The present tales derive3 their material from a different, but no less interesting epoch4. They give pictures of the flowering of Hellas, the distant centuries whose marvellous culture rested solely5 on the purely6 human elements of character as developed beneath a mild and radiant sky.
Yet it required a certain degree of persistence7 to procure8 this material. When we examine the Greek writers to find descriptions of the men of those times or the special characteristics of the social life of the period, Greek literature, so rich in accounts of historical events, becomes strangely laconic9, nay10 almost silent.
How entirely11 different is the situation of a personii who desires to sketch12 a picture of the Frenchmen of the sixteenth or seventeenth centuries. The whole collection of memoirs13 is at his disposal. In these writings the author discourses14 familiarly with the reader, gives him lifelike portraits of the ladies and gentlemen of the court, and tells him the most minute anecdotes15 of the society of that day.
Greek literature has nothing of this kind. The description of common events and the history of daily existence are forms of writing of later origin, nothing was farther from the minds of ancient authors than the idea that private life could contain anything worth noting. Herodotus and Thucydides narrated16 little or nothing of what the novelists of the present day seek, nay, even among the orators17 only scattered19 details are found, and strangely enough there are more in the speeches of Lysias than of Demosthenes.
Among the poets Aristophanes produces a whole gallery of contemporary characters, but indistinctly and in vague outlines; they were what would now be called “originals from the street” who, during the performance of his comedies, sat among the spectators, and whom he only needed to mention to evoke20 the laughter of the crowd. Something more may be gathered from Lucian and Apuleius, together with the better “Milesian” tales, especially from Heliodorus and Achilles Tatius while, on the contrary, the great Alexandrian lumber-room, owed to Athenaeus, contains more gewgaws of learning and curiosa than really marked characteristics.
iii In the obscure recesses21 of Greek literature, where we are abandoned by all translators, and where—as everybody knows who has devoted22 himself to the interpretation23 of the classics—only short excursions can be made, we are sometimes surprised at finding, by pure accident, useful matter. Dion Chrysostomus (VII) gives extremely interesting descriptions of life in the Greek villages and commercial towns. But what is discovered is always so scattered that only a few notes can be obtained from numerous volumes.
When I decided24 to turn what I had read to account, I was fully25 aware that a presentation of ancient life in the form of a romance or novel was one of the most difficult ?sthetic tasks which could be undertaken. If, nevertheless, I devoted myself to it, I naturally regarded the work only as an experiment.
In choosing the narrow frame-work of short stories I set before myself this purpose—to sketch the ordinary figures of ancient life on a historical background. I have—resting step by step on the classic writers—endeavored to present some pictures of ancient times; but I have no more desired to exalt26 former ages at the expense of our own than the contrary. As to the mode of treatment—I have steadily27 intended to keep the representations objective, and to avoid using foreign words or giving the dialogues a form so ancient that they would not be easy to read.A The stiffiv classic ceremonies, foot-washings, etc., I have almost entirely omitted, and the archaeological and historical details have everywhere been subordinated to the contents of the story, so that they merely serve to give an antique coloring to the descriptions. Lastly, I have believed that the Greek characters ought to be completely banished28 from the book, and even from the notes and preface.
A So far as the idiomatic29 differences of the two languages would permit, the translator has endeavored to retain the simplicity30 of style deemed by the author best suited to his purpose.
After these general remarks I must be permitted to dwell briefly31 upon the different tales, partly to point out the authority for such or such a stroke and partly to give some few more detailed32 explanations.
Little is known of the Pelasgian epoch; but it is a historical fact that a woman was abducted33 at the fountain of Callirrho?. On this incident the first story “Zeus Hypsistos” is founded, and the climax34 of Periphas’ death is based upon an ancient idea: a voice of fate. The belief in Phēmai or Cledones is older than in that of most oracles35, and dates back to the days of Homer. When Ulysses is wandering about, pondering over the thought of killing37 the suitors, he prays to Zeus for a sign and omen38, a voice of fate, which then sounds in a thunder-clap and, inside of the house, he hears a slave-girl wishing evil to the suitors. The old demi-god Cychreus of Salamis is mentioned by Pausanias (I. 36). It was a universal idea in ancient times that demi-gods liked to transform themselves into serpents. In the battle of Salamis a serpent appeared in the Athenian fleet; the oracle36 declared that it was the ancient demi-god Cychreus. In Eleusis Demeter hadv a serpent called the Cychrean, for Cychreus, who had either slain39 it or himself assumed its form. For the remarkable40 ceremonial of purification after a murder (page 58), see Apollonius’ Argonautica (IV. 702). The words: “Zeus was, Zeus is, and Zeus will be” are borrowed from the ancient hymn41 sung by the Dodonian priestesses, called Peleiades (doves.)
In “The Sycophant” the notes cited on pages 72–73 would be valueless, if they did not contain the punishments which, according to Attic42 law, were appointed for the transgressions43 named.
Hetaeriae was the name given to secret societies or fraternities, where six, seven, or more members united to work against or break down the increasing power of the popular government, which was exerting a more and more unendurable pressure. There were many kinds of “hetaeriae,” but the most absolute secrecy44 was common to all. The members were conspirators45, pledged to assist one another by a solemn oath, sworn by what was dearest to them in life. The harmless hetaeriae comprised those who were pursuing no political object, but merely consisted of office-seekers whose purpose was to aid one another in the election to office or before the courts of justice. The hetaeria here described is of the latter sort; for the delineation46 of a political society of this kind would require a far more extensive apparatus47 than could be contained within the brief limits of a tale. Several of the characters in “The Hetaeria” have actually existed. The comedian48 Sthenelus is mentioned by Aristophanes (vesp. 1313) asvi well as the orator18 and tragedian Acestor (vesp. 1220; aves 31) both are sketched49 from the more minute details of the Scoliastae. Phanus is also mentioned by Aristophanes (equit. 1233) as Cleon’s clerk. Among the women of the tale there is also an historical personage, the foreign witch Ninus, who professed50 to be a priestess of the Phrygian god Sabazius. She travelled through Hellas at the time of the Peloponnesian War and reaped a rich harvest by her divination51 and manufacture of love potions; but her end was tragical—she was summoned before the courts as a poisoner and condemned52 to death (A. Schaefer, Demosth. I. 199). The main outlines of the relations between Hipyllos and Cleobule are taken from the commencement of Cnemon’s story in Heliodorus (I. 2) and the description of Sthenelus’ fall from the boards is almost literally53 repeated from Lucian (The Dream, 26). The account of the naval54 battle at Rhion is an extract from Thucydides (II. 86–92).
“Too Happy” is founded upon an ancient idea: the prayer for a sign and the acceptance of an omen. Piracy55, which plays a prominent part in the narrative56, was practised at an early period in the ?gean Sea and afterwards attained57 such dangerous extent that large and magnificent fleets of pirate cruisers finally threatened Rome herself with intercepting58 the importations of grain from Pontus. It might perhaps be considered too romantic for a disguised corsair to examine the ship lying in port before plundering59 her in the open sea. Quite different things, however, are reported. Thevii Phoenician pirates had secret agents who discovered where a ship with a rich cargo60 lay and promised the helmsman “ten-fold freight money,” if he would anchor in some secluded61 place, behind a promontory62, etc., where the vessel63 could be overpowered. (Philostratus, vita Apoll. Tyan. III. 24). The conclusion of the story (the ladder hung outside of the ship so that it touches the water) is taken from Plutarch (Pompeius, 24).
In “Lycon with the Big Hand” the artist Aristeides and what is said of his paintings are historical. The same is true of the traits of character cited about the tyrant64 Alexander of Pherae. Under the description of the earthquake is given an account of what is called in seismology a tidal wave. A side-piece to this may be found in Thucydides (III. 89) where—after a remark about the frequency of earthquakes during the sixth year of the Peloponnesian War—it is stated: “Among these earthquakes the one at Orobi? in Eub?a displayed a remarkable phenomenon. The sea receded65 from the shore; then suddenly returned with a tremendous wave and flooded part of the coast, so that what was formerly66 land became a portion of the sea. Many people perished.”
In these five stories the scene is laid in Athens, on the ?gean Sea, and in Thessaly—but, wherever it is, I have always endeavored to give the characters life and movement, and make them children of the times and of the Hellenic soil. I have also sought to delve67 deeper into the life of ancient times than usually happens inviii novels. Many peculiarities68, like the purification after a murder in the first tale, the Baetylus oracle in “The Hetaeria,” and the use of the great weapon of naval warfare69, the dolphin, in “Too Happy” have scarcely been previously70 described in any form in our literature. The belief in marvellous stones animated71 by spirits was widely diffused72 in ancient times, as such stones, under the name of abadir, were known in Phoenicia. The description of the Baetylus oracle is founded upon Pliny (17, 9, 51), Photius (p. 1047) and Pausanias (X. 24). It is evident enough that the stone-spirit’s answer was given by the ventriloquist’s art. Though the ancients had several names for ventriloquists, such as engastrimythae, sternomanteis, etc., the art was certainly little known in daily life, it seems to have been kept secret and used for the answers of oracles, etc. The soothsayer and ventriloquist Eurycles, mentioned by Aristophanes, endeavored to make the people believe that a spirit spoke73 from his mouth because he uttered words without moving his lips. For the dolphin, the weapon used in naval warfare, see Scholia graeca in Aristoph. (equit 762) and Thucydides (VII. 41).
In the ancient dialogue I have always endeavored to give the replies an individual coloring, and it will be found that Acestor speaks a different language from Sthenelus, Philopator from Polycles, etc. Phrases like: “Begone to the vultures,” “show the hollows under the soles of the feet,” “casting fire into the bosom,” etc., may easily be recognized as borrowed from theix classic writers. To enter into the subject more minutely would be carrying the matter too far. Single characteristic expressions, such as palpale legein, etc. cannot be reproduced.
In introducing the reader to so distant and alien a world, it has been a matter of great importance to me to win his confidence; with this purpose I have sought by quotations74 to show the authority for what I have written. Here and there, to remove any doubt of the existence of an object in ancient times, I have added the Greek names. For the rest I have everywhere striven to follow the old maxim75 artis est celare artem.
Copenhagen, November 1, 1881.
P. Mariager.
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1
depict
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| vt.描画，描绘；描写，描述 | |
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rupture
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| n.破裂；(关系的)决裂；v.(使)破裂 | |
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derive
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| v.取得；导出；引申；来自；源自；出自 | |
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epoch
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| n.(新)时代；历元 | |
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solely
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| adv.仅仅，唯一地 | |
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purely
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| adv.纯粹地，完全地 | |
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persistence
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| n.坚持，持续，存留 | |
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8
procure
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| vt.获得，取得，促成；vi.拉皮条 | |
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9
laconic
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| adj.简洁的；精练的 | |
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nay
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| adv.不；n.反对票，投反对票者 | |
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entirely
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| ad.全部地，完整地；完全地，彻底地 | |
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sketch
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| n.草图；梗概；素描；v.素描；概述 | |
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13
memoirs
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| n.回忆录；回忆录传( mem,自oir的名词复数) | |
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discourses
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| 论文( discourse的名词复数 )； 演说； 讲道； 话语 | |
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anecdotes
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| n.掌故，趣闻，轶事( anecdote的名词复数 ) | |
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narrated
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| v.故事( narrate的过去式和过去分词 ) | |
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orators
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| n.演说者，演讲家( orator的名词复数 ) | |
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orator
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| n.演说者，演讲者，雄辩家 | |
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scattered
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| adj.分散的，稀疏的；散步的；疏疏落落的 | |
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evoke
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| vt.唤起，引起，使人想起 | |
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recesses
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| n.壁凹( recess的名词复数 )；（工作或业务活动的）中止或暂停期间；学校的课间休息；某物内部的凹形空间v.把某物放在墙壁的凹处( recess的第三人称单数 )；将（墙）做成凹形，在（墙）上做壁龛；休息，休会，休庭 | |
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devoted
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| adj.忠诚的，忠实的，热心的，献身于...的 | |
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interpretation
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| n.解释，说明，描述；艺术处理 | |
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decided
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| adj.决定了的，坚决的；明显的，明确的 | |
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fully
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| adv.完全地，全部地，彻底地；充分地 | |
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exalt
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| v.赞扬，歌颂，晋升，提升 | |
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steadily
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| adv.稳定地；不变地；持续地 | |
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banished
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| v.放逐，驱逐( banish的过去式和过去分词 ) | |
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idiomatic
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| adj.成语的，符合语言习惯的 | |
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simplicity
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| n.简单，简易；朴素；直率，单纯 | |
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briefly
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| adv.简单地，简短地 | |
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detailed
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| adj.详细的，详尽的，极注意细节的，完全的 | |
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abducted
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| 劫持，诱拐( abduct的过去式和过去分词 )； 使（肢体等）外展 | |
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climax
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| n.顶点；高潮；v.(使)达到顶点 | |
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oracles
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| 神示所( oracle的名词复数 )； 神谕； 圣贤； 哲人 | |
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oracle
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| n.神谕，神谕处，预言 | |
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killing
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| n.巨额利润；突然赚大钱，发大财 | |
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omen
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| n.征兆，预兆；vt.预示 | |
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slain
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| 杀死，宰杀，杀戮( slay的过去分词 )； (slay的过去分词) | |
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remarkable
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| adj.显著的，异常的，非凡的，值得注意的 | |
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hymn
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| n.赞美诗，圣歌，颂歌 | |
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attic
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| n.顶楼，屋顶室 | |
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transgressions
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| n.违反，违法，罪过( transgression的名词复数 ) | |
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secrecy
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| n.秘密，保密，隐蔽 | |
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45
conspirators
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| n.共谋者，阴谋家( conspirator的名词复数 ) | |
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46
delineation
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| n.记述；描写 | |
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apparatus
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| n.装置，器械；器具，设备 | |
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48
comedian
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| n.喜剧演员；滑稽演员 | |
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49
sketched
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| v.草拟（sketch的过去式与过去分词形式） | |
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50
professed
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| 公开声称的，伪称的，已立誓信教的 | |
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51
divination
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| n.占卜，预测 | |
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52
condemned
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| adj. 被责难的, 被宣告有罪的 动词condemn的过去式和过去分词 | |
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53
literally
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| adv.照字面意义，逐字地；确实 | |
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54
naval
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| adj.海军的，军舰的，船的 | |
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55
piracy
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| n.海盗行为，剽窃，著作权侵害 | |
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56
narrative
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| n.叙述，故事；adj.叙事的，故事体的 | |
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57
attained
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| （通常经过努力）实现( attain的过去式和过去分词 )； 达到； 获得； 达到（某年龄、水平、状况） | |
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58
intercepting
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| 截取（技术），截接 | |
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59
plundering
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| 掠夺，抢劫( plunder的现在分词 ) | |
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60
cargo
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| n.(一只船或一架飞机运载的)货物 | |
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61
secluded
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| adj.与世隔绝的；隐退的；偏僻的v.使隔开，使隐退( seclude的过去式和过去分词) | |
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promontory
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| n.海角；岬 | |
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vessel
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| n.船舶；容器，器皿；管，导管，血管 | |
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tyrant
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| n.暴君，专制的君主，残暴的人 | |
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65
receded
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| v.逐渐远离( recede的过去式和过去分词 )；向后倾斜；自原处后退或避开别人的注视；尤指问题 | |
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66
formerly
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| adv.从前，以前 | |
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delve
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| v.深入探究，钻研 | |
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68
peculiarities
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| n. 特质, 特性, 怪癖, 古怪 | |
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69
warfare
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| n.战争(状态)；斗争；冲突 | |
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previously
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| adv.以前，先前（地） | |
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71
animated
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| adj.生气勃勃的，活跃的，愉快的 | |
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diffused
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| 散布的，普及的，扩散的 | |
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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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quotations
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| n.引用( quotation的名词复数 )；[商业]行情（报告）；（货物或股票的）市价；时价 | |
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maxim
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| n.格言，箴言 | |
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