Chapter 8

The student of origins, as French critics say, of the earliest stages of art and poetry, must be content to follow faint traces; and in what has been here said, much may seem to have been made of little, with too much completion, by a general framework or setting, of what after [112] all are but doubtful or fragmentary indications. Yet there is a certain cynicism too, in that over-positive temper, which is so jealous of our catching any resemblance in the earlier world to the thoughts that really occupy our own minds, and which, in its estimate of the actual fragments of antiquity, is content to find no seal of human intelligence upon them. Slight indeed in themselves, these fragmentary indications become suggestive of much, when viewed in the light of such general evidence about the human imagination as is afforded by the theory of "comparative mythology," or what is called the theory of "animism." Only, in the application of these theories, the student of Greek religion must never forget that, after all, it is with poetry, not with systematic theological belief or dogma, that he has to do. As regards this story of Demeter and Persephone, what we actually possess is some actual fragments of poetry, some actual fragments of sculpture; and with a curiosity, justified by the direct aesthetic beauty of these fragments, we feel our way backwards to that engaging picture of the poet-people, with which the ingenuity of modern theory has filled the void in our knowledge. The abstract poet of that first period of mythology, creating in this wholly impersonal, intensely spiritual way,--the abstract spirit of poetry itself, rises before the mind; and, in speaking of this poetical age, we must take heed, before all things, in no sense to misconstrue the poets.

NOTES

94. +Transliteration: epainê Persephonê. Translation: "dread Persephone." See, for example, Odyssey, Book 10.490 and 563.

94. +"According to the apparent import of her name"; Pater likely refers to the etymology of "Persophone"--"bringer of destruction."

95. *Theogony, 912-14:

+Transliteration:

Autar ho Dêmêtros polyphorbês es lechos êlthen ê teke Persephonên leukôlenon, hên Aidôneus hêrpasen hês para mêtros, edôke de mêtieta Zeus.

+Translation: "And he came to bountiful Demeter’s bed, / and she gave birth to white-armed Persephone, whom Aidoneus / took from her mother’s side; but Zeus, wise counsellor, gave her to him." Hesiod. The Homeric Hymns and Homerica. Theogony. Cambridge, MA., Harvard University Press. London, William Heinemann Ltd. 1914.

103. *In the Homeric hymn, pre-eminently, of the flower which grew up for the first time, to snare the footsteps of Kore, the fair but deadly Narcissus, the flower of narkê, the numbness of death.

108. +Transliteration: einodia symbola. Translation: "signs along the roadside."

110. +Transliteration: Korê arrêtos. Translation: "Korê the mysterious, the horrible ."

THE MYTH OF DEMETER AND PERSEPHONE: II

[113] THE stories of the Greek mythology, like other things which belong to no man, and for which no one in particular is responsible, had their fortunes. In that world of floating fancies there was a struggle for life; there were myths which never emerged from that first stage of popular conception, or were absorbed by stronger competitors, because, as some true heroes have done, they lacked the sacred poet or prophet, and were never remodelled by literature; while, out of the myth of Demeter, under the careful conduct of poetry and art, came the little pictures, the idylls, of the Homeric hymn, and the gracious imagery of Praxiteles. The myth has now entered its second or poetical phase, then, in which more definite fancies are grouped about the primitive stock, in a conscious literary temper, and the whole interest settles round the images of the beautiful girl going down into the darkness, and the weary woman who seeks her lost daughter--divine persons, then sincerely believed in by the majority of the Greeks. The Homeric hymn [114] is the central monument of this second phase. In it, the changes of the natural year have become a personal history, a story of human affection and sorrow, yet with a far-reaching religious significance also, of which the mere earthly spring and autumn are but an analogy; and in the development of this human element, the writer of the hymn sometimes displays a genuine power of pathetic expression. The whole episode of the fostering of Demophoon, in which over the body of the dying child human longing and regret are blent so subtly with the mysterious design of the goddess to make the child immortal, is an excellent example of the sentiment of pity in literature. Yet though it has reached the stage of conscious literary interpretation, much of its early mystical or cosmical character still lingers about the story, as it is here told. Later mythologists simply define the personal history; but in this hymn we may, again and again, trace curious links of connexion with the original purpose of the myth. Its subject is the weary woman, indeed, our Lady of Sorrows, the mater dolorosa of the ancient world, but with a certain latent reference, all through, to the mystical person of the earth. Her robe of dark blue is the raiment of her mourning, but also the blue robe of the earth in shadow, as we see it in Titian's landscapes; her great age is the age of the immemorial earth; she becomes a nurse, therefore, holding Demophoon in her bosom; [115] the folds of her garment are fragrant, not merely with the incense of Eleusis, but with the natural perfume of flowers and fruit. The sweet breath with which she nourishes the child Demophoon, is the warm west wind, feeding all germs of vegetable life; her bosom, where he lies, is the bosom of the earth, with its strengthening heat, reserved and shy, offended if human eyes scrutinise too closely its secret chemistry; it is with the earth's natural surface of varied colour that she has, "in time past, given pleasure to the sun"; the yellow hair which falls suddenly over her shoulders, at her transformation in the house of Celeus, is still partly the golden corn;--in art and poetry she is ever the blond goddess; tarrying in her temple, of which an actual hollow in the earth is the prototype, among the spicy odours of the Eleusinian ritual, she is the spirit of the earth, lying hidden in its dark folds until the return of spring, among the flower-seeds and fragrant roots, like the seeds and aromatic woods hidden in the wrappings of the dead. Throughout the poem, we have a sense of a certain nearness to nature, surviving from an earlier world; the sea is understood as a person, yet is still the real sea, with the waves moving. When it is said that no bird gave Demeter tidings of Persephone, we feel that to that earlier world, ways of communication between all creatures may have seemed open, which are closed to us. It is Iris who brings to Demeter the message of Zeus; [116] that is, the rainbow signifies to the earth the good-will of the rainy sky towards it. Persephone springing up with great joy from the couch of Aidoneus, to return to her mother, is the sudden outburst of the year. The heavy and narcotic aroma of spring flowers hangs about her, as about the actual spring. And this mingling of the primitive cosmical import of the myth with the later, personal interests of the story, is curiously illustrated by the place which the poem assigns to Hecate. This strange Titaness is, first, a nymph only; afterwards, as if changed incurably by the passionate cry of Persephone, she becomes her constant attendant, and is even identified with her. But in the Homeric hymn her lunar character is clear; she is really the moon only, who hears the cry of Persephone, as the sun saw her, when Aidoneus carried her away. One morning, as the mother wandered, the moon appeared, as it does in its last quarter, rising very bright, just before dawn; that is, in the words of the Homeric hymn--"on the tenth morning Hecate met her, having a light in her hands." The fascinating, but enigmatical figure, "sitting ever in her cave, half-veiled with a shining veil, thinking delicate thoughts," in which we seem to see the subject of some picture of the Italian Renaissance, is but the lover of Endymion-- like Persephone, withdrawn, in her season, from the eyes of men. The sun saw her; the moon saw her not, but heard her cry, and is [117] ever after the half-veiled attendant of the queen of dreams and of the dead.

But the story of Demeter and Persephone lends itself naturally to description, and it is in descriptive beauties that the Homeric hymn excels; its episodes are finished designs, and directly stimulate the painter and the sculptor to a rivalry with them. Weaving the names of the flowers into his verse, names familiar to us in English, though their Greek originals are uncertain, the writer sets Persephone before us, herself like one of them--kalykôpis+--like the budding calyx of a flower,--in a picture, which, in its mingling of a quaint freshness and simplicity with a certain earnestness, reads like a description of some early Florentine design, such as Sandro Botticelli's Allegory of the Seasons. By an exquisite chance also, a common metrical expression connects the perfume of the newly-created narcissus with the salt odour of the sea. Like one of those early designs also, but with a deeper infusion of religious earnestness, is the picture of Demeter sitting at the wayside, in shadow as always, with the well of water and the olive-tree. She has been journeying all night, and now it is morning, and the daughters of Celeus bring their vessels to draw water. That image of the seated Demeter, resting after her long flight "through the dark continent," or in the house of Celeus, when she refuses the red wine, or again, solitary, in her newly-finished [118] temple of Eleusis, enthroned in her grief, fixed itself deeply on the Greek imagination, and became a favourite subject of Greek artists. When the daughters of Celeus come to conduct her to Eleusis, they come as in a Greek frieze, full of energy and motion and waving lines, but with gold and colours upon it. Eleusis--coming--the coming of Demeter thither, as thus told in the Homeric hymn, is the central instance in Greek mythology of such divine appearances. "She leaves for a season the company of the gods and abides among men;" and men's merit is to receive her in spite of appearances. Metaneira and others, in the Homeric hymn, partly detect her divine character; they find charis+;--a certain gracious air--about her, which makes them think her, perhaps, a royal person in disguise. She becomes in her long wanderings almost wholly humanised, and in return, she and Persephone, alone of the Greek gods, seem to have been the objects of a sort of personal love and loyalty. Yet they are ever the solemn goddesses,--theai semnai,+ the word expressing religious awe, the Greek sense of the divine presence.

Plato, in laying down the rules by which the poets are to be guided in speaking about divine things to the citizens of the ideal republic, forbids all those episodes of mythology which represent the gods as assuming various forms, and visiting the earth in disguise. Below the [119] express reasons which he assigns for this rule, we may perhaps detect that instinctive antagonism to the old Heraclitean philosophy of perpetual change, which forces him, in his theory of morals and the state, of poetry and music, of dress and manners even, and of style in the very vessels and furniture of daily life, on an austere simplicity, the older Dorian or Egyptian type of a rigid, eternal immobility. The disintegrating, centrifugal influence, which had penetrated, as he thought, political and social existence, making men too myriad-minded, had laid hold on the life of the gods also, and, even in their calm sphere, one could hardly identify a single divine person as himself, and not another. There must, then, be no doubling, no disguises, no stories of transformation. The modern reader, however, will hardly acquiesce in this "improvement" of Greek mythology. He finds in these stories, like that, for instance, of the appearance of Athene to Telemachus, in the first book of the Odyssey, which has a quite biblical mysticity and solemnity,--stories in which, the hard material outline breaking up, the gods lay aside their visible form like a garment, yet remain essentially themselves,--not the least spiritual element of Greek religion, an evidence of the sense therein of unseen presences, which might at any moment cross a man's path, to be recognised, in half disguise, by the more delicately trained eye, here or there, by one and not by [120] another. Whatever religious elements they lacked, they had at least this sense of subtler and more remote ways of personal presence.

And as there are traces in the Homeric hymn of the primitive cosmical myth, relics of the first stage of the development of the story, so also many of its incidents are probably suggested by the circumstances and details of the Eleusinian ritual. There were religious usages before there were distinct religious conceptions, and these antecedent religious usages shape and determine, at many points, the ultimate religious conception, as the details of the myth interpret or explain the religious custom. The hymn relates the legend of certain holy places, to which various impressive religious rites had attached themselves--the holy well, the old fountain, the stone of sorrow, which it was the office of the "interpreter" of the holy places to show to the people. The sacred way which led from Athens to Eleusis was rich in such memorials. The nine days of the wanderings of Demeter in the Homeric hymn are the nine days of the duration of the greater or autumnal mysteries; the jesting of the old woman Iambe, who endeavours to make Demeter smile, are the customary mockeries with which the worshippers, as they rested on the bridge, on the seventh day of the feast, assailed those who passed by. The torches in the hands of Demeter are borrowed from the same source; and the shadow in which she is [121] constantly represented, and which is the peculiar sign of her grief, is partly ritual, and a relic of the caves of the old Chthonian worship, partly poetical-- expressive, half of the dark earth to which she escapes from Olympus, half of her mourning. She appears consistently, in the hymn, as a teacher of rites, transforming daily life, and the processes of life, into a religious solemnity. With no misgiving as to the proprieties of a mere narration, the hymn-writer mingles these symbolical imitations with the outlines of the original story; and, in his Demeter, the dramatic person of the mysteries mixes itself with the primitive mythical figure. And the worshipper, far from being offended by these interpolations, may have found a special impressiveness in them, as they linked continuously its inner sense with the outward imagery of the ritual.

And, as Demeter and her story embodied themselves gradually in the Greek imagination, so these mysteries in which her worship found its chief expression, grew up little by little, growing always in close connexion with the modifications of the story, sometimes prompting them, at other times suggested by them. That they had a single special author is improbable, and a mere invention of the Greeks, ignorant of their real history and the general analogy of such matters. Here again, as in the story itself, the idea of development, of degrees, of a slow [122] and natural growth, impeded here, diverted there, is the illuminating thought which earlier critics lacked. "No tongue may speak of them," says the Homeric hymn; and the secret has certainly been kept. The antiquarian, dealing, letter by letter, with what is recorded of them, has left few certain data for the reflexion of the modern student of the Greek religion; and of this, its central solemnity, only a fragmentary picture can be made. It is probable that these mysteries developed the symbolical significance of the story of the descent into Hades, the coming of Demeter to Eleusis, the invention of Persephone. They may or may not have been the vehicle of a secret doctrine, but were certainly an artistic spectacle, giving, like the mysteries of the middle age, a dramatic representation of the sacred story,--perhaps a detailed performance, perhaps only such a conventional representation, as was afforded for instance by the medieval ceremonies of Palm Sunday; the whole, probably, centering in an image of Demeter--the work of Praxiteles or his school, in ivory and gold. There is no reason to suppose any specific difference between the observances of the Eleusinian festival and the accustomed usages of the Greek religion; nocturns, libations, quaint purifications, processions--are common incidents of all Greek worship; in all religious ceremonies there is an element of dramatic symbolism; and what we really do see, through those scattered notices, [123] are things which have their parallels in a later age, the whole being not altogether unlike a modern pilgrimage. The exposition of the sacred places--the threshing-floor of Triptolemus, the rocky seat on which Demeter had rested in her sorrow, the well of Callichorus--is not so strange, as it would seem, had it no modern illustration. The libations, at once a watering of the vines and a drink-offering to the dead--still needing men's services, waiting for purification perhaps, or thirsting, like Dante's Adam of Brescia, in their close homes--must, to almost all minds, have had a certain natural impressiveness; and a parallel has sometimes been drawn between this festival and All Souls' Day.

And who, everywhere, has not felt the mystical influence of that prolonged silence, the mystic silence, from which the very word "mystery" has its origin? Something also there undoubtedly was, which coarser minds might misunderstand. On one day, the initiated went in procession to the sea-coast, where they underwent a purification by bathing in the sea. On the fifth night there was the torchlight procession; and, by a touch of real life in him, we gather from the first page of Plato's Republic that such processions were popular spectacles, having a social interest, so that people made much of attending them. There was the procession of the sacred basket filled with poppy-seeds and pomegranates. There was the day of rest, after [124] the stress and excitement of the "great night." On the sixth day, the image of Iacchus, son of Demeter, crowned with myrtle and having a torch in its hand, was carried in procession, through thousands of spectators, along the sacred way, amid joyous shouts and songs. We have seen such processions; we understand how many different senses, and how lightly, various spectators may put on them; how little definite meaning they may have even for those who officiate in them. Here, at least, there was the image itself, in that age, with its close connexion between religion and art, presumably fair. Susceptibility to the impressions of religious ceremonial must always have varied with the peculiarities of individual temperament, as it varies in our own day; and Eleusis, with its incense and sweet singing, may have been as little interesting to the outward senses of some worshippers there, as the stately and affecting ceremonies of the medieval church to many of its own members. In a simpler yet profounder sense than has sometimes been supposed, these things were really addressed to the initiated only.*

We have to travel a long way from the Homeric hymn to the hymn of Callimachus, who writes in the end of Greek literature, in the third century before Christ, in celebration of the procession of the sacred basket of Demeter, not [125] at the Attic, but at the Alexandrian Eleusinia. He developes, in something of the prosaic spirit of a medieval writer of "mysteries," one of the burlesque incidents of the story, the insatiable hunger which seized on Erysichthon because he cut down a grove sacred to the goddess. Yet he finds his opportunities for skilful touches of poetry;--"As the four white horses draw her sacred basket," he says, "so will the great goddess bring us a white spring, a white summer." He describes the grove itself, with its hedge of trees, so thick that an arrow could hardly pass through, its pines and fruit-trees and tall poplars within, and the water, like pale gold, running from the conduits. It is one of those famous poplars that receives the first stroke; it sounds heavily to its companion trees, and Demeter perceives that her sacred grove is suffering. Then comes one of those transformations which Plato will not allow. Vainly anxious to save the lad from his ruin, she appears in the form of a priestess, but with the long hood of the goddess, and the poppy in her hand; and there is something of a real shudder, some still surviving sense of a haunting presence in the groves, in the verses which describe her sudden revelation, when the workmen flee away, leaving their axes in the cleft trees.

Of the same age as the hymn of Callimachus, but with very different qualities, is the idyll of Theocritus on the Shepherds' Journey. Although it is possible to define an epoch in mythological [126] development in which literary and artificial influences began to remodel the primitive, popular legend, yet still, among children, and unchanging childlike people, we may suppose that that primitive stage always survived, and the old, instinctive influences were still at work. As the subject of popular religious celebrations also, the myth was still the property of the people, and surrendered to its capricious action. The shepherds in Theocritus, on their way to celebrate one of the more homely feasts of Demeter, about the time of harvest, are examples of these childlike people; the age of the poets has long since come, but they are of the older and simpler order, lingering on in the midst of a more self-conscious world. In an idyll, itself full of the delightful gifts of Demeter, Theocritus sets them before us; through the blazing summer day's journey, the smiling image of the goddess is always before them; and now they have reached the end of their journey:--