reflection; and when in the morning, after a bath, he appeared to his
friends, he was hardly recognisable as the same man. He had literally
thrown off the mask, and showed a new face, with a new expression,
almost new features. In spite of his upright character, Julian,
like Constantine, had been compelled to live in a perpetual state
of hypocrisy, by being obliged to favour and practise the Christian
teaching in which he did not believe. He had even been forced to
acknowledge the Trinity and Deity of Christ as promulgated by the
Council of Nicaea, to attend services and observe fasts. The first thing
he did after obtaining power, was to use his freedom and be what he was.
His first act was to separate the sheep from the goats, i.e. to pick out
the “Galilaeans,” and form them into legions by themselves, under the
pretext that they could thus better carry out their religious practices.
But at the same time he surrounded his person exclusively with
heathen of the old type,--Hebrews, Syrians, Persians, and Scythians.
Simultaneously he assumed the gorgeous purple and glittering diadem of
the emperors, trimmed and gilded his beard, and showed himself
abroad only on horseback and with a great train. This done, he made
preparations for publicly receiving the homage of the people, and
determined to use the theatre for that purpose, and to put on the stage
_Prometheus_, the trilogy of Aeschylus, which at that time existed in
its entirety. The Emperor had brought actors with him, and the theatre
stood ready. The news of this had spread in the town, and was joyfully
hailed by the heathen, while the Christians were vexed. The lower
classes had, it is true, expected a gladiatorial show and wild beast
fights, but a “comedy,” as they called it, was always welcome.
The day arrived, and the town was in gala attire. The play was to last
from morning to evening without pauses for meals; and as the spring
weather was cold and uncertain, the spectators were advised to bring
the garment known as “cucullus,” a short white Roman mantle with a hood,
which was all the more necessary as the theatre stood under the open
sky.
Julian, now called Augustus, came to the theatre at the appointed time,
accompanied by his philosopher friends, who had to take their seats at a
little distance, for the Emperor sat in the imperial box, whither he had
summoned the Prefect, Aedile and Quaestor to be in attendance on him. He
was somewhat astonished not to find these city authorities there, and as
the Aedile was president of the theatre, they could not begin before he
came.
The people had risen as Julian entered, and many tribunes had shouted
“Long live the Emperor!” but thereupon there followed an embarrassing
silence, during which the Emperor was regarded with cold curiosity. When
at last the latter was weary of waiting, he called his secretary, the
Hebrew Eleazar, and commanded him to go to the prefecture in order to
find out the reason of the defaulters’ absence, and at the same time he
gave the signal for the play to commence.
The actors entered, and at the altar commenced to offer the ancient kind
of sacrifice which used to serve as an introduction to tragedies. Since
animal sacrifices had ceased in all religions, even in the Jewish after
the destruction of the Temple, under Titus in A.D. 70, this unusual
proceeding aroused great curiosity. The legionaries were inured to the
sight of blood, but the citizens and their wives turned away when the
goat was sacrificed to Dionysus. People sought to find the reason for
Julian’s wish to reintroduce this custom in his laudable attempt to
mingle all religions together, and to discover a deeper meaning in the
ceremonies of all. The offering indeed was a gift, a sacrifice, and an
expression of gratitude, but Maximus the mystic had also persuaded the
Emperor that there were hidden powers in the blood itself, the source
of life, which attracted spiritual forces of a lower order. Man shed his
mother’s blood at his birth and the sacred institution of circumcision
was intended to be a reminder of the bloody and painful operation of
birth. Slaves were slaughtered on the graves of chieftains, and in
the time of Julius Caesar the Romans had on one extraordinary occasion
sacrificed three hundred prisoners. Captivated by this and by similar
philosophical arguments, Julian was enticed into a course which was
destined to lead to his destruction. After the sacrifice, at which the
soldiers had laughed and the women had wept, the drama commenced in
the poet’s original language. Greek was indeed spoken by all people of
cultivation from Palestine to Gaul, but the uneducated did not know it,
and therefore the citizens sat there inattentively.
As the chorus entered for the second time, Eleazar returned with news.
“This is what has happened,” he said. “The Bishop of Sens, the Primate
of the Church of Gaul, has entered the town, and is performing mass in
the church. The high officials are present there, and they accordingly
beg to be excused attending on the Emperor. They thought that he was
aware that Christians never go to the theatre, and they rely upon the
edict granting religious liberty.”
Julian turned white with rage. “Good! They shall pay for that! Now, my
Jewish friend, Eleazar, you shall sit near and talk with me. The actors
are wretched, and I cannot endure their pronunciation of Greek.”
Eleazar demurred, but the Emperor overruled his objections. The morning
passed, and when the first part of the trilogy was at an end, part of
the public seemed to wish to steal away; but the exits were closed, in
order to avoid the fiasco of actors playing to an empty house, and
the disrespect which would thereby be shown to the Emperor. But the
discontent of the audience continually increased, for they were tired
and hungry. They were also unpleasantly surprised by the presence of a
Jew in the Emperor’s box. It was not, however, because he was a Jew,
for hatred of the Jews arose much later, after the Crusades. During the
first centuries after Christ, Jews were confused with Christians because
people believed that the new religion came from Palestine and was a
continuation of Mosaism. The hostile glances which were cast at Eleazar
were therefore more on account of his mean appearance and position than
of his religion. The favour shown him by the Emperor was especially
a challenge to the Christians, in whose eyes he was an alien and a
heathen.
When, in the second part of the trilogy, Prometheus was nailed to the
rock, the spectators must have thought of the Crucified as the antitype,
for the actor playing that part took that posture, extended his arms,
and let his head sink on his breast. The common people became more
attentive, and as they neither had learnt Greek nor were acquainted
with mythology, they thought that the sufferings of Christ were being
represented on the stage. Since this had never been done before, they
were displeased, and half-audible conversations began. The Emperor was
angry, but did not move a muscle. He was generally quiet, but when
he was enraged his intelligence forsook him. He sat there in silence,
revolving plans against these barbarians, who had forgotten the wisdom
of the ancients. It was now past noon, and the impatience of the
audience increased. Then the sky began to be covered with clouds and
some flakes of snow fell slowly like white feathers. Those who had
mantles drew them over their heads. The actors looked towards the
Emperor’s box, but he did not move, although it had no roof. He was a
soldier, and would not be afraid of anything so trivial as bad weather.
Now Prometheus began to prophesy to Io of the Deliverer who would
be born to overthrow Zeus and deliver the fire-bringer. The educated
Christians and the heathen looked at each other questioningly, when
Io said, “What dost thou say? Shall my son be thy deliverer?” And when
Prometheus answered, “He will be the third scion after ten generations,”
a murmur broke out in the theatre. “Ten generations,” that was in round
numbers 700 years--a period nearly extending to the birth of Christ,
since the Christians reckoned dates from 763 A.D., the end of the
mythological era, to which the drama belonged.
Julian perceived that he had “carried wood to the fire,” and helped the
Christians without intending to do so. Aeschylus had prophesied Christ’s
birth almost to the very year, and intimated that he would overthrow
Zeus. The orthodox followers of Athanasius wished for no better weapon
with which to crush the Arians, who denied the Deity of Christ.
The snow fell ever more thickly, till at last it was a snowstorm. Julian
was as white as though he wore a shroud, but he did not move, for he
was beside himself with rage against himself, against the demons who
had enticed him to choose this play, and against the heavenly powers who
mocked him.
The whole audience was covered with snow, and discussed theology; the
rabble laughed and quarrelled. The only ones who were protected against
the inclemency of the weather were the actors under the canopy. But the
damp snow was heavy, and the linen awning presently bent and broke.
Then the whole audience rose and burst into laughter; the actors crept
out from under the masses of snow, the doors opened, and all fled except
Julian and his philosophers.
* * * * *
As soon as Julian had been elected Emperor, he had sent an ambassador
to the Emperor at Byzantium, and now awaited his reply. It was about
the time of the winter solstice and the turn of the year. The Christians
had, at this period, just begun to celebrate the birth of Christ, and
had adopted certain Roman customs from the Saturnalia, the feast in
honour of Saturn. Julian, irritated by the challenge of the Nazarenes,
began to arm himself for resistance and attack. Now he determined to use
his power to give back to heathendom what belonged to it, and to show
the Christians whence they had derived their knowledge of the highest
things. At the same time he wished to lend heathenism a Christian
colouring, so that, at its return, it might be able to conquer
everything. The old Temple of Jupiter, on the island in the river, was
opened one night, and lights were seen in it. There was also a noise of
hammers and saws, mattocks and trowels. This lasted for some time, and
people talked about it in the town.
One night in midwinter, Julian sat with Maximus, Priscus, and Eleazar
in the Opisthodomos or priests’ room, behind the altar in the Temple
of Jupiter. The whole temple was lit up, and the purpose of the
improvements which had taken place could be seen. By the colonnade on
the left hand was an ambo or pulpit, and under it a confessional; there
were also a seven-branched candlestick, a baptismal font, a table with
shewbread, and an incense-altar. These represented Julian’s attempt
to attach the new doctrine to the old, and to amalgamate heathenism,
Christianity, and Judaism. Heliogabalus had indeed attempted the same in
his own rough fashion, by introducing Syrian sun-worship into Rome,
but he retained all the heathen gods, even the Egyptian ones. Neither
Christians, however, nor Jews would have anything to do with it.
Julian did not love the Jews, but his hatred of Christianity was so
great that he preferred to help the stiff-necked race in Palestine, in
order to rouse them against Christ. For that purpose he had given orders
that the Temple in Jerusalem should be rebuilt, and this was the matter
which he wished to discuss with his philosophers and Eleazar. “What
is your opinion, then?” he asked, after finishing a long speech on the
subject. “Let Maximus speak first.”
“Caesar Augustus,” answered Maximus the mystic, “Jerusalem has been
destroyed from the face of the earth, as the prophets foretold, and the
Temple cannot be rebuilt.”
“Cannot? It shall be.”
“It cannot! Constantine’s mother, indeed, built a church over the grave
of Christ, but the Temple cannot be rebuilt. Since Solomon’s time the
history of this city has been a history of successive destructions.
Sheshach, the Philistines, Arabs, Syrians, Egyptians, and Chaldaeans,
destroyed it in early times. Then came Alexander Ptolemaus, and finally
Antiochus Epiphanes, who pulled down the walls and set up an image of
Jupiter in the Temple. But now, mark!--sixty-three years before Christ,
Jerusalem was conquered by Pompey. What happened in the same year after
Christ in the Roman Empire? Pompeii, the town by Naples, named after
the conqueror, was destroyed in A.D. 63 by an earthquake. That was the
answer, and the Lord of Hosts conquered Jupiter,--Zeus.”
“Listen!” broke in Julian, “I don’t agree with your Pythagorean
speculations about numbers. If both events had happened in the year 63
before Christ, then I would be nearly convinced.”
“Wait, then, Caesar, and you will be. After Pompey had conquered
Jerusalem, and Cassius had plundered it, Herod rebuilt the city and the
Temple. But soon afterwards--_i.e._ in A.D. 70, Jerusalem was completely
destroyed by Titus. Only nine years later Monte Somma began to throw up
fire as it had never done before, and by it Pompeii and Herculaneum were
both destroyed. Pompeii and Herculaneum were Sodom and Gomorrah, and a
temple in Pompeii contained an image of Vespasian, who had laid waste
part of Jerusalem before Titus. It disappeared altogether. Do you think
perhaps that the Christians set Vesuvius on fire, as Nero believed they
had fired Rome in A.D. 64?”
Julian reflected: “There were nine years between,” he said, “but it
seems strange.”
“Yes,” answered Maximus, “but precisely in the same year 70, in which
Titus destroyed the Temple, the Capitol was burnt.”
“Then it is the gods who are warring, and we are only soldiers,”
exclaimed Julian.
Priscus the Sophist, who liked word-encounters, determined to stir up
the embers, as they seemed to be expiring: “But Christ has said that one
stone shall not remain upon another, and that the Temple shall never be
built again.”
“Has Christ said that?” answered Julian. “Very well; then he shall show
whether he was a god, for I will build again the Temple of Solomon.”
And turning to Eleazar, he continued, “Do you believe in prodigies?”
“As surely as the Lord lives, as surely as Abraham’s God has brought us
out of Egyptian bondage and given us Canaan, so surely will He fulfil
the promise, and restore to us land, city, and Temple!”
“May it be with you according to your belief. The Temple shall be built
up, even though it be not in three days as the Galilaean thought.”
* * * * *
The winter solstice had come, and the Feast of the Saturnalia commenced
in Lutetia. The heathen had always kept the feast in recollection of the
legendary Golden Age, which was said to have been under the reign of the
good Saturn. Then there was peace upon earth; the lion played with the
lamb, the fields brought forth harvests without husbandry, weapons were
not forged, for men were good and righteous. This beautiful festival,
which had been discontinued by the Romans, had been revived by the
Christians, who at Christ’s coming expected a new Golden Age or the
Millennium. But now Julian wished to restore to the heathen their
privilege, and at the same time to show the Nazarenes whence they had
derived their religious usages.
The heathen began to keep the festival in the old way. The shops were
closed, and the city decorated, when on the morrow a procession was seen
issuing from the Basilica to the market-place. At the head went King
Saturn, with his horn of plenty, corn-sheaves, and doves; he was
followed by the Virtues, Fortune, Wealth, Peace, Righteousness. Then
followed an actor dressed like the Emperor, and by the hand he led a
captive, who, in honour of the day, had been freed from his chains. He
was followed by citizens who took their slaves by the arm; and these in
their turn by women and children, who scattered corn from the sheaves
for the sparrows in the street. The procession passed through the
streets, and at first pleased the beholders.
Then they entered the temple, where there was a seated image of Jupiter
in the apse. It had been cunningly modelled to resemble God the Father,
or Moses, as he began to be represented about that time. Near and a
little beneath this image stood Orpheus in the character of the Good
Shepherd, with a lamb on his shoulders, and carved in relief on the
pedestal was to be seen his descent to Hades, from which he returned
bringing Diké (Justice),--a play on the name Eurydice. This was a
direct hit at the Christians. Before the divine images stood the Jewish
shewbread table, with the bread and the wine--a reminder of the source
from which the Christians had taken the Eucharist or the Mass. As though
by chance, a new-born heathen child was brought and baptized in the
font. To the question of one, who had studied his part, whether heathen
were baptized, it was answered by one, who also had his role assigned
him, that the ancients had always washed their new-born children.
The whole affair was a comedy staged by Julian.
Then Maximus mounted the pulpit, and, in a Neo-platonic discourse,
expounded all religious images, symbols, and customs. He also showed
that the heathen only worshipped one God, whose many attributes found
expression in various personifications. Then he ostensibly defended
Christ’s Deity, the Virgin birth, and miracles. “We are,” he said, “all
of divine origin, since God has created us, and we are His children.
There is nothing remarkable in Christ being born without a father, since
the philosopher Plato was also born of a virgin without a father.” In
the middle of his discourse he exclaimed: “Miracles! Why should we not
believe in miracles, since we believe in Almighty God? His omnipotence
signifies that He can suspend the laws of nature which he has
established. He who believes not in miracles is therefore an ass.” The
discourse was listened to by heathen and Christians. The latter thought
that they had never heard anything which so clearly explained mysterious
dogmas, and the heathen found that they were one with the Christians.
“What, then, stands between us?” exclaimed Maximus, carried away by the
sight of the harmony and mutual understanding which prevailed among his
audience. “Have we not all one Father? Has not one God created us? Why,
then, strive one against the other? Have we not here to day celebrated
the recollection of the better times which have been, and which will
surely return, as the light returns with the renewal of the sun--times
of reconciliation and peace on earth, when no one will be master and no
one slave? Here is neither Jew nor Greek nor Barbarian, but we are all
brothers and sisters in one faith. Therefore love one another; reconcile
yourselves with God and each other; give each other the kiss of peace;
rejoice, perfect yourselves, be of one mind, and the God of love and
peace shall be with you.”
The audience was delighted, and with streaming eyes fell in each other’s
arms, pressed each other’s hands, and kissed each other’s cheeks.
Then suddenly a row of lights was kindled on the altar; that was part of
the ceremonial of the Saturnalia, and signified the return of the sun.
This custom was adopted by the Christians in celebrating the Birth of
Christ or Christmas.
After this beggars were brought forward, and those of the upper classes
washed their feet. Then twelve slaves took their seats at a covered
table, while their masters served them. Julian, who, hidden in the
Opisthodom, had watched the whole ceremony, secretly rejoiced, because
by means of these ancient heathen rites he had entirely defeated the
Christians. In them, as he had intended, there was a wordless expression
of philanthropy and charity, and both had existed from time immemorial.
Finally, the children were brought forward, and received as presents
dolls modelled of wax and clay. The illusion was complete, and the
Christians felt as though under an enchanter’s spell. “The heathen are
Christians after all!” they exclaimed. “Why, then, strive and quarrel,
when we are one?”
There was an overflow of emotion, and the success of the experiment was
complete. That was the victory of the first day. When, on the following
day, the Christians wished to celebrate their Christmas festival, it
necessarily appeared a mere copy of that of the heathen.
* * * * *
The Saturnalia lasted seven days, and Julian, intoxicated with his
success, resolved to introduce the whole of the ancient ceremonies in
all their terrible splendour. His philosophers warned him, but he did
not listen to them any more; he must have his hecatombs; a hundred oxen
adorned with garlands were to be slaughtered in the open space before
the Temple of Jupiter, as a sacrifice to the ancient gods.
“He is mad!” lamented Eleazar.
“Whom the gods would destroy, they strike with blindness. Now he pulls
down, what he had built up.”
It is difficult to explain how the highly cultivated, clever, and
aesthetic Julian could conceive the wild idea of reintroducing animal
sacrifices. It was really butchery or execution, and neither butchers
nor executioners enjoyed much respect in society. It looked as though
his hatred of Christ had clouded his understanding, when, arrayed in the
garb of a sacrificial priest, he led forth the first ox, with its horns
gilded and wearing a white fillet.
After he had kindled incense on the altar, he poured the bowl of wine
over the head of the ox, thrust his knife in its throat and turned it
round. A shudder ran through the crowd, who remained riveted to their
places.
But as the blood spirted around, and the Emperor opened the quivering
body of the animal in order to take an augury from its entrails, a cry
rose which ended in an uproar, and all fled. The word “Apostate!” for
the first time struck his ear. That was the signal of his defeat, and,
as the animals were released by those who held them, they fled away
through the streets of the town.
The Emperor, in his white robe sprinkled with blood, had to return
alone to his palace, while Christians and heathen alike shouted their
disapprobation.
“See the butcher!” they cried; “Apostate! Renegade! Madman!”
When Julian came to his palace, he looked as though petrified; but,
without changing his clothes, he sat down to the table and wrote an
edict against the Christians, in which they were forbidden to study, and
to fill offices of State. That was his first step.
In the evening of the same day Julian received a letter: it was from the
Emperor Constantius in Byzantium, who did not acknowledge his election
to the imperial throne, and threatened to bring an army against him in
Gaul. This was quite unexpected, and Julian left Lutetia in order to
march against his cousin. As he went towards the East, he felt as though
he were going to his death. But the first throw of the dice of destiny
was a lucky one for him. Constantius died on the march, and Julian was
left sole Emperor. This he took for a sign that the gods were on his
side, and he proceeded on his campaign feeling that he was supported by
the higher powers. But it was only the last jest of his gods.
It is related that before his last march against the Persians, he wished
to ascertain his destiny, and had a woman’s body cut open in order to
take an augury from the entrails. But that may be untrue, as is also
the case with the conflicting reports of his death, which happened soon
after. One thing, however, is certain; the “Galilaean” conquered Zeus,
who rose no more.
It is also a fact, confirmed by Christian, Jewish, and heathen
writers, that the Temple of Jerusalem was never built again, for as
the foundation was about to be laid, fire broke out of the ground
accompanied by an earthquake. The same earthquake also destroyed Delphi,
“the centre of the earth,” and the focus of the religious and political
life of Greece.
ATTILA