Haggard Collection Vol 2

She (1886)-6

"May the Lord forgive her for that," groaned Job, who had been listening to this marvellous composition with his mouth open.

As for myself, I said nothing: my first idea being that my poor friend, being demented, had composed the whole thing, though it scarcely seemed likely that such a story could have been invented by anybody. It was too original. To solve my doubts I took up the potsherd and began to read the close uncial Greek writing on it; and very good Greek of the period it is, considering that it came from the pen of an Egyptian born. Here is an exact transcript of it:—

For general convenience in reading, I have here accurately transcribed this inscription into the cursive character.

The English translation was, as I discovered on further investigation, and as the reader may easily see by comparison, both accurate and elegant.

Besides the uncial writing on the convex side of the sherd at the top, painted in dull red, on what had once been the lip of the amphora, was the cartouche already mentioned as being on the scarabæus, which we had also found in the casket. The hieroglyphics or symbols, however, were reversed, just as though they had been pressed on wax. Whether this was the cartouche of the original Kallikrates,[5] or of some Prince or Pharaoh from whom his wife Amenartas was descended, I am not sure, nor can I tell if it was drawn upon the sherd at the same time that the uncial Greek was inscribed, or copied on more recently from the Scarab by some other member of the family. Nor was this all. At the foot of the writing, painted in the same dull red, was the faint outline of a somewhat rude drawing of the head and shoulders of a Sphinx wearing two feathers, symbols of majesty, which, though common enough upon the effigies of sacred bulls and gods, I have never before met with on a Sphinx.

Also on the right-hand side of this surface of the sherd, painted obliquely in red on the space not covered by the uncial characters, and signed in blue paint, was the following quaint inscription:—

IN EARTH AND SKIE AND SEA

STRANGE THYNGES THER BE.

HOC FECIT

DOROTHEA VINCEY.

Perfectly bewildered, I turned the relic over. It was covered from top to bottom with notes and signatures in Greek, Latin, and English. The first in uncial Greek was by Tisisthenes, the son to whom the writing was addressed. It was, "I could not go. Tisisthenes to his son, Kallikrates." Here it is in fac-simile with its cursive equivalent:—

This Kallikrates (probably, in the Greek fashion, so named after his grandfather) evidently made some attempt to start on the quest, for his entry written in very faint and almost illegible uncial is, "I ceased from my going, the gods being against me. Kallikrates to his son." Here it is also:—

Between these two ancient writings, the second of which was inscribed upside down and was so faint and worn that, had it not been for the transcript of it executed by Vincey, I should scarcely have been able to read it, since, owing to its having been written on that portion of the tile which had, in the course of ages, undergone the most handling, it was nearly rubbed out—was the bold, modern-looking signature of one Lionel Vincey, "Ætate sua 17," which was written thereon, I think, by Leo's grandfather. To the right of this were the initials "J. B. V.," and below came a variety of Greek signatures, in uncial and cursive character, and what appeared to be some carelessly executed repetitions of the sentence

(to my son), showing that the relic was religiously passed on from generation to generation.

The next legible thing after the Greek signatures was the word "Romae, A.U.C.," showing that the family had now migrated to Rome. Unfortunately, however, with the exception of its termination (evi) the date of their settlement there is for ever lost, for just where it had been placed a piece of the potsherd is broken away.

Then followed twelve Latin signatures, jotted about here and there, wherever there was a space upon the tile suitable to their inscription. These signatures, with three exceptions only, ended with the name "Vindex" or "the Avenger," which seems to have been adopted by the family after its migration to Rome as a kind of equivalent to the Greek "Tisisthenes," which also means an avenger. Ultimately, as might be expected, this Latin cognomen of Vindex was transformed first into De Vincey, and then into the plain, modern Vincey. It is very curious to observe how the idea of revenge, inspired by an Egyptian who lived before the time of Christ, is thus, as it were, embalmed in an English family name.

A few of the Roman names inscribed upon the sherd I have actually since found mentioned in history and other records. They were, if I remember right,

MVSSIVS. VINDEX

SEX. VARIVS MARVLLVS

C. FVFIDIVS. C. F. VINDEX

and

LABERIA POMPEIANA. CONIVX. MACRINI. VINDICIS

the last being, of course, the name of a Roman lady.

The following list, however, comprises all the Latin names upon the sherd:—

C. CAECILIVS VINDEX

M. AIMILIVS VINDEX

SEX. VARIVS. MARVLLVS

Q. SOSIVS PRISCVS SENECIO VINDEX

L. VALERIVS COMINIVS VINDEX

SEX. OTACILIVS. M. F.

L. ATTIVS. VINDEX

MVSSIVS VINDEX

C. FVFIDIVS. C. F. VINDEX

LICINIVS FAVSTVS

LABERIA POMPEIANA CONIVX MACRINI VINDICIS

MANILIA LVCILLA CONIVX MARVLLI VINDICIS

After the Roman names there is evidently a gap of very many centuries. Nobody will ever know now what was the history of the relic during those dark ages, or how it came to have been preserved in the family. My poor friend Vincey had, it will be remembered, told me that his Roman ancestors finally settled in Lombardy, and when Charlemagne invaded it, returned with him across the Alps, and made their home in Brittany, whence they crossed to England in the reign of Edward the Confessor. How he knew this I am not aware, for there is no reference to Lombardy or Charlemagne upon the tile, though, as will presently be seen, there is a reference to Brittany. To continue: the next entries on the sherd, if I may except a long splash either of blood or red colouring matter of some sort, consist of two crosses drawn in red pigment, and probably representing Crusaders' swords, and a rather neat monogram ("D. V.") in scarlet and blue, perhaps executed by that same Dorothea Vincey who wrote, or rather painted, the doggrel couplet. To the left of this, inscribed in faint blue, were the initials A. V., and after them a date, 1800.

Then came what was perhaps as curious an entry as anything upon this extraordinary relic of the past. It is executed in black letter, written over the crosses or Crusaders' swords, and dated fourteen hundred and forty-five. As the best plan will be to allow it to speak for itself, I here give the black-letter fac-simile, together with the original Latin without the contractions, from which it will be seen that the writer was a fair mediæval Latinist. Also we discovered what is still more curious, an English version of the black-letter Latin. This, also written in black letter, we found inscribed on a second parchment that was in the coffer, apparently somewhat older in date than that on which was inscribed the mediæval Latin translation of the uncial Greek of which I shall speak presently. This I also give in full.

Fac-simile of Black-Letter Inscription

on the Sherd of Amenartas.

Expanded Version of the above

Black-Letter Inscription.

"Ista reliquia est valde misticum et myrificum opus, quod majores mei ex Armorica, scilicet Britannia Minore, secum convehebant; et quidam sanctus clericus semper patri meo in manu ferebat quod penitus illud destrueret, affirmans quod esset ab ipso Sathana conflatum prestigiosa et dyabolica arte, quare pater meus confregit illud in duas partes, quas quidem ego Johannes de Vinceto salvas servavi et adaptavi sicut apparet die lune proximo post festum beate Marie Virginis anni gratie MCCCCXLV."

Fac-simile of the Old English

Black-Letter Translation of the above

Latin Inscription from the Sherd of

Amenartas found inscribed upon a

parchment.

Modernised Version of the above

Black-Letter Translation.

"Thys rellike ys a ryghte mistycall worke and a marvaylous, ye whyche myne aunceteres aforetyme dyd conveigh hider with them from Armoryke which ys to seien Britaine ye Lesse and a certayne holye clerke should allweyes beare my fadir on honde that he owghte uttirly for to frusshe ye same, affyrmynge that yt was fourmed and conflatyed of Sathanas hym selfe by arte magike and dyvellysshe wherefore my fadir dyd take ye same and tobrast yt yn tweyne, but I, John de Vincey, dyd save whool ye tweye partes therof and topeecyd them togydder agayne soe as yee se, on this daye mondaye next followynge after ye feeste of Seynte Marye ye Blessed Vyrgyne yn ye yeere of Salvacioun fowertene hundreth and fyve and fowerti."

The next and, save one, last entry was Elizabethan, and dated 1564. "A most strange historie, and one that did cost my father his life; for in seekynge for the place upon the east coast of Africa, his pinnance was sunk by a Portuguese galleon off Lorenzo Marquez, and he himself perished.—JOHN VINCEY."

Then came the last entry, apparently, to judge by the style of writing, made by some representative of the family in the middle of the eighteenth century. It was a misquotation of the well-known lines in Hamlet, and ran thus: "There are more things in Heaven and earth than are dreamt of in your philosophy, Horatio."[6]

And now there remained but one more document to be examined—namely, the ancient black-letter transcription into mediæval Latin of the uncial inscription on the sherd. As will be seen, this translation was executed and subscribed in the year 1495, by a certain "learned man," Edmundus de Prato (Edmund Pratt) by name, licentiate in Canon Law, of Exeter College, Oxford, who had actually been a pupil of Grocyn, the first scholar who taught Greek in England.[7] No doubt, on the fame of this new learning reaching his ears, the Vincey of the day, perhaps that same John de Vincey who years before had saved the relic from destruction and made the black-letter entry on the sherd in 1445, hurried off to Oxford to see if perchance it might avail to dissolve the secret of the mysterious inscription. Nor was he disappointed, for the learned Edmundus was equal to the task. Indeed his rendering is so excellent an example of mediæval learning and latinity that, even at the risk of sating the learned reader with too many antiquities, I have made up my mind to give it in fac-simile, together with an expanded version for the benefit of those who find the contractions troublesome. The translation has several peculiarities on which this is not the place to dwell, but I would in passing call the attention of scholars to the passage "duxerunt autem nos ad reginam advenaslasaniscoronantium," which strikes me as a delightful rendering of the original.

Mediæval Black-Letter Latin Translation

of the Uncial Inscription on the Sherd

of Amenartas

Expanded Version of the above Mediæval

Latin Translation

Amenartas, e genere regio Egyptii, uxor Callicratis, sacerdotis Isidis, quam dei fovent demonia attendunt, filiolo suo Tisistheni jam moribunda ita mandat: Effugi quodam ex Egypto, regnante Nectanebo, c*m patre tuo, propter mei amorem pejerato. Fugientes autem versus Notum trans mare, et viginti quatuor menses per litora Libye versus Orientem errantes, ubi est petra quedam magna sculpta instar Ethiopis capitis, deinde dies quatuor ab ostio fluminis magni ejecti partim submersi sumus partim morbo mortui sumus: in fine autem a feris hominibus portabamur per paludes et vada, ubi avium multitudo celum obumbrat, dies decem, donec advenimus ad cavum quendam montem, ubi olim magna urbs erat, caverne quoque immense; duxerunt autem nos ad reginam Advenaslasaniscoronantium, que magicâ utebatur et peritiá omnium rerum, et saltem pulcritudine et vigore insenescibilis erat. Hec magno patris tui amore perculsa, primum quidem ei connubium michi mortem parabat; postea vero, recusante Callicrate, amore mei et timore regine affecto, nos per magicam abduxit per vias horribiles ubi est puteus ille profundus, cujus juxta aditum jacebat senioris philosophi cadaver, et advenientibus monstravit flammam Vite erectam, instar columne voluntantis, voces emittentem quasi tonitrus: tunc per ignem impetu nocivo expers transiit et jam ipsa sese formosior visa est.