Prevod
The tale I am about to tell is neither mine nor anyone else’s, though it has appeared in print; and I may now say what Apuleius said in his Golden Ass: Fabulam grœcanicam incipimus: we begin the telling of a Greek fable. But this Greek fable, though not among the best known, has the profound meaning and honeyed sweetness of all its sisters; it is a flower of human understanding from that happy age when reason and fancy had not yet parted, and their union brought forth delightful allegories and myths full of meaning and mystery.
It happened, then, that the poet Stesichorus, plucking the iron string of his seven-stringed lyre, and having first poured a libation to the Eumenides of marsh water in which bitter wormwood and poisonous hemlock had been steeped, sang a flaying, ferocious satire against Helen, wife of Menelaus and cause of the Trojan War. With a wealth of detail later imitated in the Odyssey by the divine Homer, the bard described the trials and misfortunes brought about by the fatal beauty of Tyndareus’s daughter: kingdoms bereft of their kings, wives without husbands, maidens delivered into slavery, orphaned children, warriors who in the flower of their youth had descended into the realm of shades, their bloodied bodies denied even the honors of the funeral pyre; and having drawn this picture of desolation, he emptied his quiver of its sharp arrows, riddling Helen with invective and curses, covering her with disgrace and shame before the eyes of all Greece.
To Stesichorus’s great astonishment, the Greeks, though united in deploring Helen’s baleful influence, did not approve of the satire. Perhaps its very virulence offended that instinctively refined and cultivated people; perhaps the pity every woman inspires pleaded on behalf of Tyndareus’s guilty daughter. Her detractor earned a reputation for insolence, loose-tongued abuse, and shamelessness; Helen gained some sympathy and a great deal of compassion. In view of this outcome, Stesichorus, with his tail between his legs, as the saying goes, shut himself up in his house, where he remained a prey to misanthropy, clasping his ugly, grim, avenging muse.
Sleep had closed his eyelids one night when, at some late hour, he thought he felt a hand as cold and heavy as marble settle on his cheek. He woke with a start, and by the light of the star shining on the apparition’s brow, recognized none other than the divine Pollux, Helen’s half brother. A shudder of terror snaked through the satirist’s veins, for he guessed that Pollux had come to call him to strict account for the insult.
“What do you want with me?” he exclaimed in great alarm. “To punish you,” Pollux declared, “but first let us speak. Tell me why you launched that insolent satire against Helen; and speak the truth, for lying will avail you nothing.”
“Indeed!” replied Stesichorus. “In vain would a mortal try to hide from the immortals what he carries in his heart! Since you can read mine, you know full well that indignation at the evils your sister caused, and grief at seeing my country afflicted, dictated that song.”
“It is because I can read what lies hidden that I know you are trying to deceive me,” murmured Pollux contemptuously. “And without possessing my divine insight, the Greeks have likewise discerned your motives and intentions. There is no example, O poet, of a satirist whose muse is the common good: that hypocritical appearance always conceals selfish, personal aims. You saw my sister’s beauty; you coveted her, and you could not bear another man’s plucking the roses whose fragrance drove you mad.”
“Your sister has outraged sacred virtue,” Stesichorus declared emphatically. “My sister was charged by the gods with embodying beauty, not virtue,” Pollux retorted angrily. “If there were a mortal in whom virtue, beauty, and wisdom were all incarnate at once, that mortal would be the equal of the immortals. What am I saying? He would be the equal of Jove himself, father of gods and men; for among the others who feed on ambrosia, there are some, like sacred Venus, who embody beauty alone, and others, like white Diana, in whom chastity is deified. If the desire to scourge the wicked gnawed at you so fiercely, you should have aimed your satire at some of the countless women in Greece who, unable to boast Diana’s integrity and purity, possess none of Venus’s charms and graces. Beauty deserves reverence; beauty has always had, and always will have, altars among us; for beauty, Greece will be celebrated in the centuries to come. Since you have lost your respect for beauty, lose the use of the senses that are of no service to you in enjoying its aesthetic contemplation.”
And with a darting ray from the radiant star that crowned his head, Pollux burst Stesichorus’s right eye. The cry wrung from the poet by the piercing pain had not yet died away, and Pollux had scarcely vanished, when the other Dioscurus appeared: Castor, also Helen’s half brother, son of Leda and the sacred swan. Pronouncing words of condemnation against his sister’s traducer, he burned out the satirist’s left eye with a spark from the star that shone above his hair, leaving him blind. Day dawned shortly afterward, but not for the unfortunate Stesichorus, buried in eternal, pitch-black night. Rising as best he could, he groped for a staff; then, begging passersby in the street to take pity on him and guide him, he went to knock at the door of his friend, the philosopher Artemidorus. Shedding a torrent of tears, he threw himself into his arms, crying amid heart-rending groans:
“O Artemidorus! Wretched man that I am! Never shall I see her again! Never again shall I enjoy the sweet sight of her!” “Whom do you say you will never see again?” asked the astonished philosopher.
“Helen, Helen, the most beautiful of women!” cried the satirist, weeping and sniveling. “Helen? But did you not debase her in your verses?” said Artemidorus, more astonished than ever. “Did you not brand and scourge her in a searing satire?”
“Alas! For that very reason!” sobbed Stesichorus, sinking to the floor and rolling upon it. “Now I understand that my satire was a hymn to her beauty—a hymn turned inside out, but a hymn all the same. The heavenly twins have punished me by taking away my sight, and the darkness in which I must live is all the deeper because I shall not see the human incarnation of divine form, the ideal made real on earth.”
“Do not grieve; have patience,” said Artemidorus. “Perhaps I can save you.” When the incomparable Helen learned from Artemidorus that her detractor Stesichorus lamented his blindness only because it prevented him from admiring her charms, she smiled, her insatiable feminine vanity flattered, and murmured with delightful coquetry: “Really, Artemidorus, that bard is a poor creature, a harmless being; no one in Greece pays any attention to him, and I least of all. He does not deserve such severity and such misfortune. Tell him I shall heal his eyes.” And taking in her ivory hands a cup filled with water from the Castalian spring, she bathed the satirist’s empty eyes with its clear waters, and at once he recovered his sight. As the first object he saw was Helen, he fell to his knees in rapture, bursting into a sublime ode of gratitude and repentance, which was called the Palinode.