efface the personal. But even the longest dedication is too short and too commonplace to honor a friendship so uncommon. When I try to define this asset which has been mine now for years, I tell myself that such a privilege, however rare it may be, is surely not unique; that in the whole adventure of bringing a book successfully to its conclusion, or even in the entire life of some fortunate writers, there must have been sometimes, in the background, perhaps, someone who will not let pass the weak or inaccurate sentence which we ourselves would retain, out of fatigue; someone who would re-read with us for the twentieth time, if need be, a questionable page; someone who takes down for us from the library shelves the heavy tomes in which we may find a helpful suggestion, and who persists in continuing to peruse them long after weariness has made us give up; someone who bolsters our courage and approves, or sometimes disputes, our ideas; who shares with us, and with equal fervor, the joys of art and of living, the endless work which both require, never easy but never dull; someone who is neither our shadow nor our reflection, nor even our complement, but simply himself; someone who leaves us ideally free, but who nevertheless obliges us to be fully what we are. Hospes Comesque.
In December, 1951, learned of the fairly recent death of the German historian Wilhelm Weber, and in April, 1952, of the death of the scholar Paul Graindor, both of whose works I have so much used. A few days ago talked with G.B… and J.F… , who had known the engraver Pierre Gusman in Rome at the time that he was drawing, with passion, all the different parts of the Villa. The feeling of belonging to a kind of Gens Aelia, of being, as it were, one of the throng of secretaries who had served the great man, of participating in the change of that imperial guard which poets and humanists mount in relay around any great memory. Thus (and it is doubtless the same for specialists in the study of Napoleon, or for lovers of Dante),
over the ages is formed a circle of kindred spirits, moved by the same interests and sympathies, or concerned with the same problems.
The pedants of comedy, Vadius and Blazius still exist, and their fat cousin Basil is ever about. Once and once only have I happened to be confronted with that mixture of insults and coarse jokes; with extracts truncated or skillfully deformed, so as to make our sentences say some absurdity which they do not say; with captious arguments built up by assertions both vague and peremptory enough to win ready credence from the reader respectful of academic trappings and lacking the time, or the desire, to look up the sources for himself. Characteristic, all of it, of a certain species which, fortunately, is rare. On the contrary, what genuine good will have so many scholars shown who could just as readily, in these times of excessive specialization, have disdained outright any literary effort at reconstruction of the past which might seem to them to trespass on their domain… . Too many of them have graciously, and of their own accord, taken trouble to rectify some error already in print, or to confirm a detail, support a hypothesis, expedite new research, for me not to express here a word of gratitude to such well-disposed readers. Each book which sees a new edition owes something to the discriminating people who have read it.
Do the best one can. Do it over again. Then still improve, even if ever so slightly, those retouches. “It is myself that I re-make,” said the poet Yeats in speaking of his revisions.
Yesterday, at the Villa, I thought of the thousands of lives, silent and furtive as those of wild beasts, unthinking as those of plants, who have followed in succession here between Hadrian’s time and ours: gypsies of Piranesi’s day, pillagers of the ruins, beggars, goatherds, and peasants lodged as best they could in some corner of the rubble. At the end of an olive grove, in an ancient corridor partly cleared, G … and I came upon a shepherd’s bed of rushes, with his improvised clothes-peg stuck between two blocks of Roman cement, and the ashes of his fire not yet cold. A sense of intimacy with humble, ordinary things, a little like what one feels at the Louvre when, after closing hour, the cots of the guardians appear in among the statues.
*[Nothing need be changed in 1958 in the preceding paragraph; the clothes-peg of the shepherd is still there, though not his bed. G … and I have again sat resting on the grass of the Vale of Tempe, among the violets, at that sacred moment of the year when everything begins anew, in spite of the threats which man today is everywhere raising overhead. But nevertheless the Villa has suffered pernicious change. Not all of it, to be sure: a whole which the centuries have slowly destroyed, but have also formed, is not so quickly altered. By an error seldom committed in Italy certain dubious “embellishments” have followed in the wake of excavations and necessary repairs. Olive groves have been cut down to make way for a highly conspicuous parking lot, complete with shop and counter service of the type prevalent at exposition grounds, thus transforming the Poecilium’s noble solitude into a city square; visitors may drink from a cement fountain which offers water through an absurd plaster mask, a would-be imitation of the antique; another mask, even more pointless, decorates the wall of the great pool, where a flotilla of ducks now holds forth. Still more plaster graces the Canal: casts of the garden statues found here in recent diggings have been placed on pedestals and lined up somewhat arbitrarily along its banks; the originals, fairly average Greco-Roman work, do not deserve the honor of so conspicuous a position, but neither do they merit the indignity of being copied in such hideous material, both swollen and unsubstantial. This new decor gives to the once melancholy Canopus something of the air of a studio set, ready for a film version of “life in Imperial Rome”.
There is nothing more easily destroyed than the equilibrium of the fairest places. A text remains intact regardless of our whims of interpretation, and survives our commentaries; but the slightest imprudence inflicted upon stone, the shortest macadamized road cut through a field where grass has peacefully grown for centuries, does something irreparable, and for ever. The beauty goes, and the authenticity likewise.]
* Addition of 1958.
There are places where one has chosen to live, invisible abodes which one makes for oneself quite outside the current of time. I have lived in Tibur, and shall die there, perhaps, as Hadrian did on Achilles’ Isle.
No. Once more I have gone back to the Villa, to its garden pavillions built for privacy and for repose, to the vestiges of a luxury free of pomp, and as little imperial as possible, conceived of rather for the wealthy connoisseur who tries to combine the pleasures of art with the charms of rural life. In the Pantheon I have watched for the exact spot where sunlight would fall on a morning of April 21, and along the Mausoleum’s halls have retraced that funeral path so often walked by the friends of the emperor’s last days, Chabrias, Diotimus, and Celer. But I have ceased to feel the immediate presence of those beings, the living reality of those events; they are near me still, but of the past, neither more nor less now than the memories of my own life. Our commerce with others does not long endure; it ceases once satisfaction is obtained, the lesson learned, the service rendered, the book complete. What I could say has been said; what I could learn has been learned. Let us turn, for the time that is left to us, to other work.
N 258 ?
ISBN 0-374-5-0348.6
MARGUERITE YOURCENAR
Memoirs of Hadrian
Followed by Reflections on the Composition of Memoirs of Hadrian
Translated from the French by GRACE FRICK in collaboration with the Author
This novel, unique in its approach to a figure from Roman history, has had international acclaim from the time that it first appeared, in France. It has already been translated into fourteen languages of Europe and Asia. Written in the form of a testamentary letter from the Emperor Hadrian to his successor, the youthful Marcus Aurelius, the work is as extraordinary for its psychological depth as for its accurate reconstruction of the second century of our era. The author describes the book as a meditation upon history, but this meditation is built upon intensive study of the personal and political life of a great and complex character as seen by himself and by his contemporaries, both friends and enemies. In a prose as firm as that of the great Latin stylists of his time, Hadrian’s arduous early years, his triumphs and reversals, his gradual re-ordering of a war-torn world are reconstructed with an imaginative insight which only years in the company of the Emperor could give.
Marguerite Yourcenar writes only in French. She is the author of some fifteen books varying in range from art and literary criticism to novels historical and modern, and to drama, poetry, and translation (from English and from ancient and modern Greek). As widely travelled as the Emperor of whom she writes, she was born in Brussels of French parents and has lived in several countries of Europe, but is now an American citizen, making her home since 1950 on Mount Desert Island, Maine.
