Kitobni o'qish: «The Tree»
The Tree
“Fata viam invenient.”
On a verdant slope of Mount Maenalus, in Arcadia, there stands an olive grove about the ruins of a villa. Close by is a tomb, once beautiful with the sublimest sculptures, but now fallen into as great decay as the house. At one end of that tomb, its curious roots displacing the time-stained blocks of Pentelic marble, grows an unnaturally large olive tree of oddly repellent shape; so like to some grotesque man, or death-distorted body of a man, that the country folk fear to pass it at night when the moon shines faintly through the crooked boughs. Mount Maenalus is a chosen haunt of dreaded Pan, whose queer companions are many, and simple swains believe that the tree must have some hideous kinship to these weird Panisci; but an old bee-keeper who lives in the neighbouring cottage told me a different story.
Many years ago, when the hillside villa was new and resplendent, there dwelt within it the two sculptors Kalos and Musides. From Lydia to Neapolis the beauty of their work was praised, and none dared say that the one excelled the other in skill. The Hermes of Kalos stood in a marble shrine in Corinth, and the Pallas of Musides surmounted a pillar in Athens near the Parthenon. All men paid homage to Kalos and Musides, and marvelled that no shadow of artistic jealousy cooled the warmth of their brotherly friendship.
But though Kalos and Musides dwelt in unbroken harmony, their natures were not alike. Whilst Musides revelled by night amidst the urban gaieties of Tegea, Kalos would remain at home; stealing away from the sight of his slaves into the cool recesses of the olive grove. There he would meditate upon the visions that filled his mind, and there devise the forms of beauty which later became immortal in breathing marble. Idle folk, indeed, said that Kalos conversed with the spirits of the grove, and that his statues were but images of the fauns and dryads he met there for he patterned his work after no living model.
