Ch. IV] HIS OWN ESCAPE 155 my recovering lost ground. I admit I lost my own horse, and that this was taken in its place from a robber, nor do I wish to keep it if you declare it is yours.' His answer was: 'All my servants can bear witness it's mine, and for a long time they have suspected that it was stolen away, and if you claim it you cannot escape suspicion of connivance at least; but when you have given up the horse, that ends the matter for me, and you can go about your business.' The servants, with threats and rude gestures, backed their master up. So I dismounted with good grace, and because it was late I remained for the night in the village. Afterwards, wandering hither and thither, I heard further about you, and that your father had been taken to Italy. At that time I was near Palermo, penniless, and not knowing what to do for the best, I determined to make for that city, thinking I could more easily get a little money in so important a place, and in that way could reach Italy or my own fatherland. I freely forgive any trouble you may have caused me, or injury, and I congratulate you very much on your father's escape. It only remains for you to wipe away the stain of so many crimes by true penitence, and by asking complete pardon from God." Alcimus listened with feelings of deepest gratitude, and at Jacob's invitation remained as their guest. BOOK II WHI CHAPTER I A PHILOSOPHICAL GARDEN PARTY WHILE the guests were standing by the window, the beauty of the garden beneath so attracted and charmed them that they went down at once to enjoy a bracing walk in the open air and to get rid of the stiffness which follows a long journey. A small door at the back of the house opened into a portico, often used as a summer-house, constructed of open lattice work on the sides adjoining the garden, and on the wall behind was executed in bas-relief the figures of a venerable old man and a boy climbing a hill together. The man bore a sacrificial knife and a lighted torch, the boy carried on his shoulders a bundle of faggots, and at the foot of the mount their asses, saddled, and their bridles thrown over their necks, were peacefully grazing. Not far off were two attendants raising their eyes in the direction of the hill-top-so well done, indeed, that you would have thought they were real men gazing on the scene. Some verses engraved on a vacant space explained the device, and described Abraham's soliloquy while ascending Mount Moriah to sacrifice his son.1 In the Greek romances of the Byzantine period the authors were very fond of giving descriptions of paintings and sculptures in gardens and elsewhere. In Hysmine and Hysmenias we constantly come across detailed accounts of allegorical pictures in the temples and ABRAHAM APPROACHING MOUNT MORIAH1 To me reluctant now the third long day Alone with him! Ah, how much more alone summer-house of the garden of Sosthenes, and the older romance Cleitophon and Leucippe had the same peculiarity. Milton, who read everything and, often no doubt unconsciously, reproduced his impressions, may have conveyed this literary artifice from Greek fiction, just as the curious description of the goblets (pocula) of Mansus, in the Epitaphium Damonis, points back to his reading of the earlier Alexandrian pastoral poets. 1 Milton mentions Abraham from Morea, or, Isaac Redeemed, as the title of a Scriptural drama he was meditating upon. He draws up a short summary of it in his Trinity College MS., p. 39. It has been supposed that he was led to the subject by Beza's tragedy of Abraham Sacrificing, which Beza first wrote in French, and which was soon afterwards turned into Latin iambics by Joannes Jacomotus, and published at Geneva in 1597, 4to. Milton most likely had read both these pieces (see Mitford's Life of Milton, p. cix.) Certainly the iambics in Nova Solyma, if they are Milton's, bear out the supposition, for although the lines above translated do not cover so much ground as the much longer drama of Beza and Jacomotus, yet they follow the Abrahamus Sacrificans very closely, and, so to speak, form a summary of the more diffuse iambics of Jacomotus. The part in Abrahamus Sacrificans corresponding to the little poem of Nova Solyma begins thus: Jam tertium nobis redonat Sol diem Ter mensus arduos polorum fornices Flammante curru, etc. While our poem above begins: Beza expands the Jam me morantem tertius necat dies; history at considerable length, but the arguments of Abraham are exactly similar to those in our text. These coincidences seem to point to Milton, but there are others stronger still, for Sylvester's Du Bartas has also an account of Abraham and Isaac where there is far greater similarity, and Du Bartas was young Milton's favourite author. In fact, there seems little doubt that in these Latin iambics Milton has reproduced (unconsciously) his various readings in a subject that had considerably interested him when young. Bereft of life's great joy! See, even now That in my seed should all the world be blessed On ocean's vast illimitable shore. Now, one fell stroke, and all these millions fall- Must I, too, see him on the altar bound, With his young life's blood oozing from his throat, His reeking, gory entrails dragged apart (Oh, monstrous thought!) by his own father's hands? Nor will that end the deed, for custom holds That in this sad and solemn sacrifice The victim's ashes must complete the rite.' 159 Sylvester's Du Bartas has several parallel passages. For example That I should broil his flesh, and in the flame Behold his bowels crackling in the same; 'Tis horrible to think and hellish too, Cruell to wish, impossible to doo. Now he commands me his dear life to spill, And in the cradle my health's Hope to kill, To drown the whole World in the blood of him, And at one stroak, upon his fruitful stem To strike off all the heads of all the flock Du Bartas, ed. 1621, p. 339. |