Pausanias removes Cleonice, &c.—Conspiracy against him—Up to
Cleonice's death.
His expulsion from Byzantium—-His despair—His journey into
Thrace—Scythians, &c.
Heraclea—Ghost.
His return—to Colonae.
Antagoras resolved on revenge—Communicates with Sparta.
The * * *—Conference with Alcman—Pausanias depends on Helots, and money.
His return—to death.
This is the only indication I can find of the intended conclusion of the story. Meagre though it be, however, it sufficiently suggests the manner in which the author of the romance intended to deal with the circumstances of Cleonice's death as related by Plutarch. With her forcible removal by Pausanias, or her willing flight with him from the house of her father, it would probably have been difficult to reconcile the general sentiment of the romance, in connection with any circumstances less conceivable than those which are indicated in the memorandum. But in such circumstances the step taken by Pausanias migh have had no worse motive than the rescue of the woman who loved him from forced union with another; and Cleonice's assent to that step might have been quite compatible with the purity and heroism of her character. In this manner, moreover, a strong motive is prepared for that sentiment of revenge on the part of Antagoras whereby the dramatic interest of the story might be greatly heightened in the subsequent chapters. The intended introduction of the supernatural element is also clearly indicated. But apart from this, fine opportunities for psychological analysis would doubtless have occurred in tracing the gradual deterio- ration of such a character as that of Pausanias when, deprived of the guardian influence of a hope passionate but not impure, its craving for fierce excitement must have been stimulated by remorseful memories and impotent despairs. Indeed, the imperfect manuscript now printed, contains only the exposition of a tragedy. All the most striking effects, all the strongest dramatic situations, have been reserved for the pages of the manuscript which, alas, are either lost or unwritten.
Who can doubt, for instance, how effectually in the closing scenes of this tragedy the grim image of Alithea might have assumed the place assigned to it by history? All that we now see is the preparation made for its effective presentation in the foreground of such later scenes, by the chapter in the second volume describing the meeting between Lysander and the stern mother of his Spartan chief. In Lysander himself, moreover, we have the germ of a singularly dramatic situation. How would Lysander act in the final struggle which his character and fate are already preparing for him, between patriotism and friendship, his fidelity to Pausanias, and his devotion to Sparta? Is Lysander's father intended for that Ephor, who, in the last moment, made the sign that warned Pausanias to take refuge in the temple which became his living tomb? Probably. Would Themistocles, who was so seriously compromised in the conspiracy of Pausanias, have appearedand played a part in those scenes on which the curtain must remain unlifted? Possibly. Is Alcman the helot who revealed, to the Ephors, the gigantic plots of his master just when those plots were on the eve of execution? There is much in the relations between Pausanias and the Mothon, as they are described in the opening chapters of the romance, which favours, and indeed renders almost irresistible, such a supposition. But then, on the other hand, what genius on the part of the author could reconcile us to the perpetration by his hero of a crime so mean, so cowardly, as that personal perfidy to which history ascribes the revelation of the Regent's far more excusable treasons, and their terrible punishment?
These questions must remain unanswered. The magician can wave his wand no more. The circle is broken, the spells are scattered, the secret lost. The images which he evoked, and which he alone could animate, remain before us incomplete, semi-articulate, unable to satisfy the curiosity they inspire. A group of fragments, in many places broken, you have helped me to restore. With what reverent and kindly care, with what disciplined judgment and felicitous suggestion, you have accomplished the difficult task so generously undertaken, let me here most gratefully attest. Beneath the sculptor's name, allow me to inscribe upon the pedestal your own; and accept this sincere assurance of the inherited esteem and personal regard with which I am,