Clytie was a water-nymph and in love with Apollo, who made her no return. So she pined away, sitting all day long upon the cold ground, with her unbound tresses streaming over her shoulders. Nine days she sat and tasted neither food nor drink, her own tears and the chilly dew her only food. She gazed on the sun when he rose, and as he pa.s.sed through his daily course to his setting; she saw no other object, her face turned constantly on him. At last, they say, her limbs rooted in the ground, her face became a sunflower, which turns on its stem so as always to face the sun throughout its daily course; for it retains to that extent the feeling of the nymph from whom it sprang.

One of the best known of the marble busts discovered in our own time, generally bears the name of Clytie. It has been very frequently copied in plaster. It represents the head of a young girl looking down, the neck and shoulders being supported in the cup of a large flower, which by a little effort of imagination can be made into a giant sunflower. The latest supposition, however, is that this bust represented not Clytie, but Isis.

Hood in his Flowers thus alludes to Clytie:

"I will not have the mad Clytie, Whose head is turned by the sun; The tulip is a courtly quean, Whom therefore I will shun; The cowslip is a country wench, The violet is a nun; But I will woo the dainty rose, The queen of every one."

The sunflower is a favorite emblem of constancy. Thus Moore uses it:

"The heart that has truly loved never forgets, But as truly loves on to the close; As the sunflower turns on her G.o.d when he sets The same look that she turned when he rose."

It is only for convenience that the modern poets translate the Latin word HELIOTROPIUM, by the English sunflower. The sunflower, which was known to the ancients, was called in Greek, helianthos, from HELIOS, the sun; and ANTHOS a flower, and in Latin, helianthus. It derives its name from its resemblance to the sun; but, as any one may see, at sunset, it does not "turn to the G.o.d when he sets the same look that it turned when he rose."

The Heliotrope of the fable of Clytie is called Turn-sole in old English books, and such a plant is known in England. It is not the sweet heliotrope of modern gardens, which is a South American plant. The true cla.s.sical heliotrope is probably to be found in the heliotrope of southern France, a weed not known in America. The reader who is curious may examine the careful account of it in Larousse's large dictionary.

HERO AND LEANDER

Leander was a youth of Abydos, a town of the Asian side of the strait which separates Asia and Europe. On the opposite sh.o.r.e in the town of Sestos lived the maiden Hero, a priestess of Venus. Leander loved her, and used to swim the strait nightly to enjoy the company of his mistress, guided by a torch which she reared upon the tower, for the purpose. But one night a tempest arose and the sea was rough; his strength failed, and he was drowned. The waves bore his body to the European sh.o.r.e, where Hero became aware of his death, and in her despair cast herself down from the tower into the sea and perished.

The following sonnet is by Keats:

"ON A PICTURE OF LEANDER

"Come hither, all sweet maidens, soberly, Down looking aye, and with a chasten'd light, Hid in the fringes of your eyelids white, And meekly let your fair hands joined be, As if so gentle that ye could not see, Untouch'd, a victim of your beauty bright, Sinking away to his young spirit's night, Sinking bewilder'd 'mid the dreary sea.

'Tis young Leander toiling to his death.

Nigh swooning, he doth purse his weary lips For Hero's cheek, and smiles against her smile.

Oh, horrid dream! See how his body dips Dead-heavy; arms and shoulders gleam awhile; He's gone; up bubbles all his amorous breath!"

The story of Leander's swimming the h.e.l.lespont was looked upon as fabulous, and the feat considered impossible, till Lord Byron proved its possibility by performing it himself. In the Bride of Abydos he says,

"These limbs that buoyant wave hath borne."

The distance in the narrowest part is almost a mile, and there is a constant current setting out from the Sea of Marmora into the Archipelago. Since Byron's time the feat has been achieved by others; but it yet remains a test of strength and skill in the art of swimming sufficient to give a wide and lasting celebrity to any one of our readers who may dare to make the attempt and succeed in accomplishing it.

In the beginning of the second canto of the same poem, Byron alludes to this story:

"The winds are high on h.e.l.le's wave, As on that night of stormiest water, When Love, who sent, forgot to save The young, the beautiful, the brave, The lonely hope of Sestos' daughter.

Oh, when alone along the sky The turret-torch was blazing high, Though rising gale and breaking foam, And shrieking sea-birds warned him home; And clouds aloft and tides below, With signs and sounds forbade to go, He could not see, he would not hear Or sound or sight foreboding fear.

His eye but saw that light of love, The only star it hailed above; His ear but rang with Hero's song, 'Ye waves, divide not lovers long.'

That tale is old, but love anew May nerve young hearts to prove as true."

The subject has been a favorite one with sculptors.

Schiller has made one of his finest ballads from the tragic fate of the two lovers. The following verses are a translation from the latter part of the ballad:

"Upon h.e.l.lespont's broad currents Night broods black, and rain in torrents From the cloud's full bosom pours; Lightnings in the sky are flashing, All the storms below are dashing On the crag-piled sh.o.r.es.

Awful chasms gaping widely, Separate the mountain waves; Ocean yawning as to open Downward e'en to Pluto's caves."

After the storm has arisen, Hero sees the danger, and cries,

"Woe, ah! Woe; great Jove have pity, Listen to my sad entreaty, Yet for what can Hero pray?

Should the G.o.ds in pity listen, He, e'en now the false abyss in, Struggles with the tempest's spray.

All the birds that skim the wave In hasty flight are hieing home; T the lee of safer haven All the storm-tossed vessels come.

"Ah! I know he laughs at danger, Dares again the frequent venture, Lured by an almighty power; For he swore it when we parted, With the vow which binds true-hearted Lovers to the latest hour.

Yes! Even as this moment hastens Battles he the wave-crests rude, And to their unfathomed chasms Dags him down the angry flood.

"Pontus false! Thy sunny smile Was the lying traitor's guile, Like a mirror flashing there: All thy ripples gently playing Til they triumphed in betraying Him into thy lying snare.

Now in thy mid-current yonder, Onward still his course he urges, Thou the false, on him the fated Pouring loose thy terror-surges.

Waxes high the tempest's danger, Waves to mountains rise in anger, Oceans swell, and breakers dash, Foaming, over cliffs of rock Where even navies, stiff with oak, Could not bear the crash.

In the gale her torch is blasted, Beacon of the hoped-for strand; Horror broods above the waters, Horror broods above the land.

Prays she Venus to a.s.suage The hurricane's increasing rage, And to sooth the billows' scorn.

And as gale on gale arises, Vows to each as sacrifices Spotless steer with gilded horn.

To all the G.o.ddesses below, To "all the G.o.ds in heaven that be,"

She prays that oil of peace may flow Softly on the storm-tossed sea.

Blest Leucothea, befriend me!

From cerulean halls attend me; Hear my prayer of agony.

In the ocean desert's raving, Storm-tossed seamen, succor craving, Find in thee their helper nigh.

Wrap him in thy charmed veil, Secret spun and secret wove, Certain from the deepest wave To lift him to its crests above."

Now the tempests wild are sleeping, And from the horizon creeping Rays of morning streak the skies, Peaceful as it lay before The placid sea reflects the sh.o.r.e, Skies kiss waves and waves the skies.

Little ripples, lightly plashing, Break upon the rock-bound strand, And they trickle, lightly playing O'er a corpse upon the sand.

Yes, 'tis he! Although he perished, Still his sacred troth he cherished, An instant's glance tells all to her; Not a tear her eye lets slip Not a murmur leaves her lip; Down she looks in cold despair; Gazes round the desert sea, Trustless gazes round the sky, Flashes then of n.o.ble fire Through her pallid visage fly!

"Yes, I know, ye mighty powers, Ye have drawn the fated hours Pitiless and cruel on.

Early full my course is over.

Such a course with such a lover; Such a share of joy I've known.

Venus, queen, within thy temple, Thou hast known me vowed as thine, Now accept thy willing priestess As an offering at thy shrine."

Downward then, while all in vain her Fluttering robes would still sustain her, Springs she into Pontus' wave; Grasping him and her, the G.o.d Whirls them in his deepest flood, And, himself, becomes their grave.

With his prizes then contented, Peaceful bids his waters glide, From the unexhausted vessels, Whence there streams an endless tide.

Chapter IX

Minerva and Arachne. Niobe. The Story of Perseus

Minerva, the G.o.ddess of wisdom, was the daughter of Jupiter. She, they say, sprang forth from his brain full grown and clad in complete armor. She presided over the useful and ornamental arts, both those of men, such as agriculture and navigation, and those of women, spinning, weaving, and needle-work. She was also a warlike divinity; but a lover of defensive war only. She had no sympathy with Mars's savage love of violence and bloodshed. Athens was her chosen seat, her own city, awarded to her as the prize of a contest with Neptune, who also aspired to it. The tale ran that in the reign of Cecrops, the first king of Athens, the two deities contended for the possession of the city. The G.o.ds decreed that it should be awarded to that one who produced the gift most useful to mortals. Neptune gave the horse; Minerva produced the olive. The G.o.ds gave judgment that the olive was the more useful of the two, and awarded the city to the G.o.ddess; and it was named after her, Athens, her name in Greek being Athene.

In another contest, a mortal dared to come in compet.i.tion with Minerva. That mortal was Arachne, a maiden who had attained such skill in the arts of weaving and embroidery that the nymphs themselves would leave their groves and fountains to come and gaze upon her work. It was not only beautiful when it was done, but beautiful also in the doing. To watch her, as she took the wool in its rude state and formed it into rolls, or separated it with her fingers and carded it till it looked as light and soft as a cloud, or twirled the spindle with skilful touch, or wove the web, or, when woven, adorned it with her needle, one would have said that Minerva herself had taught her. But this she denied, and could not bear to be thought a pupil even of a G.o.ddess. "Let Minerva try her skill with mine," said she; "if beaten, I will pay the penalty." Minerva heard this and was displeased. a.s.suming the form of an old woman, she went and gave Arachne some friendly advice. "I have had much experience,: said she, "and I hope you will not despise my counsel. Challenge your fellow-mortals as you will, but do not compete with a G.o.ddess. On the contrary, I advise you to ask her forgiveness for what you have said, and, as she is merciful, perhaps she will pardon you." Arachne stopped her spinning, and looked at the old dame with anger in her countenance. "Keep your counsel," said she, "for your daughters or handmaids; for my part, I know what I say, and I stand to it. I am not afraid of the G.o.ddess; let her try her skill, if she dare venture." "She comes," said Minerva; and dropping her disguise, stood confessed. The nymphs bent low in homage, and all the bystanders paid reverence. Arachne alone was unterrified. She blushed, indeed; a sudden color dyed her cheek, and then she grew pale. But she stood to her resolve, and with a foolish conceit of her own skill rushed on her fate. Minerva forbore no longer, nor interposed any further advice. They proceed to the contest. Each takes her station and attaches the web to the beam. Then the slender shuttle is pa.s.sed in and out among the threads. The reed with its fine teeth strikes up the woof into its place and compacts the web. Both work with speed; their skilful hands move rapidly, and the excitement of the contest makes the labor light. Wool of Tyrian dye is contrasted with that of other colors, shaded off into one another so adroitly that the joining deceives the eye. Like the bow, whose long arch tinges the heavens, formed by sunbeams reflected from the shower (this description of the rainbow is literally translated rom Ovid), in which, where the colors meet they seem as one, but at a little distance from the point of contact are wholly different.

Minerva wrought on her web the scene of her contest with Neptune. Twelve of the heavenly powers are represented, Jupiter, with August gravity, sitting in the midst. Neptune, the ruler of the sea, holds his trident, and appears to have just smitten the earth, from which a horse has leaped forth. Minerva depicted herself with helmed head, her AEgis covering her breast. Such was the central circle; and in the four corners were represented incidents ill.u.s.trating the displeasure of the G.o.ds at such presumptuous mortals as had dared to contend with them. These were meant as warnings to her rival to give up the contest before it was too late.

Arachne filled her web with subjects designedly chosen to exhibit the failings and errors of the G.o.ds. One scene represented Leda caressing the swan, under which form Jupiter had disguised himself; and another, Danae, in the brazen tower in which her father had imprisoned her, but where the G.o.d effected his entrance in the form of a shower of gold. Still another depicted Europa deceived by Jupiter under the disguise of a bull. Encouraged by the tameness of the animal, Europa ventured to mount his back, whereupon Jupiter advanced into the sea, and swam with her to Crete. You would have thought it was a real bull so naturally was it wrought, and so natural was the water in which it swam. She seemed to look with longing eyes back upon the sh.o.r.e she was leaving, and to call to her companions for help. She appeared to shudder with terror at the sight of the heaving waves, and to draw back her feet from the water.

Arachne filled her canvas with these and like subjects, wonderfully well done, but strongly marking her presumption and impiety. Minerva could not forbear to admire, yet felt indignant at the insult. She struck the web with her shuttle, and rent it in pieces; she then touched the forehead of Arachne, and made her feel her guilt and shame. She could not endure it, and went and hanged herself. Minerva pitied her as she saw her hanging by a rope. "Live, guilty woman," said she; " and that you may preserve the memory of this lesson, continue to hang, you and your descendants, to all future times." She sprinkled her with the juices of aconite, and immediately her hair came off, and her nose and ears likewise. Her form shrank up, and her head grew smaller yet; her fingers grew to her side, and served for legs. All the rest of her is body, out of which she spins her thread, often hanging suspended by it, in the same att.i.tude as when Minerva touched her and transformed her into a spider.

Spenser tells the story of Arachne in his Muiopotmos, adhering very closely to his master Ovid, but improving upon him in the conclusion of the story. The two stanzas which follow tell what was done after the G.o.ddess had depicted her creation of the olive tree:

"Amongst these leaves she made a b.u.t.terfly, With excellent device and wondrous slight, Fluttering among the olives wantonly, That seemed to live, so like it was in sight; The velvet nap which on his wings doth lie, The silken down with which his back is dight, His broad outstretched horns, his hairy thighs, His glorious colors, and his glistening eyes."

"Which when Arachne saw, as overlaid And mastered with workmanship so rare.

She stood astonished long, ne aught gainsaid; And with fast-fixed eyes on her did stare, And by her silence, sign of one dismayed, The victory did yield her as her share; Yet did she inly fret and felly burn, And all her blood to poisonous rancor turn."

And so the metamorphosis is caused by Arachne's own mortification and vexation, and not by any direct act of the G.o.ddess.

The following specimen of old-fashioned gallantry is by Garrick:

UPON A LADY'S EMBROIDERY