The Temptation of St. Antony Part 3

"Why, here's a sum large enough to buy three cows--a little field!"

The cup is now filled with gold pieces.

"Come, then! a hundred slaves, soldiers, a heap wherewith to buy----"

Here the granulations of the cup's rim, detaching themselves, form a pearl necklace.

"With this jewel here, one might even win the Emperor's wife!"

With a shake Antony makes the necklace slip over his wrist. He holds the cup in his left hand, and with his right arm raises the torch to shed more light upon it. Like water trickling down from a basin, it pours itself out in continuous waves, so as to make a hillock on the sand--diamonds, carbuncles, and sapphires mingled with huge pieces of gold bearing the effigies of kings.

"What? What? Staters, shekels, darics, aryandics! Alexander, Demetrius, the Ptolemies, Caesar! But each of them had not as much! Nothing impossible in it! More to come! And those rays which dazzle me! Ah! my heart overflows! How good this is! Yes! ... Yes! ... more! Never enough!

It did not matter even if I kept flinging it into the sea; more would remain. Why lose any of it? I will keep it all, without telling anyone about it. I will dig myself a chamber in the rock, the interior of which will be lined with strips of bronze; and thither will I come to feel the piles of gold sinking under my heels. I will plunge my arms into it as if into sacks of corn. I would like to anoint my face with it--to sleep on top of it!"

He lets go the torch in order to embrace the heap, and falls to the ground on his breast. He gets up again. The place is perfectly empty!

"What have I done? If I died during that brief s.p.a.ce of time, the result would have been h.e.l.l--irrevocable h.e.l.l!"

A shudder runs through his frame.

"So, then, I am accursed? Ah! no, this is all my own fault! I let myself be caught in every trap. There is no one more idiotic or more infamous.

I would like to beat myself, or, rather, to tear myself out of my body.

I have restrained myself too long. I need to avenge myself, to strike, to kill! It is as if I had a troop of wild beasts in my soul. I would like, with a stroke of a hatchet in the midst of a crowd----Ah! a dagger! ..."

He flings himself upon his knife, which he has just seen. The knife slips from his hand, and Antony remains propped against the wall of his cell, his mouth wide open, motionless--like one in a trance.

All the surroundings have disappeared.

He finds himself in Alexandria on the Panium--an artificial mound raised in the centre of the city, with corkscrew stairs on the outside.

In front of it stretches Lake Mareotis, with the sea to the right and the open plain to the left, and, directly under his eyes, an irregular succession of flat roofs, traversed from north to south and from east to west by two streets, which cross each other, and which form, in their entire length, a row of porticoes with Corinthian capitals. The houses overhanging this double colonnade have stained-gla.s.s windows. Some have enormous wooden cages outside of them, in which the air from without is swallowed up.

Monuments in various styles of architecture are piled close to one another. Egyptian pylons rise above Greek temples. Obelisks exhibit themselves like spears between battlements of red brick. In the centres of squares there are statues of Hermes with pointed ears, and of Anubis with dogs' heads. Antony notices the mosaics in the court-yards, and the tapestries hung from the cross-beams of the ceiling.

With a single glance he takes in the two ports (the Grand Port and the Eunostus), both round like two circles, and separated by a mole joining Alexandria to the rocky island, on which stands the tower of the Pharos, quadrangular, five hundred cubits high and in nine storys, with a heap of black charcoal flaming on its summit.

Small ports nearer to the sh.o.r.e intersect the princ.i.p.al ports. The mole is terminated at each end by a bridge built on marble columns fixed in the sea. Vessels pa.s.s beneath, and pleasure-boats inlaid with ivory, gondolas covered with awnings, triremes and biremes, all kinds of shipping, move up and down or remain at anchor along the quays.

Around the Grand Port there is an uninterrupted succession of Royal structures: the palace of the Ptolemies, the Museum, the Posideion, the Caesarium, the Timonium where Mark Antony took refuge, and the Soma which contains the tomb of Alexander; while at the other extremity of the city, close to the Eunostus, might be seen gla.s.s, perfume, and paper factories.

Itinerant vendors, porters, and a.s.s-drivers rush to and fro, jostling against one another. Here and there a priest of Osiris with a panther's skin on his shoulders, a Roman soldier, or a group of negroes, may be observed. Women stop in front of stalls where artisans are at work, and the grinding of chariot-wheels frightens away some birds who are picking up from the ground the sweepings of the shambles and the remnants of fish. Over the uniformity of white houses the plan of the streets casts, as it were, a black network. The markets, filled with herbage, exhibit green bouquets, the drying-sheds of the dyers, plates of colours, and the gold ornaments on the pediments of temples, luminous points--all this contained within the oval enclosure of the greyish walls, under the vault of the blue heavens, hard by the motionless sea. But the crowd stops and looks towards the eastern side, from which enormous whirlwinds of dust are advancing.

It is the monks of the Thebad who are coming, clad in goats' skins, armed with clubs, and howling forth a canticle of war and of religion with this refrain:

"Where are they? Where are they?"

Antony comprehends that they have come to kill the Arians.

All at once, the streets are deserted, and one sees no longer anything but running feet.

And now the Solitaries are in the city. Their formidable cudgels, studded with nails, whirl around like monstrances of steel. One can hear the crash of things being broken in the houses. Intervals of silence follow, and then the loud cries burst forth again. From one end of the streets to the other there is a continuous eddying of people in a state of terror. Several are armed with pikes. Sometimes two groups meet and form into one; and this mult.i.tude, after rushing along the pavements, separates, and those composing it proceed to knock one another down. But the men with long hair always reappear.

Thin wreaths of smoke escape from the corners of buildings. The leaves of the doors burst asunder; the skirts of the walls fall in; the architraves topple over.

Antony meets all his enemies one after another. He recognises people whom he had forgotten. Before killing them, he outrages them. He rips them open, cuts their throats, knocks them down, drags the old men by their beards, runs over children, and beats those who are wounded.

People revenge themselves on luxury. Those who cannot read, tear the books to pieces; others smash and destroy the statues, the paintings, the furniture, the cabinets--a thousand dainty objects whose use they are ignorant of, and which, for that very reason, exasperate them. From time to time they stop, out of breath, and then begin again. The inhabitants, taking refuge in the court-yards, utter lamentations. The women lift their eyes to Heaven, weeping, with their arms bare. In order to move the Solitaries they embrace their knees; but the latter only dash them aside, and the blood gushes up to the ceiling, falls back on the linen clothes that line the walls, streams from the trunks of decapitated corpses, fills the aqueducts, and rolls in great red pools along the ground.

Antony is steeped in it up to his middle. He steps into it, sucks it up with his lips, and quivers with joy at feeling it on his limbs and under his hair, which is quite wet with it.

The night falls. The terrible clamour abates.

The Solitaries have disappeared.

Suddenly, on the outer galleries lining the nine stages of the Pharos, Antony perceives thick black lines, as if a flock of crows had alighted there. He hastens thither, and soon finds himself on the summit.

A huge copper mirror turned towards the sea reflects the ships in the offing.

Antony amuses himself by looking at them; and as he continues looking at them, their number increases.

They are gathered in a gulf formed like a crescent. Behind, upon a promontory, stretches a new city built in the Roman style of architecture, with cupolas of stone, conical roofs, marble work in red and blue, and a profusion of bronze attached to the volutes of capitals, to the tops of houses, and to the angles of cornices. A wood, formed of cypress-trees, overhangs it. The colour of the sea is greener; the air is colder. On the mountains at the horizon there is snow.

Antony is about to pursue his way when a man accosts him, and says:

"Come! they are waiting for you!"

He traverses a forum, enters a court-yard, stoops under a gate, and he arrives before the front of the palace, adorned with a group in wax representing the Emperor Constantine hurling the dragon to the earth. A porphyry basin supports in its centre a golden conch filled with pistachio-nuts. His guide informs him that he may take some of them. He does so.

Then he loses himself, as it were, in a succession of apartments.

Along the walls may be seen, in mosaic, generals offering conquered cities to the Emperor on the palms of their hands. And on every side are columns of basalt, gratings of silver filigree, seats of ivory, and tapestries embroidered with pearls. The light falls from the vaulted roof, and Antony proceeds on his way. Tepid exhalations spread around; occasionally he hears the modest patter of a sandal. Posted in the ante-chambers, the custodians--who resemble automatons--bear on their shoulders vermilion-coloured truncheons.

At last, he finds himself in the lower part of a hall with hyacinth curtains at its extreme end. They divide, and reveal the Emperor seated upon a throne, attired in a violet tunic and red buskins with black bands.

A diadem of pearls is wreathed around his hair, which is arranged in symmetrical rolls. He has drooping eyelids, a straight nose, and a heavy and cunning expression of countenance. At the corners of the das, extended above his head, are placed four golden doves, and, at the foot of the throne, two enamelled lions are squatted. The doves begin to coo, the lions to roar. The Emperor rolls his eyes; Antony steps forward; and directly, without preamble, they proceed with a narrative of events.

[Ill.u.s.tration]

"In the cities of Antioch, Ephesus, and Alexandria, the temples have been pillaged, and the statues of the G.o.ds converted into pots and porridge-pans."

The Emperor laughs heartily at this. Antony reproaches him for his tolerance towards the Novatians. But the Emperor flies into a pa.s.sion.

"Novatians, Arians, Meletians--he is sick of them all!" However, he admires the episcopacy, for the Christians create bishops, who depend on five or six personages, and it is his interest to gain over the latter in order to have the rest on his side. Moreover, he has not failed to furnish them with considerable sums. But he detests the fathers of the Council of Nicaea. "Come, let us have a look at them."

Antony follows him. And they are found on the same floor under a terrace which commands a view of a hippodrome full of people, and surmounted by porticoes wherein the rest of the crowd are walking to and fro. In the centre of the course there is a narrow platform on which stands a miniature temple of Mercury, a statue of Constantine, and three bronze serpents intertwined with each other; while at one end there are three huge wooden eggs, and at the other seven dolphins with their tails in the air.

Behind the Imperial pavilion, the prefects of the chambers, the lords of the household, and the Patricians are placed at intervals as far as the first story of a church, all whose windows are lined with women. At the right is the gallery of the Blue faction, at the left that of the Green, while below there is a picket of soldiers, and, on a level with the arena, a row of Corinthian pillars, forming the entrance to the stalls.

The races are about to begin; the horses fall into line. Tall plumes fixed between their ears sway in the wind like trees; and in their leaps they shake the chariots in the form of sh.e.l.ls, driven by coachmen wearing a kind of many-coloured cuira.s.s with sleeves narrow at the wrists and wide in the arms, with legs uncovered, full beard, and hair shaven above the forehead after the fashion of the Huns.