by Walter Pater
And she took barley and millet and poppy-seed, every kind of grain and seed, and mixed them together, and laughed, and said to her: “Methinks so plain a maiden can earn lovers only by industrious ministry: now will I also make trial of thy service. Sort me this heap of seed, the one kind from the others, grain by grain; and get thy task done before the evening.” And Psyche, stunned by the cruelty of her bidding, was silent, and moved not her hand to the inextricable heap. And there came forth a little ant, which had understanding of the difficulty of her task, and took pity upon the consort of the god of Love; and he ran deftly hither and thither, and called together the whole army of his fellows. “Have pity,” he cried, “nimble scholars of the Earth, Mother of all things! — have pity upon the wife of Love, and hasten to help her in her perilous effort.” Then, one upon the other, the hosts of the insect people hurried together; and they sorted asunder the whole heap of seed, separating every grain after its kind, and so departed quickly out of sight.
And at nightfall Venus returned, and seeing that task finished with so wonderful diligence, she cried, “The work is not thine, thou naughty maid, but his in whose eyes thou hast found favour.” And calling her again in the morning, “See now the grove,” she said, “beyond yonder torrent. Certain sheep feed there, whose fleeces shine with gold. Fetch me straightway a lock of that precious stuff, having gotten it as thou mayst.”
And Psyche went forth willingly, not to obey the command of Venus, but even to seek a rest from her labour in the depths of the river. But from the river, the green reed, lowly mother of music, spake to her: “O Psyche! pollute not these waters by self-destruction, nor approach that terrible flock; for, as the heat groweth, they wax fierce. Lie down under yon plane-tree, till the quiet of the river’s breath have soothed them. Thereafter thou mayst shake down the fleecy gold from the trees of the grove, for it holdeth by the leaves.”
And Psyche, instructed thus by the simple reed, in the humanity of its heart, filled her bosom with the soft golden stuff, and returned to Venus. But the goddess smiled bitterly, and said to her, “Well know I who was the author of this thing also. I will make further trial of thy discretion, and the boldness of thy heart. Seest thou the utmost peak of yonder steep mountain? The dark stream which flows down thence waters the Stygian fields, and swells the flood of Cocytus. Bring me now, in this little urn, a draught from its innermost source.” And therewith she put into her hands a vessel of wrought crystal.
And Psyche set forth in haste on her way to the mountain, looking there at last to find the end of her hapless life. But when she came to the region which borders on the cliff that was showed to her, she understood the deadly nature of her task. From a great rock, steep and slippery, a horrible river of water poured forth, falling straightway by a channel exceeding narrow into the unseen gulf below. And lo! creeping from the rocks on either hand, angry serpents, with their long necks and sleepless eyes. The very waters found a voice and bade her depart, in smothered cries of, Depart hence! and What doest thou here? Look around thee! and Destruction is upon thee! And then sense left her, in the immensity of her peril, as one changed to stone.
Yet not even then did the distress of this innocent soul escape the steady eye of a gentle providence. For the bird of Jupiter spread his wings and took flight to her, and asked her, “Didst thou think, simple one, even thou! that thou couldst steal one drop of that relentless stream, the holy river of Styx, terrible even to the gods? But give me thine urn.” And the bird took the urn, and filled it at the source, and returned to her quickly from among the teeth of the serpents, bringing with him of the waters, all unwilling — nay! warning him to depart away and not molest them.
And she, receiving the urn with great joy, ran back quickly that she might deliver it to Venus, and yet again satisfied not the angry goddess. “My child!” she said, “in this one thing further must thou serve me. Take now this tiny casket, and get thee down even unto hell, and deliver it to Proserpine. Tell her that Venus would have of her beauty so much at least as may suffice for but one day’s use, that beauty she possessed erewhile being foreworn and spoiled, through her tendance upon the sick-bed of her son; and be not slow in returning.”
And Psyche perceived there the last ebbing of her fortune — that she was now thrust openly upon death, who must go down, of her own motion, to Hades and the Shades. And straightway she climbed to the top of an exceeding high tower, thinking within herself, “I will cast myself down thence: so shall I descend most quickly into the kingdom of the dead.” And the tower again, broke forth into speech: “Wretched Maid! Wretched Maid! Wilt thou destroy thyself? If the breath quit thy body, then wilt thou indeed go down into Hades, but by no means return hither. Listen to me. Among the pathless wilds not far from this place lies a certain mountain, and therein one of hell’s vent-holes. Through the breach a rough way lies open, following which thou wilt come, by straight course, to the castle of Orcus. And thou must not go empty-handed. Take in each hand a morsel of barley-bread, soaked in hydromel; and in thy mouth two pieces of money. And when thou shalt be now well onward in the way of death, then wilt thou overtake a lame ass laden with wood, and a lame driver, who will pray thee reach him certain cords to fasten the burden which is falling from the ass: but be thou cautious to pass on in silence. And soon as thou comest to the river of the dead, Charon, in that crazy bark he hath, will put thee over upon the further side. There is greed even among the dead: and thou shalt deliver to him, for the ferrying, one of those two pieces of money, in such wise that he take it with his hand from between thy lips. And as thou passest over the stream, a dead old man, rising on the water, will put up to thee his mouldering hands, and pray thee draw him into the ferry-boat. But beware thou yield not to unlawful pity.
“When thou shalt be come over, and art upon the causeway, certain aged women, spinning, will cry to thee to lend thy hand to their work; and beware again that thou take no part therein; for this also is the snare of Venus, whereby she would cause thee to cast away one at least of those cakes thou bearest in thy hands. And think not that a slight matter; for the loss of either one of them will be to thee the losing of the light of day. For a watch-dog exceeding fierce lies ever before the threshold of that lonely house of Proserpine. Close his mouth with one of thy cakes; so shalt thou pass by him, and enter straightway into the presence of Proserpine herself. Then do thou deliver thy message, and taking what she shall give thee, return back again; offering to the watch-dog the other cake, and to the ferryman that other piece of money thou hast in thy mouth. After this manner mayst thou return again beneath the stars. But withal, I charge thee, think not to look into, nor open, the casket thou bearest, with that treasure of the beauty of the divine countenance hidden therein.”
So spake the stones of the tower; and Psyche delayed not, but proceeding diligently after the manner enjoined, entered into the house of Proserpine, at whose feet she sat down humbly, and would neither the delicate couch nor that divine food the goddess offered her, but did straightway the business of Venus. And Proserpine filled the casket secretly and shut the lid, and delivered it to Psyche, who fled therewith from Hades with new strength. But coming back into the light of day, even as she hasted now to the ending of her service, she was seized by a rash curiosity. “Lo! now,” she said within herself, “my simpleness! who bearing in my hands the divine loveliness, heed not to touch myself with a particle at least therefrom, that I may please the more, by the favour of it, my fair one, my beloved.” Even as she spoke, she lifted the lid; and behold! within, neither beauty, nor anything beside, save sleep only, the sleep of the dead, which took hold upon her, filling all her members with its drowsy vapour, so that she lay down in the way and moved not, as in the slumber of death.
And Cupid being healed of his wound, because he would endure no longer the absence of her he loved, gliding through the narrow window of the chamber wherein he was holden, his pinions being now repaired by a little rest, fled forth swiftly upon them, and coming to the p
lace where Psyche was, shook that sleep away from her, and set him in his prison again, awaking her with the innocent point of his arrow. “Lo! thine old error again,” he said, “which had like once more to have destroyed thee! But do thou now what is lacking of the command of my mother: the rest shall be my care.” With these words, the lover rose upon the air; and being consumed inwardly with the greatness of his love, penetrated with vehement wing into the highest place of heaven, to lay his cause before the father of the gods. And the father of gods took his hand in his, and kissed his face and said to him, “At no time, my son, hast thou regarded me with due honour. Often hast thou vexed my bosom, wherein lies the disposition of the stars, with those busy darts of thine. Nevertheless, because thou hast grown up between these mine hands, I will accomplish thy desire.” And straightway he bade Mercury call the gods together; and, the council-chamber being filled, sitting upon a high throne, “Ye gods,” he said, “all ye whose names are in the white book of the Muses, ye know yonder lad. It seems good to me that his youthful heats should by some means be restrained. And that all occasion may be taken from him, I would even confine him in the bonds of marriage. He has chosen and embraced a mortal maiden. Let him have fruit of his love, and possess her for ever.”
Thereupon he bade Mercury produce Psyche in heaven; and holding out to her his ambrosial cup, “Take it,” he said, “and live for ever; nor shall Cupid ever depart from thee.” And the gods sat down together to the marriage-feast.
On the first couch lay the bridegroom, and Psyche in his bosom. His rustic serving-boy bare the wine to Jupiter; and Bacchus to the rest. The Seasons crimsoned all things with their roses. Apollo sang to the lyre, while a little Pan prattled on his reeds, and Venus danced very sweetly to the soft music. Thus, with due rites, did Psyche pass into the power of Cupid; and from them was born the daughter whom men call Voluptas.
CHAPTER VI: EUPHUISM
So the famous story composed itself in the memory of Marius, with an expression changed in some ways from the original and on the whole graver. The petulant, boyish Cupid of Apuleius was become more like that “Lord, of terrible aspect,” who stood at Dante’s bedside and wept, or had at least grown to the manly earnestness of the Erôs of Praxiteles. Set in relief amid the coarser matter of the book, this episode of Cupid and Psyche served to combine many lines of meditation, already familiar to Marius, into the ideal of a perfect imaginative love, centered upon a type of beauty entirely flawless and clean — an ideal which never wholly faded from his thoughts, though he valued it at various times in different degrees. The human body in its beauty, as the highest potency of all the beauty of material objects, seemed to him just then to be matter no longer, but, having taken celestial fire, to assert itself as indeed the true, though visible, soul or spirit in things. In contrast with that ideal, in all the pure brilliancy, and as it were in the happy light, of youth and morning and the springtide, men’s actual loves, with which at many points the book brings one into close contact, might appear to him, like the general tenor of their lives, to be somewhat mean and sordid. The hiddenness of perfect things: a shrinking mysticism, a sentiment of diffidence like that expressed in Psyche’s so tremulous hope concerning the child to be born of the husband she had never yet seen— “in the face of this little child, at the least, shall I apprehend thine” — in hoc saltem parvulo cognoscam faciem tuam: the fatality which seems to haunt any signal beauty, whether moral or physical, as if it were in itself something illicit and isolating: the suspicion and hatred it so often excites in the vulgar: — these were some of the impressions, forming, as they do, a constant tradition of somewhat cynical pagan experience, from Medusa and Helen downwards, which the old story enforced on him. A book, like a person, has its fortunes with one; is lucky or unlucky in the precise moment of its falling in our way, and often by some happy accident counts with us for something more than its independent value. The Metamorphoses of Apuleius, coming to Marius just then, figured for him as indeed The Golden Book: he felt a sort of personal gratitude to its writer, and saw in it doubtless far more than was really there for any other reader. It occupied always a peculiar place in his remembrance, never quite losing its power in frequent return to it for the revival of that first glowing impression.
Its effect upon the elder youth was a more practical one: it stimulated the literary ambition, already so strong a motive with him, by a signal example of success, and made him more than ever an ardent, indefatigable student of words, of the means or instrument of the literary art. The secrets of utterance, of expression itself, of that through which alone any intellectual or spiritual power within one can actually take effect upon others, to over-awe or charm them to one’s side, presented themselves to this ambitious lad in immediate connexion with that desire for predominance, for the satisfaction of which another might have relied on the acquisition and display of brilliant military qualities. In him, a fine instinctive sentiment of the exact value and power of words was connate with the eager longing for sway over his fellows. He saw himself already a gallant and effective leader, innovating or conservative as occasion might require, in the rehabilitation of the mother-tongue, then fallen so tarnished and languid; yet the sole object, as he mused within himself, of the only sort of patriotic feeling proper, or possible, for one born of slaves. The popular speech was gradually departing from the form and rule of literary language, a language always and increasingly artificial. While the learned dialect was yearly becoming more and more barbarously pedantic, the colloquial idiom, on the other hand, offered a thousand chance-tost gems of racy or picturesque expression, rejected or at least ungathered by what claimed to be classical Latin. The time was coming when neither the pedants nor the people would really understand Cicero; though there were some indeed, like this new writer, Apuleius, who, departing from the custom of writing in Greek, which had been a fashionable affectation among the sprightlier wits since the days of Hadrian, had written in the vernacular.
The literary programme which Flavian had already designed for himself would be a work, then, partly conservative or reactionary, in its dealing with the instrument of the literary art; partly popular and revolutionary, asserting, so to term them, the rights of the proletariate of speech. More than fifty years before, the younger Pliny, himself an effective witness for the delicate power of the Latin tongue, had said,— “I am one of those who admire the ancients, yet I do not, like some others, underrate certain instances of genius which our own times afford. For it is not true that nature, as if weary and effete, no longer produces what is admirable.” And he, Flavian, would prove himself the true master of the opportunity thus indicated. In his eagerness for a not too distant fame, he dreamed over all that, as the young Caesar may have dreamed of campaigns. Others might brutalise or neglect the native speech, that true “open field” for charm and sway over men. He would make of it a serious study, weighing the precise power of every phrase and word, as though it were precious metal, disentangling the later associations and going back to the original and native sense of each, — restoring to full significance all its wealth of latent figurative expression, reviving or replacing its outworn or tarnished images. Latin literature and the Latin tongue were dying of routine and languor; and what was necessary, first of all, was to re-establish the natural and direct relationship between thought and expression, between the sensation and the term, and restore to words their primitive power.
For words, after all, words manipulated with all his delicate force, were to be the apparatus of a war for himself. To be forcibly impressed, in the first place; and in the next, to find the means of making visible to others that which was vividly apparent, delightful, of lively interest to himself, to the exclusion of all that was but middling, tame, or only half-true even to him — this scrupulousness of literary art actually awoke in Flavian, for the first time, a sort of chivalrous conscience. What care for style! what patience of execution! what research for the significant tones of ancient idiom — sonantia verba et anti
qua! What stately and regular word-building — gravis et decora constructio! He felt the whole meaning of the sceptical Pliny’s somewhat melancholy advice to one of his friends, that he should seek in literature deliverance from mortality — ut studiis se literarum a mortalitate vindicet. And there was everything in the nature and the training of Marius to make him a full participator in the hopes of such a new literary school, with Flavian for its leader. In the refinements of that curious spirit, in its horror of profanities, its fastidious sense of a correctness in external form, there was something which ministered to the old ritual interest, still surviving in him; as if here indeed were involved a kind of sacred service to the mother-tongue.
Here, then, was the theory of Euphuism, as manifested in every age in which the literary conscience has been awakened to forgotten duties towards language, towards the instrument of expression: in fact it does but modify a little the principles of all effective expression at all times. ’Tis art’s function to conceal itself: ars est celare artem: — is a saying, which, exaggerated by inexact quotation, has perhaps been oftenest and most confidently quoted by those who have had little literary or other art to conceal; and from the very beginning of professional literature, the “labour of the file” — a labour in the case of Plato, for instance, or Virgil, like that of the oldest of goldsmiths as described by Apuleius, enriching the work by far more than the weight of precious metal it removed — has always had its function. Sometimes, doubtless, as in later examples of it, this Roman Euphuism, determined at any cost to attain beauty in writing — es kallos graphein — might lapse into its characteristic fopperies or mannerisms, into the “defects of its qualities,” in truth, not wholly unpleasing perhaps, or at least excusable, when looked at as but the toys (so Cicero calls them), the strictly congenial and appropriate toys, of an assiduously cultivated age, which could not help being polite, critical, self-conscious. The mere love of novelty also had, of course, its part there: as with the Euphuism of the Elizabethan age, and of the modern French romanticists, its neologies were the ground of one of the favourite charges against it; though indeed, as regards these tricks of taste also, there is nothing new, but a quaint family likeness rather, between the Euphuists of successive ages. Here, as elsewhere, the power of “fashion,” as it is called, is but one minor form, slight enough, it may be, yet distinctly symptomatic, of that deeper yearning of human nature towards ideal perfection, which is a continuous force in it; and since in this direction too human nature is limited, such fashions must necessarily reproduce themselves. Among other resemblances to later growths of Euphuism, its archaisms on the one hand, and its neologies on the other, the Euphuism of the days of Marcus Aurelius had, in the composition of verse, its fancy for the refrain. It was a snatch from a popular chorus, something he had heard sounding all over the town of Pisa one April night, one of the first bland and summer-like nights of the year, that Flavian had chosen for the refrain of a poem he was then pondering — the Pervigilium Veneris — the vigil, or “nocturn,” of Venus.
