“Pallas—unless, as I suppose, she is too modest and too sober for your Alexandrians?”
“Yes—it does not seem to me that she would be appreciated—at all events for the present. Why not try Aphrodite? Christians as well as Pagans will thoroughly understand her; and I know no one who would not degrade the virgin goddess by representing her, except a certain lady, who has already, I hope, consented to sit in that very character, by the side of her too much honoured slave; and one Pallas is enough at a time in any theatre.”
Hypatia shuddered. He took it all for granted, then—and claimed her conditional promise to the uttermost. Was there no escape? She longed to spring up and rush away, into the streets, into the desert—anything to break the hideous net which she had wound around herself. And yet—was it not the cause of the gods—the one object of her life? And after all, if he the hateful was to be her emperor, she at least was to be an empress; and do what she would—and half in irony, and half in the attempt to hurl herself perforce into that which she knew that she must go through, and forget misery in activity, she answered as cheerfully as she could.
“Then, my goddess, thou must wait the pleasure of these base ones! At least the young Apollo will have charms even for them.”
“Ah, but who will represent him? This puny generation does not produce such figures as Pylades and Bathyllus—except among those Goths. Besides, Apollo must have golden hair; and our Greek race has intermixed itself so shamefully with these Egyptians, that our stage-troop is as dark as Andromeda, and we should have to apply again to those accursed Goths, who have nearly” (with a bow) “all the beauty, and nearly all the money and the power, and will, I suspect, have the rest of it before I am safe out of this wicked world, because they have not nearly, but quite, all the courage. Now—Shall we ask a Goth to dance Apollo? for we can get no one else.”
Hypatia smiled in spite of herself at the notion. “That would be too shameful! I must forego the god of light himself, if I am to see him in the person of a clumsy barbarian.”
“Then why not try my despised and rejected Aphrodite? Suppose we had her triumph, finishing with a dance of Venus Anadyomene. Surely that is a graceful myth enough.”
“As a myth; but on the stage in reality?”
“Not worse than what this Christian city has been looking at for many a year. We shall not run any danger of corrupting morality, be sure.”
Hypatia blushed.
“Then you must not ask for my help.”
“Or for your presence at the spectacle? For that be sure is a necessary point. You are too great a person, my dearest madam, in the eyes of these good folks to be allowed to absent yourself on such an occasion. If my little stratagem succeeds, it will be half owing to the fact of the people knowing that in crowning me, they crown Hypatia. … Come now—do you not see that as you must needs be present at their harmless scrap of mythology, taken from the authentic and undoubted histories of those very gods whose worship we intend to restore, you will consult your own comfort most in agreeing to it cheerfully, and in lending me your wisdom towards arranging it? Just conceive now, a triumph of Aphrodite, entering preceded by wild beasts led in chains by Cupids, the white elephant and all—what a field for the plastic art! You might have a thousand groupings, dispersions, regroupings, in as perfect bas-relief style as those of any Sophoclean drama. Allow me only to take this paper and pen—”
And he began sketching rapidly group after group.
“Not so ugly, surely?”
“They are very beautiful, I cannot deny,” said poor Hypatia.
“Ah, sweetest Empress! you forget sometimes that I, too, world-worm as I am, am a Greek, with as intense a love of the beautiful as even you yourself have. Do not fancy that every violation of correct taste does not torture me as keenly as it does you. Some day, I hope, you will have learned to pity and to excuse the wretched compromise between that which ought to be and that which can be, in which we hapless statesmen must struggle on, half-stunted, and wholly misunderstood—Ah, well! Look, now, at these fauns and dryads among the shrubs upon the stage, pausing in startled wonder at the first blast of music which proclaims the exit of the goddess from her temple.”
“The temple? Why, where are you going to exhibit?”
“In the Theatre, of course. Where else pantomimes?”
“But will the spectators have time to move all the way from the Amphitheatre after that—those—”
“The Amphitheatre? We shall exhibit the Libyans, too, in the Theatre.”
“Combats in the Theatre sacred to Dionusos?”
“My dear lady”—penitently—“I know it is an offence against all the laws of the drama.”
“Oh, worse than that! Consider what an impiety toward the god, to desecrate his altar with bloodshed?”
“Fairest devotee, recollect that, after all, I may fairly borrow Dionusos’s altar in this my extreme need; for I saved its very existence for him, by preventing the magistrates from filling up the whole orchestra with benches for the patricians, after the barbarous Roman fashion. And besides, what possible sort of representation, or misrepresentation, has not been exhibited in every theatre of the empire for the last four hundred years? Have we not had tumblers, conjurers, allegories, martyrdoms, marriages, elephants on the tightrope, learned horses, and learned asses too, if we may trust Apuleius of Madaura; with a good many other spectacles of which we must not speak in the presence of a vestal? It is an age of execrable taste, and we must act accordingly.”
“Ah!” answered Hypatia; “the first step in the downward career of the drama began when the successors of Alexander dared to profane theatres which had reechoed
