Part 2 (1/2)
”I was driving my herd of cattle to the summit of the scaur to feed, what time the sun sent forth his earliest beams to warm the earth.
And lo! three companies of women, and at the head of one of them Autonoe, thy mother Agave at the head of the second, and Ino at the head of the third. And they all slept, with limbs relaxed, leaned against the low boughs of the pines, or with head thrown heedlessly among the oak-leaves strewn upon the ground--all in the sleep of temperance, not, as thou saidst, pursuing Cypris through the solitudes of the forest, drunken with wine, amid the low rustling of the lotus-pipe.
”And thy mother, when she heard the lowing of the kine, stood up in the midst of them, and cried to them to shake off sleep. And they, casting slumber from their eyes, started upright, a marvel of beauty and order, young and old and maidens yet unmarried. And first, they let fall their hair upon their shoulders; and those [72] whose cinctures were unbound re-composed the spotted fawn-skins, knotting them about with snakes, which rose and licked them on the chin.
Some, lately mothers, who with b.r.e.a.s.t.s still swelling had left their babes behind, nursed in their arms antelopes, or wild whelps of wolves, and yielded them their milk to drink; and upon their heads they placed crowns of ivy or of oak, or of flowering convolvulus.
Then one, taking a thyrsus-wand, struck with it upon a rock, and thereupon leapt out a fine rain of water; another let down a reed upon the earth, and a fount of wine was sent forth there; and those whose thirst was for a white stream, skimming the surface with their finger-tips, gathered from it abundance of milk; and from the ivy of the mystic wands streams of honey distilled. Verily! hadst thou seen these things, thou wouldst have wors.h.i.+pped whom now thou revilest.
”And we shepherds and herdsmen came together to question with each other over this matter--what strange and terrible things they do.
And a certain wayfarer from the city, subtle in speech, spake to us-- 'O! dwellers upon these solemn ledges of the hills, will ye that we hunt down, and take, amid her revelries, Agave, the mother of Pentheus, according to the king's pleasure?' And he seemed to us to speak wisely; and we lay in wait among the bushes; and they, at the time appointed, began moving their wands for the Bacchic dance, [73]
calling with one voice upon Bromius!--Iacchus!--the son of Zeus! and the whole mountain was moved with ecstasy together, and the wild creatures; nothing but was moved in their running. And it chanced that Agave, in her leaping, lighted near me, and I sprang from my hiding-place, willing to lay hold on her; and she groaned out, 'O!
dogs of hunting, these fellows are upon our traces; but follow me!
follow! with the mystic wands for weapons in your hands.' And we, by flight, hardly escaped tearing to pieces at their hands, who thereupon advanced with knifeless fingers upon the young of the kine, as they nipped the green; and then hadst thou seen one holding a bleating calf in her hands, with udder distent, straining it asunder; others tore the heifers to shreds amongst them; tossed up and down the morsels lay in sight--flank or hoof--or hung from the fir-trees, dropping churned blood. The fierce, horned bulls stumbled forward, their b.r.e.a.s.t.s upon the ground, dragged on by myriad hands of young women, and in a moment the inner parts were rent to morsels. So, like a flock of birds aloft in flight, they retreat upon the level lands outstretched below, which by the waters of Asopus put forth the fair-flowering crop of Theban people--Hysiae and Erythrae--below the precipice of Cithaeron.”--
A grotesque scene follows, in which the [74] humour we noted, on seeing those two old men diffidently set forth in chaplet and fawn- skin, deepens into a profound tragic irony. Pentheus is determined to go out in arms against the Baccha.n.a.ls and put them to death, when a sudden desire seizes him to witness them in their encampment upon the mountains. Dionysus, whom he still supposes to be but a prophet or messenger of the G.o.d, engages to conduct him thither; and, for greater security among the dangerous women, proposes that he shall disguise himself in female attire. As Pentheus goes within for that purpose, he lingers for a moment behind him, and in prophetic speech declares the approaching end;--the victim has fallen into the net; and he goes in to a.s.sist at the toilet, to array him in the ornaments which he will carry to Hades, destroyed by his own mother's hands.
It is characteristic of Euripides--part of his fine tact and subtlety--to relieve and justify what seems tedious, or constrained, or merely terrible and grotesque, by a suddenly suggested trait of homely pathos, or a glimpse of natural beauty, or a morsel of form or colour seemingly taken directly from picture or sculpture. So here, in this fantastic scene our thoughts are changed in a moment by the singing of the chorus, and divert for a while to the dark-haired tresses of the wood; the breath of the river-side is upon us; beside it, a fawn escaped from the hunter's net is flying swiftly in [75]
its joy; like it, the Maenad rushes along; and we see the little head thrown back upon the neck, in deep aspiration, to drink in the dew.
Meantime, Pentheus has a.s.sumed his disguise, and comes forth tricked up with false hair and the dress of a Baccha.n.a.l; but still with some misgivings at the thought of going thus attired through the streets of Thebes, and with many laughable readjustments of the unwonted articles of clothing. And with the woman's dress, his madness is closing faster round him; just before, in the palace, terrified at the noise of the earthquake, he had drawn sword upon a mere fantastic appearance, and pierced only the empty air. Now he begins to see the sun double, and Thebes with all its towers repeated, while his conductor seems to him transformed into a wild beast; and now and then, we come upon some touches of a curious psychology, so that we might almost seem to be reading a modern poet. As if Euripides had been aware of a not unknown symptom of incipient madness (it is said) in which the patient, losing the sense of resistance, while lifting small objects imagines himself to be raising enormous weights, Pentheus, as he lifts the thyrsus, fancies he could lift Cithaeron with all the Baccha.n.a.ls upon it. At all this the laughter of course will pa.s.s round the theatre; while those who really pierce into the purpose of the poet, shudder, as they see the victim thus grotesquely clad going to his doom, [76] already foreseen in the ominous chant of the chorus--and as it were his grave-clothes, in the dress which makes him ridiculous.
Presently a messenger arrives to announce that Pentheus is dead, and then another curious narrative sets forth the manner of his death.
Full of wild, coa.r.s.e, revolting details, of course not without pathetic touches, and with the loveliness of the serving Maenads, and of their mountain solitudes--their trees and water--never quite forgotten, it describes how, venturing as a spy too near the sacred circle, Pentheus was fallen upon, like a wild beast, by the mystic huntresses and torn to pieces, his mother being the first to begin ”the sacred rites of slaughter.”
And at last Agave herself comes upon the stage, holding aloft the head of her son, fixed upon the sharp end of the thyrsus, calling upon the women of the chorus to welcome the revel of the Evian G.o.d; who, accordingly, admit her into the company, professing themselves her fellow-revellers, the Baccha.n.a.ls being thus absorbed into the chorus for the rest of the play. For, indeed, all through it, the true, though partly suppressed relation of the chorus to the Baccha.n.a.ls is this, that the women of the chorus, staid and temperate for the moment, following Dionysus in his alternations, are but the paler sisters of his more wild and gloomy votaries--the true followers of the mystical Dionysus--the real chorus of Zagreus; the idea that their [77] violent proceedings are the result of madness only, sent on them as a punishment for their original rejection of the G.o.d, being, as I said, when seen from the deeper motives of the myth, only a ”sophism” of Euripides--a piece of rationalism of which he avails himself for the purpose of softening down the tradition of which he has undertaken to be the poet. Agave comes on the stage, then, blood-stained, exulting in her ”victory of tears,” still quite visibly mad indeed, and with the outward signs of madness, and as her mind wanders, musing still on the fancy that the dead head in her hands is that of a lion she has slain among the mountains--a young lion, she avers, as she notices the down on the young man's chin, and his abundant hair--a fancy in which the chorus humour her, willing to deal gently with the poor distraught creature. Supported by them, she rejoices ”exceedingly, exceedingly,” declaring herself ”fortunate” in such goodly spoil; priding herself that the victim has been slain, not with iron weapons, but with her own white fingers, she summons all Thebes to come and behold. She calls for her aged father to draw near and see; and for Pentheus himself, at last, that he may mount and rivet her trophy, appropriately decorative there, between the triglyphs of the cornice below the roof, visible to all.
And now, from this point onwards, Dionysus himself becomes more and more clearly discernible [78] as the hunter, a wily hunter, and man the prey he hunts for; ”Our king is a hunter,” cry the chorus, as they unite in Agave's triumph and give their sanction to her deed.
And as the Baccha.n.a.ls supplement the chorus, and must be added to it to make the conception of it complete; so in the conception of Dionysus also a certain transference, or subst.i.tution, must be made-- much of the horror and sorrow of Agave, of Pentheus, of the whole tragic situation, must be transferred to him, if we wish to realise in the older, profounder, and more complete sense of his nature, that mystical being of Greek tradition to whom all these experiences--his madness, the chase, his imprisonment and death, his peace again-- really belong; and to discern which, through Euripides' peculiar treatment of his subject, is part of the curious interest of this play.
Through the sophism of Euripides! For that, again, is the really descriptive word, with which Euripides, a lover of sophisms, as Aristophanes knows, himself supplies us. Well;--this softened version of the Bacchic madness is a sophism of Euripides; and Dionysus Omophagus--the eater of raw flesh, must be added to the golden image of Dionysus Meilichius--the honey-sweet, if the old tradition in its completeness is to be, in spite of that sophism, our closing impression; if we are to catch, in its fulness, that deep undercurrent of horror which runs below, all through [79] this masque of spring, and realise the spectacle of that wild chase, in which Dionysus is ultimately both the hunter and the spoil.
But meantime another person appears on the stage; Cadmus enters, followed by attendants bearing on a bier the torn limbs of Pentheus, which lying wildly scattered through the tangled wood, have been with difficulty collected and now decently put together and covered over.
In the little that still remains before the end of the play, destiny now hurrying things rapidly forward, and strong emotions, hopes and forebodings being now closely packed, Euripides has before him an artistic problem of enormous difficulty. Perhaps this very haste and close-packing of the matter, which keeps the mind from dwelling overmuch on detail, relieves its real extravagance, and those who read it carefully will think that the pathos of Euripides has been equal to the occasion. In a few profoundly designed touches he depicts the perplexity of Cadmus, in whose house a G.o.d had become an inmate, only to destroy it--the regret of the old man for the one male child to whom that house had looked up as the pillar whereby aged people might feel secure; the piteous craziness of Agave; the unconscious irony with which she caresses the florid, youthful head of her son; the delicate breaking of the thing to her reviving intelligence, as Cadmus, though he can but wish that she might live on for ever in her visionary enjoyment, [80] prepares the way, by playing on that other horrible legend of the Theban house, the tearing of Actaeon to death--he too destroyed by a G.o.d. He gives us the sense of Agave's gradual return to reason through many glimmering doubts, till she wakes up at last to find the real face turned up towards the mother and murderess; the quite naturally spontaneous sorrow of the mother, ending with her confession, down to her last sigh, and the final breaking up of the house of Cadmus; with a result so genuine, heartfelt, and dignified withal in its expression of a strange ineffable woe, that a fragment of it, the lamentation of Agave over her son, in which the long-pent agony at last finds vent, were, it is supposed, adopted into his paler work by an early Christian poet, and have figured since, as touches of real fire, in the Christus Patiens of Gregory n.a.z.ianzen.
NOTES
64. +Transliteration: autika ga pasa ch.o.r.eusei. E-text editor's translation: ”Straightway all the earth shall dance.” Euripides, Bacchae 114. Euripidis Fabulae, ed. Gilbert Murray, vol. 3.
Oxford: Clarendon Press, 1913.
66. +Transliteration: poi dei ch.o.r.euein; poi kathistanai poda; kai krata seisai polion. Translation: ”Where must I dance? Where must I stand and shake my white locks?” Euripides, Bacchae 184-85.
Euripidis Fabulae, ed. Gilbert Murray, vol. 3. Oxford: Clarendon Press, 1913.
69. +Transliteration: ti m' anainei, ti me pheugeis. Translation: ”Why do you reject me, why do you run from me?” Bacchae 519. Euripidis Fabulae, ed. Gilbert Murray, vol. 3. Oxford: Clarendon Press, 1913.
THE MYTH OF DEMETER AND PERSEPHONE: I
[81] No chapter in the history of human imagination is more curious than the myth of Demeter, and Kore or Persephone. Alien in some respects from the genuine traditions of Greek mythology, a relic of the earlier inhabitants of Greece, and having but a subordinate place in the religion of Homer, it yet a.s.serted its interest, little by little, and took a complex hold on the minds of the Greeks, becoming finally the central and most popular subject of their national wors.h.i.+p. Following its changes, we come across various phases of Greek culture, which are not without their likenesses in the modern mind. We trace it in the dim first period of instinctive popular conception; we see it connecting itself with many impressive elements of art, and poetry, and religious custom, with the picturesque superst.i.tions of the many, and with the finer intuitions of the few; and besides this, it is in itself full of [82] interest and suggestion, to all for whom the ideas of the Greek religion have any real meaning in the modern world. And the fortune of the myth has not deserted it in later times. In the year 1780, the long-lost text of the Homeric Hymn to Demeter was discovered among the ma.n.u.scripts of the imperial library at Moscow; and, in our own generation, the tact of an eminent student of Greek art, Sir Charles Newton, has restored to the world the buried treasures of the little temple and precinct of Demeter, at Cnidus, which have many claims to rank in the central order of Greek sculpture. The present essay is an attempt to select and weave together, for those who are now approaching the deeper study of Greek thought, whatever details in the development of this myth, arranged with a view rather to a total impression than to the debate of particular points, may seem likely to increase their stock of poetical impressions, and to add to this some criticisms on the expression which it has left of itself in extant art and poetry.
The central expression, then, of the story of Demeter and Persephone is the Homeric hymn, to which Grote has a.s.signed a date at least as early as six hundred years before Christ. The one survivor of a whole family of hymns on this subject, it was written, perhaps, for one of those contests which took place on the seventh day of the Eleusinian festival, and in which a bunch of [83] ears of corn was the prize; perhaps, for actual use in the mysteries themselves, by the Hierophantes, or Interpreter, who showed to the wors.h.i.+ppers at Eleusis those sacred places to which the poem contains so many references. About the composition itself there are many difficult questions, with various surmises as to why it has remained only in this unique ma.n.u.script of the end of the fourteenth century.
Portions of the text are missing, and there are probably some additions by later hands; yet most scholars have admitted that it possesses some of the true characteristics of the Homeric style, some genuine echoes of the age immediately succeeding that which produced the Iliad and the Odyssey. Listen now to a somewhat abbreviated version of it.