and truth! Give your heart up to it, as a little child led by its mother's hand! Then shall the flowers again breathe poetry, and the stars move in music."
"It is too late," murmured Aspasia: "The flowers are scorched—the stars are clouded. I cannot again be as I have been."
"Lady, it is never too late," replied Philothea: "You have unbounded influence—use it nobly! No longer seek popularity by flattering the vanity, or ministering to the passions of the Athenians. Let young men hear the praise of virtue from the lips of beauty. Let them see religion married to immortal genius. Tell them it is ignoble to barter the heart's wealth for heaps of coin—that love weaves a simple wreath of his own bright hopes, stronger than massive chains of gold. Urge Pericles to prize the good of Athens more than the applause of its populace—to value the permanence of her free institutions more than the splendour of her edifices. Oh, lady, never, never, had any mortal such power to do good!"
Aspasia sat gazing intently on the beautiful speaker, whose tones grew more and more earnest as she proceeded.
"Philothea," she replied, "you have moved me strangely. There is about you an influence that cannot be resisted. It is like what Pindar says of music; if it does not give delight, it is sure to agitate and oppress the heart. From the first moment you spoke, I have felt this mysterious power. It is as if some superior being led me back, even against my will, to the days of my childhood, when I gathered acorns from the ancient oak that shadows the fountain of Byblis, or ran about on the banks of my own beloved Meander, filling my robe with flowers."
There was silence for a moment. Eudora smiled through her tears, as she whispered, "Now, Philothea, sing that sweet song Anaxagoras taught you. He too is of Ionia; and Aspasia will love to hear it."
The maiden answered with a gentle smile, and began to warble the first notes of a simple bird-like song.
"Hush!" said Aspasia, putting her hand on Philothea's mouth, and bursting into tears—"It was the first tune I ever learned; and I have not heard it since my mother sung it to me."
"Then let me sing it, lady," rejoined Philothea: "It is good for us to keep near our childhood. In leaving it, we wander from the gods."
A slight tap at the door made Aspasia start up suddenly; and stooping over the alabaster vase of water, she hastened to remove all traces of her tears.
As Eudora opened the door, a Byzantian slave bowed low, and waited permission to speak.
"Your message?" said Aspasia, with queenly brevity.
"If it please you, lady, my master bids me say he desires your presence."
"We come directly," she replied; and with another low bow, the Byzantian closed the door. Before a mirror of polished steel, supported by ivory Graces, Aspasia paused to adjust the folds of her robe, and replace a curl that had strayed from its golden fillet.
As she passed, she continued to look back at the reflection of her own fair form, with a proud glance, which seemed to say, "Aspasia is herself again!"
Philothea took Eudora's arm, and folding her veil about her, with a deep sigh followed to the room below.
Chapter III.
All is prepared—the table and the feast—
With due appurtenance of clothes and cushions.
Chaplets and dainties of all kinds abound:
Here rich perfumes are seen—there cakes and cates
Of every fashion; cakes of honey, cakes
Of sesamum, and cakes of unground corn.
What more? A troop of dancing women fair,
And minstrels who may chaunt us sweet Harmodius.
ARISTOPHANES.
The room in which the guests were assembled, was furnished with less of Asiatic splendour than the private apartment of Aspasia; but in its magnificent simplicity there was a more perfect manifestation of ideal beauty. It was divided in the middle by eight Ionic columns, alternately of Phrygian and Pentelic marble. Between the central pillars stood a superb statue from the hand of Phidias, representing Aphrodite guided by Love, and crowned by Peitho, goddess of Persuasion. Around the walls were Phœbus and Hermes in Parian marble, and the nine Muses in ivory. A fountain of perfumed water, from the adjoining room, diffused coolness and fragrance, as it passed through a number of concealed pipes, and finally flowed into a magnificent vase, supported by a troop of Naiades.
In a recess stood the famous lion of Myron, surrounded by infant Loves, playing with his paws, climbing his back, and decorating his neck with garlands. This beautiful group seemed actually to live and move in the clear light and deep shadows derived from a silver lamp suspended above.
The walls were enriched with some of the choicest paintings of Apollodorus, Zeuxis, and Polygnotus. Near a fine likeness of Pericles, by Aristolaus, was Aspasia, represented as Chloris scattering flowers over the earth, and attended by winged Hours.
It chanced that Pericles himself reclined beneath his portrait, and though political anxiety had taken from his countenance something of the cheerful freshness which characterized the picture, he still retained the same elevated beauty—the same deep, quiet expression of intellectual power. At a short distance, with his arm resting on the couch, stood his nephew Alcibiades, deservedly called the handsomest man in Athens. He was laughing with Hermippus, the comic writer, whose shrewd, sarcastic and mischievous face was expressive of his calling. Phidias slowly paced the room, talking of the current news with the Persian Artaphernes. Anaxagoras reclined near the statue of Aphrodite, listening and occasionally speaking to Plato, who leaned against one of the marble pillars, in earnest conversation with a learned Ethiopian.
The gorgeous apparel of the Asiatic and African guests, contrasted strongly with the graceful simplicity of Grecian costume. A saffron-coloured mantle and a richly embroidered Median vest glittered on the person of the venerable Artaphernes. Tithonus, the Ethiopian, wore a skirt of ample folds, which scarcely fell below the knee. It was of the glorious Tyrian hue, resembling a crimson light shining through transparent purple. The edge of the garment was curiously wrought with golden palm leaves. It terminated at the waist in a large roll, twined with massive chains of gold, and fastened by a clasp of the far-famed Ethiopian topaz. The upper part of his person was uncovered and unornamented, save by broad bracelets of gold, which formed a magnificent contrast with the sable colour of his vigorous and finely-proportioned limbs.
As the ladies entered, the various groups came forward to meet them; and all were welcomed by Aspasia with earnest cordiality and graceful self-possession. While the brief salutations were passing, Hipparete, the wife of Alcibiades came from an inner apartment, where she had been waiting for her hostess. She was a fair, amiable young matron, evidently conscious of her high rank. The short blue tunic, which she wore over a lemon-coloured robe, was embroidered with golden grasshoppers; and on her forehead sparkled a jewelled insect of the same species. It was the emblem of unmixed Athenian blood; and Hipparete alone, of all the ladies present, had a right to wear it. Her manners were an elaborate copy of Aspasia; but deprived of the powerful charm of unconsciousness, which flowed like a principle of life into every motion of that beautiful enchantress.
The momentary silence,
