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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
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
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.
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
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