The Death of the Gods: (Christ and Antichrist, 1 of 3)Merezhkovsky, Dmitry Sergeyevich
History
The Death of the Gods: (Christ and Antichrist, 1 of 3)
Merezhkovsky, Dmitry Sergeyevich
Biographical fiction; Julian, Emperor of Rome, 331-363 -- Fiction; Rome -- History -- Julian, 361-363 -- Fiction
Sailing and rowing amongst the islands of the Archipelago, the vessel
was now making for Crete, where she was to take on board a cargo of
wool, and disembark some ecclesiastics, bound for a Cretan monastery.
Old men, seated on the fore-deck, were passing the days in pious
gossip, prayer, or in their monkish avocation of weaving baskets from
slips of palm-leaf. In the stern, under a light violet awning, other
passengers were installed, with whom the monks, considering them
Pagans, were anxious to have nothing to do. These were Anatolius,
Ammianus Marcellinus, and Arsinoë.
The evening was calm. The rowers--slaves from Alexandria--heaved and
lowered their long oars to the beat of an ancient chant. The sun was
sinking amid ruddy clouds. Anatolius was gazing at the waves, thinking
over the poet's phrase, _the many-laughtered sea_.
After the hustling, the heat and dust of the streets of Antioch, after
the smoke of torches, and the fiery breath of the rabble, he was
lulling his mind with the thought: "Thou of the many laughters, take
me and cleanse my soul!"
Isles of Calypso, Amorgos, Astypalæa, Thera, arose like visions, now
lifting themselves from the sea, now melting away, as if, all round
the vessel, the Oceanides were still leading their eternal dance. In
those waters Anatolius felt himself far back in the days of the
Odyssey.
His companions did not disturb his meditations, for each was absorbed
in work. Ammianus Marcellinus was putting in order his memoirs of the
Persian campaign and the life of the Emperor Julian; and in the
evenings he used to read the remarkable work of the Christian master,
Clement of Alexandria, entitled, _Stromata: The Patchwork Quilt_.
Arsinoë was making models in wax for a large marble statue. It was the
figure of some Olympian deity, the face of which wore an expression of
super human sadness. Anatolius wished, but hesitated, to ask her
whether it represented Dionysus or Christ.
The artist had long ago abandoned the robes of a nun. Pious folk had
turned from her with horror, and called her the recreant; but her
name, and the recollection of generous gifts formerly made to
Christian monasteries, safeguarded her from persecution. Of her great
fortune but a small portion remained, just enough to secure
independence; and on the shores of the Gulf of Naples, not far from
Baiæ, she still owned a small estate, and the same villa in which
Myrrha had passed her last days. Thither Arsinoë, Anatolius, and
Marcellinus had agreed to retire after the stormy troubles of recent
years, to pass their lives in peace as servants of the Muses.
Public-domain text, read in full here on John Shaqi.
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