ORPHEUS AND EURYDICE
Orpheus was the son of Apollo and the Muse1 Calliope. He was presented by his father with a Lyre and taught to play upon it, which he did to such perfection that nothing could withstand the charm of his music. Not only his fellow-mortals but wild beasts were softened2 by his strains, and gathering3 round him laid by their fierceness, and stood entranced with his lay. Nay4, 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 nuptials5 of Orpheus with Eurydice; but though he attended, he brought no happy omens6 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 Arist?us, 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 descended8 by a cave situated9 on the side of the promontory10 of T?narus and arrived at the Stygian realm. He passed through crowds of ghosts and presented himself before the throne of Pluto11 and Proserpine. Accompanying the words with the lyre, he sung, “O deities12 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 fang13 has brought to an untimely end. Love has 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 implore14 you by these abodes16 full of terror, these realms of silence and uncreated things, unite again the thread of Eurydice’s life. We all are destined17 to you, and sooner or later must pass to your domain18. She too, when she shall have filled her term of life, will rightly be yours. But till then grant her to me, I beseech19 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 Danaüs rested from their task of drawing water in a sieve20, 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 around 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 outlet22 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 each other, they grasped only the air! Dying now a second time, she yet cannot reproach her husband, for how can she blame his impatience23 to behold24 her? “Farewell,” she said, “a last farewell,”—and was hurried away, so fast that the sound hardly reached his ears.
Orpheus endeavored to follow her, and besought25 permission to return and try once more for her release; but the stern ferryman repulsed26 him and refused passage. Seven days he lingered about the brink27, 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 aloof28 from womankind, dwelling29 constantly on the recollection of his sad mischance. The Thracian maidens30 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, excited by the rites31 of Bacchus, one of them exclaimed, “See yonder our despiser!” and threw at him her javelin32. 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 maniacs33 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 plaintive34 symphony. The Muses35 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 the happy fields together now, sometimes he leading, sometimes she; and Orpheus gazes as much as he will upon her, no longer incurring36 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. Cecilia’s Day.” The following stanza37 relates the conclusion of the story:
“But soon, too soon the lover turns his eyes;
Again she falls, again she dies, she dies!
How wilt38 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 meanders39,
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! H?mus resounds40 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 alluded41 to by Southey in his “Thalaba”:
“Then on his ear what sounds
Of harmony arose!
Far music and the distance-mellowed song
From bowers42 of merriment;
The waterfall remote;
The murmuring of the leafy groves44;
The single nightingale
Perched in the rosier46 by, so richly toned,
That never from that most melodious47 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 swell48
The incense49 that he loves.”
ARIST?US, 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 superstition50 arose that the bees were engendered51 by the decaying flesh of the animal; and Virgil, in the following story, shows how this supposed fact may be turned to account for renewing the swarm52 when it has been lost by disease or accident:
Arist?us, 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: “O 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 warded53 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 Arist?us 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 deafened54 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 hospitably55 received by Cyrene and her nymphs, who spread their table with the richest dainties. They first poured out libations to Neptune56, 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 herd7 of sea-calves he pastures. We nymphs hold him in great respect, for he is a learned sage21 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 entreat57 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 repose58. 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 scaly59 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 tempt60 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 fragrant61 nectar, the beverage62 of the gods, and immediately an unusual vigor63 filled his frame, and courage his heart, while perfume breathed all around him.
The nymph led her son to the prophet’s cave and concealed64 him among the recesses65 of the rocks, while she herself took her place behind the clouds. When noon came and the hour when men and herds66 retreat from the glaring sun to indulge in quiet slumber67, Proteus issued from the water, followed by 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. Arist?us hardly allowed him to get fairly asleep before he fixed68 the fetters69 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 finding all would not do, he at last resumed his own form and addressed the youth in angry accents: “Who are you, bold youth, who thus invade my abode15, and what do you want of me?” Arist?us 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 elude70 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 with a piercing look, thus spoke71: “You receive 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 avenge72 her death, the nymphs, her companions, have sent this destruction to your bees. You have to appease73 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 grove45. To Orpheus and Eurydice you shall pay such funeral honors as may allay74 their resentment75. Returning after nine days, you will examine the bodies of the cattle slain76 and see what will befall.” Arist?us 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 labors77 there as in a hive.
In “The Task,” Cowper alludes78 to the story of Arist?us, 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 worthy79 of applause though more admired
Because a novelty, the work of man,
Imperial mistress of the fur-clad Russ,
Thy most magnificent and mighty80 freak,
The wonder of the north. No forest fell
When thou wouldst build, no quarry81 sent its stores
T’ enrich thy walls; but thou didst hew82 the floods
And make thy marble of the glassy wave.
In such a palace Arist?us found
Cyrene, when he bore the plaintive tale
Of his lost bees to her maternal83 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”:
“Sabrina fair!
Listen where thou art sitting
Under the glassy, cool, translucent84 wave
In twisted braids of lilies knitting
The loose train of thy amber-dropping hair;
Listen for dear honor’s sake,
Goddess of the silver lake!
Listen and save.”
The following are other celebrated85 mythical86 poets and musicians, some of whom were hardly inferior to Orpheus himself:
AMPHION
Amphion was the son of Jupiter and Antiope, queen of Thebes. With his twin brother Zethus he was exposed at birth on Mount Cith?ron, where they grew up among the shepherds, not knowing their parentage. Mercury gave Amphion a lyre and taught him to play upon it, and his brother occupied himself in hunting and tending the flocks. Meanwhile Antiope, their mother, who had been treated with great cruelty by Lycus, the usurping87 king of Thebes, and by Dirce, his wife, found means to inform her children of their rights and to summon them to her assistance. With a band of their fellow-herdsmen they attacked and slew88 Lycus, and tying Dirce by the hair of her head to a bull, let him drag her till she was dead. Amphion, having become king of Thebes, fortified89 the city with a wall. It is said that when he played on his lyre the stones moved of their own accord and took their places in the wall.
See Tennyson’s poem of “Amphion” for an amusing use made of this story.
LINUS
Linus was the instructor90 of Hercules in music, but having one day reproved his pupil rather harshly, he roused the anger of Hercules, who struck him with his lyre and killed him.
THAMYRIS
An ancient Thracian bard91, who in his presumption92 challenged the Muses to a trial of skill, and being overcome in the contest, was deprived by them of his sight. Milton alludes to him with other blind bards93, when speaking of his own blindness, “Paradise Lost,” Book III., 35.
MARSYAS
Minerva invented the flute94, and played upon it to the delight of all the celestial95 auditors96; but the mischievous97 urchin98 Cupid having dared to laugh at the queer face which the goddess made while playing, Minerva threw the instrument indignantly away, and it fell down to earth, and was found by Marsyas. He blew upon it, and drew from it such ravishing sounds that he was tempted99 to challenge Apollo himself to a musical contest. The god of course triumphed, and punished Marsyas by flaying100 him alive.
MELAMPUS
Melampus was the first mortal endowed with prophetic powers. Before his house there stood an oak tree containing a serpent’s nest. The old serpents were killed by the servants, but Melampus took care of the young ones and fed them carefully. One day when he was asleep under the oak the serpents licked his ears with their tongues. On awaking he was astonished to find that he now understood the language of birds and creeping things. This knowledge enabled him to foretell101 future events, and he became a renowned102 soothsayer. At one time his enemies took him captive and kept him strictly103 imprisoned104. Melampus in the silence of the night heard the woodworms in the timbers talking together, and found out by what they said that the timbers were nearly eaten through and the roof would soon fall in. He told his captors and demanded to be let out, warning them also. They took his warning, and thus escaped destruction, and rewarded Melampus and held him in high honor.
MUS?US
A semi-mythological personage who was represented by one tradition to be the son of Orpheus. He is said to have written sacred poems and oracles105. Milton couples his name with that of Orpheus in his “Il Penseroso”:
“But O, sad virgin106, that thy power
Might raise Mus?us from his bower43,
Or bid the soul of Orpheus sing
Such notes as warbled to the string,
Drew iron tears down Pluto’s cheek,
And made Hell grant what love did seek.”
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1
muse
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| n.缪斯（希腊神话中的女神），创作灵感 | |
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2
softened
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| （使）变软( soften的过去式和过去分词 )； 缓解打击； 缓和； 安慰 | |
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3
gathering
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| n.集会，聚会，聚集 | |
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4
nay
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| adv.不；n.反对票，投反对票者 | |
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5
nuptials
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| n.婚礼；婚礼( nuptial的名词复数 ) | |
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6
omens
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| n.前兆，预兆( omen的名词复数 ) | |
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7
herd
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| n.兽群，牧群；vt.使集中，把…赶在一起 | |
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8
descended
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| a.为...后裔的，出身于...的 | |
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9
situated
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| adj.坐落在...的，处于某种境地的 | |
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10
promontory
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| n.海角；岬 | |
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11
Pluto
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| n.冥王星 | |
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12
deities
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| n.神，女神( deity的名词复数 )；神祗；神灵；神明 | |
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13
fang
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| n.尖牙，犬牙 | |
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14
implore
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| vt.乞求，恳求，哀求 | |
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15
abode
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| n.住处，住所 | |
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16
abodes
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| 住所( abode的名词复数 )； 公寓； （在某地的）暂住； 逗留 | |
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17
destined
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| adj.命中注定的；(for)以…为目的地的 | |
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18
domain
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| n.(活动等)领域，范围；领地，势力范围 | |
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19
beseech
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| v.祈求，恳求 | |
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20
sieve
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| n.筛，滤器，漏勺 | |
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21
sage
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| n.圣人，哲人；adj.贤明的，明智的 | |
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22
outlet
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| n.出口/路；销路；批发商店；通风口；发泄 | |
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23
impatience
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| n.不耐烦，急躁 | |
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24
behold
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| v.看，注视，看到 | |
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25
besought
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| v.恳求，乞求（某事物）( beseech的过去式和过去分词 )；(beseech的过去式与过去分词) | |
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repulsed
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| v.击退( repulse的过去式和过去分词 )；驳斥；拒绝 | |
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27
brink
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| n.(悬崖、河流等的)边缘，边沿 | |
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28
aloof
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| adj.远离的；冷淡的，漠不关心的 | |
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29
dwelling
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| n.住宅，住所，寓所 | |
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30
maidens
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| 处女( maiden的名词复数 )； 少女； 未婚女子； （板球运动）未得分的一轮投球 | |
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31
rites
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| 仪式，典礼( rite的名词复数 ) | |
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32
javelin
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| n.标枪，投枪 | |
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33
maniacs
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| n.疯子（maniac的复数形式） | |
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plaintive
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| adj.可怜的，伤心的 | |
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35
muses
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| v.沉思，冥想( muse的第三人称单数 )；沉思自语说（某事） | |
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36
incurring
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| 遭受，招致，引起( incur的现在分词 ) | |
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37
stanza
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| n.（诗）节，段 | |
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wilt
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| v.(使)植物凋谢或枯萎；(指人)疲倦，衰弱 | |
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39
meanders
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| 曲径( meander的名词复数 )； 迂回曲折的旅程 | |
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40
resounds
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| v.（指声音等）回荡于某处( resound的第三人称单数 )；产生回响；（指某处）回荡着声音 | |
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41
alluded
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| 提及，暗指( allude的过去式和过去分词 ) | |
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42
bowers
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| n.（女子的）卧室( bower的名词复数 )；船首锚；阴凉处；鞠躬的人 | |
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43
bower
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| n.凉亭，树荫下凉快之处；闺房；v.荫蔽 | |
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44
groves
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| 树丛，小树林( grove的名词复数 ) | |
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45
grove
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| n.林子，小树林，园林 | |
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46
rosier
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| Rosieresite | |
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47
melodious
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| adj.旋律美妙的，调子优美的，音乐性的 | |
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48
swell
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| vi.膨胀，肿胀；增长，增强 | |
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49
incense
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| v.激怒；n.香，焚香时的烟，香气 | |
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50
superstition
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| n.迷信，迷信行为 | |
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51
engendered
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| v.产生（某形势或状况），造成，引起( engender的过去式和过去分词 ) | |
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52
swarm
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| n.(昆虫)等一大群；vi.成群飞舞；蜂拥而入 | |
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53
warded
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| 有锁孔的，有钥匙榫槽的 | |
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54
deafened
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| 使聋( deafen的过去式和过去分词 )； 使隔音 | |
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55
hospitably
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| 亲切地，招待周到地，善于款待地 | |
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56
Neptune
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| n.海王星 | |
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57
entreat
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| v.恳求，恳请 | |
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58
repose
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| v.(使)休息；n.安息 | |
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59
scaly
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| adj.鱼鳞状的；干燥粗糙的 | |
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60
tempt
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| vt.引诱，勾引，吸引，引起…的兴趣 | |
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fragrant
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| adj.芬香的，馥郁的，愉快的 | |
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beverage
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| n.(水，酒等之外的)饮料 | |
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vigor
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| n.活力，精力，元气 | |
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concealed
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| a.隐藏的，隐蔽的 | |
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recesses
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| n.壁凹( recess的名词复数 )；（工作或业务活动的）中止或暂停期间；学校的课间休息；某物内部的凹形空间v.把某物放在墙壁的凹处( recess的第三人称单数 )；将（墙）做成凹形，在（墙）上做壁龛；休息，休会，休庭 | |
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66
herds
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| 兽群( herd的名词复数 )； 牧群； 人群； 群众 | |
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slumber
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| n.睡眠，沉睡状态 | |
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fixed
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| adj.固定的，不变的，准备好的；(计算机)固定的 | |
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fetters
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| n.脚镣( fetter的名词复数 )；束缚v.给…上脚镣，束缚( fetter的第三人称单数 ) | |
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elude
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| v.躲避，困惑 | |
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spoke
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| n.（车轮的）辐条；轮辐；破坏某人的计划；阻挠某人的行动 v.讲，谈（speak的过去式）；说；演说；从某种观点来说 | |
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avenge
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| v.为...复仇，为...报仇 | |
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appease
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| v.安抚，缓和，平息，满足 | |
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allay
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| v.消除，减轻(恐惧、怀疑等) | |
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resentment
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| n.怨愤，忿恨 | |
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slain
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| 杀死，宰杀，杀戮( slay的过去分词 )； (slay的过去分词) | |
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labors
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| v.努力争取(for)( labor的第三人称单数 )；苦干；详细分析；（指引擎）缓慢而困难地运转 | |
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alludes
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| 提及，暗指( allude的第三人称单数 ) | |
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worthy
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| adj.(of)值得的，配得上的；有价值的 | |
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mighty
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| adj.强有力的；巨大的 | |
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81
quarry
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| n.采石场；v.采石；费力地找 | |
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hew
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| v.砍；伐；削 | |
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83
maternal
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| adj.母亲的，母亲般的，母系的，母方的 | |
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translucent
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| adj.半透明的；透明的 | |
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celebrated
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| adj.有名的，声誉卓著的 | |
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86
mythical
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| adj.神话的；虚构的；想像的 | |
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usurping
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| 篡夺，霸占( usurp的现在分词 )； 盗用； 篡夺，篡权 | |
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slew
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| v.（使）旋转；n.大量，许多 | |
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fortified
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| adj. 加强的 | |
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90
instructor
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| n.指导者，教员，教练 | |
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bard
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| n.吟游诗人 | |
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presumption
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| n.推测，可能性，冒昧，放肆，[法律]推定 | |
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bards
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| n.诗人( bard的名词复数 ) | |
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flute
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| n.长笛；v.吹笛 | |
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celestial
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| adj.天体的；天上的 | |
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auditors
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| n.审计员，稽核员( auditor的名词复数 )；（大学课程的）旁听生 | |
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mischievous
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| adj.调皮的，恶作剧的，有害的，伤人的 | |
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urchin
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| n.顽童；海胆 | |
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tempted
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| v.怂恿（某人）干不正当的事；冒…的险（tempt的过去分词） | |
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100
flaying
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| v.痛打( flay的现在分词 )；把…打得皮开肉绽；剥（通常指动物）的皮；严厉批评 | |
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101
foretell
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| v.预言，预告，预示 | |
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102
renowned
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| adj.著名的，有名望的，声誉鹊起的 | |
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103
strictly
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| adv.严厉地，严格地；严密地 | |
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104
imprisoned
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| 下狱，监禁( imprison的过去式和过去分词 ) | |
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105
oracles
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| 神示所( oracle的名词复数 )； 神谕； 圣贤； 哲人 | |
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106
virgin
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| n.处女，未婚女子；adj.未经使用的；未经开发的 | |
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