THE kings of Alca were descended from Draco, the son of Kraken, and they wore on their heads a terrible dragon’s crest, as a sacred badge whose appearance alone inspired the people with veneration, terror, and love. They were perpetually in conflict either with their own vassals and subjects or with the princes of the adjoining islands and continents.
The most ancient of these kings has left but a name. We do not even know how to pronounce or write it. The first of the Draconides whose history is known was Brian the Good, renowned for his skill and courage in war and in the chase.
He was a Christian and loved learning. He also favoured men who had vowed themselves to the monastic life. In the hall of his palace where, under the sooty rafters, there hung the heads, pelts, and horns of wild beasts, he held feasts to which all the harpers of Alca and of the neighbouring islands were invited, and he himself used to join in singing the praises of the heroes. He was just and magnanimous, but inflamed by so ardent a love of glory that he could not restrain himself from putting to death those who had sung better than himself.
The monks of Yvern having been driven out by the pagans who ravaged Brittany, King Brian summoned them into his kingdom and built a wooden monastery for them near his palace. Every day he went with Queen Glamorgan, his wife, into the monastery chapel and was present at the religious ceremonies and joined in the hymns.
Now among these monks there was a brother called Oddoul, who, while still in the flower of his youth, had adorned himself with knowledge and virtue. The devil entertained a great grudge against him, and attempted several times to lead him into temptation. He took several shapes and appeared to him in turn as a war-horse, a young maiden, and a cup of mead. Then he rattled two dice in a dice-box and said to him:
“Will you play with me for the kingdoms of the world against one of the hairs of your head?”
But the man of the Lord, armed with the sign of the Cross, repulsed the enemy. Perceiving that he could not seduce him, the devil thought of an artful plan to ruin him. One summer night he approached the queen, who slept upon her couch, showed her an image of the young monk whom she saw every day in the wooden monastery, and upon this image he placed a spell. Forthwith, like a subtle poison, love flowed into Glamorgan’s veins, and she burned with an ardent desire to do as she listed with Oddoul. She formed unceasing pretexts to have him near her. Several times she asked him to teach reading and singing to her children.
“I entrust them to you,” said she to him. “And I will follow the lessons you will give them so that I myself may learn also. You will teach both mother and sons at the same time.”
But the young monk kept making excuses. At times he would say that he was not a learned enough teacher, and on other occasions that his state forbade him all intercourse with women. This refusal inflamed Glamorgan’s passion. One day as she lay pining upon her couch, her malady having become intolerable, she summoned Oddoul to her chamber. He came in obedience to her orders, but remained with his eyes cast down towards the threshold of the door. With impatience and grief she resented his not looking at her.
“See,” said she to him, “I have no more strength, a shadow is on my eyes. My body is both burning and freezing.”
And as he kept silence and made no movement, she called him in a voice of entreaty:
“Come to me, come!”
With outstretched arms to which passion gave more length, she endeavoured to seize him and draw him towards her.
But he fled away, reproaching her for her wantonness.
Then, incensed with rage and fearing that Oddoul might divulge the shame into which she had fallen, she determined to ruin him so that he might not ruin her.
In a voice of lamentation that resounded throughout all the palace she called for help, as if, in truth, she were in some great danger. Her servants rushed up and saw the young monk fleeing and the queen pulling back the sheets upon her couch. They all cried out together. And when King Brian, attracted by the noise, entered the chamber, Glamorgan, showing him her dishevelled hair, her eyes flooded with tears, and her bosom that in the fury of her love she had torn with her nails, said:
“My lord and husband, behold the traces of the insults I have undergone. Driven by an infamous desire Oddoul has approached me and attempted to do me violence.”
When he heard these complaints and saw the blood, the king, transported with fury, ordered his guards to seize the young monk and burn him alive before the palace under the queen’s eyes.
Being told of the affair, the Abbot of Yvern went to the king and said to him:
“King Brian, know by this example the difference between a Christian woman and a pagan. Roman Lucretia was the most virtuous of idolatrous princesses, yet she had not the strength to defend herself against the attacks of an effeminate youth, and, ashamed of her weakness, she gave way to despair, whilst Glamorgan has successfully withstood the assaults of a criminal filled with rage, and possessed by the most terrible of demons.” Meanwhile Oddoul, in the prison of the palace, was waiting for the moment when he should be burned alive. But God did not suffer an innocent to perish. He sent to him an angel, who, taking the form of one of the queen’s servants called Gudrune, took him out of his prison and led him into the very room where the woman whose appearance he had taken dwelt.
And the angel said to young Oddoul:
“I love thee because thou art daring.”
And young Oddoul, believing that it was Gudrune herself, answered with downcast looks:
“It is by the grace of the Lord that I have resisted the violence of the queen and braved the anger of that powerful woman.”
And the angel asked:
“What? Hast thou not done what the queen accuses thee of?”
“In truth no, I have not done it,” answered Oddoul, his hand on his heart.
“Thou hast not done it?”
“No, I have not done it. The very thought of such an action fills me with horror.”
“Then,” cried the angel, “what art thou doing here, thou impotent creature?”4
4 The Penguin chronicler who relates the fact employs the expression, Species inductilis. I have endeavoured to translate it literally.
And she opened the door to facilitate the young man’s escape. Oddoul felt himself pushed violently out. Scarcely had he gone down into the street than a chamber-pot was poured over his head; and he thought:
“Mysterious are thy designs, O Lord, and thy ways past finding out.”
THE direct posterity of Brian the Good was extinguished about the year 900 in the person of Collic of the Short Nose. A cousin of that prince, Bosco the Magnanimous, succeeded him, and took care, in order to assure himself of the throne, to put to death all his relations. There issued from him a long line of powerful kings.
One of them, Draco the Great, attained great renown as a man of war. He was defeated more frequently than the others. It is by this constancy in defeat that great captains are recognized. In twenty years he burned down more than a hundred thousand hamlets, market towns, unwalled towns, villages, walled towns, cities, and universities. He set fire impartially to his enemies’ territory and to his own domains. And he used to explain his conduct by saying:
“War without fire is like tripe without mustard: it is an insipid thing.”
His justice was rigorous. When the peasants whom he made prisoners were unable to raise the money for their ransoms he had them hanged from a tree, and if any unhappy woman came to plead for her destitute husband he dragged her by the hair at his horse’s tail. He lived like a soldier without effeminacy. It is satisfactory to relate that his manner of life was pure. Not only did he not allow his kingdom to decline from its hereditary glory, but, even in his reverses he valiantly supported the honour of the Penguin people.
Draco the Great caused the relics of St. Orberosia to be transferred to Alca.
The body of the blessed saint had been buried in a grotto on the Coast of Shadows at the end of a scented heath. The first pilgrims who went to visit it were the boys and girls from the neighbouring villages. They used to go there in the evening, by preference in couples, as if their pious desires naturally sought satisfaction in darkness and solitude. They worshipped the saint with a fervent and discreet worship whose mystery they seemed jealously to guard, for they did not like to publish too openly the experiences they felt. But they were heard to murmur one to another words of love, delight, and rapture with which they mingled the name of Orberosia. Some would sigh that there they forgot the world; others would say that they came out of the grotto in peace and calm; the young girls among them used to recall to each other the joys with which they had been filled in it.
Such were the marvels that the virgin of Alca performed in the morning of her glorious eternity; they had the sweetness and indefiniteness of the dawn. Soon the mystery of the grotto spread like a perfume throughout the land; it was a ground of joy and edification for pious souls, and corrupt men endeavoured, though in vain, by falsehood and calumny, to divert the faithful from the springs of grace that flowed from the saint’s tomb. The Church took measures so that these graces should not remain reserved for a few children, but should be diffused throughout all Penguin Christianity. Monks took up their quarters in the grotto, they built a monastery, a chapel, and a hostelry on the coast, and pilgrims began to flock thither.
As if strengthened by a longer sojourn in heaven, the blessed Orberosia now performed still greater miracles for those who came to lay their offerings on her tomb. She gave hopes to women who had been hitherto barren, she sent dreams to reassure jealous old men concerning the fidelity of the young wives whom they had suspected without cause, and she protected the country from plagues, murrains, famines, tempests, and dragons of Cappadocia.
But during the troubles that desolated the kingdom in the time of King Collic and his successors, the tomb of St. Orberosia was plundered of its wealth, the monastery burned down, and the monks dispersed. The road that had been so long trodden by devout pilgrims was overgrown with furze and heather, and the blue thistles of the sands. For a hundred years the miraculous tomb had been visited by none save vipers, weasels, and bats, when, one day the saint appeared to a peasant of the neighbourhood, Momordic by name.
“I am the virgin Orberosia,” said she to him; “I have chosen thee to restore my sanctuary. Warn the inhabitants of the country that if they allow my memory to be blotted out, and leave my tomb without honour and wealth, a new dragon will come and devastate Penguinia.”
Learned churchmen held an inquiry concerning this apparition, and pronounced it genuine, and not diabolical but truly heavenly, and in later years it was remarked that in France, in like circumstances, St. Foy and St. Catherine had acted in the same way and made use of similar language.
The monastery was restored and pilgrims flocked to it anew. The virgin Orberosia worked greater and greater miracles. She cured divers hurtful maladies, particularly club-foot, dropsy, paralysis, and St. Guy’s disease. The monks who kept the tomb were enjoying an enviable opulence, when the saint, appearing to King Draco the Great, ordered him to recognise her as the heavenly patron of the kingdom and to transfer her precious remains to the cathedral of Alca.
In consequence, the odoriferous relics of that virgin were carried with great pomp to the metropolitan church and placed in the middle of the choir in a shrine made of gold and enamel and ornamented with precious stones.
The chapter kept a record of the miracles wrought by the blessed Orberosia.
Draco the Great, who had never ceased to defend and exalt the Christian faith, died fulfilled with the most pious sentiments and bequeathed his great possessions to the Church.
TERRIBLE disorders followed the death of Draco the Great. That prince’s successors have often been accused of weakness, and it is true that none of them followed, even from afar, the example of their valiant ancestor.
His son, Chum, who was lame, failed to increase the territory of the Penguins. Bolo, the son of Chum, was assassinated by the palace guards at the age of nine, just as he was ascending the throne. His brother Gun succeeded him. He was only seven years old and allowed himself to be governed by his mother, Queen Crucha.
Crucha was beautiful, learned, and intelligent; but she was unable to curb her own passions.
These are the terms in which the venerable Talpa expresses himself in his chronicle regarding that illustrious queen:
“In beauty of face and symmetry of figure Queen Crucha yields neither to Semiramis of Babylon nor to Penthesilea, queen of the Amazons; nor to Salome, the daughter of Herodias. But she offers in her person certain singularities that will appear beautiful or uncomely according to the contradictory opinions of men and the varying judgments of the world. She has on her forehead two small horns which she conceals in the abundant folds of her golden hair; one of her eyes is blue and one is black; her neck is bent towards the left side; and, like Alexander of Macedon, she has six fingers on her right hand, and a stain like a little monkey’s head upon her skin.
“Her gait is majestic and her manner affable. She is magnificent in her expenses, but she is not always able to rule desire by reason.
“One day, having noticed in the palace stables, a young groom of great beauty, she immediately fell violently in love with him, and entrusted to him the command of her armies. What one must praise unreservedly in this great queen is the abundance of gifts that she makes to the churches, monasteries, and chapels in her kingdom, and especially to the holy house of Beargarden, where, by the grace of the Lord, I made my profession in my fourteenth year. She has founded masses for the repose of her soul in such great numbers that every priest in the Penguin Church is, so to speak, transformed into a taper lighted in the sight of heaven to draw down the divine mercy upon the august Crucha.”
From these lines and from some others with which I have enriched my text the reader can judge of the historical and literary value of the “Gesta Peguinorum.” Unhappily, that chronicle suddenly comes to an end at the third year of Draco the Simple, the successor of Gun the Weak. Having reached that point of my history, I deplore the loss of an agreeable and trustworthy guide.
During the two centuries that followed, the Penguins remained plunged in blood-stained disorder. All the arts perished. In the midst of the general ignorance, the monks in the shadow of their cloister devoted themselves to study, and copied the Holy Scriptures with indefatigable zeal. As parchment was scarce, they scraped the writing off old manuscripts in order to transcribe upon them the divine word. Thus throughout the breadth of Penguinia Bibles blossomed forth like roses on a bush.
A monk of the order of St. Benedict, Ermold the Penguin, had himself alone defaced four thousand Greek and Latin manuscripts so as to copy out the Gospel of St. John four thousand times. Thus the masterpieces of ancient poetry and eloquence were destroyed in great numbers. Historians are unanimous in recognising that the Penguin convents were the refuge of learning during the Middle Ages.
Unending wars between the Penguins and the Porpoises filled the close of this period. It is extremely difficult to know the truth concerning these wars, not because accounts are wanting, but because there are so many of them. The Porpoise Chronicles contradict the Penguin Chronicles at every point. And, moreover, the Penguins contradict each other as well as the Porpoises. I have discovered two chroniclers that are in agreement, but one has copied from the other. A single fact is certain, namely, that massacres, rapes, conflagrations, and plunder succeeded one another without interruption.
Under the unhappy prince Bosco IX. the kingdom was at the verge of ruin. On the news that the Porpoise fleet, composed of six hundred great ships, was in sight of Alca, the bishop ordered a solemn procession. The cathedral chapter, the elected magistrates, the members of Parliament, and the clerics of the University entered the Cathedral and, taking up St. Orberosia’s shrine, led it in procession through the town, followed by the entire people singing hymns. The holy patron of Penguinia was not invoked in vain. Nevertheless, the Porpoises beseiged the town both by land and sea, took it by assault, and for three days and three nights killed, plundered, violated, and burned, with all the indifference that habit produces.
Our astonishment cannot be too great at the fact that, during those iron ages, the faith was preserved intact among the Penguins. The splendour of the truth in those times illumined all souls that had not been corrupted by sophisms. This is the explanation of the unity of belief. A constant practice of the Church doubtless contributed also to maintain this happy communion of the faithful — every Penguin who thought differently from the others was immediately burned at the stake.
DURING the minority of King Gun, Johannes Talpa, in the monastery of Beargarden, where at the age of fourteen he had made his profession and from which he never departed for a single day throughout his life, composed his celebrated Latin chronicle in twelve books called “De Gestis Peguinorum.” The monastery of Beargarden lifts its high walls on the summit of an inaccessible peak. One sees around it only the blue tops of mountains, divided by the clouds.
When he began to write his “Gesta Peguinorum,” Johannes Talpa was already old. The good monk has taken care to tell us this in his book: “My head has long since lost,” he says, “its adornment of fair hair, and my scalp resembles those convex mirrors of metal which the Penguin ladies consult with so much care and zeal. My stature, naturally small, has with years become diminished and bent. My white beard gives warmth to my breast.”
With a charming simplicity, Talpa informs us of certain circumstances in his life and some features in his character. “Descended,” he tells us, “from a noble family, and destined from childhood for the ecclesiastical state, I was taught grammer and music. I learned to read under the guidance of a master who was called Amicus, and who would have been better named Inimicus. As I did not easily attain to a knowledge of my letters, he beat me violently with rods so that I can say that he printed the alphabet in strokes upon my back.”
In another passage Talpa confesses his natural inclination towards pleasure. These are his expressive words: “In my youth the ardour of my senses was such that in the shadow of the woods I experienced a sensation of boiling in a pot rather than of breathing the fresh air. I fled from women, but in vain, for every object recalled them to me.”
While he was writing his chronicle, a terrible war, at once foreign and domestic, laid waste the Penguin land. The soldiers of Crucha came to defend the monastery of Beargarden against the Penguin barbarians and established themselves strongly within its walls. In order to render it impregnable they pierced loop-holes through the walls and they took the lead off the church roof to make balls for their slings. At night they lighted huge fires in the courts and cloisters and on them they roasted whole oxen which they spitted upon the ancient pine-trees of the mountain. Sitting around the flames, amid smoke filled with a mingled odour of resin and fat, they broached huge casks of wine and beer. Their songs, their blasphemies, and the noise of their quarrels drowned the sound of the morning bells.
At last the Porpoises, having crossed the defiles, laid siege to the monastery. They were warriors from the North, clad in copper armour. They fastened ladder’s a hundred and fifty fathoms long to the sides of the cliffs and sometimes in the darkness and storm these broke beneath the weight of men and arms, and bunches of the besiegers were hurled into the ravines and precipices. A prolonged wail would be heard going down into the darkness, and the assault would begin again. The Penguins poured streams of burning wax upon their assailants, which made them blaze like torches. Sixty times the enraged Porpoises attempted to scale the monastery and sixty times they were repulsed.
For six months they had closely invested the monastery, when, on the day of the Epiphany, a shepherd of the valley showed them a hidden path by which they climbed the mountain, penetrated into the vaults of the abbey, ran through the cloisters, the kitchens, the church, the chapter halls, the library, the laundry, the cells, the refectories, and the dormitories, and burned the buildings, killing and violating without distinction of age or sex. The Penguins, awakened unexpectedly, ran to arms, but in the darkness and alarm they struck at one another, whilst the Porpoises with blows of their axes disputed the sacred vessels, the censers, the candlesticks, dalmatics, reliquaries, golden crosses, and precious stones.
The air was filled with an acrid odour of burnt flesh. Groans and death-cries arose in the midst of the flames, and on the edges of the crumbling roofs monks ran in thousands like ants, and fell into the valley. Yet Johannes Talpa kept on writing his Chronicle. The soldiers of Crucha retreated speedily and filled up all the issues from the monastery with pieces of rock so as to shut up the Porpoises in the burning buildings. And to crush the enemy beneath the ruin they employed the trunks of old oaks as battering-rams. The burning timbers fell in with a noise like thunder and the lofty arches of the naves crumbled beneath the shock of these giant trees when moved by six hundred men together. Soon there was left nothing of the rich and extensive abbey but the cell of Johannes Talpa, which, by a marvellous chance, hung from the ruin of a smoking gable. The old chronicler still kept writing.
This admirable intensity of thought may seem excessive in the case of an annalist who applies himself to relate the events of his own time. For, however abstracted and detached we may be from surrounding things, we nevertheless resent their influence. I have consulted the original manuscript of Johannes Talpa in the National Library, where it is preserved (Monumenta Peng., K. L6., 12390 four). It is a parchment manuscript of 628 leaves. The writing is extremely confused, the letters instead of being in a straight line, stray in all directions and are mingled together in great disorder, or, more correctly speaking, in absolute confusion. They are so badly formed that for the most part it is impossible not merely to say what they are, but even to distinguish them from the splashes of ink with which they are plentifully interspersed. Those inestimable pages bear witness in this way to the troubles amid which they were written. To read them is difficult. On the other hand, the monk of Beargarden’s style shows no trace of emotion. The tone of the “Gesta Peguinorum” never departs from simplicity. The narration is rapid and of a conciseness that sometimes approaches dryness. The reflections are rare and, as a rule, judicious.
THE Penguin critics vie with one another in affirming that Penguin art has from its origin been distinguished by a powerful and pleasing originality, and that we may look elsewhere in vain for the qualities of grace and reason that characterise its earliest works. But the Porpoises claim that their artists were undoubtedly the instructors and masters of the Penguins. It is difficult to form an opinion on the matter, because the Penguins, before they began to admire their primitive painters, destroyed all their works.
We cannot be too sorry for this loss. For my own part I feel it cruelly, for I venerate the Penguin antiquities and I adore the primitives. They are delightful. I do not say they are all alike, for that would be untrue, but they have common characters that are found in all schools — I mean formulas from which they never depart-and there is besides some, thing finished in their work, for what they know they know well. Luckily we can form a notion of the Penguin primitives from the Italian, Flemish, and Dutch primitives, and from the French primitives, who are superior to all the rest; as M. Gruyer tell us they are more logical, logic being a peculiarly French quality. Even if this is denied it must at least be admitted that to France belongs the credit of having kept primitives when the other nations knew them no longer. The Exhibition of French Primitives at the Pavilion Marsan in 1904 contained several little panels contemporary with the later Valois kings and with Henry IV.
I have made many journeys to see the pictures of the brothers Van Eyck, of Memling, of Roger van der Weyden, of the painter of the death of Mary, of Ambrogio Lorenzetti, and of the old Umbrian masters. It was, however, neither Bruges, nor Cologne, nor Sienna, nor Perugia, that completed my initiation; it was in the little town of Arezzo that I became a conscious adept in primitive painting. That was ten years ago or even longer. At that period of indigence and simplicity, the municipal museums, though usually kept shut, were always opened to foreigners. One evening, an old woman with a candle showed me, for half a lira, the sordid museum of Arezzo, and in it I discovered a painting by Margaritone, a “St. Francis,” the pious sadness of which moved me to tears. I was deeply touched, and Margaritone of Arezzo became from that day my dearest primitive.
I picture to myself the Penguin primitives in conformity with the works of that master. It will not therefore be thought superfluous if in this place I consider his works with some attention, if not in detail, at least under their more general and, if I dare say so, most representative aspect.
We possess five or six pictures signed with his hand. His masterpiece, preserved in the National Gallery of London, represents the Virgin seated on a throne and holding the infant Jesus in her arms. What strikes one first when one looks at this figure is the proportion. The body from the neck to the feet is only twice as long as the head, so that it appears extremely short and podgy. This work is not less remarkable for its painting than for its drawing. The great Margaritone had but a limited number of colours in his possession, and he used them in all their purity without ever modifying the tones. From this it follows that his colouring has more vivacity than harmony. The cheeks of the Virgin and those of the Child are of a bright vermilion which the old master, from a naive preference for clear definitions, has placed on each face in two circumferences as exact as if they had been traced out by a pair of compasses.
A learned critic of the eighteenth century, the Abbe Lanzi, has treated Margaritone’s works with profound disdain. “They are,” he says, “merely crude daubs. In those unfortunate times people could neither draw nor paint.” Such was the common opinion of the connoisseurs of the days of powdered wigs. But the great Margaritone and his contemporaries were soon to be avenged for this cruel contempt. There was born in the nineteenth century, in the biblical villages and reformed cottages of pious England, a multitude of little Samuels and little St. Johns with hair curling like lambs, who, about 1840 and 1850, became spectacled professors and founded the cult of the primitives.
That eminent theorist of Pre–Raphaelitism, Sir James Tuckett, does not shrink from placing the Madonna of the National Gallery on a level with the masterpieces of Christian art. “By giving to the Virgin’s head,” says Sir James Tuckett, “a third of the total height of the figure, the old master attracts the spectator’s attention and keeps it directed towards the more sublime parts of the human figure, and in particular the eyes, which we ordinarily describe as the spiritual organs. In this picture, colouring and design conspire to produce an ideal and mystical impression. The vermilion of the cheeks does not recall the natural appearance of the skin; it rather seems as if the old master has applied the roses of Paradise to the faces of the Mother and the Child.”
We see, in such a criticism as this, a shining reflection, so to speak, of the work which it exalts; yet MacSilly, the seraphic aesthete of Edinburgh, has expressed in a still more moving and penetrating fashion the impression produced upon his mind by the sight of this primitive painting. “The Madonna of Margaritone,” says the revered MacSilly, “attains the transcendent end of art. It inspires its beholders with feelings of innocence and purity; it makes them like little children. And so true is this, that at the age of sixty-six, after having had the joy of contemplating it closely for three hours, I felt myself suddenly transformed into a little child. While my cab was taking me through Trafalgar Square I kept laughing and prattling and shaking my spectacle-case as if it were a rattle. And when the maid in my boarding-house had served my meal I kept pouring spoonfuls of soup into my ear with all the artlessness of childhood.”
“It is by such results,” adds MacSilly, “that the excellence of a work of art is proved.”
Margaritone, according to Vasari, died at the age of seventy-seven, “regretting that he had lived to see a new form of art arising and the new artists crowned with fame.”
These lines, which I translate literally, have inspired Sir James Tuckett with what are perhaps the finest pages in his work. They form part of his “Breviary for AEsthetes”; all the Pre–Raphaelites know them by heart. I place them here as the most precious ornament of this book. You will agree that nothing more sublime has been written since the days of the Hebrew prophets.
Margaritone, full of years and labours, went one day to visit the studio of a young painter who had lately settled in the town. He noticed in the studio a freshly painted Madonna, which, although severe and rigid, nevertheless, by a certain exactness in the proportions and a devilish mingling of light and shade, assumed an appearance of relief and life. At this sight the artless and sublime worker of Arezzo perceived with horror what the future of painting would be. With his brow clasped in his hands he exclaimed:
“What things of shame does not this figure show forth! I discern in it the end of that Christian art which paints the soul and inspires the beholder with an ardent desire for heaven. Future painters will not restrain themselves as does this one to portraying on the side of a wall or on a wooden panel the cursed matter of which our bodies are formed; they will celebrate and glorify it. They will clothe their figures with dangerous appearances of flesh, and these figures will seem like real persons. Their bodies will be seen; their forms will appear through their clothing. St. Magdalen will have a bosom. St. Martha a belly, St. Barbara hips, St. Agnes buttocks; St. Sebastian will unveil his youthful beauty, and St. George will display beneath his armour the muscular wealth of a robust virility; apostles, confessors, doctors, and God the Father himself will appear as ordinary beings like you and me; the angels will affect an equivocal, ambiguous, mysterious beauty which will trouble hearts. What desire for heaven will these representations impart? None; but from them you will learn to take pleasure in the forms of terrestrial life. Where will painters stop in their indiscreet inquiries? They will stop nowhere. They will go so far as to show men and women naked like the idols of the Romans. There will be a sacred art and a profane art, and the sacred art will not be less profane than the other.”
“Get ye behind me, demons,” exclaimed the old master. For in prophetic vision he saw the righteous and the saints assuming the appearance of melancholy athletes. He saw Apollos playing the lute on a flowery hill, in the midst of the Muses wearing light tunics. He saw Venuses lying under shady myrtles and the Danae exposing their charming sides to the golden rain. He saw pictures of Jesus under the pillars of the temple amidst patricians, fair ladies, musicians, pages, negroes, dogs, and parrots. He saw in an inextricable confusion of human limbs, outspread wings, and flying draperies, crowds of tumultuous Nativities, opulent Holy Families, emphatic Crucifixions. He saw St. Catherines, St. Barbaras, St. Agneses humiliating patricians by the sumptuousness of their velvets, their brocades, and their pearls, and by the splendour of their breasts. He saw Auroras scattering roses, and a multitude of naked Dianas and Nymphs surprised on the banks of retired streams. And the great Margaritone died, strangled by so horrible a presentiment of the Renaissance and the Bolognese School.
WE possess a precious monument of the Penguin literature of the fifteenth century. It is a narrative of a journey to hell undertaken by the monk Marbodius, of the order of St. Benedict, who professed a fervent admiration for the poet Virgil. This narrative, written in fairly good Latin, has been published by M. du Clos des Lunes. It is here translated for the first time. I believe that I am doing a service to my fellow-countrymen in making them acquainted with these pages, though doubtless they are far from forming a unique example of this class of mediaeval Latin literature. Among the fictions that may be compared with them we may mention “The Voyage of St. Brendan,” “The Vision of Albericus,” and “St. Patrick’s Purgatory,” imaginary descriptions, like Dante Alighieri’s “Divine Comedy,” of the supposed abode of the dead. The narrative of Marbodius is one of the latest works dealing with this theme, but it is not the least singular.
In the fourteen hundred and fifty-third year of the incarnation of the Son of God, a few days before the enemies of the Cross entered the city of Helena and the great Constantine, it was given to me, Brother Marbodius, an unworthy monk, to see and to hear what none had hitherto seen or heard. I have composed a faithful narrative of those things so that their memory may not perish with me, for man’s time is short.
On the first day of May in the aforesaid year, at the hour of vespers, I was seated in the Abbey of Corrigan on a stone in the cloisters and, as my custom was, I read the verses of the poet whom I love best of all, Virgil, who has sung of the labours of the field, of shepherds, and of heroes. Evening was hanging its purple folds from the arches of the cloisters and in a voice of emotion I was murmuring the verses which describe how Dido, the Phoenician queen, wanders with her ever-bleeding wound beneath the myrtles of hell. At that moment Brother Hilary happened to pass by, followed by Brother Jacinth, the porter.
Brought up in the barbarous ages before the resurrection of the Muses, Brother Hilary has not been initiated into the wisdom of the ancients; nevertheless, the poetry of the Mantuan has, like a subtle torch, shed some gleams of light into his understanding.
“Brother Marbodius,” he asked me, “do those verses that you utter with swelling breast and sparkling eyes — do they belong to that great ‘AEneid’ from which morning or evening your glances are never withheld?”
I answered that I was reading in Virgil how the son of Anchises perceived Dido like a moon behind the foliage.5
5 The text runs
. . . qualem primo qui surgere mense
Aut videt aut vidisse putat per nubila lunam.
Brother Marbodius, by a strange misunderstanding, substitutes an entirely different image for the one created by the poet.
“Brother Marbodius,” he replied, “I am certain that on all occasions Virgil gives expression to wise maxims and profound thoughts. But the songs that he modulates on his Syracusan flute hold such a lofty meaning and such exalted doctrine that I am continually puzzled by them.”
“Take care, father,” cried Brother Jacinth, in an agitated voice. “Virgil was a magician who wrought marvels by the help of demons. It is thus he pierced through a mountain near Naples and fashioned a bronze horse that had power to heal all the diseases of horses. He was a necromancer, and there is still shown, in a certain town in Italy, the mirror in which he made the dead appear. And yet a woman deceived this great sorcerer. A Neapolitan courtesan invited him to hoist himself up to her window in the basket that was used to bring the provisions, and she left him all night suspended between two storeys.”
Brother Hilary did not appear to hear these observations.
“Virgil is a prophet,” he replied, “and a prophet who leaves far behind him the sibyls with their sacred verses as well as the daughter of King Priam, and that great diviner of future things, Plato of Athens. You will find in the fourth of his Syracusan cantos the birth of our Lord foretold in a language that seem of heaven rather than of earth.6 In the time of my early studies, when I read for the first time JAM REDIT ET VIRGO, I felt myself bathed in an infinite delight, but I immediately experienced intense grief at the thought that, for ever deprived of the presence of God, the author of this prophetic verse, the noblest that has come from human lips, was pining among the heathen in eternal darkness. This cruel thought did not leave me. It pursued me even in my studies, my prayers, my meditations, and my ascetic labours. Thinking that Virgil was deprived of the sight of God and that possibly he might even be suffering the fate of the reprobate in hell, I could neither enjoy peace nor rest, and I went so far as to exclaim several times a day with my arms outstretched to heaven:
“‘Reveal to me, O Lord, the lot thou hast assigned to him who sang on earth as the angels sing in heaven!’
6 Three centuries before the epoch in which our Marbodius lived the words —
Maro, vates gentilium
Da Christo testimonium
were sung in the churches on Christmas Day.
“After some years my anguish ceased when I read in an old book that the great Apostle St. Paul, who called the Gentiles into the Church of Christ, went to Naples and sanctified with his tears the tomb of the prince of poets.7 This was some ground for believing that Virgil, like the Emperor Trajan, was admitted to Paradise because even in error he had a presentiment of the truth. We are not compelled to believe it, but I can easily persuade myself that it is true.”
Ad maronis mausoleum
Ductus, fudit super eum
Piae rorem lacrymae.
Quem te, inquit, reddidissem,
Si te vivum invenissem
Having thus spoken, old Hilary wished me the peace of a holy night and went away with Brother Jacinth.
I resumed the delightful study of my poet. Book in hand, I meditated upon the way in which those whom Love destroys with its cruel malady wander through the secret paths in the depth of the myrtle forest, and, as I meditated, the quivering reflections of the stars came and mingled with those of the leafless eglantines in the waters of the cloister fountain. Suddenly the lights and the perfumes and the stillness of the sky were overwhelmed, a fierce North-wind charged with storm and darkness burst roaring upon me. It lifted me up and carried me like a wisp of straw over fields, cities, rivers, and mountains, and through the midst of thunderclouds, during a long night composed of a whole series of nights and days. And when, after this prolonged and cruel rage, the hurricane was at last stilled, I found myself far from my native land at the bottom of a valley bordered by cypress trees. Then a woman of wild beauty, trailing long garments behind her, approached me. She placed her left hand on my shoulder, and, pointing her right arm to an oak with thick foliage:
“Look!” said she to me.
Immediately I recognised the Sibyl who guards the sacred wood of Avernus, and I discerned the fair Proserpine’s beautiful golden twig amongst the tufted boughs of the tree to which her finger pointed.
“O prophetic Virgin,” I exclaimed, “thou hast comprehended my desire and thou hast satisfied it in this way. Thou has revealed to me the tree that bears the shining twig without which none can enter alive into the dwelling-place of the dead. And in truth, eagerly did I long to converse with the shade of Virgil.”
Having said this, I snatched the golden branch from its ancient trunk and I advanced without fear into the smoking gulf that leads to the miry banks of the Styx, upon which the shades are tossed about like dead leaves. At sight of the branch dedicated to Proserpine, Charon took me in his bark, which groaned beneath my weight, and I alighted on the shores of the dead, and was greeted by the mute baying of the threefold Cerberus. I pretended to throw the shade of a stone at him, and the vain monster fled into his cave. There, amidst the rushes, wandered the souls of those children whose eyes had but opened and shut to the kindly light of day, and there in a gloomy cavern Minos judges men. I penetrated into the myrtle wood in which the victims of love wander languishing, Phaedra, Procris, the sad Eriphyle, Evadne, Pasiphae, Laodamia, and Cenis, and the Phoenician Dido. Then I went through the dusty plains reserved for famous warriors. Beyond them open two ways. That to the left leads to Tartarus, the abode of the wicked. I took that to the right, which leads to Elysium and to the dwellings of Dis. Having hung the sacred branch at the goddess’s door, I reached pleasant fields flooded with purple light. The shades of philosophers and poets hold grave converse there. The Graces and the Muses formed sprightly choirs upon the grass. Old Homer sang, accompanying himself upon his rustic lyre. His eyes were closed, but divine images shone upon his lips. I saw Solon, Democritus, and Pythagoras watching the games of the young men in the meadow, and, through the foliage of an ancient laurel, I perceived also Hesiod, Orpheus, the melancholy Euripides, and the masculine Sappho. I passed and recognised, as they sat on the bank of a fresh rivulet, the poet Horace, Varius, Gallus, and Lycoris. A little apart, leaning against the trunk of a dark holm-oak, Virgil was gazing pensively at the grove. Of lofty stature, though spare, he still preserved that swarthy complexion, that rustic air, that negligent bearing, and unpolished appearance which during his lifetime concealed his genius. I saluted him piously and remained for a long time without speech.
At last when my halting voice could proceed out of my throat:
“O thou, so dear to the Ausonian Muses, thou honour of the Latin name, Virgil,” cried I, “it is through thee I have known what beauty is, it is through thee I have known what the tables of the gods and the beds of the goddesses are like. Suffer the praises of the humblest of thy adorers.”
“Arise, stranger,” answered the divine poet. “I perceive that thou art a living being among the shades, and that thy body treads down the grass in this eternal evening. Thou art not the first man who has descended before his death into these dwellings, although all intercourse between us and the living is difficult. But cease from praise; I do not like eulogies and the confused sounds of glory have always offended my ears. That is why I fled from Rome, where I was known to the idle and curious, and laboured in the solitude of my beloved Parthenope. And then I am not so convinced that the men of thy generation understand my verses that I should be gratified by thy praises. Who art thou?”
“I am called Marbodius of the Kingdom of Alca. I made my profession in the Abbey of Corrigan. I read thy poems by day and I read them by night. It is thee whom I have come to see in Hell; I was impatient to know what thy fate was. On earth the learned often dispute about it. Some hold it probable that, having lived under the power of demons, thou art now burning in inextinguishable flames; others, more cautious, pronounce no opinion, believing that all which is said concerning the dead is uncertain and full of lies; several though not in truth the ablest, maintain that, because thou didst elevate the tone of the Sicilian Muses and foretell that a new progeny would descend from heaven, thou wert admitted, like the Emperor Trajan, to enjoy eternal blessedness in the Christian heaven.”
“Thou seest that such is not the case,” answered the shade, smiling.
“I meet thee in truth, O Virgil, among the heroes and sages in those Elysian Fields which thou thyself hast described. Thus, contrary to what several on earth believe, no one has come to seek thee on the part of Him who reigns on high?”
After a rather long silence:
“I will conceal nought from thee. He sent for me; one of His messengers, a simple man, came to say that I was expected, and that, although I had not been initiated into their mysteries, in consideration of my prophetic verses a place had been reserved for me among those of the new sect. But I refused to accept that invitation; I had no desire to change my place. I did so not because I share the admiration of the Greeks for the Elysian fields, or because I taste here those joys which caused Proserpine to lose the remembrance of her mother. I never believed much myself in what I say about these things in the ‘AEneid.’ I was instructed by philosophers and men of science and I had a correct foreboding of the truth. Life in hell is extremely attenuated; we feel neither pleasure nor pain; we are as if we were not. The dead have no existence here except such as the living lend them. Nevertheless I prefer to remain here.”
“But what reason didst thou give, O Virgil, for so strange a refusal?”
“I gave excellent ones. I said to the messenger of the god that I did not deserve the honour he brought me, and that a meaning had been given to my verses which they did not bear. In truth I have not in my fourth Eclogue betrayed the faith of my ancestors. Some ignorant Jews alone have interpreted in favour of a barbarian god a verse which celebrates the return of the golden age predicted by the Sibylline oracles. I excused myself then on the ground that I could not occupy a place which was destined for me in error and to which I recognised that I had no right. Then I alleged my disposition and my tastes, which do not accord with the customs of the new heavens.
“‘I am not unsociable,’ said I to this man. ‘I have shown in life a complaisant and easy disposition, although the extreme simplicity of my habits caused me to be suspected of avarice. I kept nothing for myself alone. My library was open to all and I have conformed my conduct to that fine saying of Euripides, “all ought to be common among friends.” Those praises that seemed obtrusive when I myself received them became agreeable to me when addressed to Varius or to Macer. But at bottom I am rustic and uncultivated. I take pleasure in the society of animals; I was so zealous in observing them and took so much care of them that I was regarded, not altogether wrongly, as a good veterinary surgeon. I am told that the people of thy sect claim an immortal soul for themselves, but refuse one to the animals. That is a piece of nonsense that makes me doubt their judgment. Perhaps I love the flocks and the shepherds a little too much. That would not seem right amongst you. There is a maxim to which I endeavour to conform my actions, “Nothing too much.” More even than my feeble health my philosophy teaches me to use things with measure. I am sober; a lettuce and some olives with a drop of Falernian wine form all my meals. I have, indeed, to some extent gone with strange women, but I have not delayed over long in taverns to watch the young Syrians dance to the sound of the crotalum.8 But if I have restrained my desires it was for my own satisfaction and for the sake of good discipline. To fear pleasure and to fly from joy appears to me the worst insult that one can offer to nature. I am assured that during their lives certain of the elect of thy god abstained from food and avoided women through love of asceticism, and voluntarily exposed themselves to useless sufferings. I should be afraid of meeting those criminals whose frenzy horrifies me. A poet must not be asked to attach himself too strictly to any scientific or moral doctrine. Moreover, I am a Roman, and the Romans, unlike the Greeks, are unable to pursue profound speculations in a subtle manner. If they adopt a philosophy it is above all in order to derive some practical advantages from it. Siro, who enjoyed a great renown among us, taught me the system of Epicurus and thus freed me from vain terrors and turned me aside from the cruelties to which religion persuades ignorant men. I have embraced the views of Pythagoras concerning the souls of men and animals, both of which are of divine essence; this invites us to look upon ourselves without pride and without shame. I have learnt from the Alexandrines how the earth, at first soft and without form, hardened in proportion as Nereus withdrew himself from it to dig his humid dwellings; I have learned how things were formed insensibly; in what manner the rains, falling from the burdened clouds, nourished the silent forests, and by what progress a few animals at last began to wander over the nameless mountains. I could not accustom myself to your cosmogony either, for it seems to me fitter for a camel-driver on the Syrian sands than for a disciple of Aristarchus and Samos. And what would become of me in the abode of your beatitude if I did not find there my friends, my ancestors, my masters, and my gods, and if it is not given me to see Rhea’s noble son, or Venus, mother of AEneas, with her winning smile, or Pan, or the young Dryads, or the Sylvans, or old Silenus, with his face stained by AEgle’s purple mulberries.’ These are the reasons which I begged that simple man to plead before the successor of Jupiter.”
8 This phrase seems to indicate that, if one is to believe Macrobius, the “Copa” is by Virgil.
“And since then, O great shade, thou has received no other messages?”
“I have received none.”
“To console themselves for thy absence, O Virgil, they have three poets, Commodianus, Prudentius, and Fortunatus, who were all three born in those dark days when neither prosody nor grammar were known. But tell me, O Mantuan, hast thou never received other intelligence of the God whose company thou didst so deliberately refuse?”
“Never that I remember.”
“Hast thou not told me that I am not the first who descended alive into these abodes and presented himself before thee?”
“Thou dost remind me of it. A century and a half ago, or so it seems to me (it is difficult to reckon days and years amid the shades), my profound peace was intruded upon by a strange visitor. As I was wandering beneath the gloomy foliage that borders the Styx, I saw rising before me a human form more opaque and darker than that of the inhabitants of these shores. I recognised a living person. He was of high stature, thin, with an aquiline nose, sharp chin, and hollow cheeks. His dark eyes shot forth fire; a red hood girt with a crown of laurels bound his lean brows. His bones pierced through the tight brown cloak that descended to his heels. He saluted me with deference, tempered by a sort of fierce pride, and addressed me in a speech more obscure and incorrect than that of those Gauls with whom the divine Julius filled both his legions and the Curia. At last I understood that he had been born near Fiesole, in an ancient Etruscan colony that Sulla had founded on the banks of the Arno, and which had prospered; that he had obtained municipal honours, but that he had thrown himself vehemently into the sanguinary quarrels which arose between the senate, the knights, and the people, that he had been defeated and banished, and now he wandered in exile throughout the world. He described Italy to me as distracted by more wars and discords than in the time of my youth, and as sighing anew for a second Augustus. I pitied his misfortunes, remembering what I myself had formerly endured.
“An audacious spirit unceasingly disquieted him, and his mind harboured great thoughts, but alas! his rudeness and ignorance displayed the triumph of barbarism. He knew neither poetry, nor science, nor even the tongue of the Greeks, and he was ignorant, too, of the ancient traditions concerning the origin of the world and the nature of the gods. He gravely repeated fables which in my time would have brought smiles to the little children who were not yet old enough to pay for admission at the baths. The vulgar easily believe in monsters. The Etruscans especially peopled hell with demons, hideous as a sick man’s dreams. That they have not abandoned their childish imaginings after so many centuries is explained by the continuation and progress of ignorance and misery, but that one of their magistrates whose mind is raised above the common level should share these popular illusions and should be frightened by the hideous demons that the inhabitants of that country painted on the walls of their tombs in the time of Porsena — that is something which might sadden even a sage. My Etruscan visitor repeated verses to me which he had composed in a new dialect, called by him the vulgar tongue, the sense of which I could not understand. My ears were more surprised than charmed as I heard him repeat the same sound three or four times at regular intervals in his efforts to mark the rhythm. That artifice did not seem ingenious to me; but it is not for the dead to judge of novelties.
“But I do not reproach this colonist of Sulla, born in an unhappy time, for making inharmonious verses or for being, if it be possible, as bad a poet as Bavius or Maevius. I have grievances against him which touch me more closely. The thing is monstrous and scarcely credible, but when this man returned to earth he disseminated the most odious lies about me. He affirmed in several passages of his barbarous poems that I had served him as a guide in the modern Tartarus, a place I know nothing of. He insolently proclaimed that I had spoken of the gods of Rome as false and lying gods, and that I held as the true God the present successor of Jupiter. Friend, when thou art restored to the kindly light of day and beholdest again thy native land, contradict those abominable falsehoods. Say to thy people that the singer of the pious AEneas has never worshipped the god of the Jews. I am assured that his power is declining and that his approaching fall is manifested by undoubted indications. This news would give me some pleasure if one could rejoice in these abodes, where we feel neither fears nor desires.”
He spoke, and with a gesture of farewell he went away. I beheld his shade gliding over the asphodels without bending their stalks. I saw that it became fainter and vaguer as it receded farther from me, and it vanished before it reached the wood of evergreen laurels. Then I understood the meaning of the words, “The dead have no life, but that which the living lend them,” and I walked slowly through the pale meadow to the gate of horn.
I affirm that all in this writing is true.9
9 There is in Marbodius’s narrative a passage very worthy of notice, viz., that in which the monk of Corrigan describes Dante Alighieri such as we picture him to ourselves today. The miniatures in a very old manuscript of the “Divine Comedy,” the “Codex Venetianus,” represent the poet as a little fat man clad in a short tunic, the skirts of which fall above his knees. As for Virgil, he still wears the philosophical beard, in the wood-engravings of the sixteenth century.
One would not have thought either that Marbodius, or even Virgil, could have known the Etruscan tombs of Chiusi and Corneto, where, in fact, there are horrible and burlesque devils closely resembling those of Orcagna. Nevertheless, the authenticity of the “Descent of Marbodius into Hell” is indisputable. M. du Clos des Lunes has firmly established it. To doubt it would be to doubt palaeography itself.
AT that time, whilst Penguinia was still plunged in ignorance and barbarism, Giles Bird-catcher, a Franciscan monk, known by his writings under the name AEgidius Aucupis, devoted himself with indefatigable zeal to the study of letters and the sciences. He gave his nights to mathematics and music, which he called the two adorable sisters, the harmonious daughters of Number and Imagination. He was versed in medicine and astrology. He was suspected of practising magic, and it seemed true that he wrought metamorphoses and discovered hidden things.
The monks of his convent, finding in his cell Greek books which they could not read, imagined them to be conjuring-books, and denounced their too learned brother as a wizard. AEgidius Aucupis fled, and reached the island of Ireland, where he lived for thirty studious years. He went from monastery to monastery, searching for and copying the Greek and Latin manuscripts which they contained. He also studied physics and alchemy. He acquired a universal knowledge and discovered notable secrets concerning animals, plants, and stones. He was found one day in the company of a very beautiful woman who sang to her own accompaniment on the lute, and who was afterwards discovered to be a machine which he had himself constructed.
He often crossed the Irish Sea to go into the land of Wales and to visit the libraries of the monasteries there. During one of these crossings, as he remained during the night on the bridge of the ship, he saw beneath the waters two sturgeons swimming side by side. He had very good hearing and he knew the languages of the fishes. Now he heard one of the sturgeons say to the other:
“The man in the moon, whom we have often seen carrying fagots on his shoulders, has fallen into the sea.”
And the other sturgeon said in its turn:
“And in the silver disc there will be seen the image of two lovers kissing each other on the mouth.”
Some years later, having returned to his native country, AEgidius Aucupis found that ancient learning had been restored. Manners had softened. Men no longer pursued the nymphs of the fountains, of the woods, and of the mountains with their insults. They placed images of the Muses and of the modest Graces in their gardens, and they rendered her former honours to the Goddess with ambrosial lips, the joy of men and gods. They were becoming reconciled to nature. They trampled vain terrors beneath their feet and raised their eyes to heaven without fearing, as they formerly did, to read signs of anger and threats of damnation in the skies.
At this spectacle AEgidius Aucupis remembered what the two sturgeons of the sea of Erin had foretold.
Last updated Tuesday, August 25, 2015 at 14:08