The Last Galley. Impressions And Tales

And already the last sea-fight of Carthage was coming swiftly to an end before them. Under their very eyes the two Roman galleys had shot in, one on either side of the vessel of Black Magro. They had grappled with him, and he, desperate in his despair, had cast the crooked flukes of his anchors over their gunwales, and bound them to him in an iron grip, whilst with hammer and crowbar he burst great holes in his own sheathing. The last Punic galley should never be rowed into Ostia, a sight for the holiday-makers of Rome. She would lie in her own waters. And the fierce, dark soul of her rover captain glowed as he thought that not alone should she sink into the depths of the mother sea.

Too late did the Romans understand the man with whom they had to deal. Their boarders who had flooded the Punic decks felt the planking sink and sway beneath them. They rushed to gain their own vessels; but they, too, were being drawn downwards, held in the dying grip of the great red galley. Over they went and ever over. Now the deck of Magro's ship is flush with the water, and the Romans, drawn towards it by the iron bonds which held them, are tilted downwards, one bulwark upon the waves, one reared high in the air. Madly they strain to cast off the death grip of the galley. She is under the surface now, and ever swifter, with the greater weight, the Roman ships heel after her. There is a rending crash. The wooden side is torn out of one, and mutilated, dismembered, she rights herself, and lies a helpless thing upon the water. But a last yellow gleam in the blue water shows where her consort has been dragged to her end in the iron death-grapple of her foemen. The tiger-striped flag of Carthage has sunk beneath the swirling surface, never more to be seen upon the face of the sea.

For in that year a great cloud hung for seventeen days over the African coast, a deep black cloud which was the dark shroud of the burning city. And when the seventeen days were over, Roman ploughs were driven from end to end of the charred ashes, and salt was scattered there as a sign that Carthage should be no more. And far off a huddle of naked, starving folk stood upon the distant mountains, and looked down upon the desolate plain which had once been the fairest and richest upon earth. And they understood too late that it is the law of heaven that the world is given to the hardy and to the self-denying, whilst he who would escape the duties of manhood will soon be stripped of the pride, the wealth, and the power, which are the prizes which manhood brings.

The contest

In the year of our Lord 66, the Emperor Nero, being at that time in the twenty-ninth year of his life and the thirteenth of his reign, set sail for Greece with the strangest company and the most singular design that any monarch has ever entertained. With ten galleys he went forth from Puteoli, carrying with him great stores of painted scenery and theatrical properties, together with a number of knights and senators, whom he feared to leave behind him at Rome, and who were all marked for death in the course of his wanderings. In his train he took Natus, his singing coach; Cluvius, a man with a monstrous voice, who should bawl out his titles; and a thousand trained youths who had learned to applaud in unison whenever their master sang or played in public. So deftly had they been taught that each had his own role to play. Some did no more than give forth a low deep hum of speechless appreciation. Some clapped with enthusiasm. Some, rising from approbation into absolute frenzy, shrieked, stamped, and beat sticks upon the benches. Some – and they were the most effective – had learned from an Alexandrian a long droning musical note which they all uttered together, so that it boomed over the assembly. With the aid of these mercenary admirers, Nero had every hope, in spite of his indifferent voice and clumsy execution, to return to Rome, bearing with him the chaplets for song offered for free competition by the Greek cities. As his great gilded galley with two tiers of oars passed down the Mediterranean, the Emperor sat in his cabin all day, his teacher by his side, rehearsing from morning to night those compositions which he had selected, whilst every few hours a Nubian slave massaged the Imperial throat with oil and balsam, that it might be ready for the great ordeal which lay before it in the land of poetry and song. His food, his drink, and his exercise were prescribed for him as for an athlete who trains for a contest, and the twanging of his lyre, with the strident notes of his voice, resounded continually from the Imperial quarters.

Now it chanced that there lived in those days a Grecian goatherd named Policles, who tended and partly owned a great flock which grazed upon the long flanks of the hills near Heroea, which is five miles north of the river Alpheus, and no great distance from the famous Olympia. This person was noted all over the countryside as a man of strange gifts and singular character. He was a poet who had twice been crowned for his verses, and he was a musician to whom the use and sound of an instrument were so natural that one would more easily meet him without his staff than his harp. Even in his lonely vigils on the winter hills he would bear it always slung over his shoulder, and would pass the long hours by its aid, so that it had come to be part of his very self. He was beautiful also, swarthy and eager, with a head like Adonis, and in strength there was no one who could compete with him. But all was ruined by his disposition, which was so masterful that he would brook no opposition nor contradiction. For this reason he was continually at enmity with all his neighbours, and in his fits of temper he would spend months at a time in his stone hut among the mountains, hearing nothing from the world, and living only for his music and his goats.

One spring morning, in the year of 67, Policles, with the aid of his boy Dorus, had driven his goats over to a new pasturage which overlooked from afar the town of Olympia. Gazing down upon it from the mountain, the shepherd was surprised to see that a portion of the famous amphitheatre had been roofed in, as though some performance was being enacted. Living far from the world and from all news, Policles could not imagine what was afoot, for he was well aware that the Grecian games were not due for two years to come. Surely some poetic or musical contest must be proceeding of which he had heard nothing. If so, there would perhaps be some chance of his gaining the votes of the judges; and in any case he loved to hear the compositions and admire the execution of the great minstrels who assembled on such an occasion. Calling to Dorus, therefore, he left the goats to his charge, and strode swiftly away, his harp upon his back, to see what was going forward in the town.

When Policles came into the suburbs, he found them deserted; but he was still more surprised when he reached the main street to see no single human being in the place. He hastened his steps, therefore, and as he approached the theatre he was conscious of a low sustained hum which announced the concourse of a huge assembly. Never in all his dreams had he imagined any musical competition upon so vast a scale as this. There were some soldiers clustering outside the door; but Policles pushed his way swiftly through them, and found himself upon the outskirts of the multitude who filled the great space formed by roofing over a portion of the national stadium. Looking around him, Policles saw a great number of his neighbours, whom he knew by sight, tightly packed upon the benches, all with their eyes fixed upon the stage. He also observed that there were soldiers round the walls, and that a considerable part of the hall was filled by a body of youths of foreign aspect, with white gowns and long hair. All this he perceived; but what it meant he could not imagine. He bent over to a neighbour to ask him, but a soldier prodded him at once with the butt end of his spear, and commanded him fiercely to hold his peace. The man whom he had addressed, thinking that Policles had demanded a seat, pressed closer to his neighbour, and so the shepherd found himself sitting at the end of the bench which was nearest to the door. Thence he concentrated himself upon the stage, on which Metas, a well-known minstrel from Corinth and an old friend of Policles, was singing and playing without much encouragement from the audience. To Policles it seemed that Metas was having less than his due, so he applauded loudly, but he was surprised to observe that the soldiers frowned at him, and that all his neighbours regarded him with some surprise. Being a man of strong and obstinate character, he was the more inclined to persevere in his clapping when he perceived that the general sentiment was against him.

But what followed filled the shepherd poet with absolute amazement. When Metas of Corinth had made his bow and withdrawn to half-hearted and perfunctory applause, there appeared upon the stage, amid the wildest enthusiasm upon the part of the audience, a most extraordinary figure. He was a short fat man, neither old nor young, with a bull neck and a round, heavy face, which hung in creases in front like the dewlap of an ox. He was absurdly clad in a short blue tunic, braced at the waist with a golden belt. His neck and part of his chest were exposed, and his short, fat legs were bare from the buskins below to the middle of his thighs, which was as far as his tunic extended. In his hair were two golden wings, and the same upon his heels, after the fashion of the god Mercury. Behind him walked a negro bearing a harp, and beside him a richly dressed officer who bore rolls of music. This strange creature took the harp from the hands of the attendant, and advanced to the front of the stage, whence he bowed and smiled to the cheering audience." This is some foppish singer from Athens," thought Policles to himself, but at the same time he understood that only a great master of song could receive such a reception from a Greek audience. This was evidently some wonderful performer whose reputation had preceded him. Policles settled down, therefore, and prepared to give his soul up to the music.

The blue-clad player struck several chords upon his lyre, and then burst suddenly out into the "Ode of Niobe." Policles sat straight up on his bench and gazed at the stage in amazement. The tune demanded a rapid transition from a low note to a high, and had been purposely chosen for this reason. The low note was a grunting, a rumble, the deep discordant growling of an ill-conditioned dog. Then suddenly the singer threw up his face, straightened his tubby figure, rose upon his tiptoes, and with wagging head and scarlet cheeks emitted such a howl as the same dog might have given had his growl been checked by a kick from his master. All the while the lyre twanged and thrummed, sometimes in front of and sometimes behind the voice of the singer. But what amazed Policles most of all was the effect of this performance upon the audience. Every Greek was a trained critic, and as unsparing in his hisses as he was lavish in his applause. Many a singer far better than this absurd fop had been driven amid execration and abuse from the platform. But now, as the man stopped and wiped the abundant sweat from his fat face, the whole assembly burst into a delirium of appreciation. The shepherd held his hands to his bursting head, and felt that his reason must be leaving him. It was surely a dreadful musical nightmare, and he would wake soon and laugh at the remembrance. But no; the figures were real, the faces were those of his neighbours, the cheers which resounded in his ears were indeed from an audience which filled the theatre of Olympia. The whole chorus was in full blast, the hummers humming, the shouters bellowing, the tappers hard at work upon the benches, while every now and then came a musical cyclone of "Incomparable! Divine!" from the trained phalanx who intoned their applause, their united voices sweeping over the tumult as the drone of the wind dominates the roar of the sea. It was madness – insufferable madness! If this were allowed to pass, there was an end of all musical justice in Greece. Policles' conscience would not permit him to be still. Standing upon his bench with waving hands and upraised voice, he protested with all the strength of his lungs against the mad judgment of the audience.

At first, amid the tumult, his action was hardly noticed. His voice was drowned in the universal roar which broke out afresh at each bow and smirk from the fatuous musician. But gradually the folk round Policles ceased clapping, and stared at him in astonishment. The silence grew in ever widening circles, until the whole great assembly sat mute, staring at this wild and magnificent creature who was storming at them from his perch near the door.

"Fools!" he cried. "What are you clapping at? What are you cheering? Is this what you call music? Is this cat-calling to earn an Olympian prize? The fellow has not a note in his voice. You are either deaf or mad, and I for one cry shame upon you for your folly."

Soldiers ran to pull him down, and the whole audience was in confusion, some of the bolder cheering the sentiments of the shepherd, and others crying that he should be cast out of the building. Meanwhile the successful singer having handed his lyre to his negro attendant, was inquiring from those around him on the stage as to the cause of the uproar. Finally a herald with an enormously powerful voice stepped forward to the front and proclaimed that if the foolish person at the back of the hall, who appeared to differ from the opinion of the rest of the audience, would come forward upon the platform, he might, if he dared, exhibit his own powers, and see if he could outdo the admirable and wonderful exhibition which they had just had the privilege of hearing.

Policles sprang readily to his feet at the challenge, and the great company making way for him to pass, he found himself a minute later standing in his unkempt garb, with his frayed and weather-beaten harp in his hand, before the expectant crowd. He stood for a moment tightening a string here and slackening another there until his chords rang true. Then, amid a murmur of laughter and jeers from the Roman benches immediately before him, he began to sing.

He had prepared no composition, but he had trained himself to improvise, singing out of his heart for the joy of the music. He told of the land of Elis, beloved of Jupiter, in which they were gathered that day, of the great bare mountain slopes, of the swift shadows of the clouds, of the winding blue river, of the keen air of the uplands, of the chill of the evenings, and the beauties of earth and sky. It was all simple and childlike, but it went to the hearts of the Olympians, for it spoke of the land which they knew and loved. Yet when he at last dropped his hand, few of them dared to applaud, and their feeble voices were drowned by a storm of hisses and groans from his opponents. He shrank back in horror from so unusual a reception, and in an instant his blue-clad rival was in his place. If he had sung badly before, his performance now was inconceivable. His screams, his grunts, his discords, and harsh jarring cacophanies were an outrage to the very name of music. And yet every time that he paused for breath or to wipe his streaming forehead a fresh thunder of applause came rolling back from the audience. Policles sank his face in his hands and prayed that he might not be insane. Then, when the dreadful performance ceased, and the uproar of admiration showed that the crown was certainly awarded to this impostor, a horror of the audience, a hatred of this race of fools, and a craving for the peace and silence of the pastures mastered every feeling in his mind. He dashed through the mass of people waiting at the wings, and emerged in the open air. His old rival and friend Metas of Corinth was waiting there with an anxious face.

"Quick, Policles, quick!" he cried. "My pony is tethered behind yonder grove. A grey he is, with red trappings. Get you gone as hard as hoof will bear you, for if you are taken you will have no easy death."

"No easy death! What mean you, Metas? Who is the fellow?"

"Great Jupiter! did you not know? Where have you lived? It is Nero the Emperor! Never would he pardon what you have said about his voice. Quick, man, quick, or the guards will be at your heels!"

An hour later the shepherd was well on his way to his mountain home, and about the same time the Emperor, having received the Chaplet of Olympia for the incomparable excellence of his performance, was making inquiries with a frowning brow as to who the insolent person might be who had dared to utter such contemptuous criticisms.

"Bring him to me here this instant," said he, "and let Marcus with his knife and branding-iron be in attendance."

"If it please you, great Caesar," said Arsenius Platus, the officer of attendance, "the man cannot be found, and there are some very strange rumours flying about."

"Rumours!" cried the angry Nero. "What do you mean, Arsenius? I tell you that the fellow was an ignorant upstart, with the bearing of a boor and the voice of a peacock. I tell you also that there are a good many who are as guilty as he among the people, for I heard them with my own ears raise cheers for him when he had sung his ridiculous ode. I have half a mind to burn their town about their ears so that they may remember my visit."

"It is not to be wondered at if he won their votes, Caesar," said the soldier, "for from what I hear it would have been no disgrace had you, even you, been conquered in this conquest."

"I conquered! You are mad, Arsenius. What do you mean?"

"None know him, great Caesar! He came from the mountains, and he disappeared into the mountains. You marked the wildness and strange beauty of his face. It is whispered that for once the great god Pan has condescended to measure himself against a mortal."

The cloud cleared from Nero's brow. "Of course, Arsenius! You are right! No man would have dared to brave me so. What a story for Rome! Let the messenger leave this very night, Arsenius, to tell them how their Emperor has upheld their honour in Olympia this day."

Through the veil

He was a great shock-headed, freckle-faced Borderer, the lineal descendant of a cattle-thieving clan in Liddesdale. In spite of his ancestry he was as solid and sober a citizen as one would wish to see, a town councillor of Melrose, an elder of the Church, and the chairman of the local branch of the Young Men's Christian Association. Brown was his name – and you saw it printed up as "Brown and Handiside" over the great grocery stores in the High Street. His wife, Maggie Brown, was an Armstrong before her marriage, and came from an old farming stock in the wilds of Teviothead. She was small, swarthy, and dark-eyed, with a strangely nervous temperament for a Scotch woman. No greater contrast could be found than the big tawny man and the dark little woman; but both were of the soil as far back as any memory could extend.

One day – it was the first anniversary of their wedding – they had driven over together to see the excavations of the Roman Fort at Newstead. It was not a particularly picturesque spot. From the northern bank of the Tweed, just where the river forms a loop, there extends a gentle slope of arable land. Across it run the trenches of the excavators, with here and there an exposure of old stonework to show the foundations of the ancient walls. It had been a huge place, for the camp was fifty acres in extent, and the fort fifteen. However, it was all made easy for them since Mr. Brown knew the farmer to whom the land belonged. Under his guidance they spent a long summer evening inspecting the trenches, the pits, the ramparts, and all the strange variety of objects which were waiting to be transported to the Edinburgh Museum of Antiquities. The buckle of a woman's belt had been dug up that very day, and the farmer was discoursing upon it when his eyes fell upon Mrs. Brown's face.

"Your good leddy's tired," said he. "Maybe you'd best rest a wee before we gang further."

Brown looked at his wife. She was certainly very pale, and her dark eyes were bright and wild.

"What is it, Maggie? I've wearied you. I'm thinkin' it's time we went back."

"No, no, John, let us go on. It's wonderful! It's like a dreamland place. It all seems so close and so near to me. How long were the Romans here, Mr. Cunningham?"

"A fair time, mam. If you saw the kitchen midden-pits you would guess it took a long time to fill them."

"And why did they leave?"

"Well, mam, by all accounts they left because they had to. The folk round could thole them no longer, so they just up and burned the fort aboot their lugs. You can see the fire marks on the stanes."

The woman gave a quick little shudder. "A wild night – a fearsome night," said she. "The sky must have been red that night – and these grey stones, they may have been red also."

"Aye, I think they were red," said her husband. "It's a queer thing, Maggie, and it may be your words that have done it; but I seem to see that business aboot as clear as ever I saw anything in my life. The light shone on the water."

"Aye, the light shone on the water. And the smoke gripped you by the throat. And all the savages were yelling."

The old farmer began to laugh. "The leddy will be writin' a story aboot the old fort," said he. "I've shown many a one over it, but I never heard it put so clear afore. Some folk have the gift."

They had strolled along the edge of the foss, and a pit yawned upon the right of them.

"That pit was fourteen foot deep," said the farmer. "What d'ye think we dug oot from the bottom o't? Weel, it was just the skeleton of a man wi' a spear by his side. I'm thinkin' he was grippin' it when he died. Now, how cam' a man wi' a spear doon a hole fourteen foot deep? He wasna' buried there, for they aye burned their dead. What make ye o' that, mam?"

"He sprang doon to get clear of the savages," said the woman.

"Weel, it's likely enough, and a' the professors from Edinburgh couldna gie a better reason. I wish you were aye here, mam, to answer a' oor difficulties sae readily. Now, here's the altar that we foond last week. There's an inscreeption. They tell me it's Latin, and it means that the men o' this fort give thanks to God for their safety."

They examined the old worn stone. There was a large deeply-cut "VV" upon the top of it. "What does 'VV' stand for?" asked Brown.

"Naebody kens," the guide answered.

"Valeria Victrix," said the lady softly. Her face was paler than ever, her eyes far away, as one who peers down the dim aisles of overarching centuries.

"What's that?" asked her husband sharply.

She started as one who wakes from sleep. "What were we talking about?" she asked.

"About this 'VV' upon the stone."