Quo Vadis: A Narrative of the Time of Nero by Henryk Sienkiewicz (nonfiction book recommendations .txt) 📕

had to yield. All faces assumed then an expression of gratitude, and all eyes were turned to him; but he gave command first to announce to Poppæa that he would sing; he informed those present that she had not come to the feast, because she did not feel in good health; but since no medicine gave her such relief as his singing, he would be sorry to deprive her of this opportunity.

In fact, Poppæa came soon. Hitherto she had ruled Nero as if he had been her subject, but she knew that when his vanity as a singer, a charioteer, or a poet was involved, there was danger in provoking it. She came in therefore, beautiful as a divinity, arrayed, like Nero, in robes of amethyst color, and wearing a necklace of immense pearls, stolen on a time from Massinissa; she was golden-haired, sweet, and though divorced from two husbands she had the face and the look of a virgin.

She was greeted with shouts, and the appellation “Divine Augusta.” Lygia had never seen any one so beautiful, and she could not believe her own eyes, for she knew that Poppæa Sabina was one of the vilest women on earth. She knew from Pomponia that she had brought Cæsar to murder his mother and his wife; she knew her from accounts given by Aulus’s guests and the servants; she had heard that statues to her had been thrown down at night in the city; she had heard of inscriptions, the writers of which had been condemned to severest punishment, but which still appeared on the city walls every morning. Yet at sight of the notorious Poppæa, considered by the confessors of Christ as crime and evil incarnate, it seemed to her that angels or spirits of heaven might look like her. She was unable simply to take her eyes from Poppæa; and from her lips was wrested involuntarily the question,—“Ah, Marcus, can it be possible?”

But he, roused by wine, and as it were impatient that so many things had scattered her attention, and taken her from him and his words, said,—“Yes, she is beautiful, but thou art a hundred times more beautiful. Thou dost not know thyself, or thou wouldst be in love with thyself, as Narcissus was; she bathes in asses’ milk, but Venus bathed thee in her own milk. Thou dost not know thyself, Ocelle mi! Look not at her. Turn thy eyes to me, Ocelle mi! Touch this goblet of wine with thy lips, and I will put mine on the same place.”

And he pushed up nearer and nearer, and she began to withdraw toward Acte. But at that moment silence was enjoined because Cæsar had risen. The singer Diodorus had given him a lute of the kind called delta; another singer named Terpnos, who had to accompany him in playing, approached with an instrument called the nablium. Nero, resting the delta on the table, raised his eyes; and for a moment silence reigned in the triclinium, broken only by a rustle, as roses fell from the ceiling.

Then he began to chant, or rather to declaim, singingly and rhythmically, to the accompaniment of the two lutes, his own hymn to Venus. Neither the voice, though somewhat injured, nor the verses were bad, so that reproaches of conscience took possession of Lygia again; for the hymn, though glorifying the impure pagan Venus, seemed to her more than beautiful, and Cæsar himself, with a laurel crown on his head and uplifted eyes, nobler, much less terrible, and less repulsive than at the beginning of the feast.

The guests answered with a thunder of applause. Cries of, “Oh, heavenly voice!” were heard round about; some of the women raised their hands, and held them thus, as a sign of delight, even after the end of the hymn; others wiped their tearful eyes; the whole hall was seething as in a beehive. Poppæa, bending her golden-haired head, raised Nero’s hand to her lips, and held it long in silence. Pythagoras, a young Greek of marvellous beauty,—the same to whom later the half-insane Nero commanded the flamens to marry him, with the observance of all rites,—knelt now at his feet.

But Nero looked carefully at Petronius, whose praises were desired by him always before every other, and who said,—“If it is a question of music, Orpheus must at this moment be as yellow from envy as Lucan, who is here present; and as to the verses, I am sorry that they are not worse; if they were I might find proper words to praise them.”

Lucan did not take the mention of envy evil of him; on the contrary, he looked at Petronius with gratitude, and, affecting ill-humor, began to murmur,—“Cursed fate, which commanded me to live contemporary with such a poet. One might have a place in the memory of man, and on Parnassus; but now one will quench, as a candle in sunlight.”

Petronius, who had an amazing memory, began to repeat extracts from the hymn and cite single verses, exalt, and analyze the more beautiful expressions. Lucan, forgetting as it were his envy before the charm of the poetry, joined his ecstasy to Petronius’s words. On Nero’s face were reflected delight and fathomless vanity, not only nearing stupidity, but reaching it perfectly. He indicated to them verses which he considered the most beautiful; and finally he began to comfort Lucan, and tell him not to lose heart, for though whatever a man is born that he is, the honor which people give Jove does not exclude respect for other divinities.

Then he rose to conduct Poppæa, who, being really in ill health, wished to withdraw. But he commanded the guests who remained to occupy their places anew, and promised to return, In fact, he returned a little later, to stupefy himself with the smoke of incense, and gaze at further spectacles which he himself, Petronius, or Tigellinus had prepared for the feast.

Again verses were read or dialogues listened to in which extravagance took the place of wit. After that Paris, the celebrated mime, represented the adventures of Io, the daughter of Inachus. To the guests, and especially to Lygia, unaccustomed to such scenes, it seemed that they were gazing at miracles and enchantment. Paris, with motions of his hands and body, was able to express things apparently impossible in a dance. His hands dimmed the air, creating a cloud, bright, living, quivering, voluptuous, surrounding the half-fainting form of a maiden shaken by a spasm of delight. That was a picture, not a dance; an expressive picture, disclosing the secrets of love, bewitching and shameless; and when at the end of it Corybantes rushed in and began a bacchic dance with girls of Syria to the sounds of cithara, lutes, drums, and cymbals,—a dance filled with wild shouts and still wilder license,—it seemed to Lygia that living fire was burning her, and that a thunderbolt ought to strike that house, or the ceiling fall on the heads of those feasting there.

But from the golden net fastened to the ceiling only roses fell, and the now half-drunken Vinicius said to her,—“I saw thee in the house of Aulus, at the fountain. It was daylight, and thou didst think that no one saw thee; but I saw thee. And I see thee thus yet, though that peplus hides thee. Cast aside the peplus, like Crispinilla. See, gods and men seek love. There is nothing in the world but love. Lay thy head on my breast and close thy eyes.”

The pulse beat oppressively in Lygia’s hands and temples. A feeling seized her that she was flying into some abyss, and that Vinicius, who before had seemed so near and so trustworthy, instead of saving was drawing her toward it. And she felt sorry for him. She began again to dread the feast and him and herself. Some voice, like that of Pomponia, was calling yet in her soul, “O Lygia, save thyself!” But something told her also that it was