A Book of Myths Part 8

"O, be advised: thou know'st not what it is With javelin's point a churlish swine to gore, Whose tushes never sheathed he whetteth still, Like to a mortal butcher, bent to kill.

Alas, he naught esteems that face of thine, To which love's eyes pay tributary gazes; Nor thy soft hands, sweet lips, and crystal eyne, Whose full perfection all the world amazes; But having thee at vantage--wondrous dread!-- Would root these beauties as he roots the mead."

Shakespeare.

To all her warnings, Adonis would but give smiles. Ill would it become him to slink abashed away before the fierceness of an old monster of the woods, and, laughing in the pride of a whole-hearted boy at a woman's idle fears, he sped homewards with his hounds.

With the gnawing dread of a mortal woman in her soul, Aphrodite spent the next hours. Early she sought the forest that she might again plead with Adonis, and maybe persuade him, for love of her, to give up the perilous chase because she loved him so.

But even as the rosy gates of the Dawn were opening, Adonis had begun his hunt, and from afar off the G.o.ddess could hear the baying of his hounds. Yet surely their clamour was not that of hounds in full cry, nor was it the triumphant noise that they so fiercely make as they pull down their vanquished quarry, but rather was it baying, mournful as that of the hounds of Hecate. Swift as a great bird, Aphrodite reached the spot from whence came the sound that made her tremble.

Amidst the trampled brake, where many a hound lay stiff and dead, while others, disembowelled by the tusks of the boar, howled aloud in mortal agony, lay Adonis. As he lay, he "knew the strange, slow chill which, stealing, tells the young that it is death."

And as, in extremis, he thought of past things, manhood came to Adonis and he knew something of the meaning of the love of Aphrodite--a love stronger than life, than time, than death itself. His hounds and his spear seemed but playthings now. Only the eternities remained--bright Life, and black-robed Death.

Very still he lay, as though he slept; marble-white, and beautiful as a statue wrought by the hand of a G.o.d. But from the cruel wound in the white thigh, ripped open by the boar's profaning tusk, the red blood dripped, in rhythmic flow, crimsoning the green moss under him. With a moan of unutterable anguish, Aphrodite threw herself beside him, and pillowed his dear head in her tender arms. Then, for a little while, life's embers flickered up, his cold lips tried to form themselves into a smile of understanding and held themselves up to hers. And, while they kissed, the soul of Adonis pa.s.sed away.

"A cruel, cruel wound on his thigh hath Adonis, but a deeper wound in her heart doth Cytherea[6] bear. About him his dear hounds are loudly baying, and the nymphs of the wild woods wail him; but Aphrodite with unbound locks through the glades goes wandering--wretched, with hair unbraided, with feet unsandalled, and the thorns as she pa.s.ses wound her and pluck the blossom of her sacred blood. Shrill she wails as down the woodland she is borne.... And the rivers bewail the sorrows of Aphrodite, and the wells are weeping Adonis on the mountains. The flowers flush red for anguish, and Cytherea through all the mountain-knees, through every dell doth utter piteous dirge: "'Woe, woe for Cytherea, he hath perished, the lovely Adonis!'"

Bion.

Pa.s.sionately the G.o.d besought Zeus to give her back her lost love, and when there was no answer to her prayers, she cried in bitterness: "Yet shall I keep a memorial of Adonis that shall be to all everlasting!" And, as she spoke, her tears and his blood, mingling together, were turned into flowers.

"A tear the Paphian sheds for each blood-drop of Adonis, and tears and blood on the earth are turned to flowers. The blood brings forth the roses, the tears, the wind-flower."

Yet, even then, the grief of Aphrodite knew no abatement. And when Zeus, wearied with her crying, heard her, to his amazement, beg to be allowed to go down to the Shades that she might there endure eternal twilight with the one of her heart, his soul was softened.

"Never can it be that the Queen of Love and of Beauty leaves Olympus and the pleasant earth to tread for evermore the dark Cocytus valley," he said. "Nay, rather shall I permit the beauteous youth of thy love to return for half of each year from the Underworld that thou and he may together know the joy of a love that hath reached fruition."

Thus did it come to pa.s.s that when dark winter's gloom was past, Adonis returned to the earth and to the arms of her who loved him.

"But even in death, so strong is love, I could not wholly die; and year by year, When the bright springtime comes, and the earth lives, Love opens these dread gates, and calls me forth Across the gulf. Not here, indeed, she comes, Being a G.o.ddess and in heaven, but smooths My path to the old earth, where still I know Once more the sweet lost days, and once again Blossom on that soft breast, and am again A youth, and rapt in love; and yet not all As careless as of yore; but seem to know The early spring of pa.s.sion, tamed by time And suffering, to a calmer, fuller flow, Less fitful, but more strong."

Lewis Morris.

And when the time of the singing of birds has come, and the flowers have thrown off their white snow pall, and the brown earth grows radiant in its adornments of green blade and of fragrant blossom, we know that Adonis has returned from his exile, and trace his footprints by the fragile flower that is his very own, the white flower with the golden heart, that trembles in the wind as once the white hands of a grief-stricken G.o.ddess shook for sorrow.

"The flower of Death" is the name that the Chinese give to the wind-flower--the wood-anemone. Yet surely the flower that was born of tears and of blood tells us of a life that is beyond the grave--of a love which is unending.

The cruel tusk of a rough, remorseless winter still yearly slays the "lovely Adonis" and drives him down to the Shades. Yet we know that Spring, with its Sursum Corda, will return as long as the earth shall endure; even as the sun must rise each day so long as time shall last, to make "Le ciel tout en fleur semble une immense rose Qu'un Adonis celeste a teinte de son sang."

De Heredia.

FOOTNOTE: [6] Aphrodite.

PAN "What was he doing, the great G.o.d Pan, Down in the reeds by the river? Spreading ruin and scattering ban, Splashing and paddling with hoofs of a goat, And breaking the golden lilies afloat With the dragon-fly on the river.

He tore out a reed, the great G.o.d Pan, From the deep cool bed of the river: The limpid water turbidly ran, And the broken lilies a-dying lay, And the dragon-fly had fled away, Ere he brought it out of the river.

'This is the way,' laughed the great G.o.d Pan (Laughed while he sat by the river), 'The only way, since G.o.ds began To make sweet music, they could succeed.' Then, dropping his mouth to a hole in the reed, He blew in power by the river.

Sweet, sweet, sweet, O Pan! Piercing sweet by the river! Blinding sweet, O great G.o.d Pan! The sun on the hill forgot to die, And the lilies revived, and the dragon-fly Came back to dream on the river.

Yet half a beast is the great G.o.d Pan, To laugh as he sits by the river, Making a poet out of a man: The true G.o.ds sigh for the cost and pain, For the reed which grows nevermore again As a reed with the reeds in the river."

E. B. Browning.

Were we to take the whole of that immense construction of fable that was once the religion of Greece, and treat it as a vast play in which there were many thousands of actors, we should find that one of these actors appeared again and again. In one scene, then in another, in connection with one character, then with another, unexpectedly slipping out from the shadows of the trees from the first act even to the last, we should see Pan--so young and yet so old, so heedlessly gay, yet so infinitely sad.

If, rather, we were to regard the mythology of Greece as a colossal and wonderful piece of music, where the thunders of Jupiter and the harsh hoof-beats of the fierce black steeds of Pluto, the king whose coming none can stay, made way for the limpid melodies of Orpheus and the rustling whisper of the footfall of nymphs and of fauns on the leaves, through it all we should have an ever-recurring motif--the clear, magical fluting of the pipes of Pan.

We have the stories of Pan and of Echo, of Pan and of Midas, of Pan and Syrinx, of Pan and Selene, of Pan and Pitys, of Pan and Pomona. Pan it was who taught Apollo how to make music. It was Pan who spoke what he deemed to be comfort to the distraught Psyche; Pan who gave Diana her hounds. The other G.o.ds had their own special parts in the great play that at one time would have Olympus for stage, at another the earth. Pan was Nature incarnate. He was the Earth itself.

Many are the stories of his genealogy, but the one that is given in one of the Homeric hymns is that Hermes, the swift-footed young G.o.d, wedded Dryope, the beautiful daughter of a shepherd in Arcadia, and to them was born, under the greenwood tree, the infant, Pan. When Dryope first looked on her child, she was smitten with horror, and fled away from him. The deserted baby roared l.u.s.tily, and when his father, Hermes, examined him he found a rosy-cheeked thing with p.r.i.c.k ears and tiny horns that grew amongst his thick curls, and with the dappled furry chest of a faun, while instead of dimpled baby legs he had the strong, hairy hind legs of a goat. He was a fearless creature, and merry withal, and when Hermes had wrapped him up in a hare skin, he sped to Olympus and showed his fellow-G.o.ds the son that had been born to him and the beautiful nymph of the forest. Baby though he was, Pan made the Olympians laugh. He had only made a woman, his own mother, cry; all others rejoiced at the new creature that had come to increase their merriment. And Bacchus, who loved him most of all, and felt that here was a babe after his own heart, bestowed on him the name by which he was forever known--Pan, meaning All.

Thus Pan grew up, the earthly equal of the Olympians, and, as he grew, he took to himself the lordship of woods and of solitary places. He was king of huntsmen and of fishermen, lord of flocks and herds and of all the wild creatures of the forest. All living, soulless things owned him their master; even the wild bees claimed him as their overlord. He was ever merry, and when a riot of music and of laughter slew the stillness of the shadowy woods, it was Pan who led the dancing throng of white-limbed nymphs and gambolling satyrs, for whom he made melody from the pipes for whose creation a maid had perished.

Round his horns and thick curls he presently came to wear a crown of sharp pine-leaves, remembrance of another fair nymph whose destruction he had brought about.

Pitys listened to the music of Pan, and followed him even as the children followed the Pied Piper of later story. And ever his playing lured her further on and into more dangerous and desolate places, until at length she stood on the edge of a high cliff whose pitiless front rushed sheer down to cruel rocks far below. There Pan's music ceased, and Pitys knew all the joy and the sorrow of the world as the G.o.d held out his arms to embrace her. But neither Pan nor Pitys had remembrance of Boreas, the merciless north wind, whose love the nymph had flouted.

Ere Pan could touch her, a blast, fierce and strong as death, had seized the nymph's fragile body, and as a wind of March tears from the tree the first white blossom that has dared to brave the ruthless gales, and casts it, torn and dying, to the earth, so did Boreas grip the slender Pitys and dash her life out on the rocks far down below. From her body sprang the pine tree, slender, erect, clinging for dear life to the sides of precipices, and by the p.r.i.c.kly wreath he always wore, Pan showed that he held her in fond remembrance.

Joy, and youth, and force, and spring, was Pan to all the creatures whose overlord he was. Pan meant the richness of the sap in the trees, the lushness of gra.s.s and of the green stems of the blue hyacinths and the golden daffodils; the throbbing of growth in the woodland and in the meadows; the trilling of birds that seek for their mates and find them; the coo of the doves on their nests of young; the arrogant virility of bulls and of stags whose lowing and belling wake the silence of the hills; the lightness of heart that made the nymphs dance and sing, the fauns leap high, and shout aloud for very joy of living. All of these things was Pan to those of his own kingdom.

Yet to the human men and women who had also listened to his playing, Pan did not mean only joyousness. He was to them a force that many times became a terror because of its sheer irresistibleness.

While the sun shone and the herdsmen could see the nodding white cotton-gra.s.s, the asphodel, and the golden kingcups that hid the black death-traps of the pitiless marshes, they had no fear of Pan. Nor in the daytime, when in the woods the sunbeams played amongst the trees and the birds sang of Spring and of love, and the syrinx sent an echo from far away that made the little silver birches give a whispering laugh of gladness and the pines cease to sigh, did man or maid have any fear. Yet when darkness fell on the land, terror would come with it, and, deep in their hearts, they would know that the terror was Pan. Blindly, madly, they would flee from something that they could not see, something they could barely hear, and many times rush to their own destruction. And there would be no sweet sound of music then, only mocking laughter. Panic was the name given to this fear--the name by which it still is known. And, to this day, panic yet comes, and not only by night, but only in very lonely places. There are those who have known it, and for shame have scarce dared to own it, in highland glens, in the loneliness of an island in the western sea, in a green valley amongst the "solemn, kindly, round-backed hills" of the Scottish Border, in the remoteness of the Australian bush. They have no reasons to give--or their reasons are far-fetched. Only, to them as to Mowgli, Fear came, and the fear seemed to them to come from a malignant something from which they must make all haste to flee, did they value safety of mind and of body. Was it for this reason that the Roman legionaries on the Great Wall so often reared altars in that lonely land of moor and mountain where so many of them fought and died-- "To Pan, and to the Sylvan deities"?

For surely Pan was there, where the curlew cried and the pewit mourned, and sometimes the waiting soldiers must almost have imagined his mocking laughter borne in the winds that swept across the bleak hills of their exiled solitude.

He who was surely one of the bravest of mankind, one who always, in his own words, "clung to his paddle," writes of such a fear when he escaped death by drowning from the Oise in flood.

"The devouring element in the universe had leaped out against me, in this green valley quickened by a running stream. The bells were all very pretty in their way, but I had heard some of the hollow notes of Pan's music. Would the wicked river drag me down by the heels, indeed? and look so beautiful all the time? Nature's good humour was only skin-deep, after all."

And of the reeds he writes: "Pan once played upon their forefathers; and so, by the hands of his river, he still plays upon these later generations down all the valley of the Oise; and plays the same air, both sweet and shrill, to tell us of the beauty and the terror of the world."

"The Beauty and the terror of the world"--was not this what Pan stood for to the Greeks of long ago?

The gladness of living, the terror of living--the exquisite joy and the infinite pain--that has been the possession of Pan--for we have not yet found a more fitting t.i.tle--since ever time began. And because Pan is as he is, from him has evolved a higher Pantheism. We have done away with his goat's feet and his horns, although these were handed on from him to Satan when Christianity broke down the altars of Paganism.

"Nature, which is the Time-vesture of G.o.d and reveals Him to the wise, hides Him from the foolish," writes Carlyle. Pan is Nature, and Nature is not the ugly thing that the Calvinists would once have had us believe it to be. Nature is capable of being made the garment of G.o.d.

"In Being's floods, in Action's storm, I walk and work, above, beneath, Work and weave in endless motion! Birth and Death, An infinite ocean; A seizing and giving The fire of Living; 'Tis thus at the roaring loom of Time I ply, And weave for G.o.d the Garment thou seest Him by."

So speaks the Erdgeist in Goethe's Faust, and yet another of the greatest of the poets writes: "The sun, the moon, the stars, the seas, the hills and the plains-- Are not these, O Soul, the Vision of Him who reigns?

And the ear of man cannot hear, and the eye of man cannot see; But if we could see and hear, this Vision--were it not He?"

Tennyson.

Carlyle says that "The whole universe is the Garment of G.o.d," and he who lives very close to Nature must, at least once in a lifetime, come, in the solitude of the lonely mountain tops, upon that bush that burns and is not yet consumed, and out of the midst of which speaks the voice of the Eternal.

The immortal soul--the human body--united, yet ever in conflict--that is Pan. The sighing and longing for things that must endure everlastingly--the riotous enjoyment of the beauty of life--the perfect appreciation of the things that are. Life is so real, so strong, so full of joyousness and of beauty,--and on the other side of a dark stream, cold, menacing, cruel, stands Death. Yet Life and Death make up the sum of existence, and until we, who live our paltry little lives here on earth in the hope of a Beyond, can realise what is the true air that is played on those pipes of Pan, there is no hope for us of even a vague comprehension of the illimitable Immortality.

It is a very old tale that tells us of the pa.s.sing of Pan. In the reign of Tiberius, on that day when, on the hill of Calvary, at Jerusalem in Syria, Jesus Christ died as a malefactor, on the cross--"And it was about the sixth hour, and there was a darkness all over the earth"--Thamus, an Egyptian pilot, was guiding a ship near the islands of Paxae in the Ionian Sea; and to him came a great voice, saying, "Go! make everywhere the proclamation, Great Pan is dead!"

And from the p.o.o.p of his ship, when, in great heaviness of heart, because for him the joy of the world seemed to have pa.s.sed away, Thamus had reached Palodes, he shouted aloud the words that he had been told. Then, from all the earth there arose a sound of great lamentation, and the sea and the trees, the hills, and all the creatures of Pan sighed in sobbing unison an echo of the pilot's words--"Pan is dead--Pan is dead."

"The lonely mountains o'er And the resounding sh.o.r.e, A voice of weeping heard, and loud lament; From haunted spring and dale Edg'd with poplar pale, The parting genius is with sighing sent; With flow'r-inwoven tresses torn, The Nymphs in twilight shade of tangled thickets mourn."

Milton.

Pan was dead, and the G.o.ds died with him.

"G.o.ds of h.e.l.las, G.o.ds of h.e.l.las, Can ye listen in your silence? Can your mystic voices tell us Where ye hide? In floating islands, With a wind that evermore Keeps you out of sight of sh.o.r.e? Pan, Pan is dead.

G.o.ds! we vainly do adjure you,-- Ye return nor voice nor sign! Not a votary could secure you Even a grave for your Divine! Not a grave to show thereby, 'Here these grey old G.o.ds do lie,' Pan, Pan is dead."

E. B. Browning.

Pan is dead. In the old h.e.l.lenistic sense Pan is gone forever. Yet until Nature has ceased to be, the thing we call Pan must remain a living ent.i.ty. Some there be who call his music, when he makes all humanity dance to his piping, "Joie de vivre," and De Musset speaks of "Le vin de la jeunesse" which ferments "dans les veines de Dieu." It is Pan who inspires Seumas, the old islander, of whom Fiona Macleod writes, and who, looking towards the sea at sunrise, says, "Every morning like this I take my hat off to the beauty of the world."

Half of the flesh and half of the spirit is Pan. There are some who have never come into contact with him, who know him only as the emblem of Paganism, a cruel thing, more beast than man, trampling, with goat's feet, on the gentlest flowers of spring. They know not the meaning of "the Green Fire of Life," nor have they ever known Pan's moods of tender sadness. Never to them has come in the forest, where the great grey trunks of the beeches rise from a carpet of primroses and blue hyacinths, and the slender silver beeches are the guardian angels of the starry wood-anemones, and the sunbeams slant through the oak and beech leaves of tender green and play on the dead amber leaves of a year that is gone, the whisper of little feet that cannot be seen, the piercing sweet music from very far away, that fills the heart with gladness and yet with a strange pain--the ache of the Weltschmerz--the echo of the pipes of Pan.

"... Oftenest in the dark woods I hear him sing Dim, half-remembered things, where the old mosses cling To the old trees, and the faint wandering eddies bring The phantom echoes of a phantom spring."

Fiona Macleod.

LORELEI.

"Ich weiss nicht, was soll es bedeuten, Da.s.s ich so traurig bin; Ein Marchen aus alten Zeiten, Das kommt mir nicht aus dem Sinn.

Die schonste Jungfrau sitzet Dort oben wunderbar, Ihr gold'nes Geschmeide blitzet, Sie kammt ihr gold'nes Haar.

Sie kammt es mit gold'nem Kamme, Und singt ein Lied dabei; Das hat eine wundersame, Gewaltige Melodei."

Heine.

In every land, North and South, East and West, from sea to sea, myth and legend hand down to us as cruel and malignant creatures, who ceaselessly seek to slay man's body and to destroy his soul, the half-human children of the restless sea and of the fiercely running streams.

In Scotland and in Australia, in every part of Europe, we have tales of horrible formless things which frequent lonely rivers and lochs and marshes, and to meet which must mean Death. And equal in malignity with them, and infinitely more dangerous, are the beautiful beings who would seem to claim descent from Lilith, the soulless wife of Adam.

Such were the sirens who would have compa.s.sed the destruction of Odysseus. Such are the mermaids, to wed with one of whom must bring unutterable woe upon any of the sons of men. In lonely far-off places by the sea there still are tales of exquisite melodies heard in the gloaming, or at night when the moon makes a silver pathway across the water; still are there stories of women whose home is in the depths of the ocean, and who come to charm away men's souls by their beauty and by their pitiful longing for human love.

Those who have looked on the yellow-green waters of the Seine, or who have seen the more turbid, more powerful Thames sweeping her serious, majestic way down towards the open ocean, at Westminster, or at London Bridge, can perhaps realise something of that inwardness of things that made the people of the past, and that makes the mentally uncontrolled people of the present, feel a fateful power calling upon them to listen to the insistence of the exacting waters, and to surrender their lives and their souls forever to a thing that called and which would brook no denial. In the Morgue, or in a mortuary by the river-side, their poor bodies have lain when the rivers have worked their will with them, and "Suicide," "Death by drowning," or "By Misadventure" have been the verdicts given. We live in a too practical, too utterly common-sensical age to conceive a poor woman with nothing on earth left to live for, being lured down to the Shades by a creature of the water, or a man who longs for death seeing a beautiful daughter of a river-G.o.d beckoning to him to come where he will find peace everlasting.

Yet ever we war with the sea. All of us know her seductive charm, but all of us fear her. The boundary line between our fear of the fierce, remorseless, ever-seeking, cruel waves that lap up life swiftly as a thirsty beast laps water, and the old belief in cruel sea-creatures that sought constantly for the human things that were to be their prey, is a very narrow one. And once we have seen the sea in a rage, flinging herself in terrible anger against the poor, frail toy that the hands of men have made and that was intended to rule and to resist her, foaming and frothing over the decks of the thing that carries human lives, we can understand much of the old pagan belief. If one has watched a river in spate, red as with blood, rushing triumphantly over all resistance, smashing down the trees that baulk it, sweeping away each poor, helpless thing, brute or human, that it encounters, dealing out ruin and death, and proceeding superbly on to carry its trophies of disaster to the bosom of the Ocean Mother, very easy is it to see from whence came those old tales of cruelty, of irresistible strength, of desire.

Many are the tales of sea-maidens who have stolen men's lives from them and sent their bodies to move up and down amidst the wrack, like broken toys with which a child has grown tired of playing and cast away in weariness. In an eighth-century chronicle concerning St. Fechin, we read of evil powers whose rage is "seen in that watery fury and their h.e.l.lish hate and turbulence in the beating of the sea against the rocks." "The bitter gifts of our lord Poseidon" is the name given to them by one of the earliest poets of Greece[7] and a poet of our own time--poet of the sea, of running water, and of lonely places--quotes from the saying of a fisherman of the isle of Ulva words that show why simple minds have so many times materialised the restless, devouring element into the form of a woman who is very beautiful, but whose tender mercies are very cruel. "She is like a woman of the old tales whose beauty is dreadful," said Seumas, the islander, "and who breaks your heart at last whether she smiles or frowns. But she doesn't care about that, or whether you are hurt or not. It's because she has no heart, being all a wild water."[8]

Treacherous, beautiful, remorseless, that is how men regard the sea and the rushing rivers, of whom the sirens and mermaids of old tradition have come to stand as symbols. Treacherous and pitiless, yet with a fascination that can draw even the moon and the stars to her breast: "Once I sat upon a promontory, And heard a mermaid, on a dolphin's back, Uttering such dulcet and harmonious breath, That the rude sea grew civil at her song; And certain stars shot madly from their spheres, To hear the sea-maid's music."

Shakespeare.

Very many are the stories of the women of the sea and of the rivers, but that one who must forever hold her own, because Heine has immortalised her in song, is the river maiden of the Rhine--the Lorelei.

Near St. Goar, there rises out of the waters of the Rhine a perpendicular rock, some four hundred feet high. Many a boatman in bygone days there met his death, and the echo which it possesses is still a mournful one. Those who know the great river, under which lies hid the treasure of the Nibelungs, with its "gleaming towns by the river-side and the green vineyards combed along the hills," and who have felt the romance of the rugged crags, crowned by ruined castles, that stand like fantastic and very ancient sentries to guard its channel, can well understand how easy of belief was the legend of the Lorelei.

Down the green waters came the boatman's frail craft, ever drawing nearer to the perilous rock. All his care and all his skill were required to avert a very visible danger. But high above him, from the rock round which the swirling eddies splashed and foamed, there came a voice.

"Her voice was like the voice the stars Had when they sang together."

And when the boatman looked up at the sound of such sweet music, he beheld a maiden more fair than any he had ever dreamed of. On the rock she sat, combing her long golden hair with a comb of red gold. Her limbs were white as foam and her eyes green like the emerald green of the rushing river. And her red lips smiled on him and her arms were held out to him in welcome, and the sound of her song thrilled through the heart of him who listened, and her eyes drew his soul to her arms.

Forgotten was all peril. The rushing stream seized the little boat and did with it as it willed. And while the boatman still gazed upwards, intoxicated by her matchless beauty and the magic of her voice, his boat was swept against the rock, and, with the jar and crash, knowledge came back to him, and he heard, with broken heart, the mocking laughter of the Lorelei as he was dragged down as if by a thousand icy hands, and, with a choking sigh, surrendered his life to the pitiless river.

To one man only was it granted to see the siren so near that he could hold her little, cold, white hands, and feel the wondrous golden hair sweep across his eyes. This was a young fisherman, who met her by the river and listened to the entrancing songs that she sang for him alone. Each evening she would tell him where to cast his nets on the morrow, and he prospered greatly and was a marvel to all others who fished in the waters of the Rhine. But there came an evening when he was seen joyously hastening down the river bank in response to the voice of the Lorelei, that surely never had sounded so honey-sweet before, and he came back nevermore. They said that the Lorelei had dragged him down to her coral caves that he might live with her there forever, and, if it were not so, the rushing water could never whisper her secret and theirs, of a lifeless plaything that they swept seawards, and that wore a look of horror and of great wonder in its dead, wide-open eyes.

It is "ein Marchen aus alten Zeiten"--a legend of long ago.

But it is a very much older Marchen that tells us of the warning of Circe to Odysseus: "To the Sirens first shalt thou come, who bewitch all men, whosoever shall come to them. Whoso draws nigh them unwittingly and hears the sound of the Siren's voice, never doth he see wife or babes stand by him on his return, nor have they joy at his coming; but the Sirens enchant him with their clear song."

And until there shall be no more sea and the rivers have ceased to run, the enchantment that comes from the call of the water to the hearts of men must go on. Day by day the toll of lives is paid, and still the cruel daughters of the deep remain unsatisfied. We can hear their hungry whimper from the rushing river through the night, and the waves of the sea that thunders along the coast would seem to voice the insistence of their desire. And we who listen to their ceaseless, restless moan can say with Heine: "Ich weiss nicht, was soll es bedeuten, Da.s.s ich so traurig bin."

For the sadness of heart, the melancholy that their music brings us is a mystery which none on this earth may ever unravel.

FOOTNOTES: [7] Archilochus of Paros.

[8] Fiona Macleod (The Winged Destiny).