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three pairs of lovers with space

THE DISILLUSIONMENT OF ENCOLPIUS
BY PETRONIUS

 

The Disillusionment of Encolpius is the name given on this website for ease of reference to the unnamed chapters 79 to 83 of the Satyricon by the Roman writer Petronius. It is the third of the seven parts of Greek love interest into which the Satyricon is here divided.

The translation is by Paul Dinnage for The Satyricon of Petronius published by Spearman & Calder of London in 1953.

 

79 viii - 82 ii

Encolpius, Ascyltos and Giton have fled the feast of Trimalchio and, with difficulty, just found their lodgings.

Ah gods, ah, what a night it was,
And the bed so soft. In hot embrace
Through kiss on kiss we poured as one
Our restless souls.
Farewell to mortal strife. 
[79 viii] qualis nox fuit illa, di deaeque,
quam mollis torus. haesimus calentes
et transfudimus hinc et hinc labellis
errantes animas. valete, curae
mortales. ego sic perire coepi. 
Fellini Satyricon 17.15
Encolpius and Giton in Federico Fellini's film Satyricon (1969)

My destruction had begun. I had no reason to be proud of myself. I was unnerved by the wine and had let my quivering hands fall, when Ascyltos, who would contrive every possible outrage, ravished Giton from me in the dark and brought him to his own bed, making too free in wallowing with someone else’s boy. Giton either did not feel the outrage or pretended not to, and in a stolen embrace Ascyltos fell asleep, oblivious of human rights. When I awoke I ran a hand all over my bed and found it despoiled of my delight. Any lover will believe me when I say that I hesitated whether or not to run them through with my sword and crown their sleep with death. Taking the safer course, I shook Giton up with a few blows, looked fiercely at Ascyltos, and said, “Since you have wickedly broken our pact and our mutual friendship, take your things at once and find some other place to pollute.”

He offered no resistance, but when we had divided our spoils in all good faith, he said, “And now we must split the boy in two.” 

sine causa gratulor mihi. [ix] nam cum solutus mero remisissem ebrias manus, Ascyltos, omnis iniuriae inventor, ubduxit mihi nocte puerum et in lectum transtulit suum, volutatusque liberius cum fratre non suo, sive non sentiente iniuriam sive dissimulante, indormivit alienis amplexibus oblitus iuris humani. [x] itaque ego ut experrectus pertrectavi gaudio despoliatum torum. si qua est amantibus fides, ego dubitavi an utrumque traicerem gladio somnumque morti iungerem. [xi] tutius deinde secutus consilium Gitona quidem verberibus excitavi, Ascylton autem truci intuens vultu “quoniam” inquam “fidem scelere violasti et communem amicitiam, res tuas ocius tolle et alium locum quem polluas quaere.” [xii] non repugnavit ille, sed postquam optima fide partiti manubias sumus, “age” inquit “nunc et puerum dividamus.” 
Fellini Satyricon 18.19


I thought it was a parting jest. But he drew his sword with murderous intent and added, “You shall not enjoy the booty you brood over on your own. I need my share, and I will cut it off with this sword, despised though I am.”

It was my turn to strike the same attitude; I wrapped my cloak round my arm and took my guard. In the middle of our lunatic folly the anguished boy touched our knees, and tearfully begged us not to make this low inn the scene of a Theban duel,[1] nor to defile a hallowed and beautiful friendship by spilling one another’s blood.

“If you must commit a crime,” he cried, “here is my bare throat, turn your hands to it, plunge your blades in it. I am the one who should die for effacing your oath of friendship.”

We sheathed our swords after this plea, and Ascyltos was the first to speak: “I’m going to put a stop to our quarrel. The boy himself shall follow whoever he chooses, so at least he will be free to pick his own brother.”[2]

Persuaded that our long-standing intimacy had passed into a bond of blood, I had no qualms, and jumped hastily at the proposal. I put the case to our judge. I had scarcely closed my mouth when, without any deliberation, without any show of hesitation, he got up and chose Ascyltos for his brother.[3] I was thunderstruck by this decision, and collapsed just as I was on my bed, without my sword, and would have attempted suicide at the verdict if I had not grudged my enemy that extra triumph. Ascyltos went off gloating over his prize, and left me, so lately his dearest friend, his equal in every fortune, an outcast in a strange place.

 

[80 i] iocari putabam discedentem. at ille gladium parricidali manu strinxit et “non frueris” inquit “hac praeda, super quam solus incumbis. partem meam necesse est vel hoc gladio contemptus abscidam.” [ii] idem ego ex altera parte feci et intorto circa bracchium pallio composui ad proeliandum gradum. [iii] inter hanc miserorum dementiam infelicissimus puer tangebat utriusque genua cum fletu petebatque suppliciter ne Thebanum par humilis taberna spectaret neve sanguine mutuo pollueremus familiaritatis clarissimae sacra. [iv] “quod si utique” proclamabat “facinore opus est, nudo ecce iugulum, convertite huc manus, imprimite mucrones. ego mori debeo, qui amicitiae sacramentum delevi.” [v] inhibuimus ferrum post has preces, et prior Ascyltos “ego” inquit “finem discordiae imponam. puer ipse quem vult sequatur, ut sit illi saltem in eligendo fratre salva libertas.” [vi] ego qui vetustissimam consuetudinem putabam in sanguinis pignus transisse, nihil timui, immo condicionem praecipiti festinatione rapui commisique iudici litem. qui ne deliberavit quidem, ut videretur cunctatus, verum statim ab extrema parte verbi consurrexit [et] fratrem Ascylton elegit. [vii] fulminatus hac pronuntiatione sic ut eram sine gladio in lectulum decidi, et attulissem mihi damnatus manus, si non inimici victoriae inviderem. [viii] egreditur superbus cum praemio Ascyltos et paulo ante carissimum sibi commilitonem fortunaeque etiam similitudine parem in loco peregrino destituit abiectum.

Fellini Satyricon 19.25
Encolpius grieving over Giton's desertion of him

Friendship’s a name that clings while it’s useful; The piece comes and goes on the checkered board. When fate is for us, friends, your smile is wide; When gone, you show your backs, you basely fly. A comedy plays: this is the Father, That the Son; another’s named The Rich Man. But the page turns down on the pleasant parts, True faces come back, the grease-paint melts away.

But I did not indulge in tears for long. I was afraid Menelaus, the assistant tutor, would add to my troubles by finding me alone at the inn, so I bundled my things and sadly took a room at an unfrequented place near the sea.

I shut myself in for three days. My mind was haunted with loneliness and humiliation; I beat my breast, already weary with sobbing, I groaned heavily, and broke out again and again with the same lament: “Why couldn’t the earth open and swallow me down? Or the sea, so terrible even to the innocent? I fled from justice, I cheated the arena, I killed my host, and with these titles to valour I am a beggar, an exile, and lie abandoned in a Greek town at an inn. And who reduced me to this solitude? An adolescent infected with every vice, and by his own admission deserving of exile, who got his freedom by debauch, his birthright by it, who gambled his young life away, who was treated as a girl even by those who knew he was a man. And the other one? He put on a skirt instead of a grown man’s wear; his own mother coaxed him out of his sex; he played a woman’s part in the slaves’ quarters;[4] then he couldn’t meet his debts, he changed his style of debauch, forsook the very name of our old friendship, and—the shame of it—has sold all, like the last prostitute, for one clinging night. Now the two lovers lie whole nights together in one embrace, and perhaps they laugh at my solitude when they have exhausted their lust and themselves. But they won’t get away with it. I am no man, and no freeman, if I do not avenge the insult in their own guilty blood.”

[ix] nomen amicitiae si quatenus expedit haeret, calculus in tabula mobile ducit opus. dum fortuna manet, vultum servatis, amici; cum cecidit, turpi vertitis ora fuga. grex agit in scaena mimum: pater ille vocatur, filius hic, nomen divitis ille tenet. mox ubi ridendas inclusit pagina partes, vera redit facies, assimulata perit.

[81 i] nec diu tamen lacrimis indulsi, sed veritus ne Menelaus etiam antescholanus inter cetera mala solum me in deversorio inveniret, collegi sarcinulas locumque secretum et proximum litori maestus conduxi. [ii] ibi triduo inclusus redeunte in animum solitudine atque contemptu verberabam aegrum planctibus pectus et inter tot altissimos gemitus frequenter etiam proclamabam: “ergo me non ruina terra potuit haurire? [iii] non iratum etiam innocentibus mare? effugi iudicium, harenae imposui, hospitem occidi, ut inter [tot] audaciae nomina mendicus, exul, in deversorio Graecae urbis iacerem desertus? et quis hanc mihi solitudinem imposuit? [iv] adulescens omni libidine impurus et sua quoque confessione dignus exilio, stupro liber, stupro ingenuus, cuius anni ad tesseram venierunt, quem tamquam puellam conduxit etiam qui virum putavit. [v] quid ille alter? qui tamquam die togae virilis stolam sumpsit, qui ne vir esset a matre persuasus est, qui opus muliebre in ergastulo fecit, qui postquam conturbavit et libidinis suae solum vertit, reliquit veteris amicitiae nomen et, pro pudor, tamquam mulier secutuleia unius noctis tactu omnia vendidit. [vi] iacent nunc amatores adligati noctibus totis, et forsitan mutuis libidinibus attriti derident solitudinem meam. sed non impune. nam aut vir ego liberque non sum, aut noxio sanguine parentabo iniuriae meae.”
 
Fellini Satyricon 02 
So saying I buckled on my sword, and with a large meal I got up my strength in case I defeated my own purpose through lack of it. I burst into the street and stalked furiously round the arcades. But while my face betrayed a savage fury, while I could picture nothing but blood and slaughter as my hand went again and again to the hilt of my sword I had dedicated to the task, I was noticed by a soldier, a deserter in all probability, or a night-prowler.  [82 i] haec locutus gladio latus cingor, et ne infirmitas militiam perderet, largioribus cibis excito vires. mox in publicum prosilio furentisque more omnes circumeo porticus. [ii] sed dum attonito vultu efferatoque nihil aliud quam caedem et sanguinem cogito frequentiusque manum ad capulum quem devoveram refero, notavit me miles, sive ille planus fuit sive nocturnus grassator, 

 

83 iii-vii

The soldier makes Encolpius calm down. He enters a gallery of wonderful paintings. Amongst them:

Here, an eagle bore the shepherd-boy of Ida to the heights of heaven; there, unsullied Hylas refused the wanton Naiad. Apollo damned his guilty hands and crowned his slackened lyre with a new-born flower.[5] Among these painted lovers’ faces I cried out as though no one were there, “So the gods too are touched by love! Jupiter in his heaven found nothing to please him, and went whoring on earth, and yet did no one any harm. The nymph who ravished Hylas would have stayed her passion had she believed Hercules might come to forbid it. Apollo transformed the shade of a boy into a flower, and every tale is of embraces secure from rivalry. But I have taken up with a companion more cruel than Lycurgus himself.”

All at once, as I argued with the winds, a white-headed old man came into the gallery. His face was emaciated, and seemed to hold promise of some greatness. 

[83 iii] hinc aquila ferebat caelo sublimis Idaeum, illinc candidus Hylas repellebat improbam Naida. damnabat Apollo noxias manus lyramque resolutam modo nato flore honorabat. [iv] inter quos [etiam] pictorum amantium vultus tamquam in solitudine exclamavi: “ergo amor etiam deos tangit. Iuppiter in caelo suo non invenit quod eligeret, et peccaturus in terris nemini tamen iniuriam fecit. [v] Hylan Nympha praedata imperasset amori suo, si venturum ad interdictum Herculem credidisset. Apollo pueri umbram revocavit in florem, et omnes fabulae—picturae quoque— habuerunt sine aemulo complexus. [vi] at ego in societatem recepi hospitem Lycurgo crudeliorem.” [vii] ecce autem, ego dum cum ventis litigo, intravit pinacothecam senex canus, exercitati vultus et qui videretur nescioquid magnum promittere, 
Fellini Satyricon 21.21
Eumoplus caresses a boy's hair while introducing himself to Encolpius in the gallery

The old man introduces himself as a poet, explains his shabby dress and proceeds to tell his story, for which read the next episode, The Pergamene Boy.

 

[1] A Theban duel means a fratricidal duel epitomised by the war between Eteokles and Polyneikes, the sons of the Theban King Oidipos, as described in Aischylos’s Seven Against Thebes, amongst other classic literature.

[2] Fratrem, translated literally here as “brother”, means “lover” in a homosexual context such as this, and is thus translated by others

[3] It may well be that Encolpius’s impotence, the main theme of the last surviving part of the Satyricon (127-141), where it is implied that it was an intermittent problem and Giton repoaches him sarcastically about it (128 vii), was, in the full original, a more obvious and persistent source of humour and that this could help explain Giton’s rejection of him in favour of Ascyltos.

[4] Thus one sees how easily a Roman man who had a little earlier (79 viii) used the language of brotherly love and recipcrocity in describing his love-making with a boy could drop that language in favour of one debasing the penetrated passive boy as soon as he felt incited to insult him.

[5] These are all famous examples of pederastic love from Greek mythology. “The shepherd-boy of Ida” was the Trojan Ganymede who was tending sheep on Mount Ida when he was abducted by an amorous Jupiter in the form of an eagle to be his beloved on Mount Olympus. Hylas was a boy loved by the hero Herakles who was abducted by Naiads. Hyakinthos was a boy loved and accidentally killed by Apollo, who caused him to become the flower bearing his name.

 

 

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