The Queen of the Air - John Ruskin (online e book reader TXT) 📗

the son of Hermes. The position in the Greek mind of Hermes as the lord of cloud is, however, more mystic and ideal than that of any other deity, just on account of the constant and real presence of the cloud itself under different forms, giving rise to all kinds of minor fables. The play of the Greek imagination in this direction is so wide and complex, that I cannot give you an outline of its range in my present limits. There is first a great series of storm-legends connected with the family of the historic Æolus centralized by the story of Athamas, with his two wives, "the Cloud," and the "White Goddess," ending in that of Phrixus and Helle, and of the golden fleece (which is only the cloud-burden of Hermes Eriophoros). With this, there is the fate of Salmoneus, and the destruction of the Glaucus by his own horses; all these minor myths of storm concentrating themselves darkly into the legend of Bellerophon and the Chimæra, in which there is an under story about the vain subduing of passion and treachery, and the end of life in fading melancholy,--which, I hope, not many of you could understand even were I to show it you (the merely physical meaning of the Chimæra is the cloud of volcanic lightning connected wholly with earth-fire, but resembling the heavenly cloud in its height and its thunder). Finally, in the Æolic group, there is the legend of Sisypus, which I mean to work out thoroughly by itself; its root is in the position of Corinth as ruling the isthmus and the two seas --the Corinthean Acropolis, two thousand feet high, being the centre of the crossing currents of the winds, and of the commerce of Greece. Therefore, Athena, and the fountain-cloud Pegasus, are more closely connected with Corinth than even with Athens in their material, though not in their moral, power; and Sisyphus founds the Isthmian games in connection with a melancholy story about the sea gods; but he himself is 'kerdotos andron', the most "gaining" and subtle of men; who having the key of the Isthmus, becomes the type of transit, transfer, or trade, as such; and of the apparent gain from it, which is not gain; and this is the real meaning of his punishment in hell--eternal toil and recoil (the modern idol of capital being, indeed, the stone of Sisyphus with a vengeance, crushing in its recoil). But, throughout, the old ideas of the cloud power and cloud feebleness,--the deceit of its hiding,--and the emptiness of its banishing,--the Autolycus enchantment of making black seem white,--and the disappointed fury of Ixion (taking shadow for power), mingle in the moral meaning of this and its collateral legends; and give an aspect, at last, not only of foolish cunning, but of impiety or literal "idolatry," "imagination worship," to the dreams of avarice and injustice, until this notion of atheism and insolent blindness becomes principal; and the "Clouds" of Aristophanes, with the personified "just" and "unjust" sayings in the latter part of the play, foreshadow, almost feature by feature, in all that they were written to mock and to chastise, the worst elements of the impious "'dinos'" and tumult in men's thoughts, which have followed on their avarice in the present day, making them alike forsake the laws of their ancient gods, and misapprehended or reject the true words of their existing teachers. All this we have from the legends of the historic Æolus only; but, besides these, there is the beautiful story of Semele, the mother of Bacchus. She is the cloud with the strength of the vine in its bosom, consumed by the light which matures the fruit; the melting away of the cloud into the clean air at the fringe of its edges being exquisitely rendered by Pindar's epithet for her, Semele, "with the stretched-out hair" ('tauuetheira'.) Then there is the entire tradition of the Danaides, and of the tower of Danaë and golden shower; the birth of Perseus connecting this legend with that of the Gorgons and Graiæ, who are the true clouds of thunderous ruin and tempest. I must, in passing, mark for you that the form of the sword or sickle of Perseus, with which he kills Medusa, is another image of the whirling harpy vortex, and belongs especially to the sword of destruction or annihilation; whence it is given to the two angels who gather for destruction the evil harvest and evil vintage of the earth (Rev. xiv. 15). I will collect afterwards and complete what I have already written respecting the Pegasean and Gorgonian legends, noting here only what is necessary to explain the central myth of Athena herself, who represents the ambient air, which included all cloud, and rain, and dew, and darkness, and peace, and wrath of heaven. Let me now try to give you, however briefly, some distinct idea of the several agencies of this great goddess. I. She is the air giving life and health to all animals. II. She is the air giving vegetative power to the earth. III. She is the air giving motion to the sea, and rendering navigation possible. IV. She is the air nourishing artificial light, torch or lamplight; as opposed to that of the sun, on one hand, and of consuming* fire on the other. V. She is the air conveying vibration of sound.

* Not a scientific, but a very practical and expressive distinction.

I will give you instances of her agency in all these functions.

First, and chiefly, she is air as the spirit of life, giving vitality to the blood. Her psychic relation to the vital force in matter lies deeper, and we will examine it afterwards; but a great number of the most interesting passages in Homer regard her as flying over the earth in local and transitory strength, simply and merely the goddess of fresh air.

It is curious that the British city which has somewhat saucily styled itself the Modern Athens is indeed more under her especial tutelage and favor in this respect than perhaps any other town in the island. Athena is first simply what in the Modern Athens you practically find her, the breeze of the mountain and the sea; and wherever she comes, there is purification, and health, and power. The sea-beach round this isle of ours is the frieze of our Parthenon; every wave that breaks on it thunders with Athena's voice; nay, wherever you throw your window wide open in the morning, you let in Athena, as wisdom and fresh air at the same instant; and whenever you draw a pure, long, full breath of right heaven, you take Athena into your heart, through your blood; and, with the blood, into the thoughts of your brain.

Now, this giving of strength by the air, observe, is mechanical as well as chemical. You cannot strike a good blow but with your chest full; and, in hand to hand fighting, it is not the muscle that fails first, it is the breath; the longest-breathed will, on the average, be the victor, --not the strongest. Note how Shakespeare always leans on this. Of Mortimer, in "changing hardiment with great Glendower":

"Three times they breathed, and three times did they drink, Upon agreement, of swift Severn's flood."

And again, Hotspur, sending challenge to Prince Harry:

"That none might draw short breath to-day But I and Harry Monmouth."

Again, of Hamlet, before he receives his wound:

"He's fat, and scant of breath."

Again, Orlando in the wrestling:

"Yes; I beseech your grace I am not yet well breathed."

Now, of all the people that ever lived, the Greeks knew best what breath meant, both in exercise and in battle, and therefore the queen of the air becomes to them at once the queen of bodily strength in war; not mere brutal muscular strength,--that belongs to Ares,--but the strength of young lives passed in pure air and swift exercise,--Camilla's virginal force, that "flies o'er the unbending corn, and skims along the main."

Now I will rapidly give you two or three instances of her direct agency in this function. First, when she wants to make Penelope bright and beautiful; and to do away with the signs of her waiting and her grief. "Then Athena thought of another thing; she laid her into a deep sleep, and loosed all her limbs, and made her taller, and made her smoother, and fatter, and whiter than sawn ivory; and breathed ambrosial brightness over her face; and so she left her and went up to heaven." Fresh air and sound sleep at night, young ladies! You see you may have Athena for lady's maid whenever you choose. Next, hark how she gives strength to Achilles when he is broken with fasting and grief. Jupiter pities him and says to her, "'Daughter mine, are you forsaking your own soldier, and don't you care for Achilles any more? See how hungry and weak he is,--go and feed him with ambrosia.' So he urged the eager Athena; and she leaped down out of heaven like a harpy falcon, shrill-voiced; and she poured nectar and ambrosia, full of delight, into the breast of Achilles, that his limbs might not fail with famine; then she returned to the solid dome of her strong father." And then comes the great passage about Achilles arming--for which we have no time. But here is again Athena giving strength to the whole Greek army. She came as a falcon to Achilles, straight at him, a sudden drift of breeze; but to the army she must come widely, she sweeps around them all. "As when Jupiter spreads the purple rainbow over heaven, portending battle or cold storm, so Athena, wrapping herself round with a purple cloud, stooped to the Greek soldiers, and raised up each of them." Note that purple, in Homer's use of it, nearly always means "fiery," "full of light." It is the light of the rainbow, not the color of it, which Homer means you to think of. But the most curious passage of all, and fullest of meaning, is when she gives strength to Menelaus, that he may stand unwearied against Hector. He prays to her: "And blue-eyed Athena was glad that he prayed to her, first; and she gave him strength in his shoulders, and in his limbs, an she gave him the courage"--of what animal, do you suppose? Had it been Neptune or Mars, they would have given him the courage of a bull, or a lion; but Athena gives him the courage of the most fearless in attack of all creatures, small or great, and very small it is, but wholly incapable of terror,--she gives him the courage of a fly. Now this simile of Homer's is one of the best instances I can give you of the way in which great writers seize truths unconsciously which are for all time. It is only recent science which has completely shown the perfectness of this minute symbol of the power of Athena; proving that the insect's flight and breath are co-ordinated; that its wings are actually forcing-pumps, of which the stroke compels the thoracic respiration; and that it thus breathes and flies simultaneously by the action of the same muscles, so that respiration is carried on most vigorously during flight, "while the air-vessels, supplied by many pairs of lungs instead of one, traverse the organs of flight in far greater numbers than the capillary blood-vessels of our own system, and give enormous and untiring muscular power, a rapidity of action measured by thousands of strokes in the minute, and an endurance, by miles and hours of flight."*

* Ormerod: "Natural History of Wasps."

Homer could not have known this; neither that the buzzing of the fly was produced, as in a wind instrument, by a constant current of air through the trachea. But he had seen, and, doubtless, meant us to remember, the marvellous strength and swiftness of the insect's flight (the glance of the swallow itself is clumsy and slow compared to the darting of common house-flies at play);