The Blood Of The Martyrs - Naomi Mitchison Canongate Classics

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symbolic sharing of the community experience from entry and catharsis (baptism), through mutual service (foot- washing) and love (the agape meal), to the final shared death which is Mitchison’s replacement for the communion or eucharist.

      The communal experience of the Church is a moral one of simple kindness, friendliness and practical support but it is also something more: the individuals concerned feel themselves to be part of a greater whole. This is expressed as being part of ‘The Will’, or as being moved by ‘the Spirit’ (‘some unknown and unmeasured power’), but in neither case is the will or spirit conceived of as being exterior to the sum of human persons that composes the community. These religious terms are taken from the Christian context in order to describe a quality or dimension of experience which all human beings can discover and share when they come together harmoniously.

      The Christians, including Beric, are eventually martyred for this quality of experience rather than for an idea or creed. Their willingness to endure physical pain and death is a vindication of their awareness of a life which is more than material and more than individual.

      The possession of such a group loyalty or ‘mythology’ is, from Mitchison’s standpoint, a necessary part of the balanced personality. Its absence leaves a vacuum which is in danger of being filled by a false cult of the irrational or the worship of power. Rome has lost her gods and the common will to serve the state, and the vacuum is filled by Nero, who with a mixture of megalomania and adroit manipulation, exploits the ‘natural wish of the people for gods and the gifts of the gods, the natural wish for a leader.’

      ‘I feel like a god,’ said Nero, ‘sometimes. Coming into the Arena, slowly, grandly, at the head of the great procession serpent-stretching behind me, lifted on the voices, the closing, rising cheers, the love, lifted above the sand that is so soon to take the blood … I am the Will of Rome and the people know it, the ordinary people who love me. For whom I make the great blood sacrifice.’

      This is opium for the mass unconscious and the contemporary comparison with Nazi Germany is omnipresent, but it is a thematic rather than historical link. In fact Mitchison’s argument is that goodness must also involve an element of unreason ‘so as to make a hold on the unreason in the human soul’, otherwise the powers of the dark unconscious will take control.

      It is important to grasp that Mitchison’s method in The Blood of the Martyrs is not didactic. Everything for which she argues is grounded in an evocation of collective human experience expressed in fluid economical prose which embraces both narrative simplicity and poetic intensity.

      She took off the veil and laid it by, and then all of them came close round the table with the bread and the fish and the little meat rolls which Sapphira had cooked, and they held one another’s hands. Argas, too, had kissed Persis, feeling curiously glad and assuaged at seeing her again. Every time they met together was something snatched by them from the powers of darkness, something solid that could never be taken from them again.

      It is arguable that in its essential simplicity The Blood of the Martyrs fails to represent the complexity of reality. Certainly no character in the novel possesses the range of internal contradictions of Erika Der in The Corn King and the Spring Queen, or Phoebe in Naomi Mitchison’s other thirties novel We Have Been Warned (1934). This, however, is a deliberate authorial choice. In The Blood of the Martyrs Naomi Mitchison disciplined and restrained the autobiographical tendencies of her fiction to match the urgency of the immediate crisis as she perceived it in 1938. In consequence, paradoxically, she produced a passionately self-revealing novel.

      Anyone seeking to understand this profilic Scottish author and activist could profitably begin with The Blood of the Martyrs. Mitchison’s complex relationship with the evangelical protestantism of her Haldane family background is at its clearest in this novel. Here the marriage of religious feeling and political action, common to all Naomi Mitchison’s endeavour, is at its most intense and its most historically immediate.

      Equally significant however is the revelation in The Blood of the Martyrs of Naomi Mitchison’s literary method. The novel shows most directly the way in which she harnesses the popular format of the historical Romance and its close emotional identification with the reader, to moral and literary seriousness. It is liberating for Scottish fiction in particular, that critics have in recent years come to follow the general reader in acknowledging the validity and importance of the Romance genre. In this respect, The Blood of the Martyrs enhances our concept of what literature is, and our sense of Scottishness.

      Donald Smith

       People in the Book

       Roman Citizens and their Families

      The Emperor Nero; his wife, the Empress Poppaea

      Ofonius Tigellinus, Praefect of the Praetorian Guards

      Junius Gallio, ex-Proconsul of Achaea

      Flavious Crispus, a Senator; his daughter, Flavia; his mother, Domina Aelia; his cousin,

      Flavi Flavius Scaevinus, a Senator

      Aelius Balbus, a Senator; his son, Marcus Aelius Candidus, an Officer in the Praetorian Guards

      Annaeus Lucan, a poet, Gallio’s nephew

      Tertius Satellius, a tanner; his wife, Megalis

      Casperius, a prison official

      Eprius, a City Guard

      Marulla, a poor citizen’s wife

      Sextus Papinius Calvinus, an Italian citizen

      Antonius Paulus, or Paul, a Provincial citizen

       Non-Citizens and Freedmen or Freedwomen

      Beric, son of Caradoc or Caratacus, King of East Britain; his brother Clinog

      Erasixenos, an Alexandrian

      Luke, a Provincial doctor

      Claudia Acté, Nero’s freedwoman

      Asteropé, daughter of one of Nero’s nurses

      Lalage, a professional dancer, Claudia Acté’s freedwoman; her accompanist, Sophrosyne

      Phineas-bar-Gedaliah, owner of a fish-shop; his wife, Sapphira; his father, Gedaliah-bar-Jorim, a carpet weaver; his brothers, Amariah and Jorim, and his sister-in-law, Joanna; his mother, Tabitha, and his sister, Noumi, all carpet weavers

      Hadassa, a widow

      Blephano, Toxilus, Cario and Harpax, prison officials

      Montanus, the overseer at Aelius Balbus’s house

      Nausiphanes, a tutor; Eunice, a baker; freedman and freedwoman of Flavius Crispus

      Euphemia, a shopkeeper

      Rhodon, a metal-worker

      Sotion, a rent-collector

      Carpus, a potter

       Slaves

      Hermeias, a secretary; Manasses; Argas; Phaon, son of Eunice; Lamprion; Sannio; Mikkos; Pistos; Persis, a ladies’ maid; Josias and Dapyx, kitchen slaves; and others: all slaves belonging to Flavius Crispus

      Felicio, a secretary; Niger, Zyrax and others, litter slaves: all slaves belonging to Aelius Balbus

      Abgar, a runaway; and many others

       Part One

      Is it a God or a king that comes?

      Both are evil, and both are strong.

      LYALL

       CHAPTER

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