Barine had expected nothing else. She knew that Cleopatra had made the philosopher’s son a wealthy man and the owner of extensive estates; but she also felt that the source of his loyal devotion to the Queen, over whom he watched like a tender father, was due to other causes. Cleopatra prized him also. Had he been ambitious, he could have stood at the helm of the ship of state, as Epitrop long ago, but—the whole city knew it—he had more than once refused to accept a permanent office, because he believed that he could serve his mistress better as an unassuming, unnoticed counsellor. Berenike had told Barine that the relations between Cleopatra and Archibius dated back to their childhood, but she had learned no particulars. Various rumours were afloat which, in the course of time, had been richly adorned and interwoven with anecdotes, and Barine naturally lent the most ready credence to those which asserted that the princess, in her earliest youth, had cherished a childish love for the philosopher’s son. Now her friend’s conduct led her to believe it.
When Archibius paused, the young beauty assured him that she understood him; and as the alabaster hanging lamp and a three-branched light cast a brilliant glow upon the portrait which her father had painted of the nineteen-year-old Queen, and afterwards copied for his own household, she pointed to it, and, pursuing the current of her own thoughts, asked the question:
“Was she not marvellously beautiful at that time?”
“As your father’s work represents her,” was the reply. “Leonax painted the portrait of Octavia, on the opposite side, the same year, and perhaps the artist deemed the Roman the fairer woman.” He pointed as he spoke to a likeness of Octavianus’s sister, whom Barine’s father had painted as the young wife of Marcellus, her first husband.
“Oh, no!” said Berenike. “I still remember perfectly how Leonax returned in those days. What woman might not have been jealous of his enthusiasm for the Roman Hera? At that time I had not seen the portrait, and when I asked whether he thought Octavia more beautiful than the Queen, for whom Eros had inflamed his heart, as in the case of most of the beautiful women he painted, he exclaimed—you know his impetuous manner—‘Octavia stands foremost in the ranks of those who are called “beautiful” or “less beautiful”; the other, Cleopatra, stands alone, and can be compared with no one.’ ”
Archibius bent his head in assent, then said firmly, “But, as a child, when I first saw her, she would have been the fairest even in the dance of the young gods of love.”
“How old was she then?” asked Barine, eagerly.
“Eight years,” he answered. “How far in the past it is, yet I have not forgotten a single hour!”
Barine now earnestly entreated him to tell them the story of those days, but Archibius gazed thoughtfully at the floor for some time ere he raised his head and answered: “Perhaps it will be well if you learn more of the woman for whose sake I ask a sacrifice at your hands. Arius is your brother and uncle. He stands near to Octavianus, for he was his intellectual guide, and I know that he reveres the Roman’s sister, Octavia, as a goddess. Antony is now struggling with Octavianus for the sovereignty of the world. Octavia succumbed in the conflict against the woman of whom you desire to hear. It is not my place to judge her, but I may instruct and warn. Roman nations burn incense to Octavia, and, when Cleopatra’s name is uttered, they veil their faces indignantly. Here in Alexandria many imitate them. Whoever upholds shining purity may hope to win a share of the radiance emanating from it. They call Octavia the lawful wife, and Cleopatra the criminal who robbed her of her husband’s heart.”
“Not I!” exclaimed Barine eagerly. “How often I have heard my uncle say that Antony and Cleopatra were fired with the most ardent love for each other! Never did the arrows of Eros pierce two hearts more deeply. Then it became necessary to save the state from civil war and bloodshed. Antony consented to form an alliance with his rival, and, as security for the sincerity of the reconciliation, he gave his hand in marriage to Octavia, whose first husband, Marcellus, had just died—his hand, I say, only his hand, for his heart was captive to the Queen of Egypt. And if Antony was faithless to the wife to whom statecraft had bound him, he kept his pledge to the other, who had an earlier, better title. If Cleopatra did not give up the man to whom she had sworn fidelity forever, she was right—a thousand times right! In my eyes—no matter how often my mother rebukes me—Cleopatra, in the eyes of the immortals, is and always will be Antony’s real wife; the other, though on her marriage day no custom, no word, no stroke of the stylus, no gesture was omitted, is the intruder in a bond of love which rejoices the gods, however it may anger mortals, and—forgive me, mother—virtuous matrons.”