This is the text that was set for translation into Spanish in this year’s oposición, the competitive examination for entry to the Spanish diplomatic service. The exam has many failings but the level of English that is required is very high indeed. Candidates must also translate a literary text into English, summarise in Spanish a passage that they hear in English, and speak for five minutes without preparation on a subject such as relations between the church and politics, coffee, or feminism. They must do the same in French and get extra points if they offer other languages.
Sir James George Frazer, The Golden Bough (1890)
WHO does not know Turner’s picture of the Golden Bough? The scene, suffused with the golden glow of imagination in which the divine mind of Turner steeped and transfigured even the fairest natural landscape, is a dream-like vision of the little woodland lake of Nemi— “Diana’s Mirror,” as it was called by the ancients. No one who has seen that calm water, lapped in a green hollow of the Alban hills, can ever forget it. The two characteristic Italian villages which slumber on its banks, and the equally Italian palace whose terraced gardens descend steeply to the lake, hardly break the stillness and even the solitariness of the scene. Diana herself might still linger by this lonely shore, still haunt these woodlands wild.
In antiquity this sylvan landscape was the scene of a strange and recurring tragedy. On the northern shore of the lake, right under the precipitous cliffs on which the modern village of Nemi is perched, stood the sacred grove and sanctuary of Diana Nemorensis, or Diana of the Wood. The lake and the grove were sometimes known as the lake and grove of Aricia. But the town of Aricia (the modern La Riccia) was situated about three miles off, at the foot of the Alban Mount, and separated by a steep descent from the lake, which lies in a small crater-like hollow on the mountain side. In this sacred grove there grew a certain tree round which at any time of the day, and probably far into the night, a grim figure might be seen to prowl. In his hand he carried a drawn sword, and he kept peering warily about him as if at every instant he expected to be set upon by an enemy. He was a priest and a murderer; and the man for whom he looked was sooner or later to murder him and hold the priesthood in his stead. Such was the rule of the sanctuary. A candidate for the priesthood could only succeed to office by slaying the priest, and having slain him, he retained office till he was himself slain by a stronger or a craftier.
The post which he held by this precarious tenure carried with it the title of king; but surely no crowned head ever lay uneasier, or was visited by more evil dreams, than his. For year in, year out, in summer and winter, in fair weather and in foul, he had to keep his lonely watch, and whenever he snatched a troubled slumber it was at the peril of his life. The least relaxation of his vigilance, the smallest abatement of his strength of limb or skill of fence, put him in jeopardy; grey hairs might seal his death-warrant. To gentle and pious pilgrims at the shrine the sight of him might well seem to darken the fair landscape, as when a cloud suddenly blots the sun on a bright day. The dreamy blue of Italian skies, the dappled shade of summer woods, and the sparkle of waves in the sun, can have accorded but ill with that stern and sinister figure.
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