GREEK SOLDIER IN THE NATIONAL (ALBANIAN) UNIFORM
The story that must always strike every child as most sad and unsatisfactory is the one which tells us how the father of Theseus killed himself when his son came sailing back triumphant, and so gallantly engaged in entertaining the beautiful Athenian maidens whose lives he had saved that he forgot to hoist the white sails, and caused his father to throw himself off the high rocks in despair.
This used to appeal to me as one of the most pathetic incidents in history; but as time wore on my sympathy for the father and indignation against Theseus passed away, and I forgot about them both. But when they point out where the black sails were first seen entering the bay, and you stand on the rock from which the people watched for Theseus, and from which his father threw himself down, you feel just as sorry, and you rebel just as strongly against that morbid anticlimax, as you did when you first read the story in knickerbockers. It seems almost too sad to be true.
They had such a delightful way of mixing up the histories of gods and mortals in those days that the imaginative person who visits Athens will find himself gazing as gratefully and as open-eyed at the rocks in which the Centaur hid as at those from which Demosthenes delivered his philippics, just as in London the room at the Charter House where Colonel Newcome said "Adsum" for the last time is much more real than that room in Edinburgh in which Rizzio was killed, or as the rock from which Monte Cristo sprang, at the base of the Château d'If, is so much more actual than the entire field of Waterloo. It is hard to know just which was real and which a delightful myth; and yet there has been so little change in Greece since then that you are brought nearer to Alcibiades and to Pericles than you can ever come, in this world at least, to Dr. Johnson and Dean Swift. You cannot recreate Grub Street and the debtors' prison, but Eubœa still "looks on Marathon, and Marathon on the sea," and, if you are presumptuous, you can strut up and down the rocky plateau from which Demosthenes spoke, or take your seat in one of the marble chairs of the Theatre of Dionysus, and pretend you are a worthy citizen of Athens listening to a satire of Sophocles.
GREEK PEASANT GIRL
The quiet and fresh cleanliness of modern Athens comes to you after the roar and dirt of Cairo's narrow lanes and dusty avenues like the touch of damask table linen and silver after the greasy oil-cloth of a Mediterranean coasting steamer. It is quiet, sunny, and well-bred. You do not fight your way through legions of donkey-boys and dragomans, nor are your footsteps echoed by swarms of guides and beggars. It is a pretty city, with the look of a water-color. The houses are a light yellow, and the shutters a watery green, and the tile roofs a delicate red, and the sky above a blue seldom shown to ordinary mortals, but reserved for the eyes of painters and poets, who have a sort of second sight, and so are always seeing it and using it for a background. Athens is a very new city, with new streets and new public buildings, and a new King and Royal Palace. It is like a little miniature. There is a little army, chiefly composed of officers, and a miniature cabinet, and a beautiful miniature university, and everybody knows everybody else; and when the King or Queen drives forth, the guard turns out and blows a bugle, and so all Athens, which is always sitting at the cafés around the square of the palace, nods its head and says, "The Queen is going for a drive," or, "Her Majesty has returned early to-day," and then continues to clank its sword and to twirl its mustache and to sip its coffee. Modern Athens tends towards the Frank in dress and habit of thought. The men have adopted his costume, and the women wear little flat curls like the French ladies in Le Figaro, and peaked bonnets and high heels.