It would not be in place here to detail all the acts of heroism or atrocity which marked the contest; but we must not omit to record the fidelity of Evadne as an offset to the weakness of Eriphyle. Capaneus, the husband of Evadne, in the ardor of the fight, declared that he would force his way into the city in spite of Jove himself. Placing a ladder against the wall, he mounted, but Jupiter, offended at his impious language, struck him with a thunderbolt. When his obsequies were celebrated, Evadne cast herself on his funeral pile and perished.
Early in the contest Eteocles consulted the soothsayer Tiresias as to the issue. Tiresias, in his youth, had by chance seen Minerva bathing. The goddess in her wrath deprived him of his sight, but afterwards relenting gave him in compensation the knowledge of future events. When consulted by Eteocles, he declared that victory should fall to Thebes if Menoeceus, the son of Creon, gave himself a voluntary victim. The heroic youth, learning the response, threw away his life in the first encounter.
The siege continued long, with various success. At length both hosts agreed that the brothers should decide their quarrel by single combat. They fought and fell by each other's hands. The armies then renewed the fight, and at last the invaders were forced to yield, and fled, leaving their dead unburied. Creon, the uncle of the fallen princes, now become king, caused Eteocles to be buried with distinguished honor, but suffered the body of Polynices to lie where it fell, forbidding every one, on pain of death, to give it burial.
Antigone, the sister of Polynices, heard with indignation the revolting edict which consigned her brother's body to the dogs and vultures, depriving it of those rites which were considered essential to the repose of the dead. Unmoved by the dissuading counsel of an affectionate but timid sister, and unable to procure assistance, she determined to brave the hazard and to bury the body with her own hands. She was detected in the act, and Creon gave orders that she should be buried alive, as having deliberately set at nought the solemn edict of the city. Her love, Haemon, the son of Creon, unable to avert her fate, would not survive her, and fell by his own hand.
Antigone forms the subject of two fine tragedies of the Grecian poet Sophocles. Mrs. Jameson, in her Characteristics of Women, has compared her character with that of Cordelia, in Shakespeare's King Lear. The perusal of her remarks cannot fail to gratify our readers.
The following is the lamentation of Antigone over OEdipus, when death has at last relieved him from his sufferings:
"Alas! I only wished I might have died
With my poor father; wherefore should I ask
For longer life?
Oh, I was fond of misery with him;
E'en what was most unlovely grew beloved
When he was with me. Oh, my dearest father,
Beneath the earth now in deep darkness hid,
Worn as thou wert with age, to me thou still
Wast dear, and shalt be ever."
Francklin's Sophocles
PENELOPE
Penelope is another of those mythic heroines whose beauties were rather those of character and conduct than of person. She was the daughter of Icarius, a Spartan prince. Ulysses, king of Ithaca, sought her in marriage, and won her over all competitors. When the moment came for the bride to leave her father's house, Icarius, unable to bear the thoughts of parting with his daughter, tried to persuade her to remain with him, and not accompany her husband to Ithaca. Ulysses gave Penelope her choice, to stay or go with him. Penelope made no reply, but dropped her veil over her face. Icarius urged her no further, but when she was gone erected a statue to Modesty on the spot where they parted.
Ulysses and Penelope had not enjoyed their union more than a year when it was interrupted by the events which called Ulysses to the Trojan war. During his long absence, and when it was doubtful whether he still lived, and highly improbable that he would ever return, Penelope was importuned by numerous suitors, from whom there seemed no refuge but in choosing one of them for her husband. Penelope, however, employed every art to gain time, still hopping for Ulysses' return. One of her arts of delay was engaging in the preparation of a robe for the funeral canopy of Laertes, her husband's father. She pledged herself to make her choice among the suitors when the robe was finished. During the day she worked at the robe, but in the night she undid the work of the day. This is the famous Penelope's web, which is used as a proverbial expression for anything which is perpetually doing but never done. The rest of Penelope's history will be told when we give an account of her husband's adventures.
Chapter XVII Orpheus and Eurydice. Artistaeus. Amphion. Linus. Thamyris. Marsyas. Melampus. Musaeus
Orpheus was the son of Apollo and the muse Calliope. He was presented by his father with a lyre and taught to play upon it, and he played to such perfection that nothing could withstand the charm of his music. Not only his fellow mortals, but wild beasts were softened by his strains, and gathering round him laid by their fierceness, and stood entranced with his lay. Nay, the very trees and rocks were sensible to the charm. The former crowded round him and the latter relaxed somewhat of their hardness, softened by his notes.
Hymen had been called to bless with his presence the nuptials of Orpheus with Eurydice; but though he attended, he brought no happy omens with him. His very torch smoked and brought tears into their eyes. In coincidence with such prognostics Eurydice, shortly after her marriage, while wandering with the nymphs, her companions, was seen by the shepherd Aristaeus, who was struck with her beauty, and made advances to her. She fled, and in flying trod upon a snake in the grass, was bitten in the foot and died. Orpheus sang his grief to all who breathed the upper air, both gods and men, and finding it all unavailing resolved to seek his wife in the regions of the dead. He descended by a cave situated on the side of the promontory of Taenarus and arrived at the Stygian realm. He passed through crowds of ghosts, and presented himself before the throne of Pluto and Proserpine. Accompanying the words with the lyre, he sung, "O deities of the underworld, to whom all we who live must come, hear my words, for they are true! I come not to spy out the secrets of Tartarus, nor to try my strength against the three-headed dog with snaky hair who guards the entrance. I come to seek my wife, whose opening years the poisonous viper's fang has brought to an untimely end. Love had led me here, Love, a god all powerful with us who dwell on the earth, and, if old traditions say true, not less so here. I implore you by these abodes full of terror, these realms of silence and uncreated things, unite again the thread of Eurydice's life. We all are destined to you, and sooner or later must pass to your domain. She too, when she shall have filled her term of life, will rightly be yours. But till then grant her to me, I beseech you. If you deny me, I cannot return alone; you shall triumph in the death of us both."
As he sang these tender strains, the very ghosts shed tears. Tantalus, in spite of his thirst, stopped for a moment his efforts for water, Ixion's wheel stood still, the vulture ceased to tear the giant's liver, the daughters of Danaus rested from their task of drawing water in a sieve, and Sisyphus sat on his rock to listen. Then for the first time, it is said, the cheeks of the Furies were wet with tears. Proserpine could not resist, and Pluto himself gave way. Eurydice was called. She came from among the new-arrived ghosts, limping with her wounded foot. Orpheus was permitted to take her away with him on one condition, that he should not turn round to look at her till they should have reached the upper air. Under this condition they proceeded on their way, he leading, she following, through passages dark and steep, in total silence, till they had nearly reached the outlet into the cheerful upper world, when Orpheus, in a moment of forgetfulness, to assure himself that she was still following, cast a glance behind him, when instantly she was borne away. Stretching out their arms to embrace one another they grasped only the air. Dying now a second time she yet cannot reproach her husband, for how can she blame his impatience to behold her? "Farewell," she said, "a last farewell," and was hurried away, so fast that the sound hardly reached his ears.
Orpheus endeavored t
o follow her, and besought permission to return and try once more for her release but the stern ferryman repulsed him and refused passage. Seven days he lingered about the brink, without food or sleep; then bitterly accusing of cruelty the powers of Erebus, he sang his complaints to the rocks and mountains, melting the hearts of tigers and moving the oaks from their stations. He held himself aloof from womankind, dwelling constantly on the recollection of his sad mischance. The Thracian maidens tried their best to captivate him, but he repulsed their advances. They bore with him as long as they could; but finding him insensible, one day, one of them, excited by the rites of Bacchus, exclaimed, "See yonder our despiser!" and threw at him her javelin. The weapon, as soon as it came within the sound of his lyre, fell harmless at his feet. So did also the stones that they threw at him. But the women raised a scream and drowned the voice of the music, and then the missiles reached him and soon were stained with his blood. The maniacs tore him limb from limb, and threw his head and his lyre into the river Hebrus, down which they floated, murmuring sad music, to which the shores responded a plaintive symphony. The Muses gathered up the fragments of his body and buried them at Libethra, where the nightingale is said to sing over his grave more sweetly than in any other part of Greece. His lyre was placed by Jupiter among the stars. His shade passed a second time to Tartarus, where he sought out his Eurydice and embraced her, with eager arms. They roam through those happy fields together now, sometimes he leads, sometimes she; and Orpheus gazes as much as he will upon her, no longer incurring a penalty for a thoughtless glance.
The story of Orpheus has furnished Pope with an illustration of the power of music, for his Ode for St. Cecelia's Day. The following stanza relates the conclusion of the story:
"But soon, too soon the lover turns his eyes;
Again she falls, again she dies, she dies!
How wilt thou now the fatal sisters move?
No crime was thine, if 'tis no crime to love.
Now under hanging mountains,
Beside the falls of fountains,
Or where Hebrus wanders,
Rolling in meanders,
All alone,
He makes his moan,
And calls her ghost,
Forever, ever, ever lost!
Now with furies surrounded,
Despairing, confounded,
He trembles, he glows,
Amidst Rhodope's snows.
See, wild as the winds o'er the desert he flies;
Hark! Haemus resounds with the Bacchanals' cries.
Ah, see, he dies!
Yet even in death Eurydice he sung,
Eurydice still trembled on his tongue;
Eurydice the woods,
Eurydice the floods,
Eurydice the rocks and hollow mountains rung."
The superior melody of the nightingale's song over the grave of
Orpheus, is alluded to by Southey in his Thalaba:
"Then on his ear what sounds
Of harmony arose!
Far music and the distance-mellowed song
>From bowers of merriment;
The waterfall remote;
The murmuring of the leafy groves;
The single nightingale
Perched in the rosier by, so richly toned,
That never from that most melodious bird
Singing a love-song to his brooding mate,
Did Thracian shepherd by the grave
Of Orpheus hear a sweeter melody,
Though there the spirit of the sepulchre
All his own power infuse, to swell
The incense that he loves."
ARISTAEUS, THE BEE-KEEPER
Man avails himself of the instincts of the inferior animals for his own advantage. Hence sprang the art of keeping bees. Honey must first have been known as a wild product, the bees building their structures in hollow trees or holes in the rocks, or any similar cavity that chance offered. Thus occasionally the carcass of a dead animal would be occupied by the bees for that purpose. It was no doubt from some such incident that the superstition arose that the bees were engendered by the decaying flesh of the animal; and Virgil, in the following story (From the Georgies, Book IV.1.317), shows how this supposed fact may be turned to account for renewing the swarm when it has been lost by disease or accident.
The shepherd Aristaeus, who first taught the management of bees, was the son of the water-nymph Cyrene. His bees had perished, and he resorted for aid to his mother. He stood at the river side and thus addressed her: "Oh, mother, the pride of my life is taken from me! I have lost my precious bees. My care and skill have availed me nothing, and you, my mother, have not warded off from me the blow of misfortune." His mother heard these complaints as she sat in her palace at the bottom of the river with her attendant nymphs around her. They were engaged in female occupations, spinning and weaving, while one told stories to amuse the rest. The sad voice of Aristaeus interrupting their occupation, one of them put her head above the water and seeing him, returned and gave information to his mother, who ordered that he should be brought into her presence. The river at her command opened itself and let him pass in, while it stood curled like a mountain on either side. He descended to the region where the fountains of the great rivers lie; he saw the enormous receptacles of waters and was almost deafened with the roar, while he surveyed them hurrying off in various directions to water the face of the earth. Arriving at his mother's apartment he was hospitably received by Cyrene and her nymphs, who spread their table with the richest dainties. They first poured out libations to Neptune, then regaled themselves with the feast, and after that Cyrene thus addressed him: "There is an old prophet named Proteus, who dwells in the sea and is a favorite of Neptune, whose herd of sea-calves he pastures. We nymphs hold him in great respect, for he is a learned sage, and knows all things, past, present, and to come. He can tell you, my son, the cause of the mortality among your bees, and how you may remedy it. But he will not do it voluntarily, however you may entreat him. You must compel him by force. If you seize him and chain him, he will answer your questions in order to get released, for he cannot, by all his arts, get away if you hold fast the chains. I will carry you to his cave, where he comes at noon to take his midday repose. Then you may easily secure him. But when he finds himself captured, his resort is to a power he possesses of changing himself into various forms. He will become a wild boar or a fierce tiger, a scaly dragon, or lion with yellow mane. Or he will make a noise like the crackling of flames or the rush of water, so as to tempt you to let go the chain, when he will make his escape. But you have only to keep him fast bound, and at last when he finds all his arts unavailing, he will return to his own figure and obey your commands." So saying she sprinkled her son with fragrant nectar, the beverage of the gods, and immediately an unusual vigor filled his frame and courage his heart, while perfume breathed all around him.
The nymph led her son to the prophet's cave, and concealed him among the recesses of the rocks, while she herself took her place behind the clouds. Then noon came and the hour when men and herds retreat from the glaring sun to indulge in quiet slumber, Proteus issued from the water, followed hy his herd of sea- calves, which spread themselves along the shore. He sat on the rock and counted his herd; then stretched himself on the floor of the cave and went to sleep. Aristaeus hardly allowed him to get fairly asleep before he fixed the fetters on him and shouted aloud. Proteus, waking and finding himself captured, immediately resorted to his arts, becoming first a fire, then a flood, then a horrible wild beast, in rapid succession. But trying all in vain, he at last resumed his own form and addressed the youth in angry accents: "Who are you, bold youth, who thus invade my abode, and what do you want with me?" Aristaeus replied, "Proteus, you know already, for it is needless for any one to attempt to deceive you. And do you also cease your efforts to elude me. I am led hither by divine assistance, to know from you the cause of my misfortune and how to remedy it." At these words the prophet, fixing on him his gray eyes wit
h a piercing look, thus spoke: "You received the merited reward of your deeds, by which Eurydice met her death, for in flying from you she trod upon a serpent, of whose bite she died. To avenge her death the nymphs, her companions, have sent this destruction bo your bees. You have to appease their anger, and thus it must be done: Select four bulls of perfect form and size, and four cows of equal beauty, build four altars to the nymphs, and sacrifice the animals, leaving their carcasses in the leafy grove. To Orpheus and Eurydice you shall pay such funeral honors as may allay their resentment. Returning after nine days you will examine the bodies of the cattle slain and see what will befall." Aristaeus faithfully obeyed these directions. He sacrificed the cattle, he left their bodies in the grove, he offered funeral honors to the shades of Orpheus and Eurydice; then returning on the ninth day he examined the bodies of the animals, and, wonderful to relate! A swarm of bees had taken possession of one of the carcasses, and were pursuing their labors there as in a hive.
In the Task, Cowper alludes to the story of Aristaeus, when speaking of the ice-palace built by the Empress Anne of Russia. He has been describing the fantastic forms which ice assumes in connection with waterfalls, etc."
"Less worthy of applause though more admired,
Because a novelty, the work of man,
Imperial mistress of the fur-clad Russ,
Thy most magnificent and mighty freak,
The wonder of the north. No forest fell
When thou wouldst build, no quarry sent its stores
T'enrich thy walls; but thou didst hew the floods
And make thy marble of the glassy wave.
In such a palace Aristaeus found
Cyrene, when he bore the plaintive tale
Of his lost bees to her maternal ear."
Milton also appears to have had Cyrene and her domestic scene in his mind when he describes to us Sabrina, the nymph of the river Severn, in the Guardian-spirit's Song in Comus:
Bulfinch's Mythology: the Age of Fable Page 23