‘My dear lady’—penitently—‘I know it is an offence against all the laws of the drama.’
‘Oh, worse than that! Consider what an impiety toward the god, to desecrate his altar with bloodshed?’
‘Fairest devotee, recollect that, after all, I may fairly borrow Dionusos’s altar in this my extreme need; for I saved its very existence for him, by preventing the magistrates from filling up the whole orchestra with benches for the patricians, after the barbarous Roman fashion. And besides, what possible sort of representation, or misrepresentation, has not been exhibited in every theatre of the empire for the last four hundred years? Have we not had tumblers, conjurers, allegories, martyrdoms, marriages, elephants on the tight-rope, learned horses, and learned asses too, if we may trust Apuleius of Madaura; with a good many other spectacles of which we must not speak in the presence of a vestal? It is an age of execrable taste, and we must act accordingly.’
‘Ah!’ answered Hypatia; ‘the first step in the downward career of the drama began when the successors of Alexander dared to profane theatres which had re-echoed the choruses of Sophocles and Euripides by degrading the altar of Dionusos into a stage for pantomimes!’
‘Which your pure mind must, doubtless, consider not so very much better than a little fighting. But, after all, the Ptolemies could not do otherwise. You can only have Sophoclean dramas in a Sophoclean age; and theirs was no more of one than ours is, and so the drama died a natural death; and when that happens to man or thing, you may weep over it if you will, but you must, after all, bury it, and get something else in its place—except, of course, the worship of the gods.’
‘I am glad that you except that, at least,’ said Hypatia, somewhat bitterly. ‘But why not use the Amphitheatre for both spectacles?’
‘What can I do? I am over head and ears in debt already; and the Amphitheatre is half in ruins, thanks to that fanatic edict of the late emperor’s against gladiators. There is no time or money for repairing it; and besides, how pitiful a poor hundred of combatants will look in an arena built to hold two thousand! Consider, my dearest lady, in what fallen times we live!’
‘I do, indeed!’ said Hypatia. ‘But I will not see the altar polluted by blood. It is the desecration which it has undergone already which has provoked the god to withdraw the poetic inspiration.’
‘I do not doubt the fact. Some curse from Heaven, certainly, has fallen on our poets, to judge by their exceeding badness. Indeed, I am inclined to attribute the insane vagaries of the water-drinking monks and nuns, like those of the Argive women, to the same celestial anger. But I will see that the sanctity of the altar is preserved, by confining the combat to the stage. And as for the pantomime which will follow, if you would only fall in with my fancy of the triumph of Aphrodite, Dionusos would hardly refuse his altar for the glorification of his own lady-love.’
‘Ah—that myth is a late, and in my opinion a degraded one.’