Part 3

Uphill at first the white steeds made their way, and the fire from their nostrils tinged with flame-colour the dark clouds that hung over the land and the sea. With rapture, Phaeton felt that truly he was the son of a god, and that at length he was enjoying his heritage. The day for which, through all his short life, he had longed, had come at last. He was driving the chariot whose progress even now was awaking the sleeping earth. The radiance from its wheels and from the rays he wore round his head was painting the clouds, and he laughed aloud in rapture as he saw, far down below, the sea and the rivers he had bathed in as a human boy, mirroring the green and rose and purple, and gold and silver, and fierce crimson, that he, Phaeton, was placing in the sky. The grey mist rolled from the mountain tops at his desire. The white fog rolled up from the valleys. All living things awoke; the flowers opened their petals; the grain grew golden; the fruit grew ripe. Could but Epaphos see him now! Surely he must see him, and realise that not Apollo but Phaeton was guiding the horses of his father, driving the chariot of the Sun.

Quicker and yet more quick grew the pace of the white-maned steeds. Soon they left the morning breezes behind, and very soon they knew that these were not the hands of the god, their master, that held the golden reins. Like an air-ship without its accustomed ballast, the chariot rolled unsteadily, and not only the boy's light weight but his light hold on their bridles made them grow mad with a lust for speed. The white foam flew from their mouths like the spume from the giant waves of a furious sea, and their pace was swift as that of a bolt that is cast by the arm of Zeus.

Yet Phaeton had no fear, and when they heard him shout in rapture, "Quicker still, brave ones! more swiftly still!" it made them speed onwards, madly, blindly, with the headlong rush of a storm. There was no hope for them to keep on the beaten track, and soon Phaeton had his rapture checked by the terrible realisation that they had strayed far out of the course and that his hands were not strong enough to guide them. Close to the Great Bear and the Little Bear they passed, and these were scorched with heat. The Serpent which, torpid, chilly and harmless, lies coiled round the North Pole, felt a warmth that made it grow fierce and harmful again. Downward, ever downward galloped the maddened horses, and soon Phaeton saw the sea as a shield of molten brass, and the earth so near that all things on it were visible. When they passed the Scorpion and only just missed destruction from its menacing fangs, fear entered into the boy's heart. His mother had spoken truth. He was only partly a god, and he was very, very young. In impotent horror he tugged at the reins to try to check the horses' descent, then, forgetful of Apollo's warning, he smote them angrily. But anger met anger, and the fury of the immortal steeds had scorn for the wrath of a mortal boy. With a great toss of their mighty heads they had torn the guiding reins from his grasp, and as he stood, giddily swaying from side to side, Phaeton knew that the boon he had craved from his father must in truth be death for him.

And, lo, it was a hideous death, for with eyes that were like flames that burned his brain, the boy beheld the terrible havoc that his pride had wrought. That blazing chariot of the Sun made the clouds smoke, and dried up all the rivers and water-springs. Fire burst from the mountain tops, great cities were destroyed. The beauty of the earth was ravished, woods and meadows and all green and pleasant places were laid waste. The harvests perished, the flocks and they who had herded them lay dead. Over Libya the horses took him, and the desert of Libya remains a barren wilderness to this day, while those sturdy Ethiopians who survived are black even now as a consequence of that cruel heat. The Nile changed its course in order to escape, and nymphs and nereids in terror sought for the sanctuary of some watery place that had escaped destruction. The face of the burned and blackened earth, where the bodies of thousands of human beings lay charred to ashes, cracked and sent dismay to Pluto by the lurid light that penetrated even to his throne.

All this Phaeton saw, saw in impotent agony of soul. His boyish folly and pride had been great, but the excruciating anguish that made him shed tears of blood, was indeed a punishment even too heavy for an erring god.

From the havoc around her, the Earth at last looked up, and with blackened face and blinded eyes, and in a voice that was harsh and very, very weary, she called to Zeus to look down from Olympus and behold the ruin that had been wrought by the chariot of the Sun. And Zeus, the cloud-gatherer, looked down and beheld. And at the sight of that piteous devastation his brow grew dark, and terrible was his wrath against him who had held the reins of the chariot. Calling upon Apollo and all the other gods to witness him, he seized a lightning bolt, and for a moment the deathless Zeus and all the dwellers in Olympus looked on the fiery chariot in which stood the swaying, slight, lithe figure of a young lad, blinded with horror, shaken with agony. Then, from his hand, Zeus cast the bolt, and the chariot was dashed into fragments, and Phaeton, his golden hair ablaze, fell, like a bright shooting star, from the heavens above, into the river Eridanus. The steeds returned to their master, Apollo, and in rage and grief Apollo lashed them. Angrily, too, and very rebelliously did he speak of the punishment meted to his son by the ruler of the Immortals. Yet in truth the punishment was a merciful one. Phaeton was only half a god, and no human life were fit to live after the day of dire anguish that had been his.

Bitter was the mourning of Clymene over her beautiful only son, and so ceaselessly did his three sisters, the Heliades, weep for their brother, that the gods turned them into poplar trees that grew by the bank of the river, and, when still they wept, their tears turned into precious amber as they fell. Yet another mourned for Phaeton—Phaeton "dead ere his prime." Cycnus, King of Liguria, had dearly loved the gallant boy, and again and yet again he dived deep in the river and brought forth the charred fragments of what had once been the beautiful son of a god, and gave to them honourable burial. Yet he could not rest satisfied that he had won all that remained of his friend from the river's bed, and so he continued to haunt the stream, ever diving, ever searching, until the gods grew weary of his restless sorrow and changed him into a swan.

And still we see the swan sailing mournfully along, like a white-sailed barque that is bearing the body of a king to its rest, and ever and anon plunging deep into the water as though the search for the boy who would fain have been a god were never to come to an end.

To Phaeton the Italian Naiades reared a tomb, and inscribed on the stone these words:

"Driver of Phoebus' chariot, Phaeton, Struck by Jove's thunder, rests beneath this stone, He could not rule his father's car of fire, Yet was it much, so nobly to aspire."

Ovid.

ENDYMION

To the modern popular mind perhaps none of the goddesses of Greece—not even Venus herself—has more appeal than has the huntress goddess, Diana. Those who know but little of ancient statuary can still brighten to intelligent recognition of the huntress with her quiver and her little stag when they meet with them in picture gallery or in suburban garden. That unlettered sportsman in weather-worn pink, slowly riding over the fragrant dead leaves by the muddy roadside on this chill, grey morning, may never have heard of Artemis, but he is quite ready to make intelligent reference to Diana to the handsome young sportswoman whom he finds by the covert side; and Sir Walter's Diana Vernon has helped the little-read public to realise that the original Diana was a goddess worthy of being sponsor to one of the finest heroines of fiction.

But not to the sportsman alone, but also to the youth or maid who loves the moon—they know not why—to those whom the shadows of the trees on a woodland path at night mean a grip of the heart, while "pale Dian" scuds over the dark clouds that are soaring far beyond the tree-tops and is peeping, chaste and pale, through the branches of the firs and giant pines, there is something arresting, enthralling, in the thought of the goddess Diana who now has for hunting-ground the blue firmament of heaven where the pale Pleiades

"Glitter like a swarm of fire-flies tangled in a silver braid."

Tennyson.

"She gleans her silvan trophies; down the wold She hears the sobbing of the stags that flee Mixed with the music of the hunting roll'd, But her delight is all in archery, And naught of ruth and pity wotteth she More than her hounds that follow on the flight; The goddess draws a golden bow of might And thick she rains the gentle shafts that slay. She tosses loose her locks upon the night, And through the dim wood Dian threads her way."

Andrew Lang.

Again and again in mythological history we come on stories of the goddess, sometimes under her best known name of Diana, sometimes under her older Greek name of Artemis, and now and again as Selene, the moon-goddess, the Luna of the Romans. Her twin brother was Apollo, god of the sun, and with him she shared the power of unerringly wielding a bow and of sending grave plagues and pestilences, while both were patrons of music and of poetry.

When the sun-god's golden chariot had driven down into the west, then would his sister's noiseless-footed silver steeds be driven across the sky, while the huntress shot from her bow at will silent arrows that would slay without warning a joyous young mother with her newly-born babe, or would wantonly pierce, with a lifelong pain, the heart of some luckless mortal.

Now one night as she passed Mount Latmos, there chanced to be a shepherd lad lying asleep beside his sleeping flock. Many times had Endymion watched the goddess from afar, half afraid of one so beautiful and yet so ruthless, but never before had Diana realised the youth's wonderful beauty. She checked her hounds when they would have swept on in their chase through the night, and stood beside Endymion. She judged him to be as perfect as her own brother, Apollo—yet more perfect, perhaps, for on his upturned sleeping face was the silver glamour of her own dear moon. Fierce and burning passion could come with the sun's burning rays, but love that came in the moon's pale light was passion mixed with gramarye. She gazed for long, and when, in his sleep, Endymion smiled, she knelt beside him and, stooping, gently kissed his lips. The touch of a moonbeam on a sleeping rose was no more gentle than was Diana's touch, yet it was sufficient to wake Endymion. And as, while one's body sleeps on, one's half-waking mind, now and again in a lifetime seems to realise an ecstasy of happiness so perfect that one dares not wake lest, by waking, the wings of one's realised ideal should slip between grasping fingers and so escape forever, so did Endymion realise the kiss of the goddess. But before his sleepy eyes could be his senses' witnesses, Diana had hastened away. Endymion, springing to his feet, saw only his sleeping flock, nor did his dogs awake when he heard what seemed to him to be the baying of hounds in full cry in a forest far up the mountain. Only to his own heart did he dare to whisper what was this wonderful thing that he believed had befallen him, and although he laid himself down, hoping that once again this miracle might be granted to him, no miracle came; nor could he sleep, so great was his longing.

All the next day, through the sultry hours while Apollo drove his chariot of burnished gold through the land, Endymion, as he watched his flocks, tried to dream his dream once more, and longed for the day to end and the cool, dark night to return. When night came he tried to lie awake and see what might befall, but when kind sleep had closed his tired eyes,

"There came a lovely vision of a maid, Who seemed to step as from a golden car Out of the low-hung moon."

Lewis Morris.

Always she kissed him, yet when her kiss awoke him he never could see anything more tangible than a shaft of silver moonlight on the moving bushes of the mountain side, never hear anything more real than the far-away echo of the baying of pursuing hounds, and if, with eager, greatly-daring eyes, he looked skywards, a dark cloud, so it seemed to him, would always hasten to hide the moon from his longing gaze.

In this manner time passed on. The days of Endymion were filled by longing day-dreams. His sleeping hours ever brought him ecstasy. Ever, too, to the goddess, the human being that she loved seemed to her to grow more precious. For her all the joy of day and of night was concentrated in the moments she spent by the side of the sleeping Endymion. The flocks of the shepherd flourished like those of no other herd. No wild beast dared come near them; no storm nor disease assailed them. Yet for Endymion the things of earth no longer held any value. He lived only for his dear dream's sake. Had he been permitted to grow old and worn and tired, and still a dreamer, who knows how his story might have ended? But to Diana there came the fear that with age his beauty might wane, and from her father, Zeus, she obtained for the one she loved the gifts of unending youth and of eternal sleep.

There came a night when the dreams of Endymion had no end. That was a night when the moon made for herself broad silver paths across the sea, from far horizon to the shore where the little waves lapped and curled in a radiant, ever-moving silver fringe. Silver also were the leaves of the forest trees, and between the branches of the solemn cypresses and of the stately dark pines, Diana shot her silver arrows. No baying of hounds came then to make Endymion's flocks move uneasily in their sleep, but the silver stars seemed to sing in unison together. While still those gentle lips touched his, hands as gentle lifted up the sleeping Endymion and bore him to a secret cave in Mount Latmos. And there, for evermore, she came to kiss the mouth of her sleeping lover. There, forever, slept Endymion, happy in the perfect bliss of dreams that have no ugly awaking, of an ideal love that knows no ending.

ORPHEUS

"Orpheus with his lute made trees, And the mountain tops that freeze, Bow themselves when he did sing; To his music plants and flowers Ever sprung, as sun and showers There had made a lasting spring. Everything that heard him play, Even the billows of the sea, Hung their heads, and then lay by, In sweet music is such art, Killing care and grief of heart Fall asleep, or hearing die."

Shakespeare.

"Are we not all lovers as Orpheus was, loving what is gone from us forever, and seeking it vainly in the solitudes and wilderness of the mind, and crying to Eurydice to come again? And are we not all foolish as Orpheus was, hoping by the agony of love and the ecstasy of will to win back Eurydice; and do we not all fail, as Orpheus failed, because we forsake the way of the other world for the way of this world?"

Fiona Macleod.

It is the custom nowadays for scientists and for other scholarly people to take hold of the old myths, to take them to pieces, and to find some deep, hidden meaning in each part of the story. So you will find that some will tell you that Orpheus is the personification of the winds which "tear up trees as they course along, chanting their wild music," and that Eurydice is the morning "with its short-lived beauty." Others say that Orpheus is "the mythological expression of the delight which music gives to the primitive races," while yet others accept without hesitation the idea that Orpheus is the sun that, when day is done, plunges into the black abyss of night, in the vain hope of overtaking his lost bride, Eurydice, the rosy dawn. And, whether they be right or wrong, it would seem that the sadness that comes to us sometimes as the day dies and the last of the sun's rays vanish to leave the hills and valleys dark and cold, the sorrowful feeling that we cannot understand when, in country places, we hear music coming from far away, or listen to the plaintive song of the bird, are things that very specially belong to the story of Orpheus.

In the country of Thrace, surrounded by all the best gifts of the gods, Orpheus was born. His father was Apollo, the god of music and of song, his mother the muse Calliope. Apollo gave his little son a lyre, and himself taught him how to play it. It was not long before all the wild things in the woods of Thrace crept out from the green trees and thick undergrowth, and from the holes and caves in the rocks, to listen to the music that the child's fingers made. The coo of the dove to his mate, the flute-clear trill of the blackbird, the song of the lark, the liquid carol of the nightingale—all ceased when the boy made music. The winds that whispered their secrets to the trees owned him for their lord, and the proudest trees of the forest bowed their heads that they might not miss one exquisite sigh that his fingers drew from the magical strings. Nor man nor beast lived in his day that he could not sway by the power of his melody. He played a lullaby, and all things slept. He played a love-lilt, and the flowers sprang up in full bloom from the cold earth, and the dreaming red rosebud opened wide her velvet petals, and all the land seemed full of the loving echoes of the lilt he played. He played a war-march, and, afar off, the sleeping tyrants of the forest sprang up, wide awake, and bared their angry teeth, and the untried youths of Thrace ran to beg their fathers to let them taste battle, while the scarred warriors felt on their thumbs the sharpness of their sword blades, and smiled, well content. While he played it would seem as though the very stones and rocks gained hearts. Nay, the whole heart of the universe became one great, palpitating, beautiful thing, an instrument from whose trembling strings was drawn out the music of Orpheus.

He rose to great power, and became a mighty prince of Thrace. Not his lute alone, but he himself played on the heart of the fair Eurydice and held it captive. It seemed as though, when they became man and wife, all happiness must be theirs. But although Hymen, the god of marriage, himself came to bless them on the day they wed, the omens on that day were against them. The torch that Hymen carried had no golden flame, but sent out pungent black smoke that made their eyes water. They feared they knew not what; but when, soon afterwards, as Eurydice wandered with the nymphs, her companions, through the blue-shadowed woods of Thrace, the reason was discovered. A bold shepherd, who did not know her for a princess, saw Eurydice, and no sooner saw her than he loved her. He ran after her to proclaim to her his love, and she, afraid of his wild uncouthness, fled before him. She ran, in her terror, too swiftly to watch whither she went, and a poisonous snake that lurked amongst the fern bit the fair white foot that flitted, like a butterfly, across it. In agonised suffering Eurydice died. Her spirit went to the land of the Shades, and Orpheus was left broken-hearted.