The Temptation of St. Antony; Or, A Revelation of the Soul. Gustave Flaubert
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 multitude, 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 daïs, 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.
"In the cities of Antioch, Ephesus, and Alexandria, the temples have been pillaged, and the statues of the gods 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 passion. "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 Nicæa. "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 shells, driven by coachmen wearing a kind of many-coloured cuirass 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.
Antony is deafened by the murmuring of voices. Above and below he perceives nothing but painted faces, motley garments, and plates of worked gold; and the sand of the arena, perfectly white, shines like a mirror.
The Emperor converses with him, confides to him some important secrets, informs him of the assassination of his own son Crispus, and goes so far as to consult Antony about his health.
Meanwhile, Antony perceives slaves at the end of the stalls. They are the fathers of the Council of Nicæa, in rags, abject. The martyr Paphnutius is brushing a horse's mane; Theophilus is scrubbing the legs of another; John is painting the hoofs of a third; while Alexander is picking up their droppings in a basket.
Antony passes among them. They salaam to him, beg of him to intercede for them, and kiss his hands. The entire crowd hoots at them; and he rejoices in their degradation immeasurably. And now he has become one of the great ones of the Court, the Emperor's confidant, first minister! Constantine places the diadem on his forehead, and Antony keeps it, as if this honour were quite natural to him.
And presently is disclosed, beneath the darkness, an immense hall, lighted up by candelabra of gold.
Columns, half lost in shadow so tall are they, run in a row behind the tables, which stretch to the horizon, where appear, in a luminous haze, staircases placed one above another, successions of archways, colossi, towers; and, in the background, an unoccupied wing of the palace, which cedars overtop, making blacker masses above the darkness.
The guests, crowned with violets, lean upon their elbows on low-lying couches. Beside each one are placed amphorae, from which they pour out wine; and, at the very end, by himself, adorned with the tiara