The True Story vs. Myth of Witchcraft. William Godwin
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moment Aegeus cast his eyes on the sword of Theseus, which he recognised as that which he had delivered with his son, when a child, and had directed that it should be brought by him, when a man, as a token of the mystery of his birth. The goblet was cast away; the father and son rushed into each other’s arms; and Medea fled from Athens in her chariot drawn by dragons through the air, as she had years before fled from Corinth.
Circe.
Circe was the sister of Aeetes and Pasiphae, and was, like Medea, her niece, skilful in sorcery. She had besides the gift of immortality. She was exquisitely beautiful; but she employed the charms of her person, and the seducing grace of her manners to a bad purpose. She presented to every stranger who landed in her territory an enchanted cup, of which she intreated him to drink. He no sooner tasted it, than he was turned into a hog, and was driven by the magician to her sty. The unfortunate stranger retained under this loathsome appearance the consciousness of what he had been, and mourned for ever the criminal compliance by which he was brought to so melancholy a pass.
Orpheus.
Cicero 22 quotes Aristotle as affirming that there was no such man as Orpheus. But Aristotle is at least single in that opinion. And there are too many circumstances known respecting Orpheus, and which have obtained the consenting voice of all antiquity, to allow us to call in question his existence. He was a native of Thrace, and from that country migrated into Greece. He travelled into Egypt for the purpose of collecting there the information necessary to the accomplishment of his ends. He died a violent death; and, as is almost universally affirmed, fell a sacrifice to the resentment and fury of the women of his native soil. 23
Orpheus was doubtless a poet; though it is not probable that any of his genuine productions have been handed down to us. He was, as all the poets of so remote a period were, extremely accomplished in all the arts of vocal and instrumental music. He civilised the rude inhabitants of Greece, and subjected them to order and law. He formed them into communities. He is said by Aristophanes 24 and Horace 25 to have reclaimed the savage man, from slaughter, and an indulgence in food that was loathsome and foul. And this has with sufficient probability been interpreted to mean, that he found the race of men among whom he lived cannibals, and that, to cure them the more completely of this horrible practice, he taught them to be contented to subsist upon the fruits of the earth. 26 Music and poetry are understood to have been made specially instrumental by him to the effecting this purpose. He is said to have made the hungry lion and the famished tiger obedient to his bidding, and to put off their wild and furious natures.
This is interpreted by Horace 27 and other recent expositors to mean no more than that he reduced the race of savages as he found them, to order and civilisation. But it was at first perhaps understood more literally. We shall not do justice to the traditions of these remote times, if we do not in imagination transport ourselves among them, and teach ourselves to feel their feelings, and conceive their conceptions. Orpheus lived in a time when all was enchantment and prodigy. Gifted and extraordinary persons in those ages believed that they were endowed with marvellous prerogatives, and acted upon that belief. We may occasionally observe, even in these days of the dull and the literal, how great is the ascendancy of the man over the beast, when he feels a full and entire confidence in that ascendancy. The eye and the gesture of man cannot fail to produce effects, incredible till they are seen. Magic was the order of the day; and the enthusiasm of its heroes was raised to the highest pitch, and attended with no secret misgivings. We are also to consider that, in all operations of a magical nature, there is a wonderful mixture of frankness and bonhommie with a strong vein of cunning and craft. Man in every age is full of incongruous and incompatible principles; and, when we shall cease to be inconsistent, we shall cease to be men.
It is difficult fully to explain what is meant by the story of Orpheus and Eurydice; but in its circumstances it bears a striking resemblance to what has been a thousand times recorded respecting the calling up of the ghosts of the dead by means of sorcery. The disconsolate husband has in the first place recourse to the resistless aid of music. 28 After many preparatives he appears to have effected his purpose, and prevailed upon the powers of darkness to allow him the presence of his beloved. She appears in the sequel however to have been a thin and a fleeting shadow. He is forbidden to cast his eyes on her; and, if he had obeyed this injunction, it is uncertain how the experiment would have ended. He proceeds however, as he is commanded, towards the light of day. He is led to believe that his consort is following his steps. He is beset with a multitude of unearthly phenomena. He advances for some time with confidence. At length he is assailed with doubts. He has recourse to the auricular sense, to know if she is following him. He can hear nothing. Finally he can endure this uncertainty no longer; and, in defiance of the prohibition he has received, cannot refrain from turning his head to ascertain whether he is baffled, and has spent all his labour in vain. He sees her; but no sooner he sees her, than she becomes evanescent and impalpable; farther and farther she retreats before him; she utters a shrill cry, and endeavours to articulate; but she grows more and more imperceptible; and in the conclusion he is left with the scene around him in all respects the same as it had been before his incantations. The result of the whole that is known of Orpheus, is, that he was an eminently great and virtuous man, but was the victim of singular calamity.
We have not yet done with the history of Orpheus. As has been said, he fell a sacrifice to the resentment and fury of the women of his native soil. They are affirmed to have torn him limb from limb. His head, divided from his body, floated down the waters of the Hebrus, and miraculously, as it passed along to the sea, it was still heard to exclaim in mournful accents, Eurydice, Eurydice! 29 At length it was carried ashore on the island of Lesbos. 30 Here, by some extraordinary concurrence of circumstances, it found a resting-place in a fissure of a rock over-arched by a cave, and, thus domiciliated, is said to have retained the power of speech, and to have uttered oracles. Not only the people of Lesbos resorted to it for guidance in difficult questions, but also the Asiatic Greeks from Ionia and Aetolia; and its fame and character for predicting future events even extended to Babylon. 31
Amphion.
The story of Amphion is more perplexing than that of the living Orpheus. Both of them turn in a great degree upon the miraculous effects of music. Amphion was of the royal family of Thebes, and ultimately became ruler of the territory. He is said, by the potency of his lyre, or his skill in the magic art, to have caused the stones to follow him, to arrange themselves in the way he proposed, and without the intervention of a human hand to have raised a wall about his metropolis. 32 It is certainly less difficult to conceive the savage man to be rendered placable, and to conform to the dictates of civilisation, or even wild beasts to be made tame, than to imagine stones to obey the voice and the will of a human being. The example however is not singular; and hereafter we shall find related that Merlin, the British enchanter, by the power of magic caused the rocks of Stonehenge, though of such vast dimensions, to be carried through the air from Ireland to the place where we at present find them. — Homer mentions that Amphion, and his brother Zethus built the walls of Thebes, but does not describe it as having been done by miracle. 33
Tiresias.