HYPOLYMPIA Or The Gods in the Island An Ironic Fantasy by Edmund Gosse (feel good novels .TXT) 📖

indulgence.

CIRCE.

Nothing very ugly, I hope?

HERMES.

Yes; very ugly, and still more incomprehensible. But nothing that could spring out of any misconception of the ritual of our friend. No; I hardly like to tell you. Well, a gaunt painted figure, with spines about the bleeding forehead----

APHRODITE.

Was it fastened to any symbol? Did you notice anything that explained the horror of it?

HERMES.

No. I did not observe it very closely. As I was glancing at it, the celebration or ritual, or whatever we are to call it, began, and I withdrew to the door, not knowing what frenzy might seize upon the worshippers.

APHRODITE.

There was a cannibal altar in Arcadia to Phoebus, so I have heard. He instantly destroyed it, and scattered the ignorant savages who had raised it.

HERMES.

There was a touch of desolate majesty about this figure. I fear that it portrays some blighting Power of suffering or of grief. [He shudders.]

APHRODITE.

There are certainly deities of whom we knew nothing in Olympus. Perhaps this is the temple of some Unknown God.

HERMES.

I admit that I thought, with this picture, and with their sinister garments of black and of blue, and with the bareness and harshness of the temple, that something might be combined which it would give me no satisfaction to witness. I placed myself near the door, where, in a moment, I could have regained the exquisite forest, and the odour of this carpet of woodruff, and your enchanting society. But nothing occurred to disconcert me. After genuflexions and liftings of the voice----

APHRODITE.

What was the object of these?

HERMES.

I absolutely failed to determine. Well, the priest--if I can so describe a man without apparent dedication, robed without charm, and exalted by no visible act of sacrifice--ascended a species of open box, and spoke to the audience from the upturned lid of it.

CIRCE.

What did he say? Did he explain the religion of his people?

HERMES.

To tell you the truth, Circe, although I listened with what attention I could, and although the actual language was perfectly clear to me--you know I am rather an accomplished linguist--I formed no idea of what he said. I could not find the starting-point of his experience.

CIRCE.

To whom can this temple be possibly dedicated?

APHRODITE.

Depend upon it, it is not a temple at all. What Hermes was present at was unquestionably some gathering of local politicians. Poor these barbarians may be, but they could not excuse by poverty such a neglect of the decencies as he describes. No flowers, no bright robes, no music of stringed instruments, no sacrifice--it is quite impossible that the meanest of sentient beings should worship in such a manner. And as for the picture which you saw behind what you took to be the altar, I question not that it is used to keep in memory some ancestor who suffered from the tyranny of his masters. In the belief that he was assisting at a process of rustic worship, our poor Hermes has doubtless attended a revolutionary meeting.

CIRCE.

Dreadful! But may its conflicts long keep outside the arcades of this delightful woodland!

HERMES.

And still we know not to which of us the mild barbarians pray!

VII

 

[The same scene, but no one present. A butterfly flits across from the left, makes several pirouettes and exit to the right. HERA enters quickly from the left.]

HERA.

Could I be mistaken? What is this overpowering perfume? Is it conceivable that in this new world odours take corporeal shape? Anything is conceivable, except that I was mistaken in thinking that I saw it fly across this meadow. It can only have been beckoning me. [The butterfly re-enters from the right, and, after towering upwards, and wheeling in every direction, settles on a cluster of meadow-sweet. It is followed from the right by EROS. He and HERA look at one another in silence.]

HERA.

You are occupied, Eros. I will not detain you.

EROS.

I propose to stay here for a little while. Are you moving on? [Each of them fixes eyes on the insect.]

HERA.

I must beg you to leave me, or to remain perfectly motionless. I am excessively agitated.

EROS.

I followed the being which is hanging downwards from that spray of blossom. Does it recall some one to you?

HERA.

Not in its present position. But I will not pretend, Eros, that it is not the source of my agitation. Look at it now, as it flings itself round the stalk, and opens and waves its fans. Do you still not comprehend?

EROS.

I see nothing in it now. I am disappointed.

HERA.

But those great coloured eyes, waxing and waning! Those moons of pearl! The copper that turns to crimson, the turquoise that turns to violet, the greenish, pointed head that swings and rolls its yoke of slender plumage! Ah! Eros, is it possible that you do not perceive that it is a symbol of my peacock, my bird translated into the language of this narrow and suppressed existence of ours? What a strange and exquisite messenger! My poor peacock, with a strident shriek of terror, fled from me on that awful morning, the flames singeing its dishevelled train, its wings helplessly flapping in the torrents of conflagration. It bade me no adieu, its clangour of despair rang forth, an additional note of discord, from the inner courts of my palace. And out of its agony, of its horror, it has contrived to send me this adorable renovation of itself, all its grace and all its splendour reincarnated in this tiny creature. But alas! how am I to capture, how to communicate with it?

EROS.

I hesitate to disturb your illusion, Hera. But you are singularly mistaken. I have a far greater interest in this messenger than you can have; and if you dream its presence to be a tribute to your pride, I am much more tenderly certain that it is a reproach to my affections. See, those needlessly gaudy wings,--a mere disguise to bring it through the multitude of its enemies--are closed now, and it resumes its pendulous attitude, as aërial as an evening cloud, as graceful as sorrow itself, sable as the shadow of a leaf in the moonlight.

HERA.

Whom do you suppose it to represent, Eros?

EROS.

"Represent" is an inadequate word. I know it to be, in some transubstantiation, the exact nature of which I shall have to investigate, my adored and injured Psyche. You never appreciated her, Hera.

HERA.

It was necessary in such a society as ours to preserve the hierarchical distinctions. She was a charming little creature, and I never allowed myself to indulge in the violent prejudice of your mother. When you presented her at last, I do not think that you had any reason to reproach me with want of civility.

[The butterfly dances off.]

HERA and EROS together.

It is gone.

[A pause.]

HERA.

We are in a curious dilemma. Unless we are to conceive that two of the lesser Olympians have been able to combine in adopting a symbolic disguise, either you or I have been deceived. That tantalising visitant can scarcely have been at the same time Psyche and my peacock.

EROS.

I know not why; and for my part am perfectly willing to recognise its spots and moons to your satisfaction, if you will permit me to recognise my own favourite in the garb of grief.

HERA.

My bird was ever a masquerader--it may be so.

EROS.

Psyche, also, was not unaccustomed to disguises.

HERA.

You take the recollection coolly, Eros.

EROS.

Would you have me shriek and moan? Would you have me throw myself in convulsive ecstasy upon that ambiguous insect? You are not the first, Hera, who has gravely misunderstood my character. I am not, I have never been, a victim of the impulsive passions. The only serious misunderstandings which I have ever had with my illustrious mother have resulted from her lack of comprehension of this fact. She is impulsive, if you will! Her existence has been a succession of centrifugal adventures, in which her sole idea has been to hurl herself outward from the solitude of her individuality. I, on the other hand, leave very rarely, and with peculiar reluctance, the rock-crystal tower from which I watch the world, myself unavoidable and unattainable. My arrows penetrate every disguise, every species of physical and spiritual armour, but they are not turned against my own heart. I have always been graceful and inconspicuous in my attitudes. The image of Eros, with contorted shoulders and projected elbows, aiming a shaft at himself, is one which the Muse of Sculpture would shudder to contemplate.

HERA.

Then what was the meaning of your apparent infatuation for Psyche?

EROS.

O do not call it "apparent." It was genuine and it was all-absorbing. But it was absolutely exceptional. Looking back, it seems to me that I must have been gazing at myself in a mirror, and have dismissed an arrow before I realised who was the quarry. It is not necessary to remind you of the circumstances----

HERA.

You would, I suppose, describe them as exceptional?

EROS.

As wholly exceptional. And could I be expected to prolong an ardour so foreign to my nature? The victim of passion cannot be a contemplator at the same moment, and I may frankly admit to you, Hera, that during the period of my infatuation for Psyche, there were complaints from every province of the universe. It was said that unless my attention could be in a measure diverted from that admirable girl, there would be something like a stagnation of general vitality. Phoebus remarked one day, that if the ploughman became the plough the cessation of harvests would be inevitable.

HERA.

It was at that moment, I suppose, that you besought Zeus so passionately to confer upon Psyche the rank of a goddess?

EROS.

You took that, no doubt, for an evidence of my intenser infatuation. An error; it was a proof that the arguments of the family were beginning to produce their effect upon me. I perceived my responsibility, and I recognised that it was not the place of the immortal organiser of languishment to be sighing himself. To deify my lovely Psyche was to recognise her claim, and--and----

HERA.

To give you a convenient excuse for neglecting her?

EROS.

It is that crudity of yours, Hera, which has before now made your position in Olympus so untenable. You lack the art of elegant insinuation.

HERA.

Am I then to believe that you were playing a part when you seemed a little while ago so anxious to recognise Psyche in the drooping butterfly?

EROS.

Oh! far from it. The sentiment of recognition was wholly genuine and almost rapturously pleasurable. It is true that in the confusion of our flight I had not been able to give a thought to our friend, who was, unless I am much mistaken, absent from her palace. Nor will I be so absurd as to pretend that I have, for a long while past, felt at all keenly the desire for her company. She has very little conversation. There are certain peculiarities of manner, which----

HERA.

I know exactly what you mean. My peacock has a very peculiar voice, and----

EROS [impatiently].

You must permit me to protest against any comparison between Psyche and your worthy bird. But I was going to say that the moment I saw the brilliant little discrepancy which led us both to this spot--and to which I hesitate to give a more definite name--I was instantly and most pleasantly reminded of certain delightful episodes, of a really charming interlude, if I may so call it. I cannot be perfectly certain what