Killer of Men - Christian Cameron [42]
But the Peloponnesians didn’t know any of this. What they saw was that the Athenians outnumbered them, and that their precious masters were being held up by a bunch of farmers from Boeotia.
The allies broke like songbirds faced with an eagle. They broke before the Athenians even hit them. They ran before the spears crossed, and not one of them stood. The Spartan king cursed, no doubt, and then backed his phalanx away, step by step. Unbeaten. Virtually victorious. But they backed away, and the Plataeans had just barely clung to their formation. From where we stood, Hermogenes and I knew that more men had started to flee from the back of our deep block. But enough stood to hold on.
Just barely.
Plataea was never the same.
No one cheered.
I’ve been on a hundred fields, honey. I’ve won against the odds and seen black defeat, but that’s the only time I’ve seen men so shattered by victory that they couldn’t cheer. Nor did they pursue. The men of Plataea shifted and recovered their ranks, because they were good men, and then they stood, silent, awed by their own success. Then some of the fallen began to stand up – Myron got to his feet, bleeding from a thigh, the red coming in little spurts where something big had been cut.
Let me tell you how it is in the line, honey. When you go down – and you can fall just because you lose your balance – why, then you won’t ever get up in that fight. Against honourable men, if you stay down and pull your shield over your body, no one will kill you just for sport. Maybe they will strip your armour if they win, but no one will kill you. You hope.
Anyway, Myron stood and began to sing. He sang the ‘Ravens of Apollo’ from the Daidala and all the voices of Plataea took it up, boys and men. We all knew it. It was an odd song for a battlefield – the song men sing while they wait for the ravens to pick us a tree to make the statue of the fake bride. Who knows why Myron chose that song?
Across the field, the Athenians were slowing. They’d never reached the Peloponnesians, and now, ranks untouched, they were coming to a halt and heads were turning to look at us.
Just two stades away, the Spartans halted in perfect order, covering their camp.
The Plataeans kept singing.
Then Cleomenes made a mistake. He didn’t trust the Thebans, and his Peleponnesian allies were running all the way back to their homes. And the Plataean farmers were singing as if they could stop the Spartans every day, for ever. That song had more effect on the battle than Pater’s stand, honey. That song was defiance of a different sort. Whether it was true or not, the ‘Ravens of Apollo’ told Cleomenes that there were men opposing him who would not flinch if he came on again. And if we held him for a hundred heartbeats, then all the hoplites in Attica would be in his flank.
Cleomenes sent a herald. He requested a truce to collect his dead.
By our law of war, this ended the battle and allowed the defeated free passage home. And it meant that, whatever the Thebans might do, the Spartans were done.
What changed our world was that Cleomones sent the herald to us rather than to the Athenians. That was respect. They knew they were the better men, and men who are better are never petty. They respect accomplishment, and they respected that we tried.
So their herald came and he walked towards Pater. Pater looked around, but the archon was dead and Myron, who had started the song, was down again – sitting on a rock, supported by his sons. Pater had two wounds on his sword arm; I had his helmet under my arm and he was pouring his canteen over his head.
‘Hey!’ Bion called. ‘Hey – look sharp, Technes! The herald is coming.’
Pater looked up, and there was the Spartan, resplendent in his scarlet cloak, with