Quintus Claudius, Volume 1. Eckstein Ernst
is a most heartfelt wish,” cried Aurelius. “Your daughter’s voice is music when she only speaks – in singing it must be enchanting.”
“I think so too, indeed,” added Herodianus. “Oh, we Northmen are connoisseurs in music. The Camenae visit other spots than Helicon and the seven hills of Rome; they have taken Trajectum too under their protection. Had I but been born in Hellas, where Zeus so lavishly decked the cornucopia of the arts with such pure and ideal perfection…”
“Herodianus, you are talking nonsense!” interrupted the young Batavian. “I am afraid that the old Falernian we drank at dinner, was too strong for your brain.”
“I beg your pardon! that would be very unlike me. Since Apollo first laid me in my cradle, temperance has been my most conspicuous virtue…”
A slave girl had meanwhile brought in the nine-stringed cithara and the ivory plectrum; Claudia took them from her with some eagerness, put the ribbon of the lute round her neck and sat upright on her easy-chair. She turned the pegs here and there to put the instrument in tune, struck a few chords and runs as a prelude, and began a Greek song – the delightful Spring-greeting of Ibycus the Sicilian:87
“Spring returns, and the gnarled quince88
Fed by purling and playful brooks
Decks its boughs with its rosy flowers
Where, beneath in the twilight gloom,
Nymph-like circles of maidens dance;
While the sprays of the budding grape
Hide ’mid shadowy vine leaves.
Ruthless Eros doth disregard
Spring’s sweet tokens and hints of peace.
Down he rushes like winter blasts —
Thracian storms with their searing flash —
Aphrodite’s resistless son
Falls on me in his fury and fire —
Racks my heart with his torments.”
Claudia ceased; the accompaniment on the cithara died away in soft full chords. Caius Aurelius sat spellbound. Never had he dreamed of the daughters of the fever-tossed metropolis as so simple, so natural, so genuine and genial. The strain almost resembled, in coy tenderness, those northern love-songs which he had been wont to hear from the lips of Gothic and Ampsivaric maidens. In those, to be sure, a vein of rebellion and melancholy ran through the melody and pierced through the charm, while in this all was perfect harmony, exquisite contentment – an intoxicating concord of joy, youth and love. In this he heard the echo of the smiling waves below, of the glistening leaves, and of heart-stirring spring airs.
“A second Sappho!” exclaimed Herodianus, as his master sat speechless. “I can but compare the sweetness of that voice with the luscious Falernian we drank at dinner. That was a nectar worthy of the gods! Besides, indeed – the Hispanian wine – out there, what do you call the place – you know, my lord – what is the name of it – that was delicious too – and seen against the light… What was I saying? I had an aunt, she sang too to the cithara – yes she did, why not? – She was free to do that, of course, quite free to do it – and a very good woman too was old Pris – Pris – Priscilla. Only she could not endure, that any one should talk when she blew the cithara…”
Octavia was frowning; Aurelius had turned crimson and nodded to his Gothic slave, who was standing aside under the arcade. Magus quietly came up to Herodianus and whispered a few words in his ear.
“That shows a profound, a remarkably profound power of observation!” cried the freedman excitedly. “In fact, what does music prove after all? I play the water-organ,89 and – hold me up, Magus. This floor is remarkably slippery for a respectable cavaedium. It might be paved with eels or polished mirrors!”
“You are a very good fellow,” muttered the Goth as he led him slowly away, “but you carry it a little too far…”
“What? Ah! you have no sense of the sublime? You are not a philosopher, but only a – a – a – a man. But, by Pluto! you need not break my arm. I – take care of that, that… Will you let go, you misbegotten villain!”
But the Goth was not to be got rid of; he held the drunken man like an iron vice and so guided him in a tolerably straight course. When they disappeared in the corridor leading to the atrium, Aurelius was anxious to apologize for him, but Octavia laughed it off.
“We are at Baiae,"90 she said, “and Baiae is famous for its worship of Bacchus.”
“It is impossible to be vexed with him,” added Lucilia; “he is so exceedingly funny, and has such a confiding twinkle in his eyes.”
“I am only annoyed,” said Aurelius, “that he should have disturbed us at so delicious a moment. Indeed madam, your voice is enchantment; and what a heavenly melody! who is the musician who composed it?”
“You make me blush,” said Claudia: “I myself put the words to music, and I am delighted that you should like it. Quintus thought it detestable.”
“Nay, nay – ” murmured Quintus.
“Yes indeed!” said the saucy Lucilia. “It was too soft and womanly for your taste.”
“You are misrepresenting me; I only said, that the air did not suit the words. It is a man who is here complaining of the torments of love, while what Claudia sings does not sound like a Thracian winter storm, but like the lamentations of a love-lorn maiden.”
“Nonsense!” laughed Lucilia. “Love is love, just as air is air! whether you breathe it or I, it is all the same.”
“But with this difference, that rather more of it is needed to fill my lungs than yours. However, for aught I care the song is perfect.”
“You are most kind, to be sure! And you may thank the gods that you have nothing to do but to listen to it. I have no doubt, that at the drinking-bouts of some of your boon companions the songs have a more Titanic ring and roar.”
“You little hypocrite! Do you want to play the part now of a female Cato? Why, how often have you confessed to me, that you would give your eyes to be one of such a party if only it were permissible!”
“Mother,” said Lucilia, “do not allow him to make a laughing stock of me in this heartless way. ‘If only I were a man,’ you mean, not ‘if it were permissible.’”
“Very good!” replied Quintus.
Caius Aurelius now expressed a wish to hear Claudia sing a Latin song, and she selected one of which the words were by the much-admired poet Statius,91 who at that time was, with Martial,92 the reigning favorite in the taste of the highest circles. With this the stranger seemed equally delighted.
When Claudia had ended, he himself seized the instrument and plectrum, and with eager enthusiasm in a full, strong voice sang a battle-song. The powerful tones rang through the evening silence like the rush of a mountain torrent. His hearers saw in fancy the swaying struggle – the captain of the legion is in the thick of the fray – “Comrades,” cries one of the combatants, “our chief is in danger! Help! help for our chief! – One last furious onslaught, and the battle is won!”
The two girls shrank closer to each other.
As the notes slowly died away, a figure appeared high above them in the moonlight, leaning over the parapet of the upper story.
“By the gods! my lord!” cried Herodianus, “I am coming! – If only I knew where Magus has hidden my sword! Hold your own, stand steady, and we will beat them yet!”
The party burst out laughing.
“Go to bed, Herodianus!”
Ibycus of Rhegion in Lower Italy (B.C. 528). A distinguished lyric poet, who is the hero of a well-known poem by Schiller. Few of his numerous lyric compositions remain to us. We here give a translation of Emanuel Geibel’s admirable German version of his Spring-greeting. (
Quince. Cydonia is the modern botanical name of the quince, called by the Greeks and Romans the Cydonian apple, after Cydonia, in the island of Crete.
Water-organ (
Baiae was considered from ancient times friendly to Bacchus. (Sen.
Statius. – P. Papinius Statius, born in Naples, A.D. 45, and died A.D. 96, was a lyric and epic poet, often artificial in style, but possessed of a brilliant imagination. His principal works are the epic poem “Thebais,” in which he treats of the battle of the sons of Oedipus before Thebes, and the Silvae (woods), a collection of short poems. He also commenced an epic poem "Achilleis.”
Martial. (See note 100, vol. 1.)