Kitabı oku: «The Argosy. Vol. 51, No. 3, March, 1891», sayfa 3

Various

Yazı tipi:

The first group of figures was 253.12/4. Turning to page two hundred and fifty-three of the Confessions, and counting from the top of that page, he found that the fourth word of the twelfth line gave him you. The second clump of figures was 59.25/1. The first word of the twenty-fifth line of page fifty-nine gave him will. The third clump of figures gave him have, and the fourth gathered. These four words, ranged in order, read: You will have gathered. Such a sequence of words could not arise from mere accident. When he had got thus far Ducie knew that Platzoff's secret would soon be a secret no longer, that in a very little while the heart of the mystery would be laid bare.

Encouraged by his success, Ducie went to work with renewed vigour, and before the clock struck one he had completed the first sentence of the MS., which ran as under:—

You will have gathered from the foregoing note, my dear Carlo, that I have something of importance to relate to you—something that I am desirous of keeping a secret from everyone but yourself.

As his friend Bexell surmised, Ducie found that the groups of figures distinguished from the rest by two horizontal lines, one above and one below, as thus 58.7 14.29 368.1 209.18 43.11, were the valeurs of some proper name or other word for which there was no equivalent in the book. Such words had to be spelt out letter by letter in the same way that complete words were picked out in other cases. Thus the marked figures as above, when taken letter by letter, made up the word Carlo—a name to which there was nothing similar in the Confessions.

It had been broad daylight for two hours before Captain Ducie grew tired of his task and went to bed. He went on with it next night, and every night till it was finished. It was a task that deepened in interest as he proceeded with it. It grew upon him to such a degree that when near the close he feigned illness, and kept his room for a whole day, so that he might the sooner get it done.

If Captain Ducie had ever amused himself with trying to imagine the nature of the secret which he had now succeeded in unravelling, the reality must have been very different from his expectations. One gigantic thought, whose coming made him breathless for a moment, took possession of him, as a demon might have done, almost before he had finished his task, dwarfing all other thoughts by its magnitude. It was a thought that found relief in six words only:

"It must and shall be mine!"

CHAPTER XIII

M. PLATZOFF'S SECRET—CAPTAIN DUCIE'S TRANSLATION OF M. PAUL PLATZOFF'S MS

"You will have gathered from the foregoing note, my dear Carlo, that I have something of importance to relate to you; something that I am desirous of keeping a secret from everyone but yourself. From the same source you will have learned where to find the key by which alone the lock of my secret can be opened.

"I was induced by two reasons to make use of The Confessions of Parthenio the Mystic as the basis of my cryptographic communication. In the first place, each of us has in his possession a copy of the same edition of that rare book, viz., the Amsterdam edition of 1698. In the second place, there are not more than half-a-dozen copies of the same work in England; so that if this document were by mischance to fall into the hands of some person other than him for whom it is intended, such person, even if sufficiently acute to guess at the means by which alone the cryptogram can be read, would still find it a matter of some difficulty to obtain possession of the requisite key.

"I address these lines to you, my dear Lampini, not because you and I have been friends from youth, not because we have shared many dangers and hardship together, not because we have both kept the same great object in view throughout life; in fine, I do not address them to you as a private individual, but in your official capacity as Secretary of the Secret Society of San Marco.

"You know how deeply I have had the objects of the Society at heart ever since, twenty-five years ago, I was deemed worthy of being made one of the initiated. You know how earnestly I have striven to forward its views both in England and abroad; that through my connection with it I am suspect at nearly every capital on the Continent—that I could not enter some of them except at the risk of my life; that health, time, money—all have been ungrudgingly given for the furtherance of the same great end.

"Heaven knows I am not penning these lines in any self-gratulatory frame of mind—I who write from this happy haven among the hills. Self-gratulation would ill-become such as me. Where I have given gold, others have given their blood. Where I have given time and labour, others have undergone long and cruel imprisonments, have been separated from all they loved on earth, and have seen the best years of their life fade hopelessly out between the four walls of a living tomb. What are my petty sacrifices to such as these?

"But not to everyone is granted the happiness of cementing a great cause with his heart's blood. We must each work in the appointed way—some of us in the full light of day; others in obscure corners, at work that can never be seen, putting in the stones of the foundation painfully one by one, but never destined to share in the glory of building the roof of the edifice.

"Sometimes, in your letters to me, especially when those letters contained any disheartening news, I have detected a tone of despondency, a latent doubt as to whether the cause to which both of us are so firmly bound was really progressing; whether it was not fighting against hope to continue the battle any longer; whether it would not be wiser to retreat to the few caves and fastnesses that were left us, and leaving Liberty still languishing in chains, and Tyranny still rampant in the high places of the world, to wage no longer a useless war against the irresistible Fates. Happily, with you such moods were of the rarest: you would have been more than mortal had not your soul at times sat in sackcloth and ashes.

"Such seasons of doubt and gloom have come to me also; but I know that in our secret hearts we both of us have felt that there was a self-sustaining power, a latent vitality in our cause that nothing could crush out utterly; that the more it was trampled on the more dangerous it would become, and the faster it would spread. Certain great events that have happened during the last twelve months have done more towards the propagation of the ideas we have so much at heart than in our wildest dreams we dare have hoped only three short years ago. Gravely considering these things, it seems to me that the time cannot be far distant when the contingent plan of operations as agreed upon by the Central Committee two years ago, to which I gave in my adhesion on the occasion of your last visit to Bon Repos, will have to replace the scheme at present in operation, and will become the great lever in carrying out the Society's policy in time to come.

"When the time shall be ripe, but one difficulty will stand in the way of carrying out the proposed contingent plan. That difficulty will arise from the fact that the Society's present expenses will then be trebled or quadrupled, and that a vast accession to the funds at command of the Committee for the time being will thus be imperatively necessitated. As a step, as a something towards obviating whatever difficulty may arise from lack of funds, I have devised to you, as Secretary of the Society, the whole of my personal estate, amounting in the aggregate to close upon fifteen thousand pounds. This property will not accrue to you till my decease; but that event will happen no very long time hence. My will, duly signed and witnessed, will be found in the hands of my lawyer.

"But it was not merely to advise you of this bequest that I have sought such a roundabout mode of communication. I have a greater and a much more important bequest to make to the Society, through you, its accredited agent. I have in my possession a green Diamond, the estimated value of which is a hundred and fifty thousand pounds. This precious gem I shall leave to you, by you to be sold after my death, the proceeds of the sale to be added to the other funded property of the Society of San Marco.

"The Diamond in question became mine during my travels in India many years ago. I believe my estimate of its value to be a correct one. Except my confidential servant, Cleon (whom you will remember), no one is aware that I have in my possession a stone of such immense value. I have never trusted it out of my own keeping, but have always retained it by me, in a safe place, where I could lay my hands upon it at a moment's notice. But not even to Cleon have I entrusted the secret of the hiding-place, incorruptibly faithful as I believe him to be. It is a secret locked in my own bosom alone.

"You will now understand why I have resorted to cryptography in bringing these facts under your notice. It is intended that these lines shall not be read by you till after my decease. Had I adopted the ordinary mode of communicating with you, it seemed to me not impossible that some other eye than the one for which it was intended might peruse this statement before it reached you, and that through some foul play or underhand deed the Diamond might never come into your possession.

"It only remains for me now to point out where and by what means the Diamond may be found. It is hidden away in—"

Here the MS., never completed, ended abruptly.

(To be continued.)

RONDEAU

In vain we call to youth, "Return!"
In vain to fires, "Waste not, yet burn!"
In vain to all life's happy things,
"Give the days song—give the hours wings!
Let us lose naught—yet always learn!"

The tongue must lose youth, as it sings—
New knowledge still new sorrow brings:
Oh, sweet lost youth, for which we yearn
In vain!

But even this hour from which ye turn—
Impatient—o'er its funeral urn
Your soul with mad importunings
Will cry, "Come back, lost hour!" So rings
Ever the cry of those who yearn
In vain.

E. Nesbit.

SAPPHO

When the Akropolis at Athens bore its beautiful burden entire and perfect, one miniature temple stood dedicated to wingless Victory, in token that the city which had defied and driven back the barbarian should never know defeat.

But only a few decades had passed away when that temple stood as a mute and piteous witness that Athens had been laid low in the dust, and that Victory, though she could never weave a garland for Hellenes who had conquered Hellenes, was no longer a living power upon her chosen citadel. By the eighteenth century the shrine had altogether disappeared: the site only could be traced, and four slabs from its frieze were discovered close at hand, built into the walls of a Turkish powder magazine; but not another fragment could be found.

The descriptions of Pausanias and of one or two later travellers were all that remained to tell us of the whole; of its details we might form some faint conception from those frieze marbles, rescued by Lord Elgin and now in the British museum.

But we are not left to restore the temple of wingless Victory in our imagination merely, aided by description and by fragment. It stands to-day almost complete except for its shattered sculptures, placed upon its original site, and looking, among the ruins of the grander buildings around it, like a beautiful child who gazes for the first time on sorrow which it feels but cannot share. The blocks of marble taken from its walls and columns had been embedded in a mass of masonry, and when Greece was once more free, and all traces of Turkish occupation were being cleared from the Akropolis, these were carefully put together with the result that we have described.

Like this in part, but unhappily only in part, is the story of the poems of Sappho. She wrote, as the architect planned, for all time. We have one brief fragment, proud, but pathetic in its pride, that tells us she knew she was meant not altogether to die:

"I say that there will be remembrance of us hereafter,"

and again with lofty scorn she addresses some other woman:

"But thou shalt lie dead, nor shall there ever be remembrance of thee then or in the time to come, for thou hast no share in the roses of Pieria; but thou shalt wander unseen even in the halls of Hades, flitting forth amid the shades of the dead."

The words sound in our ears with a melancholy close as we remember how hopelessly lost is almost every one of those poems that all Hellas loved and praised as long as the love and praise of Hellas was of any worth. Remembrance among men was, to her, the Muses' crowning gift; that which should distinguish her from ordinary mortals, even beyond the grave, and grant her new life in death. But it was only for her songs' sake that she cared to live; she looked for immortality only because she felt that they were too fair to die.

It was almost by accident that the name of Sappho was first associated with the slanders that have ever since clung round it.

By the close of the fourth century, B.C., Athenian comedy had degenerated into brilliant and witty and scandalous farce, in many essentials resembling the new Comedy of the Restoration in England. But the vitiated Athenian palate required a seasoning which did not commend itself to English taste; it was necessary that the shafts of the writer's wit should strike some real and well-known personage.

Politics, which had furnished so many subjects and so many characters to Aristophanes, were now a barren field, and public life at Athens in those days was nothing if not political. Hence arose the practice of introducing great names of bygone days into these comedies, in all kinds of ridiculous and disgraceful surroundings.

There was a piquancy about these libels on the dead which we cannot understand, but which we may contrast with the less dishonourable process known to modern historians as "whitewashing." Just as Tiberius and Henry VIII. have been rescued from the infamy of ages, and placed among us upon pedestals of honour from which it will be difficult hereafter wholly to dislodge them, many honoured names were taken by these iconoclasts of the Middle Comedy and hurled down to such infamy as they alone could bestow.

Sappho stood out prominently as the one supreme poetess of Hellas, and the poets, if so they must be called, of the decline of Greek dramatic art were never weary of loading her name with every most disgraceful reproach they could invent. It is hardly worth while to discuss a subject so often discussed with so little profit, or it would be easy to show that these gentlemen, Ameipsias, Antiphanes, Diphilus, and the rest, were indebted solely to their imagination for their facts.

It would be as fair to take the picture of Sokrates in the "Clouds" of Aristophanes for a faithful representation of the philosopher as it would be to take the Sappho of the comic stage for the true Sappho. Indeed, it would be fairer; for the Sokrates of the "Clouds" is an absurd caricature, but, like every good caricature, it bore some resemblance to the original.

Aristophanes and his audience were familiar with the figure of Sokrates as he went in and out amongst them; they knew his character and his manner of life; and, though the poet ventured to pervert the teaching and to ridicule the habits of a well-known citizen, he would not venture to put before the people a representation in which there was not a grain of truth.

But Sappho had been dead for two hundred years: the Athenian populace knew little of her except that she had been great and that she had been unhappy; and the descendants of the men who had thronged the theatre to see the Œdipus of Sophokles, sickening with that strange disease which makes the soul crave to batten on the fruits that are its poison, found a rare feast furnished forth in the imaginary history of the one great woman of their race.

The centuries went on, and Sappho came before the tribunal of the early Christian Church.

The chief witnesses against her were these same comic poets, who were themselves prisoners at the bar; and her judges, with the ruthless impartiality of undiscriminating zeal, condemned the whole of her works, as well as those of her accusers, to be destroyed in the flames.

Thus her works have almost totally perished: the fragments that are extant give us only the faintest hints of the grace and sweetness that we have for ever lost.

The mode of the preservation of these remains is half-pathetic, half-grotesque. We have one complete poem and a considerable portion of another; the rest are the merest fragments—now two or three lines, now two or three words, often unintelligible without their context. We have imitations and translations by Catullus and by Horace; but even Catullus has conspicuously failed to reproduce her. As Mr. Swinburne has candidly and very truly said: "No man can come close to her."

No; all that we possess of Sappho is gleaned from the dictionary, the geography, the grammar and the archæological treatise; from a host of worthy authors who are valued now chiefly for these quotations which they have enshrined. Here a painful scholar of Alexandria has preserved the phrase—

"The golden sandalled dawn but now has (waked) me,"

to show how Sappho employed the adverb. Apollonius, to prove that the Æolic dialect had a particular form for the genitive case of the first personal pronoun, has treasured up two sad and significant utterances,

"But thou forgettest me!"

and

"Or else thou lovest another than me,"

The Æolic genitive has saved for us another of these sorrow-laden sentences which Mr. Swinburne has amplified in some beautiful but too wordy lines. Sappho only says

"I am full weary of Gorgo."

—A few of these fragments tell us of the poet herself.

"I have a daughter like golden flowers, Kleis my beloved, for whom (I would take) not all Sydia...."

and one beautiful line which we can recognise in the translation by Catullus,

"Like a child after its mother, I—"

The touches by which she has painted nature are so fine and delicate that the only poet of our time who has a right to attempt to translate them has declared it to be "the one impossible task." Our English does, indeed, sound harsh and unmusical as we try to represent her words; yet what a picture is here—

"And round about the cold (stream) murmurs through the apple-orchards, and slumber is shed down from trembling leaves."

She makes us hear the wind upon the mountains falling on the oaks; she makes us feel the sun's radiance and beauty, as it glows through her verses; she makes us love with her the birds and the flowers that she loved. She has a womanly pity not only for the dying doves when—

"Their hearts grew cold and they dropped their wings,"

but for the hyacinth which the shepherds trample under foot upon the hillside. The golden pulse growing on the shore, the roses, the garlands of dill, are yet fragrant for us; we can even now catch the sweet tones of the "Spring's angel," as she calls it, the nightingale that sang in Lesbos ages and ages ago. One beautiful fragment has been woven with another into a few perfect lines by Dante Gabriel Rossetti; but it shall be given here as it stands. It describes a young, unwedded maiden:

"As the sweet apple blushes on the end of the bough, the very end of the bough which the gatherers overlooked—nay, overlooked not, but could not reach."

The Ode to Aphrodite and the fragment to Anaktoria are too often found in translations to be quoted here. Indeed, it is of but little use to quote; for Sappho can be known only in her own language and by those who will devote time to these inestimable fragments. Their beauty grows upon us as we read; we catch in one the echo of a single tone, so sweet that it needs no harmony; and again a few stray chords that haunt the ear and fill us with an exquisite dissatisfaction; and yet again a grave and stately measure such as her rebuke to Alkæus—