ACHILLES TATIUS,

COMPRISING

THE ETHIOPICS; OR, ADVENTURES OF THEAGENES AND CHARICLEA;

THE PASTORAL AMOURS OF DAPHNIS AND CHLOE;

AND

THE LOVES OF CLITOPHO AND LEUCIPPE.

Translated from the Greek, with notes.

By the REV. ROWLAND SMITH, M.A.

FORMERLY OF ST. JOHN'S COLLEGE, OXFORD.

LONDON: GEORGE BELL AND SONS, YORK STREET COVENT GARDEN.

1901.

CONTENTS. PREFACE Summaries: HELIODORUS. LONGUS. ACHILLES TATIUS. THE ADVENTURES OF THEAGENES AND CHARICLEA. BOOK II. BOOK III. BOOK IV. BOOK V. BOOK VI. BOOK VII. BOOK VIII. BOOK IX. BOOK X. THE LOVES OF DAPHNIS AND CHLOE, A PASTORAL NOVEL. BOOK II. BOOK III. BOOK IV. THE LOVES OF CLITOPHO AND LEUCIPPE. BOOK I. BOOK II. BOOK III. BOOK IV. BOOK V. BOOK VI. BOOK VII. BOOK VIII.

PREFACE

By no reader of classical antiquity will any of its remains be regarded as entirely devoid of worth. The "fine gold" will naturally stand first in estimation, but the "silver and brass and iron," nay even the "iron mingled with miry clay," will each possess its respective value. Accordingly, while the foremost place will ever be assigned to its Historians, Philosophers, Orators, and Poets, the time will not be esteemed thrown away which makes him acquainted with those authors who struck out a new vein of writing, and abandoning the facts of history and the inventions of mythology, drew upon their own imagination and sought for subjects in the manners and pursuits of domestic life.

The publication of a revised translation of Heliodorus and Longus, and of a new translation of Achilles Tatius, calls for some brief prefatory observations upon the origin of fictitious narrative among the Greeks; that department of literature which, above any other, has been prolific in finding followers, more especially in modern times; and which, according to the spirit in which it is handled, is capable of producing some of the best or worst effects upon society.

Works of fiction may, as we know, administer a poisoned cup, but they may also supply a wholesome and pleasing draught; they may be the ministers of the grossest immorality and absurdity, but they may likewise be the vehicles of sound sense and profitable instruction.

"As real History," says Bacon, "gives us not the success of things according to the deserts of vice and virtue Fiction connects it, and presents us with the fates and fortunes of persons, rewarded or punished according to merit."

"It is chiefly in the fictions of an age," says Dunlop, "that we can discover the modes of living, dress, and manners of the period;" and he goes on to say—"But even if the utility which is derived from Fiction were less than it is, how much are we indebted to it for pleasure and enjoyment! It sweetens solitude and charms sorrow—it occupies the attention of the vacant, and unbends the mind of the philosopher. Like the enchanter, Fiction shows us, as it were in a mirror, the most agreeable objects; recalls from a distance the forms which are dear to us, and soothes our own grief by awakening our sympathy for others. By its means the recluse is placed in the midst of society; and he who is harassed and agitated in the city is transported to rural tranquillity and repose. The rude are refined by an introduction, as it were, to the higher orders of mankind, and even the dissipated and selfish are, in some degree, corrected by those paintings of virtue and simple nature, which must ever be employed by the novelist, if he wish to awaken emotion or delight."

Huet, Bishop of Avranches, was the first who wrote a regular and systematic treatise on the origin of fictitious narrative—"De origine Fabularum Romanensium."

He gives it as his opinion, that "not in Provence (Provincia Romanorum), nor yet in Spain, are we to look for the fatherland of those amusing compositions called Romances; but that it is among the people of the East, the Arabs, the Egyptians, the Persians, and the Syrians, that the germ and origin is to be found, of this species of fictitious narrative, for which the peculiar genius and poetical temperament of those nations particularly adapt them, and in which they delight to a degree scarcely to be credited; for even their ordinary discourse is interspersed with figurative expressions, and their maxims of theology and philosophy, and above all of morals and political science, are invariably couched under the guise of allegory or parable." In confirmation of this opinion he remarks, that "nearly all those who in early times distinguished themselves as writers of what are now called Romances, were of Oriental birth or extraction;"—and he instances "Clearchus, a pupil of Aristotle, who was a native of Soli, in Cilicia,—Iamblicus, a Syrian—Heliodorus and Lucian,

natives, the one of Emessa, the other of Samosata—Achilles Tatius, of Alexandria."

This statement of Huet's is admitted to hold good, generally, by the author of a very interesting Article on the "Early Greek Romances," in No. CCCXXXIII. of Blackwood's Magazine; who however differs from the learned Bishop in some particulars.

"While fully admitting," he says, "that it is to the vivid fancy and picturesque imagination of the Orientals that we owe the origin of all those popular legends, which have penetrated under various changes of costume, into every corner of Europe, we still hold, that the invention of the Romance of ordinary life, on which the interest of the story depends upon occurrences in some measure within the bounds of probability, and in which the heroes and heroines are neither invested with superhuman qualities, nor extricated from their difficulties by supernatural means, must be ascribed to a more European state of society than that which produced those tales of wonder, which are commonly considered as characteristic of the climes of the East."

This difference of opinion he fortifies, by remarking that "the authors enumerated by the Bishop of Avranches himself were all denizens of Greek cities of Asia Minor, Syria, and Egypt, and consequently, in all probability, Greeks by descent; and though the scene of their works is frequently laid in Asia, the costumes and characters introduced are almost invariably on the Greek model."

He concludes this part of his subject by saying; "these writers, therefore, may fairly be considered as constituting a distinct class from those more strictly Oriental—not only in birth but in language and ideas; and as being in fact the legitimate forerunners of modern novelists."

The first to imbibe a love for fictitious narrative from the Eastern people among whom they dwelt, were the Milesians, a colony of Greeks, and from them this species of narrative derived the name of "Sermo Milesius."[1] A specimen of the Milesian tale may be seen in the Stories of Parthenius, which are chiefly of the amatory kind, and not over remarkable for their moral tendency. From the Greek inhabitants of Asia Minor, especially from the Milesians, it was natural that a fondness for Fiction should extend itself into Greece, and that pleasure should produce imitation. But it was not until the conquests of Alexander, that a greater intercourse between Greece and Asia became the means of conveying the stores of fiction from the one continent to the other.

The Romance writers, who flourished previous to Heliodorus, are known only from the summary of their compositions preserved to us by Photius, Patriarch of Constantinople, in the ninth century. We subjoin their names and the titles of their works:—

Antonius Diogenes wrote "The incredible things in Thule;" Iamblicus, the "Babylonica," comprising the formidable number of sixteen books; in addition to which there is the "Ass" of Lucian, founded chiefly upon the "Metamorphoses of Lucius."

The palm of merit, in every respect, especially "in the arrangement of his fable," has been universally assigned to Heliodorus, Bishop of Tricca in Thessaly, who flourished A.D. 400; "whose writing," says Huet, "the subsequent novelists of those ages constantly proposed to themselves as a model for imitation; and as truly may they all be said to have drunk of the waters of this fountain, as all the Poets did of the Homeric spring."

The writers of Romance, posterior to Heliodorus, who alone are worthy of note, are Achilles Tatius, who is allowed to come next to him in merit; Longus, who has given the first example of the "Pastoral Romance;" and Xenophon, of Ephesus.

Having alluded to the various writers of fictitious narrative, our farther remarks may be confined to Heliodorus, Longus, and Achilles Tatius. With the work of the author of the "Ethiopics" are connected some curious circumstances, which shall be given in the words of an Ecclesiastical Historian, quoted by the writer of the article in Blackwood.

Nicephorus, B. xii. c. 34, says—"This Heliodorus, Bishop of Tricca, had in his youth written certain love stories, called 'Ethiopics,' which are highly popular, even at the present day, though they are now better known by the title of 'Chariclea;' and it was by reason thereof that he lost his see. For inasmuch as many of the youths were drawn into peril of sin by the perusal of these amorous tales, it was determined by the Provincial Synod, that either these books, which kindled the fire of love, should themselves be consumed by fire, or that the author should be deposed from his episcopal functions; and this choice being propounded to him, he preferred resigning his bishoprick to suppressing his writings.—Heliodorus," continues the reviewer, "according to the same authority, was the first Thessalian Bishop who had insisted on the married clergy putting away their wives, which may probably have tended to make him unpopular; but the story of his deposition, it should be observed, rests solely on the statement of Nicephorus, and is discredited by Bayle and Huet, who argue that the

silence of Socrates, (Eccles. Hist. B. v. c. 22), in the chapter where he expressly assigns the authority of the 'Ethiopics' to the 'Bishop' Heliodorus, more than counterbalances the unsupported assertion of Nicephorus;—'an author,' says Huet, 'of more credulity than judgment.' If Heliodorus were, indeed, as has been generally supposed, the same to whom several of the Epistles of St. Jerome were addressed, this circumstance would supply an additional argument against the probability of his having incurred the censures of the Church; but whatever the testimony of Nicephorus may be worth on this point, his mention of the work affords undeniable proof of its long continued popularity, as his Ecclesiastical History was written about A.D. 900, and Heliodorus lived under the reign of the sons of Theodosius, fully 500 years earlier."

Of the popularity of his work in more recent times, the following instances may be given. "Tasso," says Ghirardini, "became acquainted with this Romance when it was introduced at the Court of Charles the IXth of Prance, where it was read by the ladies and gentlemen in the translation made by Amiot. The poet promised the courtiers that they should soon see the work attired in the most splendid vestments of Italian poetry, and kept his promise, by transferring to the heroine Clorinda (in the tenth canto of the 'Gerusalemme') the circumstances attending the birth and early life of the Ethiopian maiden Chariclea."

"The proposed sacrifice and subsequent discovery of the birth of Chariclea have likewise," observes Dunlop, "been imitated in the Pastor Fido of Guarini, and through it, in the Astrea of D'Urfé.

"Racine had at one time intended writing a drama on the subject of this Romance, a plan which has been accomplished by Dorat, in his Tragedy of Theagenes and Chariclea, acted at Paris in the year 1762. It also suggested the plot of an old English tragi-comedy, by an unknown author, entitled the 'Strange Discovery.'"

Hardy, the French poet, wrote eight tragedies in verse on the same subject, without materially altering the ground-work of the Romance; "an instance of literary prodigality"—remarks Dunlop truly—"which is perhaps unexampled."

Nor have authors only availed themselves of the work of Heliodorus. Artists likewise have sought from his pages subjects for their canvass.

"Two of the most striking incidents have been finely delineated by Raphael in separate paintings, in which he was assisted by Julio Romano. In one he has seized the moment when Theagenes and Chariclea meet in the temple of Delphi, and Chariclea presents Theagenes with a torch to kindle the sacrifice. In the other he has chosen for his subject, the capture of the Tyrian ship, in which Calasiris was conducting Theagenes and Chariclea to the coast of Sicily. The vessel is supposed to have already struck to the Pirates, and Chariclea is exhibited, by the light of the moon, in a suppliant posture, imploring Trachinus that she might not be separated from her lover and Calasiris."

Heliodorus, as has already been remarked, is allowed to be far superior to any of his predecessors in "the disposition of the fable;" as also, "in the artful manner in which the tale is disclosed;" and Tasso praises him for the skill which he displays in keeping the mind of his reader in suspense, and in gradually clearing up what appeared confused and perplexed. His style is, in many parts, highly poetical, abounding in expressions and turns of thought borrowed from the Greek poets, to which, indeed, it is quite impossible to do justice when translating them into another language.

The chief defects in the composition of his work, are the digressions—for instance, the adventures of Cnemon and the siege of Cyene; together with certain critical and philosophical discussions, which, while they take up considerable space distract the attention of the reader, without adding to his interest.

He has also been blamed for making a third person—Calasiris—recount the adventures of the hero and heroine; instead of letting them tell their own story. As regards the two principal characters, it must be allowed that the hero, like many heroes in modern novels, is "insipid." Upon certain occasions, it is true that Theagenes "comes out:" he does battle boldly with the pirate lieutenant; distances his rival, in good style, in the running match; effectually cools the courage of the Ethiopian bully; and gives proof of the skill of reasoning man over the strength of the irrational brute in the scene of the Taurocathapsia; but with these exceptions, he is remarkable chiefly for his resistance to temptations, and for the constancy of his affections—no slight merits, however, especially in a heathen, and like other "quiet virtues," of greater intrinsic value than more sparkling and showy qualities.

Of Chariclea, on the other hand, it has with justice been observed,[2] that "her character makes ample amends for the defects in that of her lover. The masculine firmness and presence of mind which she evinces in situations of peril and difficulty, combined at all times with feminine delicacy; and the warmth and confiding simplicity of her love for Theagenes, attach to her a degree of interest which belongs to none of the other personages."

"The course of true love never did run smooth," says the Poet; and however defective may be the work of Heliodorus, in other respects, none of its readers will deny that the author has exemplified the words of the Bard in the perils, and escapes, separations, and unexpected reunion of the hero and heroine of the "Ethiopics."

None there are, we trust but will rejoice, when at the conclusion, they find—

"How Fate to Virtue paid her debt, And for their troubles, bade them prove A lengthened life of peace and love."

The forte of Heliodorus lies especially in descriptions; his work abounds in these, and apart from the general story, the most interesting portions are, the account of the haunts of the Buccaneers; the procession at Delphi, with the respective retinues and dresses of Theagenes and Chariclea; the wrestling match, and the bull fight—all these are brought before the reader with picturesque effect, and in forcible and vivid language; nor should we omit what is very curious and valuable in an antiquarian point of view, his minute description of the panoply worn by man and horse composing the flower of the Persian army, which paints to the life, the iron-clad heroes of the Crusades, so many centuries before they appeared upon the scene.

With reference to the writers of Greek Romance, in general, there is one particular point which deserves mention; the more prominent manner in which they bring forward that sex, whose influence is so powerful upon society, but whose seclusion in those early times banished them from a participation in the every day affairs of life. "The Greek Romances," says Dunlop, "may be considered as almost the first productions, in which woman is in any degree represented as assuming her proper station of the friend and companion of man. Hitherto she had been considered almost in the light of a slave, ready to bestow her affections on whatever master might happen to obtain her; but in Heliodorus and his followers, we see her an affectionate guide and adviser. We behold an union of hearts painted as a main spring of our conduct in life—we are delighted with pictures of fidelity, constancy, and chastity."

The same writer sums up his observations upon the Greek Romances, by saying: "They are less valuable than they might have been, from giving too much to adventure, and too little to manners and character; but these have not been altogether neglected, and several pleasing pictures are delineated of ancient customs and feelings. In short, these early fictions are such as might have been expected at the first effort, and must be considered as not merely valuable in themselves, but as highly estimable in pointing out the method of awaking the most pleasing sympathies of our nature, and affecting most powerfully the fancy and heart." The popularity of Heliodorus has found translators for his Romance in almost every European language—France, Spain, Italy, Poland, Germany, and Holland have contributed their versions.

Four Translations have appeared in English, by Thomas Underdowne, Lond., 1587; W. Lisle, Lond., 1622; N. Tate and another hand, 1686; lastly, the translation upon which the present one is based, 1791.

Among these, Lisle, who favoured the world with a Poetical version of the Prose Romance, affords us an example of an adventurous and ill fated wight.

"Carmina qui scripsit Musis et Apolline nullo." "Apollo and the Nine; their heavy curse On him did lay;—they bid him—go, write verse."

The Reviewer in Blackwood designates his production, as "one of the most precious specimens of balderdash in existence; a perfect literary curiosity in its way." Of the truth of which any one, who will be at the trouble of turning over his pages, may satisfy himself.

The worthy man, at starting, prays earnestly for "A sip of liquor Castaline," and having done this, he mounts and does his best to get Pegasus into a canter; but it is all in vain—whip and spurs avail not; the poor jade, spavined and galled, will not budge an inch; however, nothing daunted, the rowels and scourge are most unmercifully applied; the wretched brute gets into a kind of hobbling trot, which enables the rider to say at the end of his journey—

"This have I wrought with day and nightly swinke . . . . . . That after-comers know, when I am dead, I, some good thing in life endeavoured;— . . . . . . To keep my name undrown'd in Lethe pool; In vain (may seem) is wealth or learning lent To man that leaves thereof no monument."

The version upon which the present one is founded, is in many places more of a paraphrase than a translation. Several passages are entirely omitted, while of others the sense has been mistaken; it has been the endeavour of the translator to remedy these defects, and to give the meaning of his author as literally as is consistent with avoiding stiffness and ruggedness of style.