A Thorny Path. Complete

“That is the very word,” said Melissa, and her large eyes sparkled. “At the fight in the Circus, I could not help thinking of my father, when the huge king of the desert lay with a broken spear in his loins, whining loudly, and burying his maned head between his great paws. The gods are pitiless!”

“Indeed they are,” replied the youth, with deep conviction; but his sister looked up at him in surprise.

“Do you say so, Alexander? Yes, indeed—you looked just now as I never saw you before. Has misfortune overtaken you too?”

“Misfortune?” he repeated, and he gently stroked her hair. “No, not exactly; and you know my woes sit lightly enough on me. The immortals have indeed shown me very plainly that it is their will sometimes to spoil the feast of life with a right bitter draught. But, like the moon itself, all it shines on is doomed to change—happily! Many things here below seem strangely ordered. Like ears and eyes, hands and feet, many things are by nature double, and misfortunes, as they say, commonly come in couples yoked like oxen.”

“Then you have had some twofold blow?” asked Melissa, clasping her hands over her anxiously throbbing bosom.

“I, child! No, indeed. Nothing has befallen your father’s younger son; and if I were a philosopher, like Philip, I should be moved to wonder why a man can only be wet when the rain falls on him, and yet can be so wretched when disaster falls on another. But do not look at me with such terror in your great eyes. I swear to you that, as a man and an artist, I never felt better, and so I ought properly to be in my usual frame of mind. But the skeleton at life’s festival has been shown to me. What sort of thing is that? It is an image—the image of a dead man which was carried round by the Egyptians, and is to this day by the Romans, to remind the feasters that they should fill every hour with enjoyment, since enjoyment is all too soon at an end. Such an image, child—”

“You are thinking of the dead girl—Seleukus’s daughter—whose portrait you are painting?” asked Melissa.

Alexander nodded, sat down on the bench by his sister, and, taking up her needlework, exclaimed “Give us some light, child. I want to see your pretty face. I want to be sure that Diodorus did not perjure himself when, at the ‘Crane,’ the other day, he swore that it had not its match in Alexandria. Besides, I hate the darkness.”

When Melissa returned with the lighted lamp, she found her brother, who was not wont to keep still, sitting in the place where she had left him. But he sprang up as she entered, and prevented her further greeting by exclaiming:

“Patience! patience! You shall be told all. Only I did not want to worry you on the day of the festival of the dead. And besides, to-morrow perhaps he will be in a better frame of mind, and next day—”

Melissa became urgent. “If Philip is ill—” she put in.

“Not exactly ill,” said he. “He has no fever, no ague-fit, no aches and pains. He is not in bed, and has no bitter draughts to swallow. Yet is he not well, any more than I, though but just now, in the dining-hall at the Elephant, I ate like a starving wolf, and could at this moment jump over this table. Shall I prove it?”

“No, no,” said his sister, in growing distress. “But, if you love me, tell me at once and plainly—”

“At once and plainly,” sighed the painter. “That, in any case, will not be easy. But I will do my best. You knew Korinna?”

“Seleukus’s daughter?”

“She herself—the maiden from whose corpse I am painting her portrait.”

“No. But you wanted—”

“I wanted to be brief, but I care even more to be understood; and if you have never seen with your own eyes, if you do not yourself know what a miracle of beauty the gods wrought when they molded that maiden, you are indeed justified in regarding me as a fool and Philip as a madman—which, thank the gods, he certainly is not yet.”

“Then he too has seen the dead maiden?”

“No, no. And yet—perhaps. That at present remains a mystery. I hardly know what happened even to myself. I succeeded in controlling myself in my father’s presence; but now, when it all rises up before me, before my very eyes, so distinct, so real, so tangible, now—by Sirius! Melissa, if you interrupt me again—”

“Begin again. I will be silent,” she cried. “I can easily picture your Korinna as a divinely beautiful creature.”

Alexander raised his hands to heaven, exclaiming with passionate vehemence: “Oh, how would I praise and glorify the gods, who formed that marvel of their art, and my mouth should be full of their grace and mercy, if they had but allowed the world to sun itself in the charm of that glorious creature, and to worship their everlasting beauty in her who was their image! But they have wantonly destroyed their own masterpiece, have crushed the scarce-opened bud, have darkened the star ere it has risen! If a man had done it, Melissa, a man what would his doom have been! If he—”

Here the youth hid his face in his hands in passionate emotion; but, feeling his sister’s arm round his shoulder, he recovered himself, and went on more calmly: “Well, you heard that she was dead. She was of just your age; she is dead at eighteen, and her father commissioned me to paint her in death.—Pour me out some water; then I will proceed as coldly as a man crying the description of a runaway slave.” He drank a deep draught, and wandered restlessly up and down in front of his sister, while he told her all that had happened to him during the last few days.

The day before yesterday, at noon, he had left the inn where he had been carousing with friends, gay and careless, and had obeyed the call of Seleukus. Just before raising the knocker he had been singing cheerfully to himself. Never had he felt more fully content—the gayest of the gay. One of the first men in the town, and a connoisseur, had honored him with a fine commission, and the prospect of painting something dead had pleased him. His old master had often admired the exquisite delicacy of the flesh-tones of a recently deceased body. As his glance fell on the implements that his slave carried after him, he had drawn himself up with the proud feeling of having before him a noble task, to which he felt equal. Then the porter, a gray-bearded Gaul, had opened the door to him, and as he looked into his care-worn face and received from him a silent permission to step in, he had already become more serious.

He had heard marvels of the magnificence of the house that he now entered; and the lofty vestibule into which he was admitted, the mosaic floor that he trod; the marble statues and high reliefs round the upper hart of the walls, were well worth careful observation; yet he, whose eyes usually carried away so vivid an impression of what he had once seen that he could draw it from memory, gave no attention to any particular thing among the various objects worthy of admiration. For already in the anteroom a peculiar sensation had come over him. The large halls, which were filled with odors of ambergris and incense, were as still as the grave. And it seemed to him that even the sun, which had been shining brilliantly a few minutes before in a cloudless sky, had disappeared behind clouds, for a strange twilight, unlike anything he had ever seen, surrounded him. Then he perceived that it came in through the black velarium with which they had closed the open roof of the room through which he was passing.

In the anteroom a young freedman had hurried silently past him—had vanished like a shadow through the dusky rooms. His duty must have been to announce the artist’s arrival to the mother of the dead girl; for, before Alexander had found time to feast his gaze on the luxurious mass of flowering plants that surrounded the fountain in the middle of the impluvium, a tall matron, in flowing mourning garments, came towards him—Korinna’s mother.

Without lifting the black veil which enveloped her from head to foot, she speechlessly signed him to follow her. Till this moment not even a whisper had met his ear from any human lips in this house of death and mourning; and the stillness was so oppressive to the light-hearted young painter, that, merely to hear the sound of his own voice, he ex-plained to the lady who he was and wherefore he had come. But the only answer was a dumb assenting bow of the head.

He had not far to go with his stately guide; their walk ended in a spacious room. It had been made a perfect flower-garden with hundreds of magnificent plants; piles of garlands strewed the floor, and in the midst stood the couch on which lay the dead girl. In this hall, too, reigned the same gloomy twilight which had startled him in the vestibule.

The dim, shrouded form lying motionless on the couch before him, with a heavy wreath of lotus-flowers and white roses encircling it from head to foot, was the subject for his brush. He was to paint here, where he could scarcely distinguish one plant from another, or make out the form of the vases which stood round the bed of death. The white blossoms alone gleamed like pale lights in the gloom, and with a sister radiance something smooth and round which lay on the couch—the bare arm of the dead maiden.

His heart began to throb; the artist’s love of his art had awaked within him; he had collected his wits, and explained to the matron that to paint in the darkness was impossible.

Again she bowed in reply, but at a signal two waiting women, who were squatting on the floor behind the couch, started up in the twilight, as if they had sprung from the earth, and approached their mistress.

A fresh shock chilled the painter’s blood, for at the same moment the lady’s voice was suddenly audible close to his ear, almost as deep as a man’s but not unmelodious, ordering the girls to draw back the curtain as far as the painter should desire.

Now, he felt, the spell was broken; curiosity and eagerness took the place of reverence for death. He quietly gave his orders for the necessary arrangements, lent the women the help of his stronger arm, took out his painting implements, and then requested the matron to unveil the dead girl, that he might see from which side it would be best to take the portrait. But then again he was near losing his composure, for the lady raised her veil, and measured him with a glance as though he had asked something strange and audacious indeed.

Never had he met so piercing a glance from any woman’s eyes; and yet they were red with weeping and full of tears. Bitter grief spoke in every line of her still youthful features, and their stern, majestic beauty was in keeping with the deep tones of her speech. Oh that he had been so happy as to see this woman in the bloom of youthful loveliness! She did not heed his admiring surprise; before acceding to his demand, her regal form trembled from head to foot, and she sighed as she lifted the shroud from her daughter’s face. Then, with a groan, she dropped on her knees by the couch and laid her cheek against that of the dead maiden. At last she rose, and murmured to the painter that if he were successful in his task her gratitude would be beyond expression.

“What more she said,” Alexander went on, “I could but half understand, for she wept all the time, and I could not collect my thoughts. It was not till afterward that I learned from her waiting-woman—a Christian—that she meant to tell me that the relations and wailing women were to come to-morrow morning. I could paint on till nightfall, but no longer. I had been chosen for the task because Seleukus had heard from my old teacher, Bion, that I should get a faithful likeness of the original more quickly than any one else. She may have said more, but I heard nothing; I only saw. For when the veil no longer hid that face from my gaze, I felt as though the gods had revealed a mystery to me which till now only the immortals had been permitted to know. Never was my soul so steeped in devotion, never had my heart beat in such solemn uplifting as at that moment. What I was gazing at and had to represent was a thing neither human nor divine; it was beauty itself—that beauty of which I have often dreamed in blissful rapture.

“And yet—do not misapprehend me—I never thought of bewailing the maiden, or grieving over her early death. She was but sleeping—I could fancy: I watched one I loved in her slumbers. My heart beat high! Ay, child, and the work I did was pure joy, such joy as only the gods on Olympus know at their golden board. Every feature, every line was of such perfection as only the artist’s soul can conceive of, nay, even dream of. The ecstasy remained, but my unrest gave way to an indescribable and wordless bliss. I drew with the red chalk, and mixed the colors with the grinder, and all the while I could not feel the painful sense of painting a corpse. If she were slumbering, she had fallen asleep with bright images in her memory. I even fancied again and again that her lips moved her exquisitely chiseled mouth, and that a faint breath played with her abundant, waving, shining brown hair, as it does with yours.

“The Muse sped my hand and the portrait—Bion and the rest will praise it, I think, though it is no more like the unapproachable original than that lamp is like the evening star yonder.”

“And shall we be allowed to see it?” asked Melissa, who had been listening breathlessly to her brother’s narrative.

The words seemed to have snatched the artist from a dream. He had to pause and consider where he was and to whom he was speaking. He hastily pushed the curling hair off his damp brow, and said:

“I do not understand. What is it you ask?”

“I only asked whether we should be allowed to see the portrait,” she answered timidly. “I was wrong to interrupt you. But how hot your head is! Drink again before you go on. Had you really finished by sundown?”

Alexander shook his head, drank, and then went on more calmly: “No, no! It is a pity you spoke. In fancy I was painting her still. There is the moon rising already. I must make haste. I have told you all this for Philip’s sake, not for my own.”

“I will not interrupt you again, I assure you,” said Melissa. “Well, well,” said her brother. “There is not much that is pleasant left to tell. Where was I?”

“Painting, so long as it was light—”

“To be sure—I remember. It began to grow dark. Then lamps were brought in, large ones, and as many as I wished for. Just before sunset Seleukus, Korinna’s father, came in to look upon his daughter once more. He bore his grief with dignified composure; yet by his child’s bier he found it hard to be calm. But you can imagine all that. He invited me to eat, and the food they brought might have tempted a full man to excess, but I could only swallow a few mouthfuls. Berenike—the mother—did not even moisten her lips, but Seleukus did duty for us both, and this I could see displeased his wife. During supper the merchant made many inquiries about me and my father; for he had heard Philip’s praises from his brother Theophilus, the high-priest. I learned from him that Korinna had caught her sickness from a slave girl she had nursed, and had died of the fever in three days. But while I sat listening to him, as he talked and ate, I could not keep my eyes off his wife who reclined opposite to me silent and motionless, for the gods had created Korinna in her very image. The lady Berenike’s eyes indeed sparkle with a lurid, I might almost say an alarming, fire, but they are shaped like Korinna’s. I said so, and asked whether they were of the same color; I wanted to know for my portrait. On this Seleukus referred me to a picture painted by old Sosibius, who has lately gone to Rome to work in Caesar’s new baths. He last year painted the wall of a room in the mer chant’s country house at Kanopus. In the center of the picture stands Galatea, and I know it now to be a good and true likeness.

“The picture I finished that evening is to be placed at the head of the young girl’s sarcophagus; but I am to keep it two days longer, to reproduce a second likeness more at my leisure, with the help of the Galatea, which is to remain in Seleukus’s town house.

“Then he left me alone with his wife.

“What a delightful commission! I set to work with renewed pleasure, and more composure than at first. I had no need to hurry, for the first picture is to be hidden in the tomb, and I could give all my care to the second. Besides, Korinna’s features were indelibly impressed on my eye.

“I generally can not paint at all by lamp-light; but this time I found no difficulty, and I soon recovered that blissful, solemn mood which I had felt in the presence of the dead. Only now and then it was clouded by a sigh, or a faint moan from Berenike: ‘Gone, gone! There is no comfort—none, none!’

“And what could I answer? When did Death ever give back what he has snatched away?