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thus he wandered through egypt, finding no abiding-place, and finally, as the story runs, came to the phrygian cybele, that he might know in their deepest meaningeven by the initiation of sorrowthe mysteries of the great mother. and, very significantly, it is from this same initiation that _his_ wanderings have their end and his world-wide conquest its beginning; as if only thus could be realized the possibility both of triumph for himself and of hope for his followers. for these wanderers can find rest only in a _suffering_ saviour, by the vision of whose deeper passion they lose their sense of grief,as io on caucasus in sight of the transfixed prometheus, and the madonna at the cross. it is worthy of more attention than we can give it here, yet we cannot pass over in silence the fact, so important in this relation, that grecian tragedy, in all its wonderful development under the three great masters, was directly associated, and in its ruder beginnings completely identified, with the worship of dionysus. and this confirms our previous hint, that the same element which made tragedy possible for greece must also be sought for in the development of its faith. there are those who decry grecian faith,at the same time that they laud the grecian drama to the skies: but to the greeks themselves, who certainly knew more than we do as regards either, the drama was only an outgrowth of their faith, and derived thence its highest significance. thus the mystic symbolism of the dramatic choruses, taken out of its religious connections, becomes an insoluble enigma; and naturally enough; for its first use was in religious worship,though afterwards it became associated with traditionary and historic events. besides, it was supposed that the tragedians wrote under a divine inspiration; and the subjects and representations which they embodied were for the most part susceptible of a deep spiritual interpretation. indeed, upon a careful examination, we shall find that very many of the dramas directly suggest the two eleusinian movements, representing first the flight of suppliantsas of the heraclidae, the daughters of danaüs, and of oedipus and antigonefrom persecution to the shrine of some saviour deity,and finally a deliverance effected through sacrifice or divine interposition. examples of this are so numerous that we have no space for a minute consideration. but certainly it is plain that the eleusinia, as being more central, more purely spiritual, must in the thought of greece have risen high above the drama. the very dress in which the _mystae_ were initiated was preserved as most sacred or deposited in the temple. or if we insist upon measuring their appreciation of the festival by the more palpable standard of numbers,the temple at eleusis, by the account of strabo, was capable of holding even in its mystic cell more persons than the theatre. to be sure, the celebration was only once in five years,but it was all the more sacred from this very infrequency. nothing in all greeceand that is saying very muchcould compare with it in its depth of divine mystery. if anything could, it would have been the drama; but no wailings were ever heard from beneath the masks of the stage like the wailings of achtheia,no jubilant song of the chorus ever rose like the paean of dionysiac triumph. thus was the name of dionysus connected with the palace and the temple, with the sepulchral court of death and the dramatic representations of life,and everywhere associated with our lady. sometimes, indeed, she seems to overshadow and hide him from our vision. thus was it when the eumenides in their final triumph swept the stage, and victory seemed all in the hands of invisible powers, with no human participant: even as throughout the homeric epos there runs an undercurrent of unutterable sadness; because, while to the gods there ever remains a sure seat upon olympus, unshaken by the winds, untouched by rain or snow, crowned with a cloudless radiance,yet upon man come vanity, sorrow, and strife; like the leaves of the forest he flourisheth, and then passeth away to the weak heads of the dead, ([greek: nekuon amenaena karaena],) conquered by purple death and strong fate. to the eye of sense, and in the circumscribed movements of this world, the desolation seems complete and the defeat final. but the snows of winter are necessary to the blossoms of spring,the waste of death to the resurrection of life; and from the vastest of all desolations does our lady lead her children in the loftiest of all flights,even from all sorrow and solitude,from the wastes of earth and the desolation of Æons, to ineffable joy in her saviour lord. victor and jacqueline. i. jacqueline gabrie and elsie méril could not occupy one room, and remain, either of them, indifferent to so much as might be manifested of the others inmost life. they could not emigrate together, peasants from domrémy,jacqueline so strong, elsie so fair,could not labor in the same harvest-fields, children of old neighbors, without each being concerned in the welfare and affected by the circumstances of the other. it was near ten oclock, one evening, when elsie méril ran up the common stairway, and entered the room in the fourth story where she and jacqueline lodged. victor le roy, student from picardy, occupied the room next theirs, and was startled from his slumber by the voices of the girls. elsie was fresh from the theatre, from the first play she had ever witnessed; she came home excited and delighted, ready to repeat and recite, as long as jacqueline would listen. and here was jacqueline. early in the evening elsie had sought her friend with a good deal of anxiety. a fellow-lodger and field-laborer had invited her to see the play,and jacqueline was far down the street, nursing old antonine duprè. to seek her, thus occupied, on such an errand, elsie had the good taste, and the selfishness, to refrain from doing. therefore, after a little deliberation, she had gone to the theatre, and there forgot her hard day-labor in the wonders of the stage,forgot jacqueline, and antonine, and every care and duty. it was hard for her, when all was ended, to come back to compunction and explanation, yet to this she had come back. neither of the girls was thinking of the student, their neighbor; but he was not only wakened by their voices, he amused himself by comparing them and their utterances with his preconceived notions of the girls. they might not have recognized him in the street, though they had often passed him on the stairs; but he certainly could have distinguished the pretty face of elsie, or the strange face of jacqueline, wherever he might meet them. elsie ran on with her story, not careful to inquire into the mood of jacqueline,suspicious of that mood, no doubt,but at last, made breathless by her haste and agitation, she paused, looked anxiously at jacqueline, and finally said, you think i ought not to have gone? oh, no,it gave you pleasure. a pause followed. it was broken at length by elsie, exclaiming, in a voice changed from its former speaking, jacqueline gabrie, you are homesick! horribly homesick, jacqueline! you do not ask for antonine: yet you know i went to spend the day with her, said jacqueline, very gravely. how is antonine duprè? asked elsie. she is dead. i have told you a good many times that she must die. now, she is dead. dead? repeated elsie. you care as much as if a candle had gone out, said jacqueline. she was as much to me as i to her, was the quick answer. she never liked me. she did not like my mother before me. when you told her my name, the day we saw her first, i knew what she thought. so let that go

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