The Golden Mean - Annabel Lyon [35]
I stack the animal cages against a south-facing wall, though half my specimens—tender as playwrights—have already died from the wet cold. I attend court, and bring Pythias gifts from the marketplace: some fine black and white pottery, a bolt of pale violet cloth. I have bulbs planted in the garden, and furniture delivered to the house.
“We’re settling down, then?” Pythias asks. Laughing at me with her gravest face.
At least she’s happy about it, or less unhappy. She likes the house, which is bigger than the one we had in Mytilene, and she likes her status here too. Is shocked by it, I think: in Mytilene she was simply herself, but here she is in vogue. The royal wives fight over her for their sewing parties. Her advice on hair and clothes and food and servants is sought out and followed. I’ve taught her to explain, if anyone asks, that our slaves are like family: we’ve had them for years, care for them, would never sell them; you don’t sell your own family. Very cosmopolitan, very chic, very fresh. The wives are impressed.
“You see,” I tell her, “we will be a force for the good, you and I. A civilizing influence. When we leave, we’ll have helped shape the future of a great empire.”
“The prince, you mean,” Pythias says. “I like that boy. There’s something pure in him.”
I hug my fashionable wife, hold on a moment too long, smelling her clean hair. That boy is my project now, my first human project. A problem, a test, a trust; a metaphor I’ve staked my life on. A thirteen-year-old boy. And Athens is a promise Philip has made me, payment in gold for when my time here is done.
“Sweet and pure,” I agree.
The palace is quieter now with the army gone. In the Macedonian tradition, the king must be present at battle to win the favour of the gods. Tiring for Philip, no doubt, and eerie for those of us left behind. It’s hard not to feel like a child left alone when his parents have gone to an important dinner and will be away all night. The familiar rooms echo differently, somehow, and time turns to honey.
Boys, each in the black and white livery of a court page, file into the hall I’ve been assigned. There must be thirty of them, all armed. I look at Leonidas.
“His companions,” the older man says grimly.
Alexander is not among them. “What am I, a nurse?” I say.
Leonidas shrugs.
I ask which are the prince’s closest friends. Leonidas singles out a pretty pink-skinned black-eyed boy named Hephaestion, a young man my nephew’s age named Ptolemy, and a couple of others.
“Right,” I say. “You boys to the left, please, and everyone else to the right.” Athenian boys would tussle and tarry; these Macedonian boys are quick and silent, efficient as a drill team. “Right side is dismissed.”
The boys on the right, including all the littlest ones, look from me to Leonidas and back again.
“Where do you want them to go?” Leonidas asks.
I shrug.
Leonidas points to the door and barks them back to the barracks. They run.
I’m left with the four oldest standing at attention. A philosopher with no military rank, I’m not sure I have the authority to tell them to relax. I put the cloth-draped cage I brought with me on a table. Leonidas withdraws to the back of the room.
“You can’t start,” Hephaestion says. “Alexander’s not here.”
“Who?” I say.
I remove the cloth. Inside the cage is the chameleon, but emaciated, barely alive after its three weeks in Pella. The dissection of a blooded animal requires careful preparation, otherwise the blood will flood the viscera at the moment of death. You have to starve the animal first, I explain, and kill it by strangling to preserve the integrity of the blood vessels. Fortunately this one hung on just long enough. I open the top of the cage, reach in with both hands, and grasp the leathery throat. It struggles feebly, opening and closing its mouth. When it’s dead, I take it out and lay it on the table. The cage I