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it without change or injury to himself, severed the head, and bore it away to place it on Athene's shield.

      It is very interesting to notice how Art has treated the legend. It was natural that so vivid an image should become a favourite alike with poets and with sculptors, but there was a gradual development from the old hideous and terrible representations, back to the calm repose of a beautiful dead face. This might indeed more worthily record the maiden's tragedy, but it missed entirely the thing that the old myth had said. The oldest idea was horrible beyond horror, for the darker side of things is always the most impressive to primitive man, and sheer ugliness is a category with which it is easy to work on simple minds. The rudest art can achieve such grotesque hideousness long before it can depict beauty. Later, as we have seen, Art tempered the face to beauty, but in so doing forgot the meaning of the story. It was the old story that has been often told, of the fair and frail one who had fallen among the pitiless. For her there was no compassion either in mortals or in immortals. It was the tragedy of sweet beauty desecrated and lost, the petrifying horror of which has found its most unflinching modern expression in Thomas Hardy's Tess of the D'Urbervilles. Corruptio optimi pessima.

      To interpret such stories as these by any reference to the rising sun, or the rivalry between night and dawn, is simply to stultify the science of interpretation. It may, indeed, have been true that most of those who told and heard the tale in ancient times accepted it in its own right, and without either the desire or the thought of further meanings. Yet, even told in that fashion, as it clung to memory and imagination, it must continually have reminded men of certain features of essential human nature, which it but too evidently recorded. Here was one of the sad troop of soulless women who appear in the legends of all the races of mankind. Medusa had herself been petrified before she turned others to stone. The horror that had come upon her life had been too much to bear, and it had killed her heart within her.

      So far of passion and the price the woman's heart has paid for it. But this story has to do also with Athene, on whose shield Medusa's head must rest at last. For it is not passion only, but knowledge, that may petrify the soul. Indeed, the story of passion can only do this when the dazzling glamour of temptation has passed, and in place of it has come the cold knowledge of remorse. Then the sight of one's own shame, and, on a wider scale, the sight of the pain and the tragedy of the world, present to the eyes of every generation the spectacle of victims standing petrified like those who had seen too much at the cave's mouth in the old legend.

      It is peculiarly interesting to contrast the story of Medusa with its Hebrew parallel in Lot's wife. Both are women presumably beautiful, and both are turned to stone. But while the Greek petrifaction is the result of too direct a gaze upon the horrible, the Hebrew is the result of too loving and desirous a gaze upon the coveted beauty of the world. Nothing could more exactly represent and epitomise the diverse genius of the nations, and we understand the Greek story the better for the strong contrast with its Hebrew parallel. To the Greek, ugliness was dangerous; and the horror of the world, having no explanation nor redress, could but petrify the heart of man. To the Hebrew, the beauty of the world was dangerous, and man must learn to turn away his eyes from beholding vanity.

      The legend of Medusa is a story of despair, and there is little room in it for idealism of any kind; and yet there may be some hint, in the reflecting shield of Perseus, of a brighter and more heartening truth. The horror of the world we have always with us, and for all exquisite spirits like those of the Greeks there is the danger of their being marred by the brutality of the universe, and made hard and cold in rigid petrifaction by the too direct vision of evil. Yet for such spirits there is ever some shield of faith, in whose reflection they may see the darkest horrors and yet remain flesh and blood. Those who believe in life and love, whose religion—or at least whose indomitable clinging to the beauty they have once descried—has taught them sufficient courage in dwelling upon these things, may come unscathed through any such ordeal. But for that, the story is one of sheer pagan terror. It came out of the old, dark pre-Olympian mythology (for the Gorgons are the daughters of Hades), and it embodied the ancient truth that the sorrow of the world worketh death. It is a tragic world, and the earth-bound, looking upon its tragedy, will see in it only the macabre, and feel that graveyard and spectral air which breathes about the haunted pagan sepulchre.

      Another myth in which we see the contrast between essential paganism and idealism is that of Orpheus. The myth appears in countless forms and with innumerable excrescences, but in the main it is in three successive parts. The first of these tells of the sweet singer loved by all the creatures, the dear friend of all the world, whose charm nothing that lived on earth could resist, and whose spell hurt no creature whom it allured. The conception stands in sharp contrast to the ghastly statuary that adorned Medusa's precincts. Here, with a song whose sweetness surpassed that of the Sirens, nature, dead and living both (for all lived unto Orpheus), followed him with glad and loving movement. Nay, not only beasts and trees, but stones themselves and even mountains, felt in the hard heart of them the power of this sweet music. It is one of the most perfect stories ever told—the precursor of the legends that gathered round Francis of Assisi and many a later saint and artist. It is the prophecy from the earliest days of that consummation of which Isaiah was afterwards to sing and St. Paul to echo the song, when nature herself would come to the perfect reconciliation for which she had been groaning and travailing through all the years.

      The second part of the story tells of the tragedy of love. Such a man as Orpheus, if he be fortunate in his love, will love wonderfully, and Eurydice is his worthy bride. Dying, bitten by a snake in the grass as she flees from danger, she descends to Hades. But the surpassing love of the sweet singer dares to enter that august shadow, not to drink the Waters of Lethe only and to forget, but also to drink the waters of Eunoe and to remember. His music charms the dead, and those who have the power of death. Even the hard-hearted monarch of hell is moved for Orpheus, who

      "Drew iron tears down Pluto's cheek,

       And made hell grant what love did seek."

      But the rescue has one condition. He must restrain himself, must not look upon the face of his beloved though he bears her in his arms, until they have passed the region of the shadow of death, and may see one another in the sunlight of the bright earth again. The many versions of the tragic disobedience to this condition bear eloquent testimony, not certainly to any changing phase of the sky, but to the manifold aspects of human life. According to some accounts, it was the rashness of Orpheus that did the evil—love's impatience, that could not wait the fitting time, and, snatching prematurely that which was its due, sacrificed all. According to other accounts, it was Eurydice who tempted Orpheus, her love and pain having grown too hungry and blind. However that may be, the error was fatal, and on the very eve of victory all was lost. It was lost, not by any snatching back in which strong hands of hell tore his beloved from the man's grasp. Within his arms the form of Eurydice faded away, and as he clutched at her his fingers closed upon the empty air. That, too, is a law deep in the nature of things. It is by no arbitrary decree that self-restraint has been imposed on love. In this, as in all other things, a man must consent to lose his life in order to find it; and those who will not accept the conditions, will be visited by no melodramatic or violent catastrophe. Love which has broken law will simply fade away and vanish.

      The third part of the story is no less interesting and significant. Maddened with this second loss, so irrevocable and yet due to so avoidable a cause, Orpheus, in restless despair, wandered about the lands. For him the nymphs had now no attractions, nor was there anything in all the world but the thought of his half-regained Eurydice, now lost for ever. His music indeed remained, nor did he cast away his lute; but it was heard only in the most savage and lonely places. At length wild Thracian women heard it, furious in the rites of Dionysus. They desired him, but his heart was elsewhere, and, in the mad reaction of their savage breasts, when he refused them they tore him limb from limb. He was buried near the river Hebrus, and his head was thrown into the stream. But as the waters bore it down, the lips whose singing had charmed the world still repeated the beloved name Eurydice to the waters as they flowed.

      Here again it is as if, searching for the dead in some ancient sepulchre, we had found a living man and friend. The symbolism of the story, disentangled from detail which may have been true enough in a lesser way, is clear to every reader. It tells that

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