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Philip II and Alexander the Great: Father and Son ... - Historia Antigua

Philip II and Alexander the Great: Father and Son ... - Historia Antigua

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212 RECEPTION OF FATHER AND SON<br />

correct one, by <strong>the</strong> discovery of <strong>the</strong> water of life at <strong>the</strong> end of it, by <strong>the</strong><br />

wealthy jewels picked up en route, <strong>and</strong> <strong>the</strong>n, most emphatically, by<br />

<strong>the</strong> arch set up <strong>and</strong> inscribed by Alex<strong>and</strong>er upon his return: “Whosoever<br />

want to enter <strong>the</strong> L<strong>and</strong> of <strong>the</strong> Blessed, journey to <strong>the</strong> right-h<strong>and</strong><br />

side, lest you meet your doom.” For Alex<strong>and</strong>er both <strong>the</strong> bad <strong>and</strong> <strong>the</strong><br />

good source are alike on <strong>the</strong> right, but that is, as we have seen, quite<br />

compatible with <strong>the</strong> bulk of <strong>the</strong> tablet set.<br />

5. Tree Imagery<br />

Tree imagery is important to <strong>the</strong> tablets. 20 Fourteen of <strong>the</strong>m (L1–L6a)<br />

give us a cypress tree adjacent ei<strong>the</strong>r to <strong>the</strong> good source or <strong>the</strong> bad<br />

source, <strong>and</strong> fi ve of <strong>the</strong>m specify more closely that it is a white or<br />

shining ( leukos) tree (L1–4, L6). Additionally, a fur<strong>the</strong>r eight tablets,<br />

none of which <strong>the</strong>mselves mention trees, are shaped in <strong>the</strong> form of<br />

leaves, leaves which have been variously identifi ed as those of laurel,<br />

myrtle, or ivy (L7a–b, L16a–e, L16j). The last possibility is interesting<br />

in view of <strong>the</strong> anonymous third-century B.C. poem addressed to <strong>the</strong><br />

tragedian Philicus, which bids him process to <strong>the</strong> “Isl<strong>and</strong>s of <strong>the</strong><br />

Blessed” while rolling out well-sung words from an ivy-clad head. 21<br />

It has, fur<strong>the</strong>rmore, been suggested that <strong>the</strong> puzzling opening phrase<br />

of <strong>the</strong> Hipponion tablet (L1) should be read not as “This is <strong>the</strong> task for<br />

Memory” but as “This is <strong>the</strong> leaf for Memory” (i.e., thrion, not ergon). 22<br />

We are forcibly reminded, in this respect, of <strong>the</strong> golden bough that<br />

Aeneas takes down into <strong>the</strong> underworld with him, before turning<br />

right (Verg. Aen. 6.133–636). There is no obvious sign of a tree in <strong>the</strong><br />

Romance, but we do perhaps miss one in it: where, after all, are we to<br />

imagine that <strong>the</strong> birdlike creatures that address Alex<strong>and</strong>er <strong>and</strong> turn<br />

him back live?<br />

6. The Guards<br />

In <strong>the</strong> case of four tablets <strong>the</strong> bearer is confronted <strong>and</strong> interrogated by<br />

<strong>the</strong> “guards” ( phulakes) of <strong>the</strong> lake of Memory (L1–4). We are given<br />

no physical description of <strong>the</strong>se guards whatsoever. However, while<br />

one of <strong>the</strong> tablets says that <strong>the</strong>y are “in front of” <strong>the</strong> lake of Memory<br />

(epipros<strong>the</strong>n, L3) <strong>the</strong> o<strong>the</strong>r three specify that <strong>the</strong>y are “over”<br />

(epuper<strong>the</strong>n) it (L1–2, L4). The meaning of this word is simple <strong>and</strong><br />

clear, but it has caused <strong>the</strong> translators diffi culties. Bernabé <strong>and</strong><br />

Jiménez San Cristóbal translate it to mean that <strong>the</strong> guards are on <strong>the</strong><br />

banks of <strong>the</strong> lake, <strong>and</strong> <strong>the</strong>refore “above” it in this sense. This seems a

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