The Queen of the Air: Being a Study of the Greek Myths of Cloud and Storm. Ruskin John
you choose. The first time that there is threatening of rain after two or three days of fine weather, leave your window well open to the street, and some books or papers on the table; and if you do not, in a little while, know what the Harpies mean, and how they snatch, and how they defile, I'll give up my Greek myths.
21. That is the physical meaning. It is now easy to find the mental one. You must all have felt the expression of ignoble anger in those fitful gusts of storm. There is a sense of provocation in their thin and senseless fury, wholly different from the nobler anger of the greater tempests. Also, they seem useless and unnatural, and the Greek thinks of them always as vile in malice, and opposed, therefore, to the Sons of Boreas, who are kindly winds, that fill sails, and wave harvests,—full of bracing health and happy impulses. From this lower and merely greater terror, always associated with their whirling motion, which is indeed indicative of the most destructive winds; and they are thus related to the nobler tempests, as Charybdis to the sea; they are devouring and desolating, making all things disappear that come in their grasp; and so, spiritually, they are the gusts of vexatious, fretful, lawless passion, vain and overshadowing, discontented and lamenting, meager and insane,– spirits of wasted energy, and wandering disease, and unappeased famine, and unsatisfied hope. So you have, on the one side, the winds of prosperity and health, on the other, of ruin and sickness. Understand that, once, deeply,—any who have ever known the weariness of vain desires, the pitiful, unconquerable, coiling and recoiling famine and thirst of heart,—and you will know what was in the sound of the Harpy Celæno's shriek from her rock; and why, in the seventh circle of the "Inferno," the Harpies make their nests in the warped branches of the trees that are the souls of suicides.
22. Now you must always be prepared to read Greek legends as you trace threads through figures on a silken damask: the same thread runs through the web, but it makes part of different figures. Joined with other colors you hardly recognize it, and in different lights it is dark or light. Thus the Greek fables blend and cross curiously in different directions, till they knit themselves into an arabesque where sometimes you cannot tell black from purple, nor blue from emerald—they being all the truer for this, because the truths of emotion they represent are interwoven in the same way, but all the more difficult to read, and to explain in any order. Thus the Harpies, as they represent vain desire, are connected with the Sirens, who are the spirits of constant desire; so that it is difficult sometimes in early art to know which are meant, both being represented alike as birds with women's heads; only the Sirens are the great constant desires—the infinite sicknesses of heart—which, rightly placed, give life, and wrongly placed, waste it away; so that there are two groups of Sirens, one noble and saving, as the other is fatal. But there are no animating or saving Harpies; their nature is always vexing and full of weariness, and thus they are curiously connected with the whole group of legends about Tantalus.
33.8 We all know what it is to be tantalized; but we do not often think of asking what Tantalus was tantalized for—what he had done, to be forever kept hungry in sight of food. Well; he had not been condemned to this merely for being a glutton. By Dante the same punishment is assigned to simple gluttony, to purge it away; but the sins of Tantalus were of a much wider and more mysterious kind. There are four great sins attributed to him: one, stealing the food of the gods to give it to men; another, sacrificing his son to feed the gods themselves (it may remind you for a moment of what I was telling you of the earthly character of Demeter, that, while the other gods all refuse, she, dreaming about her lost daughter, eats part of the shoulder of Pelops before she knows what she is doing); another sin is, telling the secrets of the gods; and only the fourth—stealing the golden dog of Pandareos—is connected with gluttony. The special sense of this myth is marked by Pandareos receiving the happy privilege of never being troubled with indigestion; the dog, in general, however mythically represents all utter senseless and carnal desires; mainly that of gluttony; and in the mythic sense of Hades—that is to say, so far as it represents spiritual ruin in this life, and not a literal hell—the dog Cerberus as its gatekeeper—with this special marking of his character of sensual passion, that he fawns on all those who descend, but rages against all who would return (the Virgilian "facilis descendus" being a later recognition of this mythic character of Hades); the last labor of Hercules is the dragging him up to the light; and in some sort he represents the voracity or devouring of Hades itself; and the mediæval representation of the mouth of hell perpetuates the same thought. Then, also, the power of evil passion is partly associated with the red and scorching light of Sirius, as opposed to the pure light of the sun: he is the dog-star of ruin; and hence the continual Homeric dwelling upon him, and comparison of the flame of anger to his swarthy light; only, in his scorching, it is thirst, not hunger, over which he rules physically; so that the fable of Icarius, his first master, corresponds, among the Greeks, to the legend of the drunkenness of Noah.
The story of Actæon, the raging death of Hecuba, and the tradition of the white dog which ate part of Hercules' first sacrifice, and so gave name to the Cynosarges, are all various phases of the same thought,—the Greek notion of the dog being throughout confused between its serviceable fidelity, its watchfulness, its foul voracity, shamelessness, and deadly madness, while with the curious reversal or recoil of the meaning which attaches itself to nearly every great myth,—and which we shall presently see notably exemplified in the relations of the serpent to Athena,—the dog becomes in philosophy a type of severity and abstinence.
24. It would carry us too far aside were I to tell you the story of Pandareos' dog—or rather of Jupiter's dog, for Pandareos was its guardian only; all that bears on our present purpose is that the guardian of this golden dog had three daughters, one of whom was subject to the power of the Sirens, and is turned into a nightingale; and the other two were subject to the power of the Harpies, and this was what happened to them: They were very beautiful, and they were beloved by the gods in their youth, and all the great goddesses were anxious to bring them up rightly. Of all types of young ladies' education, there is nothing so splendid as that of the younger daughters of Pandareos. They have literally the four greatest goddesses for their governesses. Athena teaches them domestic accomplishments, how to weave, and sew, and the like; Artemis teaches them to hold themselves up straight; Hera, how to behave proudly and oppressively to company; and Aphrodite, delightful governess, feeds them with cakes and honey all day long. All goes well, until just the time when they are going to be brought out; then there is a great dispute whom they are to marry, and in the midst of it they are carried off by the Harpies, given by them to be slaves to the Furies, and never seen more. But of course there is nothing in Greek myths; and one never heard of such things as vain desires, and empty hopes, and clouded passions, defiling and snatching away the souls of maidens, in a London season.
I have no time to trace for you any more harpy legends, though they are full of the most curious interest; but I may confirm for you my interpretation of this one, and prove its importance in the Greek mind, by noting that Polygnotus painted these maidens, in his great religious series of paintings at Delphi, crowned with flowers, and playing at dice; and that Penelope remembers them in her last fit of despair, just before the return of Ulysses, and prays bitterly that she may be snatched away at once into nothingness by the Harpies, like Pandareos' daughters, rather than be tormented longer by her deferred hope, and anguish of disappointed love.
25. I have hitherto spoken only of deities of the winds. We pass now to a far more important group, the deities of cloud. Both of these are subordinate to the ruling power of the air, as the demigods of the fountains and minor seas are to the great deep; but, as the cloud-firmament detaches itself more from the air, and has a wider range of ministry than the minor streams and seas, the highest cloud deity, Hermes, has a rank more equal with Athena than Nereus or Proteus with Neptune; and there is greater difficulty in tracing his character, because his physical dominion over the clouds can, of course, be asserted only where clouds are; and, therefore, scarcely at all in Egypt;9 so that the changes which Hermes undergoes in becoming a Greek from an Egyptian and Phnician god, are greater than in any other case of adopted tradition In Egypt Hermes is a deity of historical record, and a conductor of the dead to judgment; the Greeks take away much of this historical function, assigning it to the Muses; but, in investing him with the physical power over clouds, they give him that which the Muses disdain,—the power of concealment and of theft. The snatching away by the Harpies is with brute
Printer's error: should be 23.
I believe that the conclusions of recent scholarship are generally opposed to the Herodotean ideas of any direct acceptance by the Greeks of Egyptian myths: and very certainly, Greek art is developed by giving the veracity and simplicity of real life to Eastern savage grotesque; and not by softening the severity of pure Egyptian design. But it is of no consequence whether one conception was, or was not, in this case, derived from the other; my object is only to mark the essential difference between them.