She next erected two altars, the one to Hecate, the other to Hebe, the goddess of youth, and sacrificed a black sheep, pouring libations of milk and wine. She implored Pluto and his stolen bride that they would not hasten to take the old man's life. Then she directed that Aeson should be led forth, and having thrown him into a deep sleep by a charm, had him laid on a bed of herbs, like one dead. Jason and all others were kept away from the place, that no profane eyes might look upon her mysteries. Then, with streaming hair, she thrice moved round the altars, dipped flaming twigs in the blood, and laid them thereon to burn. Meanwhile the caldron with its contents was got ready. In it she put magic herbs, with seeds and flowers of acrid juice, stones from the distant east, and sand from the shore of all-surrounding ocean; hoar frost, gathered by moonlight, a screech owl's head and wings, and the entrails of a wolf. She added fragments of the shells of tortoises, and the liver of stags,—animals tenacious of life,— and the head and beak of a crow, that outlives nine generations of men. These with many other things "without a name" she boiled together for her purposed work, stirring them up with a dry olive branch; and behold! the branch when taken out instantly became green, and before long was covered with leaves and a plentiful growth of young olives; and as the liquor boiled and bubbled, and sometimes ran over, the grass wherever the sprinklings fell shot forth with a verdure like that of spring.
Seeing that all was ready, Medea cut the throat of the old man and let out all his blood, and poured into his mouth and into his wound the juices of her caldron. As soon as he had completely imbibed them, his hair and beard laid by their whiteness and assumed the blackness of youth; his paleness and emaciation were gone; his veins were full of blood, his limbs of vigor and robustness. Aeson is amazed at himself, and remembers that such as he now is, he was in his youthful days, forty years before.
Medea used her arts here for a good purpose, but not so in another instance, where she made them the instruments of revenge. Pelias, our readers will recollect, was the usurping uncle of Jason, and had kept him out of his kingdom. Yet he must have had some good qualities, for his daughters loved him, and when they saw what Medea had done for Aeson, they wished her to do the same for their father. Medea pretended to consent, and prepared her caldron as before. At her request an old sheep was brought and plunged into the caldron. Very soon a bleating was heard in the kettle, and when the cover was removed, a lamb jumped forth and ran frisking away into the meadow. The daughters of Pelias saw the experiment with delight, and appointed a time for their father to undergo the same operation. But Medea prepared her caldron for him in a very different way. She put in only water and a few simple herbs. In the night she with the sisters entered the bed chamber of the old king, while he and his guards slept soundly under the influence of a spell cast upon them by Medea. The daughters stood by the bedside with their weapons drawn, but hesitated to strike, till Medea chid their irresolution. Then turning away their faces, and giving random blows, they smote him with their weapons. He, starting from his sleep, cried out, "My daughters, what are you doing? Will you kill your father?" Their hearts failed them and their weapons fell from their hands, but Medea struck him a fatal blow, and prevented his saying more.
Then they placed him in the caldron, and Medea hastened to depart in her serpent-drawn chariot before they discovered her treachery, or their vengeance would have been terrible. She escaped, however, but had little enjoyment of the fruits of her crime. Jason, for whom she had done so much, wishing to marry Creusa, princess of Corinth, put away Medea. She, enraged at his ingratitude, called on the gods for vengeance, sent a poisoned robe as a gift to the bride, and then killing her own children, and setting fire to the palace, mounted her serpent-drawn chariot and fled to Athens, where she married King Aegeus, the father of Theseus, and we shall meet her again when we come to the adventures of that hero.
The incantations of Medea will remind the reader of those of the witches in "Macbeth." The following lines are those which seem most strikingly to recall the ancient model:
"Round about the caldron go;
In the poisoned entrails throw.
Fillet of a fenny snake
In the caldron boil and bake;
Eye of newt and toe of frog,
Wool of bat and tongue of dog,
Adder's fork and blind-worm's sting,
Lizard's leg and howlet's wing:
Maw of ravening salt-sea shark,
Root of hemlock digged in the dark," etc
—Macbeth, Act IV, Scene 1
And again:
Macbeth.—What is't you do?
Witches,—A deed without a name.
There is another story of Medea almost too revolting for record even of a sorceress, a class of persons to whom both ancient and modern poets have been accustomed to attribute every degree of atrocity. In her flight from Colchis she had taken her young brother Absyrtus with her. Finding the pursuing vessels of Aeetes gaining upon the Argonauts, she caused the lad to be killed and his limbs to be strewn over the sea. Aeetes on reaching the place found these sorrowful traces of his murdered son; but while he tarried to collect the scattered fragments and bestow upon them an honorable interment, the Argonauts escaped.
In the poems of Campbell will be found a translation of one of the choruses of the tragedy of "Medea," where the poet Euripides has taken advantage of the occasion to pay a glowing tribute to Athens, his native city. It begins thus:
"O haggard queen! to Athens dost thou guide
Thy glowing chariot, steeped in kindred gore;
Or seek to hide thy damned parricide
Where peace and justice dwell for evermore?"
CHAPTER XVIII
MELEAGER AND ATALANTA
One of the heroes of the Argonautic expedition was Meleager, son of OEneus and Althea, king and queen of Calydon. Althea, when her son was born, beheld the three destinies, who, as they spun their fatal thread, foretold that the life of the child should last no longer than a brand then burning upon the hearth. Althea seized and quenched the brand, and carefully preserved it for years, while Meleager grew to boyhood, youth, and manhood. It chanced, then, that OEneus, as he offered sacrifices to the gods, omitted to pay due honors to Diana; and she, indignant at the neglect, sent a wild boar of enormous size to lay waste the fields of Calydon. Its eyes shone with blood and fire, its bristles stood like threatening spears, its tusks were like those of Indian elephants. The growing corn was trampled, the vines and olive trees laid waste, the flocks and herds were driven in wild confusion by the slaughtering foe. All common aid seemed vain; but Meleager called on the heroes of Greece to join in a bold hunt for the ravenous monster. Theseus and his friend Pirithous, Jason, Peleus, afterwards the father of Achilles, Telamon the father of Ajax, Nestor, then a youth, but who in his age bore arms with Achilles and Ajax in the Trojan war,—these and many more joined in the enterprise. With them came Atalanta, the daughter of Iasius, king of Arcadia. A buckle of polished gold confined her vest, an ivory quiver hung on her left shoulder, and her left hand bore the bow. Her face blent feminine beauty with the best graces of martial youth. Meleager saw and loved.
But now already they were near the monster's lair. They stretched strong nets from tree to tree; they uncoupled their dogs, they tried to find the footprints of their quarry in the grass. From the wood was a descent to marshy ground. Here the boar, as he lay among the reeds, heard the shouts of his pursuers, and rushed forth against them. One and another is thrown down and slain. Jason throws his spear, with a prayer to Diana for success; and the favoring goddess allows the weapon to touch, but not to wound, removing the steel point of the spear in its flight. Nestor, assailed, seeks and finds safety in the branches of a tree. Telamon rushes on, but stumbling at a projecting root, falls prone. But an a
rrow from Atalanta at length for the first time tastes the monster's blood. It is a slight wound, but Meleager sees and joyfully proclaims it. Anceus, excited to envy by the praise given to a female, loudly proclaims his own valor, and defies alike the boar and the goddess who had sent it; but as he rushes on, the infuriated beast lays him low with a mortal wound. Theseus throws his lance, but it is turned aside by a projecting bough. The dart of Jason misses its object, and kills instead one of their own dogs. But Meleager, after one unsuccessful stroke, drives his spear into the monster's side, then rushes on and despatches him with repeated blows.
Then rose a shout from those around; they congratulated the conqueror, crowding to touch his hand. He, placing his foot upon the head of the slain boar, turned to Atalanta and bestowed on her the head and the rough hide which were the trophies of his success. But at this, envy excited the rest to strife. Plexippus and Toxeus, the brothers of Meleager's mother, beyond the rest opposed the gift, and snatched from the maiden the trophy she had received. Meleager, kindling with rage at the wrong done to himself, and still more at the insult offered to her whom he loved, forgot the claims of kindred, and plunged his sword into the offenders' hearts.
As Althea bore gifts of thankfulness to the temples for the victory of her son, the bodies of her murdered brothers met her sight. She shrieks, and beats her breast, and hastens to change the garments of rejoicing for those of mourning. But when the author of the deed is known, grief gives way to the stern desire of vengeance on her son. The fatal brand, which once she rescued from the flames, the brand which the destinies had linked with Meleager's life, she brings forth, and commands a fire to be prepared. Then four times she essays to place the brand upon the pile; four times draws back, shuddering at the thought of bringing destruction on her son. The feelings of the mother and the sister contend within her. Now she is pale at the thought of the proposed deed, now flushed again with anger at the act of her son. As a vessel, driven in one direction by the wind, and in the opposite by the tide, the mind of Althea hangs suspended in uncertainty. But now the sister prevails above the mother, and she begins as she holds the fatal wood: "Turn, ye Furies, goddesses of punishment! turn to behold the sacrifice I bring! Crime must atone for crime. Shall OEneus rejoice in his victor son, while the house of Thestius is desolate? But, alas! to what deed am I borne along? Brothers forgive a mother's weakness! my hand fails me. He deserves death, but not that I should destroy him. But shall he then live, and triumph, and reign over Calydon, while you, my brothers, wander unavenged among the shades? No! thou hast lived by my gift; die, now, for thine own crime. Return the life which twice I gave thee, first at thy birth, again when I snatched this brand from the flames. O that thou hadst then died! Alas! evil is the conquest; but, brothers, ye have conquered." And, turning away her face, she threw the fatal wood upon the burning pile.
It gave, or seemed to give, a deadly groan. Meleager, absent and unknowing of the cause, felt a sudden pang. He burns, and only by courageous pride conquers the pain which destroys him. He mourns only that he perishes by a bloodless and unhonored death. With his last breath he calls upon his aged father, his brother, and his fond sisters, upon his beloved Atalanta, and upon his mother, the unknown cause of his fate. The flames increase, and with them the pain of the hero. Now both subside; now both are quenched. The brand is ashes, and the life of Meleager is breathed forth to the wandering winds.
Althea, when the deed was done, laid violent hands upon herself. The sisters of Meleager mourned their brother with uncontrollable grief; till Diana, pitying the sorrows of the house that once had aroused her anger, turned them into birds.
ATALANTA
The innocent cause of so much sorrow was a maiden whose face you might truly say was boyish for a girl, yet too girlish for a boy. Her fortune had been told, and it was to this effect: "Atalanta, do not marry; marriage will be your ruin." Terrified by this oracle, she fled the society of men, and devoted herself to the sports of the chase. To all suitors (for she had many) she imposed a condition which was generally effectual in relieving her of their persecutions,—"I will be the prize of him who shall conquer me in the race; but death must be the penalty of all who try and fail." In spite of this hard condition some would try. Hippomenes was to be judge of the race. "Can it be possible that any will be so rash as to risk so much for a wife?" said he. But when he saw her lay aside her robe for the race, he changed his mind, and said, "Pardon me, youths, I knew not the prize you were competing for." As he surveyed them he wished them all to be beaten, and swelled with envy of any one that seemed at all likely to win. While such were his thoughts, the virgin darted forward. As she ran she looked more beautiful than ever. The breezes seemed to give wings to her feet; her hair flew over her shoulders, and the gay fringe of her garment fluttered behind her. A ruddy hue tinged the whiteness of her skin, such as a crimson curtain casts on a marble wall. All her competitors were distanced, and were put to death without mercy. Hippomenes, not daunted by this result, fixing his eyes on the virgin, said, "Why boast of beating those laggards? I offer myself for the contest." Atalanta looked at him with a pitying countenance, and hardly knew whether she would rather conquer him or not. "What god can tempt one so young and handsome to throw himself away? I pity him, not for his beauty (yet he is beautiful), but for his youth. I wish he would give up the race, or if he will be so mad, I hope he may outrun me." While she hesitates, revolving these thoughts, the spectators grow impatient for the race, and her father prompts her to prepare. Then Hippomenes addressed a prayer to Venus: "Help me, Venus, for you have led me on." Venus heard and was propitious.
In the garden of her temple, in her own island of Cyprus, is a tree with yellow leaves and yellow branches and golden fruit. Hence she gathered three golden apples, and, unseen by any one else, gave them to Hippomenes, and told him how to use them. The signal is given; each starts from the goal and skims over the sand. So light their tread, you would almost have thought they might run over the river surface or over the waving grain without sinking. The cries of the spectators cheered Hippomenes,—"Now, now, do your best! haste, haste! you gain on her! relax not! one more effort!" It was doubtful whether the youth or the maiden heard these cries with the greater pleasure. But his breath began to fail him, his throat was dry, the goal yet far off. At that moment he threw down one of the golden apples. The virgin was all amazement. She stopped to pick it up. Hippomenes shot ahead. Shouts burst forth from all sides. She redoubled her efforts, and soon overtook him. Again he threw an apple. She stopped again, but again came up with him. The goal was near; one chance only remained. "Now, goddess," said he, "prosper your gift!" and threw the last apple off at one side. She looked at it, and hesitated; Venus impelled her to turn aside for it. She did so, and was vanquished. The youth carried off his prize.
But the lovers were so full of their own happiness that they forgot to pay due honor to Venus; and the goddess was provoked at their ingratitude. She caused them to give offence to Cybele. That powerful goddess was not to be insulted with impunity. She took from them their human form and turned them into animals of characters resembling their own: of the huntress-heroine, triumphing in the blood of her lovers, she made a lioness, and of her lord and master a lion, and yoked them to her car, where they are still to be seen in all representations, in statuary or painting, of the goddess Cybele.
Cybele is the Latin name of the goddess called by the Greeks Rhea and Ops. She was the wife of Cronos and mother of Zeus. In works of art she exhibits the matronly air which distinguishes Juno and Ceres. Sometimes she is veiled, and seated on a throne with lions at her side, at other times riding in a chariot drawn by lions. She wears a mural crown, that is, a crown whose rim is carved in the form of towers and battlements. Her priests were called Corybantes.
Byron, in describing the city of Venice, which is built on a low island in the Adriatic Sea, borrows an illustration from Cybele:
"She looks a sea-Cybele fresh from ocean,
�
� Rising with her tiara of proud towers
At airy distance, with majestic motion,
A ruler of the waters and their powers."
—Childe Harold, IV.
In Moore's "Rhymes on the Road," the poet, speaking of Alpine scenery, alludes to the story of Atalanta and Hippomenes thus:
"Even here, in this region of wonders, I find
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