On the right side of the stage were three purple-covered couches. On one of them sat Titianus, the prefect, who, like the artists, used his pencil; with him was his wife Julia. On another reclined Verus, at full length, and as usual, crowned with roses; the third was for Plutarch, but was unoccupied. The praetor did not hesitate to interrupt any speaker, as though he were the host of the entertainment, and many of his remarks were followed by loud applause, or approving laughter.
The face and figure of the wealthy Plutarch, which could never be forgotten, were not altogether strange to Arsinoe, for, a few days previously he had shown himself for the first time in many years in his papyrus factory, with an architect to settle with him how the courts and rooms could best be cleaned and decorated for the reception of the Emperor; and on this occasion he had gone into the room where she worked and had pinched her cheek with a few roguish and flattering words.
There he was, walking across the stage. He was an old man, said to be about seventy years of age, his legs were half-paralyzed, and they nevertheless moved with a series of incessant and rapid but unvoluntary jerks under his heavy bowed body, and he was supported on either hand by a tall young fellow. His nobly-formed head, must have been in his youth, of extraordinary beauty. Now his head was covered by a wig of long brown hair, his eyebrows and lashes were darkly dyed, his cheeks daubed with red and white paint, which gave his countenance a fixed expression, as if he had been stricken in the very act of smiling. On his curls he wore a wreath of rare flowers in long racemes. An abundance of red and white roses stuck out from the front folds of his ample toga, and were held in their place by gold brooches, sparkling with precious stones of large size. The hems of his mantle were all edged with rose-buds, and each was fastened in with an emerald that shone like some bright insect. The young men who supported him seemed like a portion of himself; he took no more heed of them than if they had been crutches, and they needed not command to tell them where he wished to go, where to stand still, and where to rest.
At a distance his face was like that of a youth, but seen close it looked like a painted plaster mask, with regular features and large movable eyes.
Favorinus, the sophist, had said of him that one might cry over his handsome locomotive corpse, if one were not obliged to laugh at it, and it was said that he had himself declared that he would force his faithless youth to remain with him. The Alexandrians called him the Adonis with six legs, on account of the lads who supported him, and without whom no one ever saw him and who always accompanied him when he went out. The first time he heard this nickname he remarked: “They had better have called me sixhanded;” and in fact he had a thoroughly good heart, he was liberal and benevolent, took fatherly care of his work-people, treated his slaves well, enriched those whom he set free, and from time to time distributed large sums among the people in money and in grain.
Arsinoe looked compassionately on the poor old man who could not buy back his youth with all his money and all his art.
In the supercilious man who at once came up to Plutarch she recognized the art-dealer Gabinius to whom her father had shown the door, on account of the mosaic picture in their sitting-room, but their conversation was interrupted, for the distribution of the women’s part for the group of Alexander’s entry into Babylon, was now about to take place; about fifty girls and young women were sent away from the stage and went down into the orchestra. The Exegetes, the highest official in the town, now came forward and took a new list out of the hand of Papias the sculptor. After rapidly casting an eye on this, he handed it to a herald who followed him, who proclaimed to all the assembly:
“In the name of the most noble Exegetes I request your attention, all you ladies here assembled, the wives and daughters of Macedonians and of Roman citizens. We now come to a distribution of the characters in our representation of the life and history of the great Macedonian, of the ‘Marriage of Alexander and Roxana,’ and I hereby request those among you to come upon the stage whom our artists have selected to take part in this scene in the procession.” After this exordium he shouted in a deep and resonant voice a long list of names, and while this was going on every other sound was hushed in the wide amphitheatre.
Even on the stage all was still; only Verus whispered a few remarks to Titianus, and the curiosity-dealer spoke into Plutarch’s ear, long sentences with the stringent emphasis which was peculiar to him; and the old man answered sometimes with an assenting nod, and sometimes with a deprecatory motion of his hands.
Arsinoe listened with suspended breath to the herald’s proclamation; she started and colored all over, with her eyes fixed on the bunch of flowers in her hand, when she heard from the stage loudly uttered and plain to be heard by all present: