The period of time at which the adventures of Clitophon and Leucippe are supposed to take place, appears to be in the later ages of Grecian independence, when the successors of Alexander reigned in Syria and Egypt, and the colonized cities in Thrace and Asia Minor still preserved their municipal liberties. The story is related in the first person by the hero himself; a mode of narration which, though the best adapted for affording scope to the expression of the feelings of the principal personages, is, in this instance, very awkwardly introduced. A stranger, while contemplating a famous picture of the Rape of Europa in the Temple of Astarte at Sidon, is accosted by a young man, who, after a few incidental remarks, proceeds, without further preface, to recount his adventures at length to this casual acquaintance. This communicative gentleman is, of course, Clitophon; but before we proceed to the narrative of his loves and woes, we shall give a specimen of the author's powers in the line which appears to be his forte, by quoting his description of the painting above referred to:—"On entering the temple, my attention was attracted by a picture representing the story of Europa, in which sea and land were blended—the Phoenician Sea and the coasts of Sidon. On the land was seen a band of maidens in a meadow, while in the sea a bull was swimming, who bore on his shoulders a beautiful virgin, and was making his way in the direction of Crete. The meadow was decked with a profusion of bright flowers, to which a grateful shelter was afforded by the dense overhanging foliage of the shrubs and clumps of trees, which were interspersed at intervals throughout its extent; while so skilfully had the artist represented the appearance of light and shade, that the rays of the sun were seen to pass here and there through the interstices of the leaves, and cast a softened radiance on the ground underneath. A spring was seen bubbling up in the midst, and refreshing the flowers and plants with its cool waters; while a labourer with a spade was at work opening a fresh channel for the stream. At the extremity of the meadow, where it bordered on the sea, the maidens stood grouped together, in attitudes expressive of mingled joy and terror; their brows were bound with chaplets, and their hair floated in loose locks over their shoulders; but their features were pale, and their cheeks contracted, and they gazed with lips apart and opened eyes on the sea, as if on the point of uttering a cry half-suppressed by fear. They were standing on tiptoe on the very verge of the shore, with their tunics girt up to the knee, and extending their arms towards the bull, as if meditating to rush into the sea in pursuit of him, and yet shrinking from the contact of the waves. The sea was represented of a reddish tint inshore, but further out the colour changed to deep azure; while in another part the waves were seen running in with a swell upon the rocks, and breaking against them into clouds of foam and white spray. In the midst of the sea the bull was depicted, breasting the lofty billows which surged against his sides, with the damsel seated on his back, not astride, but with both her feet disposed on his right side, while with her left hand she grasped his horn, by which she guided his motions as a charioteer guides a horse by the rein. She was arrayed in a white tunic, which did not extend much below her waist, and an under-garment of purple, reaching to her feet; but the outline of her form, and the swell of her bosom, were distinctly defined through her garments. Her right hand rested on the back of the bull, with the left she retained her hold of his horn, while with both she grasped her veil, which was blown out by the wind, and expanded in an arch over her head and shoulders, so that the bull might be compared to a ship, of which the damsel's veil was the sail. Around them dolphins were sporting in the water, and winged loves fluttering in the air, so admirably depicted, that the spectator might fancy he saw them in motion. One Cupid guided the bull, while others hovered round bearing bows and quivers, and brandishing nuptial torches, regarding Jupiter with arch and sidelong glances, as if conscious that it was by their influence that the god had assumed the form of an animal."
To return to Clitophon and his tale. He begins by informing his hearer, that he is the son of Hippias, a noble and wealthy denizen of Tyre, and that he had been betrothed from his childhood, as was not unusual in those times,[2] to his own half-sister Calligone:—but Leucippe, the daughter of Sostratus, a brother of Hippias, resident at Byzantium, having arrived with her mother Panthia, to claim the hospitality of their Tyrian relatives during a war impending between their native city and the Thracian tribes, Clitophon at once becomes enamoured of his cousin, whose charms are described in terms of glowing panegyric:—"She seemed to me like the representation of Europa, which I see in the picture before me—her eye beaming with joy and happiness—her locks fair,[3] and flowing in natural ringlets, but her eyebrows and eyelashes jetty black—her complexion fair, but with a blush in her cheeks like that faint crimson with which the Lydian women stain ivory, and her lips like the hue of a fresh-opened rose." Love is not, however, in this case, as in that of Theagenes and Chariclea, instantaneous on both sides; and the expedient adopted by Clitophon, with the aid of his servant Satyrus, (a valet of the Scapin school,) to win the good graces of the lady, are detailed at length, evincing much knowledge of the human heart in the author, and affording considerable insight into the domestic arrangements of a Grecian family.[4] An understanding is at last effected between them, and Clitophon is in sad perplexity how to defer or evade his approaching nuptials with his sister-bride, when Calligone is most opportunely carried off by a band of pirates employed by Callisthenes, a young Byzantine, who, having fallen in love with Leucippe from the mere report of her beauty, and having been refused her hand by her father, has followed her to Tyre, and seeing Calligone in a public procession chaperoned by Panthia, has mistaken her for Leucippe! The lovers are thus left in the unrestrained enjoyment of each other's society; but Clitophon is erelong detected by Panthia in an attempt to penetrate by night into her daughter's chamber; and though the darkness prevents the person of the intruder from being recognised, the confusion which this untoward occurrence occasions in the family is such, that Clitophon and Leucippe, feeling their secret no longer safe, determine on an elopement. Accompanied by the faithful Satyrus, and by Clinias, a kinsman and confident of Clitophon, who generously volunteers to share their adventures, they accordingly set sail for Egypt; and the two gentlemen, having struck up an acquaintance with a fellow passenger, a young Alexandrian named Menelaus, beguile the voyage by discussing with their new friend the all-engrossing subject of love, the remarks on which at last take so antiplatonic a tone, that we can only hope Leucippe was out of hearing. These disquisitions are interrupted, on the third day of the voyage, by a violent tempest; and the sailors, finding the ship on the point of coming to pieces, betake themselves to the boat, leaving the passengers to their fate. But Clitophon and Leucippe, clinging to the forecastle, are comfortably wafted by the winds and waves to the coast of Egypt, and landed near Pelusium, where they hire a vessel to carry them to Alexandria; but their voyage through the tortuous branches of the Nile is intercepted by marauders of the same class, Bucoli or buccaniers, as those who figure so conspicuously in the adventures of Chariclea and Theagenes. The robbers are at this juncture in expectation of an attack from the royal troops; and, having been ordered by their priests to propitiate the gods by the sacrifice of a virgin, are greatly at a loss for a victim, when chance throws Leucippe in their way. She is forthwith torn from her lover, and sent off to the headquarters of the banditti; and Clitophon is on his way to another of their retreats, when his captors are attacked and cut to pieces by a detachment of troops, whose commander, Charmides, commiserates the misfortunes of our hero, and hospitably entertains him in his tent.
[2] The laws of Athens permitted the marriage of a brother with his sister by the father's side only—thus Cimon married his half sister Elpinice; and several marriages of the same nature occur in the history of the Egyptian Ptolemies.
[3] Fair hair, probably from its rarity in southern climates, seems to have been at all times much prized by the ancients; witness the [Greek: Xanthos Menelaos] of Homer, and the "Cui flavam religas comam?" of Horace. The style of Leucippe's beauty seems to have resembled that of Haidee—
"Her hair, I said, was auburn; but her eyes
Were black as night, their lashes the same hue."
[4] One incident, where Clitophon pretends to have been stung on the lip by a bee, and to be cured by a kiss from Leucippe, has been borrowed by Tasso in the Aminta, (Act I. Scene 2.) "Che fingendo ch'un ape avesse morso il mio labbro di sotto," &c., whence the idea has been again copied by a host of later poetasters. This is not Tasso's only obligation to the Greek romances, as we have already seen that he was indebted to Heliodorus for the hint of his story of Clorinda.
A general attack on the buccanier force is projected for the next day, but the advance of the troops is found to be barred by a trench so wide and deep as to be impassable; and while preparations are made for filling it up, Leucippe is brought to the opposite brink by two officiating priests, sheathed in armor; and there, to the horror of Clitophon, apparently ripped up alive before the altar. After completing the sacrifice, and depositing the body in a sarcophagus, the robbers disperse; the passage of the trench is at length effected; and Clitophon is preparing to fall on his sword at the tomb of his murdered love, when his hand is stayed by the appearance of his faithful friends, Menelaus and Satyrus, whom he had supposed lost in the ship. The mystery is now explained. They had reached the shore, like Clitophon, on pieces of the wreck and having also fallen into the power of the robbers, (as appears to have been the inevitable fate of every one landing in Egypt at the time of this narrative,) were surprised by finding Leucippe among their fellow captives, and learning from her the dreadful fate which awaited her. Menelaus, however, having recognized some former acquaintances among the buccaniers, was released from his bonds; and having gained their confidence by proposing to enrol himself in their band, offered his services as sacrificer, which were accepted. He now contrived to equip Leucippe with an artfully constructed false stomach, and being further assisted in his humane stratagem by the discovery of a knife with a sliding blade, among some theatrical properties which the robbers had acquired in the course of casual plunder, succeeded in appearing to perform the sacrifice without any real injury to the victim, who at his call rises from the sarcophagus, and throws herself into her lover's arms.
It might be supposed, that after so portentously marvellous an escape as the one just related, the unlucky couple might be allowed a short respite at least from the persecutions of adverse fortune. But perils in love succeed without an interval to perils in war. It is the invariable rule of all Greek romances, as we have remarked in a previous number, that the attractions both of the hero and heroine, should be perfectly irresistible by those of the other sex; and accordingly, the Egyptian officer Charmides no sooner beholds Leucippe, than he falls in love with her, and endeavours to gain over Menelaus to further his views. Menelaus feigns compliance, but privately gives information of the designs of Charmides to Clitophon, who is thrown into a dreadful state of consternation by his apprehensions of this powerful rival. At this juncture, however, Leucippe is suddenly seized with a fit of extravagant frenzy, which defies all the skill of the Egyptian camp; and under the influence of which she violently assaults her friends, and is guilty of sundry vagaries not altogether seemly in a well-bred young lady. Both her admirers, Charmides and Clitophon, are in despair, and equally in ignorance of the cause of her malady; but before any symptoms of amendment are perceptible, Charmides receives orders[5] to march with his whole force against the buccaniers, by whom he is inveigled into an ambuscade, and with most of his men either slain or drowned by the breaking of the dykes of the Nile. The madness of Leucippe is still incurable, till a stranger named Choereas makes his appearance, and introducing himself to Clitophon, informs him that he has discovered from the confession of a domestic, that Gorgias, an officer who fell in the late action with the Bucoli, captivated, like every one else, by the resistless charms of the heroine, had administered to her a philtre, the undue strength of which had excited frenzy instead of love. By the administration of proper remedies, the fair patient is now restored to her senses: and the total destruction of the robber-colony by a stronger force sent against them having rendered the navigation of the Nile again secure, the lovers once more embark for Alexandria, accompanied by Menelaus and Choereas, and at length arrive in safety at the city, which they find illuminated for the great feast of Serapis. The first sight of the glories of Alexandria, at the supposed period of the narrative the largest and most magnificent city in the world, and many ages subsequently second only to Imperial Rome herself, excites the astonishment and admiration of the newcomers:—and the author takes the opportunity to dilate, with pardonable complacency, on the magnitude and grandeur of the place of his birth. "When I entered the city," (says Clitophon,) "by the gates called those of the sun, its wonderful beauty flashed at once upon my sight, almost dazzling my eyes with the excess of gratification. A lofty colonnade of pillars, on each side of the street,[6] runs right from the gates of the sun on one side, to those of the moon, (for these are its guardian deities,) on the other; and the distance is such, that a walk through the city is in itself a journey. When we had proceeded several stadia, we arrived at the square named after Alexander, whence other colonnades, like those I saw extending in a right line before me, branched off right and left at right angles; and my eyes, never weary of wandering from one street to another, were unable to contemplate separately the various objects of attraction which presented themselves. Some I had before my eyes, some I was hastening to gaze upon, when I found myself unable to pass by others, while a fresh series of marvels still awaited me, so that my powers of vision were at last fairly exhausted, and obliged to confess themselves beaten. The vast extent of the city, and the innumerable multitude of the population, produced on the mind the effect of a double paradox; for regarding the one, the stranger wondered where such a city, which seemed as large as a continent, could find inhabitants; but when his attention was drawn to the other, he was again perplexed how so many people, more numerous than a nation, could find room in any single city. Thus the two conflicting feelings of amazement remained in equilibrio."
[5] ] These orders are said to have come from the "satrap," the Persian title having been retained under the Ptolemies, for the governors of the nomes or provinces. The description of the stronghold of the buccaniers, in the deep recesses of a marsh, and approachable only by a single hidden path, (like the stockades of the North-American Indians in the swamps, as described by Cotton Mather,) if not copied, like most of the other Egyptian scenes, from the Ethiopics, presents a curious picture of a class of men of whom few details are in authentic history.