The Flourishing of Romance and the Rise of Allegory: (Periods of European Literature, vol. II)Saintsbury, George
History
The Flourishing of Romance and the Rise of Allegory: (Periods of European Literature, vol. II)
Saintsbury, George
Allegory; Literature, Medieval -- History and criticism; Romances -- History and criticism
Still the direct sources of knowledge in the West were undoubtedly
Latin versions of the Pseudo-Callisthenes, one of which, that ascribed
to Julius Valerius, appears, as has been said, to have existed before
the middle of the fourth century, while the other, sometimes called
the _Historia de Proeliis_, is later by a good deal. Later still,
and representing traditions necessarily different from and later than
those of the Callisthenes book, was the source of the most marvellous
elements in the Alexandreids of the twelfth and subsequent centuries,
the _Iter ad Paradisum_, in which the conquerer was represented as
having journeyed to the Earthly Paradise itself. After this, connected
as it was with dim Oriental fables as to his approach to the unknown
regions north-east of the Caucasus, and his making gates to shut out
Gog, there could be no further difficulty, and all accretions as to
his descent into the sea in a glass cage and so forth came easily.
[Sidenote: _Their story._]
Nor could they, indeed, be said to be so very different in nature from
at least the opening part of the Callisthenes version itself. This
starts with what seems to be the capital and oldest part of the whole
fabulous story, a very circumstantial account of the fictitious
circumstances of the birth of Alexander. According to this, which is
pretty constantly preserved in all the fabulous versions of the legend
(a proof of its age), Nectanabus, an Egyptian king and magician,
having ascertained by sortilege (a sort of _kriegs-spiel_ on a basin
of water with wax ships) that his throne is doomed, quits the country
and goes to Macedonia. There he falls in love with Olympias, and
during the absence of her husband succeeds by magic arts not only in
persuading her that the god Ammon is her lover, but to some extent in
persuading King Philip to believe this, and to accept the
consequences, the part of Ammon having been played of course by
Nectanabus himself. Bucephalus makes a considerable figure in the
story, and Nectanabus devotes much attention to Alexander's
education--care which the Prince repays (for no very discernible
reason) by pushing his father and tutor into a pit, where the sorcerer
dies after revealing the relationship. The rest of the story is mainly
occupied by the wars with Darius and Porus (the former a good deal
travestied), and two important parts, or rather appendices, of it are
epistolary communications between Aristotle and Alexander on the one
hand, Alexander and Dindymus (Dandamis, &c.), King of the Brahmins, on
the other. After his Indian adventures the king is poisoned by
Cassander or at his instigation.
[Sidenote: _Its developments._]
Public-domain text, read in full here on John Shaqi.
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