Homo Sum – Volume 04
CHAPTER XIII
The light in the town, which had attracted Paulus, was in Petrus' house, and burnt in Polykarp's room, which formed the whole of a small upper- story, which the senator had constructed for his son over the northern portion of the spacious flat roof of the main building. The young man had arrived about noon with the slaves he had just procured, had learned all that had happened in his absence, and had silently withdrawn into his own room after supper was ended. Here he still lingered over his work.
A bed, a table on and under which lay a multitude of wax-tablets, papyrus-rolls, metal-points, and writing-reeds, with a small bench, on which stood a water-jar and basin, composed the furniture of this room; on its whitewashed walls hung several admirable carvings in relief, and figures of men and animals stood near them in long rows. In one corner, near a stone water-jar, lay a large, damp, shining mass of clay.
Three lamps fastened to stands abundantly lighted this work-room, but chiefly a figure standing on a high trestle, which Polykarp's fingers were industriously moulding.
Phoebicius had called the young sculptor a fop, and not altogether unjustly, for he loved to be well dressed and was choice as to the cut and color of his simple garments, and he rarely neglected to arrange his abundant hair with care, and to anoint it well; and yet it was almost indifferent to him, whether his appearance pleased other people or no, but he knew nothing nobler than the human form, and an instinct, which he did not attempt to check, impelled him to keep his own person as nice as he liked to see that of his neighbor.
Now at this hour of the night, he wore only a shirt of white woollen stuff, with a deep red border. His locks, usually so well-kept, seemed to stand out from his head separately, and instead of smoothing and confining them, he added to their wild disorder, for, as be worked, he frequently passed his hand through them with a hasty movement. A bat, attracted by the bright light, flew in at the open window—which was screened only at the bottom by a dark curtain—and fluttered round the ceiling; but he did not observe it, for his work absorbed his whole soul and mind. In this eager and passionate occupation, in which every nerve and vein in his being seemed to bear a part, no cry for help would have struck his ear—even a flame breaking out close to him would not have caught his eye. His cheeks glowed, a fine dew of glistening sweat covered his brow, and his very gaze seemed to become more and more firmly riveted to the sculpture as it took form under his hand. Now and again he stepped back from it, and leaned backwards from his hips, raising his hands to the level of his temples, as if to narrow the field of vision; then he went up to the model, and clutched the plastic mass of clay, as though it were the flesh of his enemy.
He was now at work on the flowing hair of the figure before him, which had already taken the outline of a female head, and he flung the bits of clay, which he removed from the back of it, to the ground, as violently as though he were casting them at an antagonist at his feet. Again his finger-tips and modelling-tool were busy with the mouth, nose, cheeks, and eyes, and his own eyes took a softer expression, which gradually grew to be a gaze of ecstatic delight, as the features he was moulding began to agree more and more with the image, which at this time excluded every other from his imagination.
At last, with glowing cheeks, he had finished rounding the soft form of the shoulders, and drew back once more to contemplate the effect of the completed work; a cold shiver seized him, and he felt himself impelled to lift it up, and dash it to the ground with all his force. But he soon mastered this stormy excitement, he pushed his hand through his hair again and again, and posted himself, with a melancholy smile and with folded hands, in front of his creation; sunk deeper and deeper in his contemplation of it, he did not observe that the door behind him was opened, although the flame of his lamps flickered in the draught, and that his mother had entered the work-room, and by no means endeavored to approach him unheard, or to surprise him. In her anxiety for her darling, who had gone through so many bitter experiences during the past day, she had not been able to sleep. Polykarp's room lay above her bedroom, and when his steps over head betrayed that, though it was now near morning, he had not yet gone to rest, she had risen from her bed without waking Petrus, who seemed to be sleeping. She obeyed her motherly impulse to encourage Polykarp with some loving words, and climbing up the narrow stair that led to the roof, she went into his room. Surprised, irresolute, and speechless she stood for some time behind the young man, and looked at the strongly illuminated and beautiful features of the newly-formed bust, which was only too like its well-known prototype. At last she laid her hand on her son's shoulder, and spoke his name. Polykarp stepped back, and looked at his mother in bewilderment, like a man roused from sleep; but she interrupted the stammering speech with which he tried to greet her, by saying, gravely and not without severity, as she pointed to the statue, "What does this mean?"
"What should it mean, mother?" answered Polykarp in a low tone, and shaking his head sadly. "Ask me no more at present, for if you gave me no rest, and even if I tried to explain to you how to-day—this very day —I have felt impelled and driven to make this woman's image, still you could not understand me—no, nor any one else."
"God forbid that I should ever understand it!" cried Dorothea. "'Thou shalt not covet thy neighbor's wife,' was the commandment of the Lord on this mountain. And you? You think I could not understand you? Who should understand you then, if not your mother? This I certainly do not comprehend, that a son of Petrus and of mine should have thrown all the teaching and the example of his parents so utterly to the wind. But what you are aiming at with this statue, it seems to me is not hard to guess. As the forbidden-fruit hangs too high for you, you degrade your art, and make to yourself an image that resembles her according to your taste. Simply and plainly it comes to this; as you can no longer see the Gaul's wife in her own person, and yet cannot exist without the sweet presence of the fair one, you make a portrait of clay to make love to, and you will carry on idolatry before it, as once the Jews did before the golden calf and the brazen serpent."
Polykarp submitted to his mother's angry blame in silence, but in painful emotion. Dorothea had never before spoken to him thus, and to hear such words from the very lips which were used to address him with such heart- felt tenderness, gave him unspeakable pain. Hitherto she had always been inclined to make excuses for his weaknesses and little faults, nay, the zeal with which she had observed and pointed out his merits and performances before strangers as well as before their own family, had often seemed to him embarrassing. And now? She had indeed reason to blame him, for Sirona was the wife of another, she had never even noticed his admiration, and now, they all said, had committed a crime for the sake of a stranger. It must seem both a mad and a sinful thing in the eyes of men that he of all others should sacrifice the best he had—his Art—and how little could Dorothea, who usually endeavored to understand him, comprehend the overpowering impulse which had driven him to his task.
He loved and honored his mother with his whole heart, and feeling that she was doing herself an injustice by her false and low estimate of his proceedings, he interrupted her eager discourse, raising his hands imploringly to her.
"No, mother, no!" he exclaimed. "As truly as God is my helper, it is not so. It is true that I have moulded this head, but not to keep it, and commit the sin of worshipping it, but rather to free myself from the image that stands before my mind's eye by day and by night, in the city and in the desert, whose beauty distracts my mind when I think, and my devotions when I try to pray. To whom is it given to read the soul of man? And is not Sirona's form and face the loveliest image of the Most High? So to represent it, that the whole charm that her presence exercises over me might also be felt by every beholder, is a task that I have set myself ever since her arrival in our house. I had to go back to the capital, and the work I longed to achieve took a clearer form; at every hour I discovered something to change and to improve in the pose of the head, the glance of the eye or the expression of the mouth. But still I lacked courage to put the work in hand, for it seemed too audacious to attempt to give reality to the glorious image in my soul, by the aid of gray clay and pale cold marble; to reproduce it so that the perfect work should delight the eye of sense,
