived in the harbor, he summoned the mariners36 before him. “Have you heard anything of Arion?” he inquired. “I anxiously look for his return.” They replied, “We left him well and prosperous in Tarentum.” As they said these words, Arion stepped forth and faced them. His well-proportioned limbs were arrayed in gold and purple fair to see, his tunic fell around him in graceful folds, jewels adorned his arms, his brow was crowned with a golden wreath, and over his neck and shoulders flowed his hair perfumed with odors; his left hand held the lyre, his right the ivory wand with which he struck its chords. They fell prostrate37 at his feet, as if a lightning bolt had struck them. “We meant to murder him, and he has become a god. O Earth, open and receive us!” Then Periander spoke38. “He lives, the master of the lay! Kind Heaven protects the poet’s life. As for you, I invoke39 not the spirit of vengeance40; Arion wishes not your blood. Ye slaves of avarice41, begone! Seek some barbarous land, and never may aught beautiful delight your souls!”
Spenser represents Arion, mounted on his dolphin, accompanying the train of Neptune42 and Amphitrite:
“Then was there heard a most celestial43 sound
Of dainty music which did next ensue,
And, on the floating waters as enthroned,
Arion with his harp unto him drew
The ears and hearts of all that goodly crew;
Even when as yet the dolphin which him bore
Through the ?gean Seas from pirates’ view,
Stood still, by him astonished at his lore44,
And all the raging seas for joy forgot to roar.”
Byron, in his “Childe Harold,” Canto45 II., alludes46 to the story of Arion, when, describing his voyage, he represents one of the seamen making music to entertain the rest:
“The moon is up; by Heaven a lovely eve!
Long streams of light o’er dancing waves expand;
Now lads on shore may sigh and maids believe;
Such be our fate when we return to land!
Meantime some rude Arion’s restless hand
Wakes the brisk harmony that sailors love;
A circle there of merry listeners stand,
Or to some well-known measure featly move
Thoughtless as if on shore they still were free to rove.”
IBYCUS
In order to understand the story of Ibycus which follows it is necessary to remember, first, that the theatres of the ancients were immense fabrics48 capable of containing from ten to thirty thousand spectators, and as they were used only on festival occasions, and admission was free to all, they were usually filled. They were without roofs and open to the sky, and the performances were in the daytime. Secondly49, the appalling50 representation of the Furies is not exaggerated in the story. It is recorded that ?schylus, the tragic51 poet, having on one occasion represented the Furies in a chorus of fifty performers, the terror of the spectators was such that many fainted and were thrown into convulsions, and the magistrates52 forbade a like representation for the future.
Ibycus, the pious53 poet, was on his way to the chariot races and musical competitions held at the Isthmus54 of Corinth, which attracted all of Grecian lineage. Apollo had bestowed on him the gift of song, the honeyed lips of the poet, and he pursued his way with lightsome step, full of the god. Already the towers of Corinth crowning the height appeared in view, and he had entered with pious awe55 the sacred grove56 of Neptune. No living object was in sight, only a flock of cranes flew overhead taking the same course as himself in their migration57 to a southern clime. “Good luck to you, ye friendly squadrons,” he exclaimed, “my companions from across the sea. I take your company for a good omen58. We come from far and fly in search of hospitality. May both of us meet that kind reception which shields the stranger guest from harm!”
He paced briskly on, and soon was in the middle of the wood. There suddenly, at a narrow pass, two robbers stepped forth and barred his way. He must yield or fight. But his hand, accustomed to the lyre, and not to the strife59 of arms, sank powerless. He called for help on men and gods, but his cry reached no defender’s ear. “Then here must I die,” said he, “in a strange land, unlamented, cut off by the hand of outlaws61, and see none to avenge62 my cause.” Sore wounded, he sank to the earth, when hoarse63 screamed the cranes overhead. “Take up my cause, ye cranes,” he said, “since no voice but yours answers to my cry.” So saying he closed his eyes in death.
The body, despoiled64 and mangled65, was found, and though disfigured with wounds, was recognized by the friend in Corinth who had expected him as a guest. “Is it thus I find you restored to me?” he exclaimed. “I who hoped to entwine your temples with the wreath of triumph in the strife of song!”
The guests assembled at the festival heard the tidings with dismay. All Greece felt the wound, every heart owned its loss. They crowded round the tribunal of the magistrates, and demanded vengeance on the murderers and expiation67 with their blood.
But what trace or mark shall point out the perpetrator from amidst the vast multitude attracted by the splendor68 of the feast? Did he fall by the hands of robbers or did some private enemy slay him? The all-discerning sun alone can tell, for no other eye beheld69 it. Yet not improbably the murderer even now walks in the midst of the throng70, and enjoys the fruits of his crime, while vengeance seeks for him in vain. Perhaps in their own temple’s enclosure he defies the gods, mingling71 freely in this throng of men that now presses into the amphitheatre.
For now crowded together, row on row, the multitude fill the seats till it seems as if the very fabric47 would give way. The murmur72 of voices sounds like the roar of the sea, while the circles widening in their ascent73 rise tier on tier, as if they would reach the sky.
And now the vast assemblage listens to the awful voice of the chorus personating the Furies, which in solemn guise74 advances with measured step, and moves around the circuit of the theatre. Can they be mortal women who compose that awful group, and can that vast concourse of silent forms be living beings?
The choristers, clad in black, bore in their fleshless hands torches blazing with a pitchy flame. Their cheeks were bloodless, and in place of hair writhing75 and swelling77 serpents curled around their brows. Forming a circle, these awful beings sang their hymns78, rending79 the hearts of the guilty, and enchaining all their faculties81. It rose and swelled82, overpowering the sound of the instruments, stealing the judgment83, palsying the heart, curdling84 the blood.
“Happy the man who keeps his heart pure from guilt80 and crime! Him we avengers touch not; he treads the path of life secure from us. But woe85! woe! to him who has done the deed of secret murder. We the fearful family of Night fasten ourselves upon his whole being. Thinks he by flight to escape us? We fly still faster in pursuit, twine66 our snakes around his feet, and bring him to the ground. Unwearied we pursue; no pity checks our course; still on and on, to the end of life, we give him no peace nor rest.” Thus the Eumenides sang, and moved in solemn cadence86, while stillness like the stillness of death sat over the whole assembly as if in the presence of superhuman beings; and then in solemn march completing the circuit of the theatre, they passed out at the back of the stage.
Every heart fluttered between illusion and reality, and every breast panted with undefined terror, quailing87 before the awful power that watches secret crimes and winds unseen the skein of destiny. At that moment a cry burst forth from one of the uppermost benches—“Look! look! comrade, yonder are the cranes of Ibycus!” And suddenly there appeared sailing across the sky a dark object which a moment’s inspection88 showed to be a flock of cranes flying directly over the theatre. “Of Ibycus! did he say?” The beloved name revived the sorrow in every breast. As wave follows wave over the face of the sea, so ran from mouth to mouth the words, “Of Ibycus! him whom we all lament60, whom some murderer’s hand laid low! What have the cranes to do with him?” And louder grew the swell76 of voices, while like a lightning’s flash the thought sped through every heart, “Observe the power of the Eumenides! The pious poet shall be avenged89! the murderer has informed against himself. Seize the man who uttered that cry and the other to whom he spoke!”
The culprit would gladly have recalled his words, but it was too late. The faces of the murderers, pale with terror, betrayed their guilt. The people took them before the judge, they confessed their crime, and suffered the punishment they deserved.
SIMONIDES
Simonides was one of the most prolific90 of the early poets of Greece, but only a few fragments of his compositions have descended91 to us. He wrote hymns, triumphal odes, and elegies92. In the last species of composition he particularly excelled. His genius was inclined to the pathetic, and none could touch with truer effect the chords of human sympathy. The “Lamentation of Dana?,” the most important of the fragments which remain of his poetry, is based upon the tradition that Dana? and her infant son were confined by order of her father, Acrisius, in a chest and set adrift on the sea. The chest floated towards the island of Seriphus, where both were rescued by Dictys, a fisherman, and carried to Polydectes, king of the country, who received and protected them. The child, Perseus, when grown up became a famous hero, whose adventures have been recorded in a previous chapter.
Simonides passed much of his life at the courts of princes, and often employed his talents in panegyric93 and festal odes, receiving his reward from the munificence94 of those whose exploits he celebrated95. This employment was not derogatory, but closely resembles that of the earliest bards96, such as Demodocus, described by Homer, or of Homer himself, as recorded by tradition.
On one occasion, when residing at the court of Scopas, king of Thessaly, the prince desired him to prepare a poem in celebration of his exploits, to be recited at a banquet. In order to diversify97 his theme, Simonides, who was celebrated for his piety98, introduced into his poem the exploits of Castor and Pollux. Such digressions were not unusual with the poets on similar occasions, and one might suppose an ordinary mortal might have been content to share the praises of the sons of Leda. But vanity is exacting99; and as Scopas sat at his festal board among his courtiers and sycophants100, he grudged101 every verse that did not rehearse his own praises. When Simonides approached to receive the promised reward Scopas bestowed but half the expected sum, saying, “Here is payment for my portion of thy performance; Castor and Pollux will doubtless compensate102 thee for so much as relates to them.” The disconcerted poet returned to his seat amidst the laughter which followed the great man’s jest. In a little time he received a message that two young men on horseback were waiting without and anxious to see him. Simonides hastened to the door, but looked in vain for the visitors. Scarcely, however, had he left the banqueting hall when the roof fell in with a loud crash, burying Scopas and all his guests beneath the ruins. On inquiring as to the appearance of the young men who had sent for him, Simonides was satisfied that they were no other than Castor and Pollux themselves.
SAPPHO
Sappho was a poetess who flourished in a very early age of Greek literature. Of her works few fragments remain, but they are enough to establish her claim to eminent103 poetical genius. The story of Sappho commonly alluded104 to is that she was passionately105 in love with a beautiful youth named Phaon, and failing to obtain a return of affection she threw herself from the promontory106 of Leucadia into the sea, under a superstition107 that those who should take that “Lover’s-leap” would, if not destroyed, be cured of their love.
Byron alludes to the story of Sappho in “Childe Harold,” Canto II.:
“Childe Harold sailed and passed the barren spot
Where sad Penelope o’erlooked the wave,
And onward108 viewed the mount, not yet forgot,
The lover’s refuge and the Lesbian’s grave.
Dark Sappho! could not verse immortal109 save
That breast imbued110 with such immortal fire?
“?’Twas on a Grecian autumn’s gentle eve
Childe Harold hailed Leucadia’s cape15 afar;” etc.
Those who wish to know more of Sappho and her “leap” are referred to the “Spectator,” Nos. 223 and 229. See also Moore’s “Evenings in Greece.”
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1
poetical
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| adj.似诗人的；诗一般的；韵文的；富有诗意的 | |
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remains
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| n.剩余物，残留物；遗体，遗迹 | |
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narratives
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| 记叙文( narrative的名词复数 )； 故事； 叙述； 叙述部分 | |
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4
besought
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| v.恳求，乞求（某事物）( beseech的过去式和过去分词 )；(beseech的过去式与过去分词) | |
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5
contented
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| adj.满意的，安心的，知足的 | |
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bestowed
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| 赠给，授予( bestow的过去式和过去分词 ) | |
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7
enjoyment
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| n.乐趣；享有；享用 | |
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8
embarked
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| 乘船( embark的过去式和过去分词 )； 装载； 从事 | |
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9
lavish
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| adj.无节制的；浪费的；vt.慷慨地给予，挥霍 | |
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10
gratitude
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| adj.感激，感谢 | |
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propitious
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| adj.吉利的；顺利的 | |
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firmament
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| n.苍穹；最高层 | |
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13
seamen
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| n.海员 | |
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14
mutinous
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| adj.叛变的，反抗的；adv.反抗地，叛变地；n.反抗，叛变 | |
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15
cape
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| n.海角，岬；披肩，短披风 | |
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16
nought
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| n.／adj.无，零 | |
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bard
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| n.吟游诗人 | |
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harp
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| n.竖琴；天琴座 | |
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19
garb
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| n.服装，装束 | |
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tunic
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| n.束腰外衣 | |
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graceful
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| adj.优美的，优雅的；得体的 | |
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adorned
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| [计]被修饰的 | |
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admiration
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| n.钦佩，赞美，羡慕 | |
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24
growl
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| v.（狗等）嗥叫，（炮等）轰鸣；n.嗥叫，轰鸣 | |
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alas
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| int.唉(表示悲伤、忧愁、恐惧等) | |
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slay
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| v.杀死，宰杀，杀戮 | |
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drawn
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| v.拖，拉，拔出；adj.憔悴的，紧张的 | |
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brass
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| n.黄铜；黄铜器，铜管乐器 | |
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29
ERECTED
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| adj. 直立的，竖立的，笔直的 vt. 使 ... 直立，建立 | |
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forth
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| adv.向前；向外，往外 | |
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hospitable
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| adj.好客的；宽容的；有利的，适宜的 | |
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32
knaves
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| n.恶棍，无赖( knave的名词复数 )；（纸牌中的）杰克 | |
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amazement
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| n.惊奇，惊讶 | |
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lodged
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| v.存放( lodge的过去式和过去分词 )；暂住；埋入；（权利、权威等）归属 | |
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concealment
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| n.隐藏, 掩盖，隐瞒 | |
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mariners
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| 海员，水手（mariner的复数形式） | |
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prostrate
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| v.拜倒，平卧，衰竭；adj.拜倒的，平卧的，衰竭的 | |
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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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invoke
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| v.求助于(神、法律)；恳求，乞求 | |
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vengeance
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| n.报复，报仇，复仇 | |
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avarice
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| n.贪婪；贪心 | |
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Neptune
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| n.海王星 | |
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43
celestial
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| adj.天体的；天上的 | |
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lore
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| n.传说；学问，经验，知识 | |
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canto
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| n.长篇诗的章 | |
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46
alludes
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| 提及，暗指( allude的第三人称单数 ) | |
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47
fabric
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| n.织物，织品，布；构造，结构，组织 | |
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fabrics
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| 织物( fabric的名词复数 )； 布； 构造； （建筑物的）结构（如墙、地面、屋顶）：质地 | |
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49
secondly
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| adv.第二，其次 | |
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appalling
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| adj.骇人听闻的，令人震惊的，可怕的 | |
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tragic
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| adj.悲剧的，悲剧性的，悲惨的 | |
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magistrates
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| 地方法官，治安官( magistrate的名词复数 ) | |
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53
pious
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| adj.虔诚的；道貌岸然的 | |
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54
isthmus
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| n.地峡 | |
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awe
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| n.敬畏，惊惧；vt.使敬畏，使惊惧 | |
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grove
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| n.林子，小树林，园林 | |
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migration
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| n.迁移，移居，（鸟类等的）迁徙 | |
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omen
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| n.征兆，预兆；vt.预示 | |
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strife
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| n.争吵，冲突，倾轧，竞争 | |
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lament
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| n.悲叹，悔恨，恸哭；v.哀悼，悔恨，悲叹 | |
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outlaws
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| 歹徒，亡命之徒( outlaw的名词复数 )； 逃犯 | |
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avenge
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| v.为...复仇，为...报仇 | |
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hoarse
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| adj.嘶哑的，沙哑的 | |
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despoiled
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| v.掠夺，抢劫( despoil的过去式和过去分词 ) | |
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mangled
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| vt.乱砍（mangle的过去式与过去分词形式） | |
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twine
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| v.搓，织，编饰；（使）缠绕 | |
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expiation
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| n.赎罪，补偿 | |
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splendor
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| n.光彩；壮丽，华丽；显赫，辉煌 | |
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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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throng
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| n.人群，群众；v.拥挤，群集 | |
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mingling
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| adj.混合的 | |
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murmur
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| n.低语，低声的怨言；v.低语，低声而言 | |
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ascent
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| n.(声望或地位)提高；上升，升高；登高 | |
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guise
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| n.外表，伪装的姿态 | |
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writhing
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| （因极度痛苦而）扭动或翻滚( writhe的现在分词 ) | |
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76
swell
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| vi.膨胀，肿胀；增长，增强 | |
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swelling
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| n.肿胀 | |
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hymns
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| n.赞美诗，圣歌，颂歌( hymn的名词复数 ) | |
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rending
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| v.撕碎( rend的现在分词 )；分裂；（因愤怒、痛苦等而）揪扯（衣服或头发等）；（声音等）刺破 | |
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guilt
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| n.犯罪；内疚；过失，罪责 | |
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faculties
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| n.能力( faculty的名词复数 )；全体教职员；技巧；院 | |
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82
swelled
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| 增强( swell的过去式和过去分词 )； 肿胀； （使）凸出； 充满（激情） | |
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judgment
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| n.审判；判断力，识别力，看法，意见 | |
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84
curdling
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| n.凝化v.（使）凝结( curdle的现在分词 ) | |
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85
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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cadence
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| n.（说话声调的）抑扬顿挫 | |
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quailing
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| 害怕，发抖，畏缩( quail的现在分词 ) | |
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inspection
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| n.检查，审查，检阅 | |
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avenged
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| v.为…复仇，报…之仇( avenge的过去式和过去分词 )；为…报复 | |
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prolific
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| adj.丰富的，大量的；多产的，富有创造力的 | |
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descended
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| a.为...后裔的，出身于...的 | |
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elegies
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| n.哀歌，挽歌( elegy的名词复数 ) | |
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panegyric
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| n.颂词，颂扬 | |
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munificence
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| n.宽宏大量，慷慨给与 | |
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celebrated
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| adj.有名的，声誉卓著的 | |
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bards
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| n.诗人( bard的名词复数 ) | |
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diversify
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| v.（使）不同，（使）变得多样化 | |
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piety
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| n.虔诚，虔敬 | |
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exacting
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| adj.苛求的，要求严格的 | |
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100
sycophants
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| n.谄媚者，拍马屁者( sycophant的名词复数 ) | |
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grudged
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| 怀恨（grudge的过去式与过去分词形式） | |
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102
compensate
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| vt.补偿，赔偿；酬报 vi.弥补；补偿；抵消 | |
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eminent
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| adj.显赫的，杰出的，有名的，优良的 | |
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104
alluded
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| 提及，暗指( allude的过去式和过去分词 ) | |
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105
passionately
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| ad.热烈地，激烈地 | |
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106
promontory
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| n.海角；岬 | |
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107
superstition
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| n.迷信，迷信行为 | |
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108
onward
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| adj.向前的，前进的；adv.向前，前进，在先 | |
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109
immortal
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| adj.不朽的；永生的，不死的；神的 | |
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110
imbued
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| v.使（某人/某事）充满或激起（感情等）( imbue的过去式和过去分词 )；使充满；灌输；激发（强烈感情或品质等） | |
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