A Portrait-study (11-15)

Polystratus Ah, my dear Lycinus, this lady has passed you but once, like a lightning flash; and your praises, I perceive, are all for those external charms that strike the eye. You are yet a stranger to her nobility of soul; you know not that higher, more god-like beauty. I am her fellow-countryman, I know her, and have conversed with her many times, You are aware that gentleness, humanity, magnanimity, modesty, culture, are things that I prize more than beauty—and rightly; to do otherwise would be as absurd as to value raiment above the body. Where physical perfection goes hand-in-hand with spiritual excellence, there alone (as I maintain) is true beauty. I could show you many a woman whose outward loveliness is marred by what is within; who has but to open her lips, and beauty stands confessed a faded, withered thing, the mean, unlovely handmaid of that odious mistress, her soul. Such women are like Egyptian temples: the shrine is fair and stately, wrought of costly marble, decked out with gilding and painting: but

seek the God within, and you find an ape—an ibis—a goat— a cat. Of how many women is the same thing true! Beauty unadorned is not enough: and her true adornments are not purple and jewels, but those others that I have mentioned, modesty, courtesy, humanity, virtue and all that waits on virtue.

Lycinus Why then, Polystratus, you shall give me story for story, good measure, shaken together, out of your abundance: paint me the portrait of her soul, that I may be no more her halfadmirer.

Polystratus This will be no light task, my friend. It is one thing to commend what all the world can see, and quite another to reveal what is hidden. I too shall want help with my portrait. Nor will sculptors and painters suffice me: I must have philosophers; itis by their canons that I must adjust the proportions of the figure, if I am to attain to the perfection of ancient models.

Methinks Orpheus and Amphion, whose spell drew even lifeless things to hear them, would have dropped their lyres and stood listening in silence to that voice. What should Thracian Orpheus, what should Amphion, whose days upon Cithaeron were divided

betwixt his lyre and his herd,—what should they know of true concord, of accurate rhythm, of accentuation and time, of the harmonious adaptation of lyre and voice, of easy and graceful execution? Yes; once hear her sing, Lycinus, and you will know something of Sirens as well as of Gorgons: you have experienced petrifaction; you will next learn what it is to stand entranced, forgetting country and kindred. Wax will not avail you: her song will penetrate through all; for therein is every grace that Terpsichore, Melpomene, Calliope herself, could inspire. In a word, imagine that you hear such notes as should issue from those lips, those teeth that you have seen.

Her perfect intonation, her pure Ionic accent, her ready Attic eloquence, need not surprise you; these are her birthright; for is not Smyrna Athens’ daughter? And what more natural than that she should love poetry, and make it her chief study? Homer is her fellow citizen—There you have my first portrait; the portrait of a sweet-voiced songstress, though it fall far short of its original. And now for others. For I do not propose to make one of many, as you did. I aim higher: the complex picture of so many beauties wrought into one, however artful be the composition, cannot escape inconsistency: with me, each separate virtue of her soul shall sit for its own portrait.

Lycinus What a banquet awaits me! Here, assuredly, is good measure. Mete it out; I ask for nothing better.