HEAVEN had given to Glaucus every blessing2 but one: it had given him beauty, health, fortune, genius, illustrious descent, a heart of fire, a mind of poetry; but it had denied him the heritage of freedom. He was born in Athens, the subject of Rome. Succeeding early to an ample inheritance, he had indulged that inclination3 for travel so natural to the young, and had drunk deep of the intoxicating4 draught5 of pleasure amidst the gorgeous luxuries of the imperial court.
He was an Alcibiades without ambition. He was what a man of imagination, youth, fortune, and talents, readily becomes when you deprive him of the inspiration of glory. His house at Rome was the theme of the debauchees, but also of the lovers of art; and the sculptors6 of Greece delighted to task their skill in adorning7 the porticoes8 and exedrae of an Athenian. His retreat in Pompeii—alas10! the colors are faded now, the walls stripped of their paintings!—its main beauty, its elaborate finish of grace and ornament11, is gone; yet when first given once more to the day, what eulogies12, what wonder, did its minute and glowing decorations create—its paintings—its mosaics13! Passionately15 enamoured of poetry and the drama, which recalled to Glaucus the wit and the heroism16 of his race, that fairy mansion17 was adorned18 with representations of AEschylus and Homer. And antiquaries, who resolve taste to a trade, have turned the patron to the professor, and still (though the error is now acknowledged) they style in custom, as they first named in mistake, the disburied house of the Athenian Glaucus 'THE HOUSE OF THE DRAMATIC POET'.
Previous to our description of this house, it may be as well to convey to the reader a general notion of the houses of Pompeii, which he will find to resemble strongly the plans of Vitruvius; but with all those differences in detail, of caprice and taste, which being natural to mankind, have always puzzled antiquaries. We shall endeavor to make this description as clear and unpedantic as possible.
You enter then, usually, by a small entrance-passage (called cestibulum), into a hall, sometimes with (but more frequently without) the ornament of columns; around three sides of this hall are doors communicating with several bedchambers (among which is the porter's), the best of these being usually appropriated to country visitors. At the extremity21 of the hall, on either side to the right and left, if the house is large, there are two small recesses22, rather than chambers20, generally devoted23 to the ladies of the mansion; and in the centre of the tessellated pavement of the hall is invariably a square, shallow reservoir for rain water (classically termed impluvium), which was admitted by an aperture24 in the roof above; the said aperture being covered at will by an awning25. Near this impluvium, which had a peculiar26 sanctity in the eyes of the ancients, were sometimes (but at Pompeii more rarely than at Rome) placed images of the household gods—the hospitable27 hearth28, often mentioned by the Roman poets, and consecrated29 to the Lares, was at Pompeii almost invariably formed by a movable brazier; while in some corner, often the most ostentatious place, was deposited a huge wooden chest, ornamented30 and strengthened by bands of bronze or iron, and secured by strong hooks upon a stone pedestal so firmly as to defy the attempts of any robber to detach it from its position. It is supposed that this chest was the money-box, or coffer, of the master of the house; though as no money has been found in any of the chests discovered at Pompeii, it is probable that it was sometimes rather designed for ornament than use.
In this hall (or atrium, to speak classically) the clients and visitors of inferior rank were usually received. In the houses of the more 'respectable', an atriensis, or slave peculiarly devoted to the service of the hall, was invariably retained, and his rank among his fellow-slaves was high and important. The reservoir in the centre must have been rather a dangerous ornament, but the centre of the hall was like the grass-plot of a college, and interdicted31 to the passers to and fro, who found ample space in the margin32. Right opposite the entrance, at the other end of the hall, was an apartment (tablinum), in which the pavement was usually adorned with rich mosaics, and the walls covered with elaborate paintings. Here were usually kept the records of the family, or those of any public office that had been filled by the owner: on one side of this saloon, if we may so call it, was often a dining-room, or triclinium; on the other side, perhaps, what we should now term a cabinet of gems34, containing whatever curiosities were deemed most rare and costly35; and invariably a small passage for the slaves to cross to the further parts of the house, without passing the apartments thus mentioned. These rooms all opened on a square or oblong colonnade36, technically37 termed peristyle. If the house was small, its boundary ceased with this colonnade; and in that case its centre, however diminutive38, was ordinarily appropriated to the purpose of a garden, and adorned with vases of flowers, placed upon pedestals: while, under the colonnade, to the right and left, were doors admitting to bedrooms, to a second triclinium, or eating-room (for the ancients generally appropriated two rooms at least to that purpose, one for summer, and one for winter—or, perhaps, one for ordinary, the other for festive39, occasions); and if the owner affected40 letters, a cabinet, dignified41 by the name of library—for a very small room was sufficient to contain the few rolls of papyrus42 which the ancients deemed a notable collection of books.
At the end of the peristyle was generally the kitchen. Supposing the house was large, it did not end with the peristyle, and the centre thereof was not in that case a garden, but might be, perhaps, adorned with a fountain, or basin for fish; and at its end, exactly opposite to the tablinum, was generally another eating-room, on either side of which were bedrooms, and, perhaps, a picture-saloon, or pinacotheca. These apartments communicated again with a square or oblong space, usually adorned on three sides with a colonnade like the peristyle, and very much resembling the peristyle, only usually longer. This was the proper viridarium, or garden, being commonly adorned with a fountain, or statues, and a profusion43 of gay flowers: at its extreme end was the gardener's house; on either side, beneath the colonnade, were sometimes, if the size of the family required it, additional rooms.
At Pompeii, a second or third story was rarely of importance, being built only above a small part of the house, and containing rooms for the slaves; differing in this respect from the more magnificent edifices44 of Rome, which generally contained the principal eating-room (or caenaculum) on the second floor. The apartments themselves were ordinarily of small size; for in those delightful45 climes they received any extraordinary number of visitors in the peristyle (or portico9), the hall, or the garden; and even their banquet-rooms, however elaborately adorned and carefully selected in point of aspect, were of diminutive proportions; for the intellectual ancients, being fond of society, not of crowds, rarely feasted more than nine at a time, so that large dinner-rooms were not so necessary with them as with us. But the suite46 of rooms seen at once from the entrance, must have had a very imposing47 effect: you beheld48 at once the hall richly paved and painted—the tablinum—the graceful49 peristyle, and (if the house extended farther) the opposite banquet-room and the garden, which closed the view with some gushing50 fount or marble statue.
The reader will now have a tolerable notion of the Pompeian houses, which resembled in some respects the Grecian, but mostly the Roman fashion of domestic architecture. In almost every house there is some difference in detail from the rest, but the principal outline is the same in all. In all you find the hall, the tablinum, and the peristyle, communicating with each other; in all you find the walls richly painted; and all the evidence of a people fond of the refining elegancies of life. The purity of the taste of the Pompeians in decoration is, however, questionable51: they were fond of the gaudiest52 colors, of fantastic designs; they often painted the lower half of their columns a bright red, leaving the rest uncolored; and where the garden was small, its wall was frequently tinted53 to deceive the eye as to its extent, imitating trees, birds, temples, etc., in perspective—a meretricious54 delusion56 which the graceful pedantry57 of Pliny himself adopted, with a complacent58 pride in its ingenuity59.
But the house of Glaucus was at once one of the smallest, and yet one of the most adorned and finished of all the private mansions60 of Pompeii: it would be a model at this day for the house of 'a single man in Mayfair'—the envy and despair of the coelibian purchasers of buhl and marquetry.
You enter by a long and narrow vestibule, on the floor of which is the image of a dog in mosaic14, with the well-known 'Cave canem'—or 'Beware the dog'. On either side is a chamber19 of some size; for the interior part of the house not being large enough to contain the two great divisions of private and public apartments, these two rooms were set apart for the reception of visitors who neither by rank nor familiarity were entitled to admission in the penetralia of the mansion.
Advancing up the vestibule you enter an atrium, that when first discovered was rich in paintings, which in point of expression would scarcely disgrace a Rafaele. You may see them now transplanted to the Neapolitan Museum: they are still the admiration61 of connoisseurs—they depict62 the parting of Achilles and Briseis. Who does not acknowledge the force, the vigour63, the beauty, employed in delineating the forms and faces of Achilles and the immortal64 slave!
On one side the atrium, a small staircase admitted to the apartments for the slaves on the second floor; there also were two or three small bedrooms, the walls of which portrayed65 the rape66 of Europa, the battle of the Amazons, etc.
You now enter the tablinum, across which, at either end, hung rich draperies of Tyrian purple, half withdrawn67. On the walls was depicted68 a poet reading his verses to his friends; and in the pavement was inserted a small and most exquisite69 mosaic, typical of the instructions given by the director of the stage to his comedians71.
You passed through this saloon and entered the peristyle; and here (as I have said before was usually the case with the smaller houses of Pompeii) the mansion ended. From each of the seven columns that adorned this court hung festoons of garlands: the centre, supplying the place of a garden, bloomed with the rarest flowers placed in vases of white marble, that were supported on pedestals. At the left hand of this small garden was a diminutive fane, resembling one of those small chapels72 placed at the side of roads in Catholic countries, and dedicated73 to the Penates; before it stood a bronzed tripod: to the left of the colonnade were two small cubicula, or bedrooms; to the right was the triclinium, in which the guests were now assembled.
This room is usually termed by the antiquaries of Naples 'The Chamber of Leda'; and in the beautiful work of Sir William Gell, the reader will find an engraving74 from that most delicate and graceful painting of Leda presenting her newborn to her husband, from which the room derives75 its name. This charming apartment opened upon the fragrant76 garden. Round the table of citrean wood, highly polished and delicately wrought77 with silver arabesques78, were placed the three couches, which were yet more common at Pompeii than the semicircular seat that had grown lately into fashion at Rome: and on these couches of bronze, studded with richer metals, were laid thick quiltings covered with elaborate broidery, and yielding luxuriously79 to the pressure.
'Well, I must own,' said the aedile Pansa, 'that your house, though scarcely larger than a case for one's fibulae, is a gem33 of its kind. How beautifully painted is that parting of Achilles and Briseis!—what a style!—what heads!—what a-hem!'
'Praise from Pansa is indeed valuable on such subjects,' said Clodius, gravely. 'Why, the paintings on his walls!—Ah! there is, indeed, the hand of a Zeuxis!'
'You flatter me, my Clodius; indeed you do,' quoth the aedile, who was celebrated81 through Pompeii for having the worst paintings in the world; for he was patriotic82, and patronized none but Pompeians. 'You flatter me; but there is something pretty—AEdepol, yes—in the colors, to say nothing of the design—and then for the kitchen, my friends—ah! that was all my fancy.'
'What is the design?' said Glaucus. 'I have not yet seen your kitchen, though I have often witnessed the excellence83 of its cheer.'
'A cook, my Athenian—a cook sacrificing the trophies84 of his skill on the altar of Vesta, with a beautiful muraena (taken from the life) on a spit at a distance—there is some invention there!'
At that instant the slaves appeared, bearing a tray covered with the first preparative initia of the feast. Amidst delicious figs85, fresh herbs strewed86 with snow, anchovies87, and eggs, were ranged small cups of diluted88 wine sparingly mixed with honey. As these were placed on the table, young slaves bore round to each of the five guests (for there were no more) the silver basin of perfumed water, and napkins edged with a purple fringe. But the aedile ostentatiously drew forth89 his own napkin, which was not, indeed, of so fine a linen90, but in which the fringe was twice as broad, and wiped his hands with the parade of a man who felt he was calling for admiration.
'A splendid nappa that of yours,' said Clodius; 'why, the fringe is as broad as a girdle!'
'A trifle, my Clodius: a trifle! They tell me this stripe is the latest fashion at Rome; but Glaucus attends to these things more than I.'
'Be propitious91, O Bacchus!' said Glaucus, inclining reverentially to a beautiful image of the god placed in the centre of the table, at the corners of which stood the Lares and the salt-holders. The guests followed the prayer, and then, sprinkling the wine on the table, they performed the wonted libation.
This over, the convivialists reclined themselves on the couches, and the business of the hour commenced.
'May this cup be my last!' said the young Sallust, as the table, cleared of its first stimulants92, was now loaded with the substantial part of the entertainment, and the ministering slave poured forth to him a brimming cyathus—'May this cup be my last, but it is the best wine I have drunk at Pompeii!'
'Bring hither the amphora,' said Glaucus, 'and read its date and its character.'
The slave hastened to inform the party that the scroll93 fastened to the cork94 betokened95 its birth from Chios, and its age a ripe fifty years.
'How deliciously the snow has cooled it!' said Pansa. 'It is just enough.'
'It is like the experience of a man who has cooled his pleasures sufficiently96 to give them a double zest,' exclaimed Sallust.
'When is our next wild-beast fight?' said Clodius to Pansa.
'It stands fixed98 for the ninth ide of August,' answered Pansa: 'on the day after the Vulcanalia—we have a most lovely young lion for the occasion.'
'Whom shall we get for him to eat?' asked Clodius. 'Alas! there is a great scarcity99 of criminals. You must positively100 find some innocent or other to condemn101 to the lion, Pansa!'
'Indeed I have thought very seriously about it of late,' replied the aedile, gravely. 'It was a most infamous102 law that which forbade us to send our own slaves to the wild beasts. Not to let us do what we like with our own, that's what I call an infringement103 on property itself.'
'Not so in the good old days of the Republic,' sighed Sallust.
'And then this pretended mercy to the slaves is such a disappointment to the poor people. How they do love to see a good tough battle between a man and a lion; and all this innocent pleasure they may lose (if the gods don't send us a good criminal soon) from this cursed law!'
'What can be worse policy,' said Clodius, sententiously, 'than to interfere104 with the manly105 amusements of the people?'
'Well thank Jupiter and the Fates! we have no Nero at present,' said Sallust.
'I wonder it did not create a rebellion,' said Sallust.
'It very nearly did,' returned Pansa, with his mouth full of wild boar.
Here the conversation was interrupted for a moment by a flourish of flutes107, and two slaves entered with a single dish.
'Ah, what delicacy108 hast thou in store for us now, my Glaucus?' cried the young Sallust, with sparkling eyes.
Sallust was only twenty-four, but he had no pleasure in life like eating—perhaps he had exhausted109 all the others: yet had he some talent, and an excellent heart—as far as it went.
'I know its face, by Pollux!' cried Pansa. 'It is an Ambracian Kid. Ho (snapping his fingers, a usual signal to the slaves) we must prepare a new libation in honour to the new-comer.'
'I had hoped said Glaucus, in a melancholy110 tone, 'to have procured111 you some oysters112 from Britain; but the winds that were so cruel to Caesar have forbid us the oysters.'
'Are they in truth so delicious?' asked Lepidus, loosening to a yet more luxurious80 ease his ungirdled tunic114.
'Why, in truth, I suspect it is the distance that gives the flavor; they want the richness of the Brundusium oyster113. But, at Rome, no supper is complete without them.'
'The poor Britons! There is some good in them after all,' said Sallust. 'They produce an oyster.'
'I wish they would produce us a gladiator,' said the aedile, whose provident115 mind was musing116 over the wants of the amphitheatre.
'By Pallas!' cried Glaucus, as his favorite slave crowned his streaming locks with a new chaplet, 'I love these wild spectacles well enough when beast fights beast; but when a man, one with bones and blood like ours, is coldly put on the arena117, and torn limb from limb, the interest is too horrid118: I sicken—I gasp119 for breath—I long to rush and defend him. The yells of the populace seem to me more dire70 than the voices of the Furies chasing Orestes. I rejoice that there is so little chance of that bloody120 exhibition for our next show!'
The aedile shrugged121 his shoulders. The young Sallust, who was thought the best-natured man in Pompeii, stared in surprise. The graceful Lepidus, who rarely spoke122 for fear of disturbing his features, ejaculated 'Hercle!' The parasite124 Clodius muttered 'AEdepol!' and the sixth banqueter, who was the umbra of Clodius, and whose duty it was to echo his richer friend, when he could not praise him—the parasite of a parasite—muttered also 'AEdepol!'
'Well, you Italians are used to these spectacles; we Greeks are more merciful. Ah, shade of Pindar!—the rapture125 of a true Grecian game—the emulation126 of man against man—the generous strife—the half-mournful triumph—so proud to contend with a noble foe127, so sad to see him overcome! But ye understand me not.'
'The kid is excellent,' said Sallust. The slave, whose duty it was to carve, and who valued himself on his science, had just performed that office on the kid to the sound of music, his knife keeping time, beginning with a low tenor128 and accomplishing the arduous129 feat123 amidst a magnificent diapason.
'Your cook is, of course, from Sicily?' said Pansa.
'Yes, of Syracuse.'
'I will play you for him,' said Clodius. 'We will have a game between the courses.'
'Better that sort of game, certainly, than a beast fight; but I cannot stake my Sicilian—you have nothing so precious to stake me in return.'
'My Phillida—my beautiful dancing-girl!'
'I never buy women,' said the Greek, carelessly rearranging his chaplet.
The musicians, who were stationed in the portico without, had commenced their office with the kid; they now directed the melody into a more soft, a more gay, yet it may be a more intellectual strain; and they chanted that song of Horace beginning 'Persicos odi', etc., so impossible to translate, and which they imagined applicable to a feast that, effeminate as it seems to us, was simple enough for the gorgeous revelry of the time. We are witnessing the domestic, and not the princely feast—the entertainment of a gentleman, not an emperor or a senator.
'Ah, good old Horace!' said Sallust, compassionately130; 'he sang well of feasts and girls, but not like our modern poets.'
'The immortal Fulvius, for instance,' said Clodius.
'Ah, Fulvius, the immortal!' said the umbra.
'And Spuraena; and Caius Mutius, who wrote three epics131 in a year—could Horace do that, or Virgil either said Lepidus. 'Those old poets all fell into the mistake of copying sculpture instead of painting. Simplicity132 and repose—that was their notion; but we moderns have fire, and passion, and energy—we never sleep, we imitate the colors of painting, its life, and its action. Immortal Fulvius!'
'By the way,' said Sallust, 'have you seen the new ode by Spuraena, in honour of our Egyptian Isis? It is magnificent—the true religious fervor133.'
'Isis seems a favorite divinity at Pompeii,' said Glaucus.
'Yes!' said Pansa, 'she is exceedingly in repute just at this moment; her statue has been uttering the most remarkable134 oracles135. I am not superstitious136, but I must confess that she has more than once assisted me materially in my magistracy with her advice. Her priests are so pious137, too! none of your gay, none of your proud, ministers of Jupiter and Fortune: they walk barefoot, eat no meat, and pass the greater part of the night in solitary138 devotion!'
'An example to our other priesthoods, indeed!—Jupiter's temple wants reforming sadly,' said Lepidus, who was a great reformer for all but himself.
'They say that Arbaces the Egyptian has imparted some most solemn mysteries to the priests of Isis,' observed Sallust. 'He boasts his descent from the race of Rameses, and declares that in his family the secrets of remotest antiquity139 are treasured.'
'He certainly possesses the gift of the evil eye,' said Clodius. 'If I ever come upon that Medusa front without the previous charm, I am sure to lose a favorite horse, or throw the canes140 nine times running.'
'The last would be indeed a miracle!' said Sallust, gravely.
'How mean you, Sallust?' returned the gamester, with a flushed brow.
'I mean, what you would leave me if I played often with you; and that is—nothing.'
'If Arbaces were not so rich,' said Pansa, with a stately air, 'I should stretch my authority a little, and inquire into the truth of the report which calls him an astrologer and a sorcerer. Agrippa, when aedile of Rome, banished142 all such terrible citizens. But a rich man—it is the duty of an aedile to protect the rich!'
'What think you of this new sect143, which I am told has even a few proselytes in Pompeii, these followers144 of the Hebrew God—Christus?'
'Oh, mere55 speculative145 visionaries,' said Clodius; 'they have not a single gentleman amongst them; their proselytes are poor, insignificant146, ignorant people!'
'Who ought, however, to be crucified for their blasphemy,' said Pansa, with vehemence147; 'they deny Venus and Jove! Nazarene is but another name for atheist148. Let me catch them—that's all.'
The second course was gone—the feasters fell back on their couches—there was a pause while they listened to the soft voices of the South, and the music of the Arcadian reed. Glaucus was the most rapt and the least inclined to break the silence, but Clodius began already to think that they wasted time.
'Bene vobis! (Your health!) my Glaucus,' said he, quaffing149 a cup to each letter of the Greek's name, with the ease of the practised drinker. 'Will you not be avenged150 on your ill-fortune of yesterday? See, the dice151 court us.'
'As you will,' said Glaucus.
'The dice in summer, and I an aedile!' said Pansa, magisterially152; 'it is against all law.'
'Not in your presence, grave Pansa,' returned Clodius, rattling153 the dice in a long box; 'your presence restrains all license154: it is not the thing, but the excess of the thing, that hurts.'
'What wisdom!' muttered the umbra.
'Well, I will look another way,' said the aedile.
'Not yet, good Pansa; let us wait till we have supped,' said Glaucus.
Clodius reluctantly yielded, concealing155 his vexation with a yawn.
'He gapes156 to devour157 the gold,' whispered Lepidus to Sallust, in a quotation158 from the Aulularia of Plautus.
'Ah! how well I know these polypi, who hold all they touch,' answered Sallust, in the same tone, and out of the same play.
The third course, consisting of a variety of fruits, pistachio nuts, sweetmeats, tarts159, and confectionery tortured into a thousand fantastic and airy shapes, was now placed upon the table; and the ministri, or attendants, also set there the wine (which had hitherto been handed round to the guests) in large jugs160 of glass, each bearing upon it the schedule of its age and quality.
'Taste this Lesbian, my Pansa,' said Sallust; 'it is excellent.'
'It is not very old,' said Glaucus, 'but it has been made precocious161, like ourselves, by being put to the fire:—the wine to the flames of Vulcan—we to those of his wife—to whose honour I pour this cup.'
'It is delicate,' said Pansa, 'but there is perhaps the least particle too much of rosin in its flavor.'
'What a beautiful cup!' cried Clodius, taking up one of transparent162 crystal, the handles of which were wrought with gems, and twisted in the shape of serpents, the favorite fashion at Pompeii.
'This ring,' said Glaucus, taking a costly jewel from the first joint163 of his finger and hanging it on the handle, 'gives it a richer show, and renders it less unworthy of thy acceptance, my Clodius, on whom may the gods bestow164 health and fortune, long and oft to crown it to the brim!'
'You are too generous, Glaucus,' said the gamester, handing the cup to his slave; 'but your love gives it a double value.'
'This cup to the Graces!' said Pansa, and he thrice emptied his calix. The guests followed his example.
'We have appointed no director to the feast,' cried Sallust.
'Let us throw for him, then,' said Clodius, rattling the dice-box.
'Nay,' cried Glaucus, 'no cold and trite165 director for us: no dictator of the banquet; no rex convivii. Have not the Romans sworn never to obey a king? Shall we be less free than your ancestors? Ho! musicians, let us have the song I composed the other night: it has a verse on this subject, "The Bacchic hymn166 of the Hours".'
The musicians struck their instruments to a wild Ionic air, while the youngest voice in the band chanted forth, in Greek words, as numbers, the following strain:—
THE EVENING HYMN OF THE HOURS
I
Through the summer day, through the weary day,
Ere we speed to the Night through her portals grey,
Hail us with song!—
With song, with song,
Such as the Cretan maid,
When the wine-god first consoled her.
From the hush'd, low-breathing skies,
And all around,
With a loving sound,
The AEgean waves were creeping:
On her lap lay the lynx's head;
Wild thyme was her bridal bed;
And aye through each tiny space,
In the green vine's green embrace
The Fauns were slily peeping—
The arch, the laughing Fauns—
The Fauns were slily peeping!
II
Flagging and faint are we
With our ceaseless flight,
And dull shall our journey be
Through the realm of night,
Bathe us, O bathe our weary wings
In the purple wave, as it freshly springs
To your cups from the fount of light—
From the fount of light—from the fount of light,
For there, when the sun has gone down in night,
There in the bowl we find him.
The grape is the well of that summer sun,
Or rather the stream that he gazed upon,
His soul, as he gazed, behind him.
III
A cup to Jove, and a cup to Love,
And a cup to the son of Maia;
And honour with three, the band zone-free,
The band of the bright Aglaia.
But since every bud in the wreath of pleasure
Ye owe to the sister Hours,
The Bromian law makes ours.
He honors us most who gives us most,
And boasts, with a Bacchanal's honest boast,
He never will count the treasure.
Fastly we fleet, then seize our wings,
We glow—we glow,
Behold, as the girls of the Eastern wave
Bore once with a shout to the crystal cave
The prize of the Mysian Hylas,
Even so—even so,
We have caught the young god in our warm embrace
We hurry him on in our laughing race;
The cloudy rivers of night along—
Ho, ho!—we have caught thee, Psilas!
The guests applauded loudly. When the poet is your host, his verses are sure to charm.
'Thoroughly179 Greek,' said Lepidus: 'the wildness, force, and energy of that tongue, it is impossible to imitate in the Roman poetry.'
'It is, indeed, a great contrast,' said Clodius, ironically at heart, though not in appearance, 'to the old-fashioned and tame simplicity of that ode of Horace which we heard before. The air is beautifully Ionic: the word puts me in mind of a toast—Companions, I give you the beautiful Ione.'
'Ione!—the name is Greek,' said Glaucus, in a soft voice. 'I drink the health with delight. But who is Ione?'
'Ah! you have but just come to Pompeii, or you would deserve ostracism180 for your ignorance,' said Lepidus, conceitedly181; 'not to know Ione, is not to know the chief charm of our city.'
'She is of the most rare beauty,' said Pansa; 'and what a voice!'
'She can feed only on nightingales' tongues,' said Clodius.
'Nightingales' tongues!—beautiful thought!' sighed the umbra.
'Know then...' began Lepidus.
'Let me speak,' cried Clodius; 'you drawl out your words as if you spoke tortoises.'
'And you speak stones,' muttered the coxcomb183 to himself, as he fell back disdainfully on his couch.
'Know then, my Glaucus,' said Clodius, 'that Ione is a stranger who has but lately come to Pompeii. She sings like Sappho, and her songs are her own composing; and as for the tibia, and the cithara, and the lyre, I know not in which she most outdoes the Muses184. Her beauty is most dazzling. Her house is perfect; such taste—such gems—such bronzes! She is rich, and generous as she is rich.'
'Her lovers, of course,' said Glaucus, 'take care that she does not starve; and money lightly won is always lavishly185 spent.'
'Her lovers—ah, there is the enigma186!—Ione has but one vice—she is chaste187. She has all Pompeii at her feet, and she has no lovers: she will not even marry.'
'No lovers!' echoed Glaucus.
'No; she has the soul of Vestal with the girdle of Venus.'
'What refined expressions!' said the umbra.
'A miracle!' cried Glaucus. 'Can we not see her?'
'I will take you there this evening, said Clodius; 'meanwhile...' added he, once more rattling the dice.
'I am yours!' said the complaisant188 Glaucus. 'Pansa, turn your face!'
Lepidus and Sallust played at odd and even, and the umbra looked on, while Glaucus and Clodius became gradually absorbed in the chances of the dice.
'By Pollux!' cried Glaucus, 'this is the second time I have thrown the caniculae' (the lowest throw).
'Now Venus befriend me!' said Clodius, rattling the box for several moments. 'O Alma Venus—it is Venus herself!' as he threw the highest cast, named from that goddess—whom he who wins money, indeed, usually propitiates189!
'He who plays with Clodius,' whispered Lepidus, 'will soon, like Plautus's Curculio, put his pallium for the stakes.'
'Poor Glaucus!—he is as blind as Fortune herself,' replied Sallust, in the same tone.
'I will play no more,' said Glaucus; 'I have lost thirty sestertia.'
'I am sorry...' began Clodius.
'Not at all!' exclaimed Glaucus; 'the pleasure I take in your gain compensates193 the pain of my loss.'
The conversation now grew general and animated194; the wine circulated more freely; and Ione once more became the subject of eulogy195 to the guests of Glaucus.
'Instead of outwatching the stars, let us visit one at whose beauty the stars grow pale,' said Lepidus.
Clodius, who saw no chance of renewing the dice, seconded the proposal; and Glaucus, though he civilly pressed his guests to continue the banquet, could not but let them see that his curiosity had been excited by the praises of Ione: they therefore resolved to adjourn196 (all, at least, but Pansa and the umbra) to the house of the fair Greek. They drank, therefore, to the health of Glaucus and of Titus—they performed their last libation—they resumed their slippers—they descended197 the stairs—passed the illumined atrium—and walking unbitten over the fierce dog painted on the threshold, found themselves beneath the light of the moon just risen, in the lively and still crowded streets of Pompeii.
They passed the jewellers' quarter, sparkling with lights, caught and reflected by the gems displayed in the shops, and arrived at last at the door of Ione. The vestibule blazed with rows of lamps; curtains of embroidered198 purple hung on either aperture of the tablinum, whose walls and mosaic pavement glowed with the richest colors of the artist; and under the portico which surrounded the odorous viridarium they found Ione, already surrounded by adoring and applauding guests!
'Did you say she was Athenian?' whispered Glaucus, ere he passed into the peristyle.
'No, she is from Neapolis.'
'Neapolis!' echoed Glaucus; and at that moment the group, dividing on either side of Ione, gave to his view that bright, that nymph-like beauty, which for months had shone down upon the waters of his memory.
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1
revel
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| vi.狂欢作乐，陶醉；n.作乐，狂欢 | |
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2
blessing
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| n.祈神赐福；祷告；祝福，祝愿 | |
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inclination
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| n.倾斜；点头；弯腰；斜坡；倾度；倾向；爱好 | |
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intoxicating
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| a. 醉人的,使人兴奋的 | |
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draught
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| n.拉，牵引，拖；一网（饮，吸，阵)；顿服药量，通风；v.起草，设计 | |
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sculptors
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| 雕刻家，雕塑家( sculptor的名词复数 )； [天]玉夫座 | |
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adorning
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| 修饰，装饰物 | |
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porticoes
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| n.柱廊，（有圆柱的）门廊( portico的名词复数 ) | |
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portico
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| n.柱廊，门廊 | |
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alas
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| int.唉(表示悲伤、忧愁、恐惧等) | |
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ornament
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| v.装饰，美化；n.装饰，装饰物 | |
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eulogies
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| n.颂词，颂文( eulogy的名词复数 ) | |
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mosaics
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| n.马赛克( mosaic的名词复数 )；镶嵌；镶嵌工艺；镶嵌图案 | |
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mosaic
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| n./adj.镶嵌细工的，镶嵌工艺品的，嵌花式的 | |
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passionately
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| ad.热烈地，激烈地 | |
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heroism
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| n.大无畏精神，英勇 | |
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mansion
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| n.大厦，大楼；宅第 | |
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adorned
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| [计]被修饰的 | |
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chamber
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| n.房间，寝室；会议厅；议院；会所 | |
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chambers
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| n.房间( chamber的名词复数 )；（议会的）议院；卧室；会议厅 | |
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extremity
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| n.末端，尽头；尽力；终极；极度 | |
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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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aperture
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| n.孔，隙，窄的缺口 | |
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awning
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| n.遮阳篷；雨篷 | |
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peculiar
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| adj.古怪的，异常的；特殊的，特有的 | |
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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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hearth
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| n.壁炉炉床，壁炉地面 | |
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consecrated
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| adj.神圣的，被视为神圣的v.把…奉为神圣，给…祝圣( consecrate的过去式和过去分词 )；奉献 | |
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ornamented
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| adj.花式字体的v.装饰，点缀，美化( ornament的过去式和过去分词 ) | |
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interdicted
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| v.禁止（行动）( interdict的过去式和过去分词 )；禁用；限制 | |
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margin
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| n.页边空白；差额；余地，余裕；边，边缘 | |
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gem
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| n.宝石，珠宝；受爱戴的人 [同]jewel | |
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gems
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| growth； economy； management； and customer satisfaction 增长 | |
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costly
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| adj.昂贵的，价值高的，豪华的 | |
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colonnade
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| n.柱廊 | |
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technically
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| adv.专门地，技术上地 | |
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diminutive
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| adj.小巧可爱的，小的 | |
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festive
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| adj.欢宴的，节日的 | |
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affected
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| adj.不自然的，假装的 | |
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dignified
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| a.可敬的，高贵的 | |
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42
papyrus
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| n.古以纸草制成之纸 | |
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43
profusion
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| n.挥霍；丰富 | |
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44
edifices
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| n.大建筑物( edifice的名词复数 ) | |
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delightful
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| adj.令人高兴的，使人快乐的 | |
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46
suite
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| n.一套(家具)；套房；随从人员 | |
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imposing
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| adj.使人难忘的，壮丽的，堂皇的，雄伟的 | |
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48
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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49
graceful
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| adj.优美的，优雅的；得体的 | |
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50
gushing
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| adj.迸出的；涌出的；喷出的；过分热情的v.喷，涌( gush的现在分词 )；滔滔不绝地说话 | |
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51
questionable
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| adj.可疑的，有问题的 | |
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52
gaudiest
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| adj.花哨的，俗气的( gaudy的最高级 ) | |
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53
tinted
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| adj. 带色彩的 动词tint的过去式和过去分词 | |
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54
meretricious
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| adj.华而不实的，俗艳的 | |
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55
mere
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| adj.纯粹的；仅仅，只不过 | |
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56
delusion
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| n.谬见，欺骗，幻觉，迷惑 | |
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57
pedantry
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| n.迂腐，卖弄学问 | |
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58
complacent
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| adj.自满的；自鸣得意的 | |
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59
ingenuity
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| n.别出心裁；善于发明创造 | |
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60
mansions
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| n.宅第，公馆，大厦( mansion的名词复数 ) | |
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61
admiration
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| n.钦佩，赞美，羡慕 | |
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62
depict
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| vt.描画，描绘；描写，描述 | |
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63
vigour
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| （=vigor）n.智力，体力，精力 | |
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64
immortal
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| adj.不朽的；永生的，不死的；神的 | |
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65
portrayed
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| v.画像( portray的过去式和过去分词 )；描述；描绘；描画 | |
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66
rape
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| n.抢夺，掠夺，强奸；vt.掠夺，抢夺，强奸 | |
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67
withdrawn
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| vt.收回；使退出；vi.撤退，退出 | |
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68
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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69
exquisite
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| adj.精美的；敏锐的；剧烈的，感觉强烈的 | |
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70
dire
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| adj.可怕的，悲惨的，阴惨的，极端的 | |
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71
comedians
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| n.喜剧演员，丑角( comedian的名词复数 ) | |
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72
chapels
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| n.小教堂， （医院、监狱等的）附属礼拜堂( chapel的名词复数 )；（在小教堂和附属礼拜堂举行的）礼拜仪式 | |
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73
dedicated
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| adj.一心一意的；献身的；热诚的 | |
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74
engraving
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| n.版画；雕刻（作品）；雕刻艺术；镌版术v.在（硬物）上雕刻（字，画等）( engrave的现在分词 )；将某事物深深印在（记忆或头脑中） | |
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75
derives
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| v.得到( derive的第三人称单数 )；（从…中）得到获得；源于；（从…中）提取 | |
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76
fragrant
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| adj.芬香的，馥郁的，愉快的 | |
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77
wrought
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| v.引起；以…原料制作；运转；adj.制造的 | |
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arabesques
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| n.阿拉伯式花饰( arabesque的名词复数 )；错综图饰；阿拉伯图案；阿拉贝斯克芭蕾舞姿（独脚站立，手前伸，另一脚一手向后伸） | |
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79
luxuriously
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| adv.奢侈地，豪华地 | |
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80
luxurious
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| adj.精美而昂贵的；豪华的 | |
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81
celebrated
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| adj.有名的，声誉卓著的 | |
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82
patriotic
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| adj.爱国的，有爱国心的 | |
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83
excellence
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| n.优秀，杰出，(pl.)优点，美德 | |
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84
trophies
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| n.（为竞赛获胜者颁发的）奖品( trophy的名词复数 )；奖杯；（尤指狩猎或战争中获得的）纪念品；（用于比赛或赛跑名称）奖 | |
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85
figs
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| figures 数字，图形，外形 | |
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86
strewed
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| v.撒在…上( strew的过去式和过去分词 )；散落于；点缀；撒满 | |
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87
anchovies
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| n. 鯷鱼，凤尾鱼 | |
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88
diluted
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| 无力的，冲淡的 | |
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forth
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| adv.向前；向外，往外 | |
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linen
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| n.亚麻布，亚麻线，亚麻制品；adj.亚麻布制的，亚麻的 | |
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91
propitious
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| adj.吉利的；顺利的 | |
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92
stimulants
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| n.兴奋剂( stimulant的名词复数 )；含兴奋剂的饮料；刺激物；激励物 | |
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93
scroll
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| n.卷轴，纸卷；(石刻上的)漩涡 | |
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94
cork
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| n.软木，软木塞 | |
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95
betokened
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| v.预示，表示( betoken的过去式和过去分词 ) | |
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96
sufficiently
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| adv.足够地，充分地 | |
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inflame
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| v.使燃烧；使极度激动；使发炎 | |
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fixed
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| adj.固定的，不变的，准备好的；(计算机)固定的 | |
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99
scarcity
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| n.缺乏，不足，萧条 | |
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100
positively
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| adv.明确地，断然，坚决地；实在，确实 | |
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101
condemn
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| vt.谴责，指责；宣判(罪犯)，判刑 | |
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102
infamous
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| adj.声名狼藉的，臭名昭著的，邪恶的 | |
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103
infringement
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| n.违反；侵权 | |
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104
interfere
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| v.(in)干涉，干预；(with)妨碍，打扰 | |
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105
manly
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| adj.有男子气概的；adv.男子般地，果断地 | |
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106
tyrant
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| n.暴君，专制的君主，残暴的人 | |
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107
flutes
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| 长笛( flute的名词复数 )； 细长香槟杯（形似长笛） | |
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108
delicacy
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| n.精致，细微，微妙，精良；美味，佳肴 | |
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109
exhausted
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| adj.极其疲惫的，精疲力尽的 | |
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110
melancholy
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| n.忧郁，愁思；adj.令人感伤（沮丧）的，忧郁的 | |
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111
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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112
oysters
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| 牡蛎( oyster的名词复数 ) | |
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113
oyster
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| n.牡蛎；沉默寡言的人 | |
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114
tunic
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| n.束腰外衣 | |
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115
provident
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| adj.为将来做准备的，有先见之明的 | |
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116
musing
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| n. 沉思，冥想 adj. 沉思的, 冥想的 动词muse的现在分词形式 | |
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117
arena
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| n.竞技场，运动场所；竞争场所，舞台 | |
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118
horrid
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| adj.可怕的；令人惊恐的；恐怖的；极讨厌的 | |
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119
gasp
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| n.喘息，气喘；v.喘息；气吁吁他说 | |
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120
bloody
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| adj.非常的的；流血的；残忍的；adv.很；vt.血染 | |
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121
shrugged
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| vt.耸肩（shrug的过去式与过去分词形式） | |
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122
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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123
feat
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| n.功绩；武艺，技艺；adj.灵巧的，漂亮的，合适的 | |
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124
parasite
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| n.寄生虫；寄生菌；食客 | |
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125
rapture
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| n.狂喜；全神贯注；着迷；v.使狂喜 | |
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126
emulation
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| n.竞争；仿效 | |
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127
foe
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| n.敌人，仇敌 | |
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128
tenor
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| n.男高音（歌手），次中音（乐器），要旨，大意 | |
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129
arduous
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| adj.艰苦的，费力的，陡峭的 | |
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130
compassionately
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| adv.表示怜悯地，有同情心地 | |
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131
epics
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| n.叙事诗( epic的名词复数 )；壮举；惊人之举；史诗般的电影（或书籍） | |
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132
simplicity
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| n.简单，简易；朴素；直率，单纯 | |
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133
fervor
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| n.热诚；热心；炽热 | |
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134
remarkable
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| adj.显著的，异常的，非凡的，值得注意的 | |
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135
oracles
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| 神示所( oracle的名词复数 )； 神谕； 圣贤； 哲人 | |
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136
superstitious
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| adj.迷信的 | |
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137
pious
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| adj.虔诚的；道貌岸然的 | |
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138
solitary
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| adj.孤独的，独立的，荒凉的；n.隐士 | |
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139
antiquity
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| n.古老；高龄；古物，古迹 | |
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140
canes
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| n.（某些植物，如竹或甘蔗的）茎( cane的名词复数 )；（用于制作家具等的）竹竿；竹杖 | |
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141
disdain
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| n.鄙视，轻视；v.轻视，鄙视，不屑 | |
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142
banished
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| v.放逐，驱逐( banish的过去式和过去分词 ) | |
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143
sect
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| n.派别，宗教，学派，派系 | |
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144
followers
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| 追随者( follower的名词复数 )； 用户； 契据的附面； 从动件 | |
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145
speculative
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| adj.思索性的，暝想性的，推理的 | |
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146
insignificant
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| adj.无关紧要的，可忽略的，无意义的 | |
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147
vehemence
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| n.热切；激烈；愤怒 | |
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148
atheist
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| n.无神论者 | |
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149
quaffing
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| v.痛饮( quaff的现在分词 )；畅饮；大口大口将…喝干；一饮而尽 | |
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150
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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151
dice
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| n.骰子；vt.把（食物）切成小方块，冒险 | |
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152
magisterially
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| adv.威严地 | |
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153
rattling
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| adj. 格格作响的, 活泼的, 很好的 adv. 极其, 很, 非常 动词rattle的现在分词 | |
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154
license
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| n.执照，许可证，特许；v.许可，特许 | |
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155
concealing
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| v.隐藏，隐瞒，遮住( conceal的现在分词 ) | |
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156
gapes
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| v.目瞪口呆地凝视( gape的第三人称单数 )；张开，张大 | |
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157
devour
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| v.吞没；贪婪地注视或谛听，贪读；使着迷 | |
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158
quotation
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| n.引文，引语，语录；报价，牌价，行情 | |
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159
tarts
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| n.果馅饼( tart的名词复数 )；轻佻的女人；妓女；小妞 | |
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160
jugs
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| （有柄及小口的）水壶( jug的名词复数 ) | |
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161
precocious
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| adj.早熟的；较早显出的 | |
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162
transparent
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| adj.明显的，无疑的；透明的 | |
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163
joint
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| adj.联合的，共同的；n.关节，接合处；v.连接，贴合 | |
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164
bestow
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| v.把…赠与，把…授予；花费 | |
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165
trite
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| adj.陈腐的 | |
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166
hymn
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| n.赞美诗，圣歌，颂歌 | |
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167
glided
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| v.滑动( glide的过去式和过去分词 )；掠过；（鸟或飞机 ） 滑翔 | |
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168
joyous
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| adj.充满快乐的；令人高兴的 | |
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169
twilight
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| n.暮光，黄昏；暮年，晚期，衰落时期 | |
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170
ivy
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| n.常青藤，常春藤 | |
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171
starry
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| adj.星光照耀的, 闪亮的 | |
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172
prying
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| adj.爱打听的v.打听，刺探（他人的私事）( pry的现在分词 )；撬开 | |
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173
thespian
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| adj.戏曲的；n.演员；悲剧演员 | |
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174
stinted
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| v.限制，节省（stint的过去式与过去分词形式） | |
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175
plunge
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| v.跳入，(使)投入，(使)陷入；猛冲 | |
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176
plume
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| n.羽毛；v.整理羽毛，骚首弄姿，用羽毛装饰 | |
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177
scatter
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| vt.撒，驱散，散开；散布/播；vi.分散，消散 | |
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178
whoop
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| n.大叫，呐喊，喘息声；v.叫喊，喘息 | |
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179
thoroughly
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| adv.完全地，彻底地，十足地 | |
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180
ostracism
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| n.放逐；排斥 | |
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181
conceitedly
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| 自满地 | |
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182
beseech
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| v.祈求，恳求 | |
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183
coxcomb
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| n.花花公子 | |
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184
muses
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| v.沉思，冥想( muse的第三人称单数 )；沉思自语说（某事） | |
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185
lavishly
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| adv.慷慨地，大方地 | |
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186
enigma
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| n.谜，谜一样的人或事 | |
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187
chaste
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| adj.贞洁的；有道德的；善良的；简朴的 | |
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188
complaisant
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| adj.顺从的，讨好的 | |
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189
propitiates
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| v.劝解，抚慰，使息怒( propitiate的第三人称单数 ) | |
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190
gaily
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| adv.欢乐地，高兴地 | |
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191
amiable
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| adj.和蔼可亲的，友善的，亲切的 | |
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192
groaned
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| v.呻吟( groan的过去式和过去分词 )；发牢骚；抱怨；受苦 | |
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193
compensates
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| 补偿，报酬( compensate的第三人称单数 )； 给（某人）赔偿（或赔款） | |
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194
animated
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| adj.生气勃勃的，活跃的，愉快的 | |
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195
eulogy
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| n.颂词；颂扬 | |
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196
adjourn
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| v.（使）休会，（使）休庭 | |
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197
descended
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| a.为...后裔的，出身于...的 | |
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198
embroidered
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| adj．绣花的 | |
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