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-} - -.noindent { - text-indent: 0em; -} - -.pagenum { - position: absolute; - right: 4%; - font-size: smaller; - text-align: right; - font-style: normal; -} - -.poetry-container { - text-align: center; - margin: 1em; -} - -.poetry { - display: inline-block; - text-align: left; -} - -.poetry .stanza { - margin: 1em 0em 1em 0em; -} - -.poetry .verse { - padding-left: 3em; -} - -.poetry .speaker { - margin-left: -1em; -} - -.poetry .indent0 { - text-indent: -3em; -} - -.poetry .indent2 { - text-indent: -2em; -} - -.poetry .indent4 { - text-indent: -1em; -} - -.poetry .indent8 { - text-indent: 1em; -} - -.poetry .indent11 { - text-indent: 8em; -} - -.sidenote { - width: 20%; - padding: 0.5em; - margin-left: 1em; - float: right; - clear: right; - font-size: smaller; - color: black; - background: #eeeeee; - border: dashed 1px; -} - -.red { - color: red; -} - -.right { - text-align: right; -} - -.smaller { - font-size: 80%; -} - -.smcap { - font-variant: small-caps; - font-style: normal; -} - -.allsmcap { - font-variant: small-caps; - font-style: normal; - text-transform: lowercase; -} - -.spacer { - padding-left: 10em; -} - -.titlepage { - text-align: center; - margin-top: 3em; - text-indent: 0em; -} - -.tp { - margin: auto; - max-width: 25em; -} - -.tp p { - margin-top: 5em; - text-indent: 0em; -} - -.tp p.in3 { - margin-left: 3em; -} - -.x-ebookmaker img { - max-width: 100%; - width: auto; - height: auto; -} - -.x-ebookmaker .poetry { - display: block; - margin-left: 1.5em; -} - -.x-ebookmaker .blockquote { - margin: auto 5%; -} - -.x-ebookmaker img.dropcap { - display: none; -} - -.x-ebookmaker p.dropcap-pic:first-letter { - color: inherit; - visibility: visible; - margin-left: 0; -} - -.x-ebookmaker p.dropcap:first-letter { - float: none; - margin: 0; - font-size: 100%; -} - -.x-ebookmaker .poetry .dropcap:first-letter { - float: none; - margin: 0; - font-size: 100%; -} - - </style> - </head> -<body> -<p style='text-align:center; font-size:1.2em; font-weight:bold'>The Project Gutenberg eBook of Ioläus: An Anthology of Friendship, by Edward Carpenter</p> -<div style='display:block; margin:1em 0'> -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. You may copy it, give it away or re-use it under the terms -of the Project Gutenberg License included with this eBook or online -at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you -are not located in the United States, you will have to check the laws of the -country where you are located before using this eBook. -</div> - -<p style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Title: Ioläus: An Anthology of Friendship</p> -<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Author: Edward Carpenter</p> -<p style='display:block; text-indent:0; margin:1em 0'>Release Date: February 7, 2022 [eBook #67355]</p> -<p style='display:block; text-indent:0; margin:1em 0'>Language: English</p> - <p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em; text-align:left'>Produced by: Turgut Dincer and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive)</p> -<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK IOLÄUS: AN ANTHOLOGY OF FRIENDSHIP ***</div> - -<p><span class="pagenum"><a id="Page_i"></a>[i]</span></p> - -<h1>IOLÄUS</h1> - -<p><span class="pagenum"><a id="Page_ii"></a>[ii]</span></p> - -<hr class="chap x-ebookmaker-drop" /> - -<p><span class="pagenum"><a id="Page_iii"></a>[iii]</span></p> - -<div class="tp"> - -<p><span class="larger red">IOLÄUS</span><br /> -AN ANTHOLOGY OF FRIENDSHIP<br /> -EDITED BY<br /> -<span class="red">EDWARD CARPENTER</span></p> - -<p class="center">[<i>Second edition, enlarged</i>]</p> - -<p class="in3">PUBLISHED BY<br /> -<span class="red">SWAN SONNENSCHEIN & Co. LIMITED</span><br /> -HIGH STREET, BLOOMSBURY, LONDON<br /> -AND BY <span class="red">S. CLARKE</span> AT<br /> -41, GRANBY ROW, MANCHESTER<br /> -MCMVI</p> - -</div> - -<hr class="chap x-ebookmaker-drop" /> - -<p><span class="pagenum"><a id="Page_iv"></a>[iv]</span></p> - -<div class="blockquote"> - -<p>“<i>And as to the loves of Hercules it is difficult -to record them because of their number. But some -who think that Ioläus was one of them, do to this -day worship and honour him; and make their -loved ones swear fidelity at his tomb.</i>”</p> - -<p class="right">(<i>Plutarch</i>)</p> - -</div> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_v"></a>[v]</span></p> - -<h2 class="nobreak" id="PREFACE">PREFACE TO FIRST EDITION</h2> - -</div> - -<p class="dropcap">The degree to which Friendship, in the early -history of the world, has been recognised as -an institution, and the dignity ascribed to it, are -things hardly realized to-day. Yet a very slight examination -of the subject shows the important part -it has played. In making the following collection -I have been much struck by the remarkable manner -in which the customs of various races and times -illustrate each other, and the way in which they -point to a solid and enduring body of human sentiment -on the subject. By arranging the extracts in -a kind of rough chronological and evolutionary -order from those dealing with primitive races onwards, -the continuity of these customs comes out all -the more clearly, as well as their slow modification -in course of time. But it must be confessed that the -present collection is only incomplete, and a small -contribution, at best, towards a large subject.</p> - -<p>In the matter of quotation and translation, my -best thanks are due to various authors and holders -of literary copyrights for their assistance and authority; -and especially to the Master and Fellows of -Balliol College for permission to quote from the -late Professor Jowett’s translation of Plato’s dialogues;<span class="pagenum"><a id="Page_vi"></a>[vi]</span> -to Messrs. George Bell & Sons for leave -to make use of the Bohn series; to Messrs. A. & C. -Black for leave of quotation from the late J. Addington -Symonds’ <i>Studies of the Greek Poets</i>; and -to Messrs. Longmans, Green & Co., for sanction -of extracts from the Rev. W. H. Hutchings’ translation -of the <i>Confessions of St. Augustine</i>. In cases -where no reference is given the translations are by -the Editor.</p> - -<p class="right">E. C.</p> - -<p><i>March, 1902.</i></p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_vii"></a>[vii]</span></p> - -<h2 class="nobreak">CONTENTS</h2> - -</div> - -<table summary="Contents"> - <tr> - <td class="tdr"></td> - <td></td> - <td class="tdpg"><i>page</i></td> - </tr> - <tr> - <td class="tdr"></td> - <td>Preface</td> - <td class="tdpg"><a href="#PREFACE">v.</a></td> - </tr> - <tr> - <td class="tdr">I.</td> - <td>Friendship-customs in the Pagan and Early World</td> - <td class="tdpg"><a href="#I">1</a></td> - </tr> - <tr> - <td class="tdr">II.</td> - <td>The place of Friendship in Greek Life and Thought</td> - <td class="tdpg"><a href="#II">39</a></td> - </tr> - <tr> - <td class="tdr">III.</td> - <td>Poetry of Friendship among the Greeks and Romans</td> - <td class="tdpg"><a href="#III">65</a></td> - </tr> - <tr> - <td class="tdr">IV.</td> - <td>Friendship in Early Christian and Mediæval Times</td> - <td class="tdpg"><a href="#IV">95</a></td> - </tr> - <tr> - <td class="tdr">V.</td> - <td>The Renaissance and Modern Times</td> - <td class="tdpg"><a href="#V">121</a></td> - </tr> - <tr> - <td class="tdr"></td> - <td>Additions [1906]</td> - <td class="tdpg"><a href="#Additions">183</a></td> - </tr> - <tr> - <td class="tdr"></td> - <td>Index</td> - <td class="tdpg"><a href="#Index">225</a></td> - </tr> -</table> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_1"></a>[1]</span></p> - -<h2 class="nobreak" id="I">I.<br /> -<span class="smaller"><i>Friendship-Customs in the Pagan & Early World</i></span></h2> - -<p><span class="pagenum"><a id="Page_2"></a>[2]</span></p> - -<hr class="chap x-ebookmaker-drop" /> - -<p><span class="pagenum"><a id="Page_3"></a>[3]</span></p> - -<h3 class="nobreak"><i>Friendship-Customs in the Pagan & Early World</i></h3> - -<div> -<img class="dropcap" src="images/dropcap-f.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">Friendship-Customs, of a very -marked and definite character, have -apparently prevailed among a great -many primitive peoples; but the -information that we have about them is seldom -thoroughly satisfactory. Travellers have been content -to note external ceremonies, like the exchange -of names between comrades, or the mutual tasting -of each other’s blood, but—either from want of -perception or want of opportunity—have not been -able to tell us anything about the inner meaning of -these formalities, or the sentiments which may have -inspired them. Still, we have material enough to -indicate that comrade-attachment has been recognised -as an important institution, and held in high<span class="pagenum"><a id="Page_4"></a>[4]</span> -esteem, among quite savage tribes; and some of -the following quotations will show this. When we -come to the higher culture of the Greek age the -material fortunately is abundant—not only for the -customs, but (in Greek philosophy and poetry) for -the inner sentiments which inspired these customs. -Consequently it will be found that the major part -of this and the following two chapters deals with -matter from Greek sources. The later chapters -carry on the subject in loosely historical sequence -through the Christian centuries down to modern -times.</p> - -<div class="sidenote"><i>Primitive Ceremony</i></div> - -<div> -<img class="dropcap" src="images/dropcap-t.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">The Balonda are an African tribe -inhabiting Londa land, among the -Southern tributaries of the Congo -River. They were visited by Livingstone, -and the following account of their customs -is derived from him:—</p> - -<div class="blockquote"> - -<p class="dropcap">“The Balonda have a most remarkable custom -of cementing friendship. When two men -agree to be special friends they go through a singular -ceremony. The men sit opposite each other -holding hands, and by the side of each is a vessel<span class="pagenum"><a id="Page_5"></a>[5]</span> -of beer. Slight cuts are then made on the clasped -hands, on the pit of the stomach, on the right -cheek, and on the forehead. The point of a grass-blade -is pressed against each of these cuts, so as -to take up a little of the blood, and each man -washes the grass-blade in his own beer vessel. -The vessels are then exchanged and the contents -drunk, so that each imbibes the blood of the other. -The two are thenceforth considered as blood-relations, -and are bound to assist each other in -every possible manner. While the beer is being -drunk, the friends of each of the men beat on the -ground with clubs, and bawl out certain sentences -as ratification of the treaty. It is thought correct -for all the friends of each party to the contract to -drink a little of the beer. The ceremony is called -‘Kasendi.’ After it has been completed, gifts are -exchanged, and both parties always give their -most precious possessions.” <i>Natural History of -Man. Rev. J. G. Wood. Vol: Africa</i>, p. 419.</p> - -</div> - -<div class="sidenote"><i>Exchange of Names</i></div> - -<p>Among the Manganjas and other tribes of the -Zambesi region, Livingstone found the custom of -changing names prevalent.</p> - -<div class="blockquote"> - -<p class="dropcap">“Sininyane (a headman) had exchanged -names with a Zulu at Shupanga, and on being -called the next morning made no answer; to a<span class="pagenum"><a id="Page_6"></a>[6]</span> -second and third summons he paid no attention; -but at length one of his men replied, ‘He is not -Sininyane now, he is Moshoshoma;’ and to this -name he answered promptly. The custom of exchanging -names with men of other tribes is not -uncommon; and the exchangers regard themselves -as close comrades, owing special duties to -each other ever after. Should one by chance visit -his comrade’s town, he expects to receive food, -lodging, and other friendly offices from him.” -<i>Narrative of an Expedition to the Zambesi. By -David and Charles Livingstone. Murray</i>, 1865, -p. 148.</p> - -</div> - -<div class="sidenote"><i>David and Jonathan</i></div> - -<div> -<img class="dropcap" src="images/dropcap-i.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">In the story of David and Jonathan, -which follows, we have an example, -from much the same stage of primitive -tribal life, of a compact between two -friends—one the son of the chief, the other a shepherd -youth—only in this case, in the song of -David (“I am distressed for thee, my brother Jonathan, -thy love to me was wonderful”) we are fortunate -in having the inner feeling preserved for us. -It should be noted that Jonathan gives to David -his “most precious possessions.”</p> - -<p><span class="pagenum"><a id="Page_7"></a>[7]</span></p> - -<div class="blockquote"> - -<p class="dropcap">“And when Saul saw David go forth against -the Philistine (Goliath), he said unto Abner, -the captain of the host, ‘Abner, whose son is this -youth?’ And Abner said, ‘As thy soul liveth, O -King, I cannot tell.’ And the King said, ‘Inquire -thou whose son the stripling is.’ And as David -returned from the slaughter of the Philistine, -Abner took him and brought him before Saul, -with the head of the Philistine in his hand. And -Saul said to him, ‘Whose son art thou, young -man?’ And David answered, ‘The son of thy -servant Jesse the Bethlehemite.’</p> - -<p>“And it came to pass, when he had made an -end of speaking unto Saul, that the soul of Jonathan -was knit with the soul of David, and Jonathan -loved him as his own soul. And Saul took him -that day, and would let him go no more home to -his father’s house. Then Jonathan and David -made a covenant, because he loved him as his own -soul. And Jonathan stripped himself of the robe -that was upon him, and gave it to David, and his -garments, even to his sword, and to his bow, and -to his girdle.” <i>1 Sam.</i> ch. xvii. 55.</p> - -</div> - -<div class="sidenote"><i>Flower Friends</i></div> - -<p>With regard to the exchange of names, a slightly -different custom prevails among the Bengali coolies. -Two youths, or two girls, will exchange two<span class="pagenum"><a id="Page_8"></a>[8]</span> -flowers (of the same kind) with each other, in -token of perpetual alliance. After that, one speaks -of the other as “my flower,” but never alludes to -the other by <i>name</i> again—only by some roundabout -phrase.</p> - -<div class="sidenote"><i>Polynesia Tahiti</i></div> - -<div> -<img class="dropcap" src="images/dropcap-h.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">Herman Melville, who voyaged -among the Pacific Islands in 1841-1845, -gives some interesting and reliable -accounts of Polynesian customs -of that period. He says:—</p> - -<div class="blockquote"> - -<p class="dropcap">“The really curious way in which all the Polynesians -are in the habit of making bosom -friends at the shortest possible notice is deserving -of remark. Although, among a people like the -Tahitians, vitiated as they are by sophisticating -influences, this custom has in most cases degenerated -into a mere mercenary relation, it nevertheless -had its origin in a fine, and in some instances -heroic, sentiment formerly entertained by their -fathers.</p> - -<p>“In the annals of the island (Tahiti) are examples -of extravagant friendships, unsurpassed by -the story of Damon and Pythias, in truth, much -more wonderful; for notwithstanding the devotion—even -of life in some cases—to which they<span class="pagenum"><a id="Page_9"></a>[9]</span> -led, they were frequently entertained at first sight -for some stranger from another island.” <i>Omoo</i>, -<i>Herman Melville</i>, ch. 39, p. 154.</p> - -</div> - -<div class="blockquote"> - -<p class="dropcap">“Though little inclined to jealousy in (ordinary) -love-matters, the Tahitian will hear of -no rivals in his friendship.” <i>Ibid</i>, ch. 40.</p> - -</div> - -<div class="sidenote"><i>Marquesas Islands</i></div> - -<p>Melville spent some months on one of the Marquesas -Islands, in a valley occupied by a tribe called -Typees; one day there turned up a stranger belonging -to a hostile tribe who occupied another part -of the island:—</p> - -<div class="blockquote"> - -<p class="dropcap">“The stranger could not have been more than -twenty-five years of age, and was a little -above the ordinary height; had he been a single -hair’s breadth taller, the matchless symmetry of -his form would have been destroyed. His unclad -limbs were beautifully formed; whilst the elegant -outline of his figure, together with his beardless -cheeks, might have entitled him to the distinction -of standing for the statue of the Polynesian -Apollo; and indeed the oval of his countenance -and the regularity of every feature reminded me -of an antique bust. But the marble repose of art -was supplied by a warmth and liveliness of expression -only to be seen in the South Sea Islander<span class="pagenum"><a id="Page_10"></a>[10]</span> -under the most favourable developments of -nature.... When I expressed my surprise (at his -venturing among the Typees) he looked at me for -a moment as if enjoying my perplexity, and then -with his strange vivacity exclaimed—‘Ah! me -taboo—me go Nukuheva—me go Tior—me go -Typee—me go everywhere—nobody harm me, -me taboo.’</p> - -<p>“This explanation would have been altogether -unintelligible to me, had it not recalled to my mind -something I had previously heard concerning a -singular custom among these islanders. Though -the country is possessed by various tribes, whose -mutual hostilities almost wholly preclude any -intercourse between them; yet there are instances -where a person having ratified friendly relations -with some individual belonging to the valley, -whose inmates are at war with his own, may under -particular restrictions venture with impunity into -the country of his friend, where under other circumstances -he would have been treated as an -enemy. In this light are personal friendships regarded -among them, and the individual so protected -is said to be ‘taboo,’ and his person to a -certain extent is held as sacred. Thus the stranger -informed me he had access to all the valleys in -the island.” <i>Typee</i>, <i>Herman Melville</i>, ch. xviii.</p> - -</div> - -<p><span class="pagenum"><a id="Page_11"></a>[11]</span></p> - -<div> -<img class="dropcap" src="images/dropcap-i.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">In almost all primitive nations, warfare -has given rise to institutions of military -comradeship—including, for instance, -institutions of instruction for -young warriors, of personal devotion to their -leaders, or of personal attachment to each other. -In Greece these customs were specially defined, as -later quotations will show.</p> - -<div class="sidenote"><i>Tacitus on Military Comradeship</i></div> - -<p>Tacitus, speaking of the arrangement among the -Germans by which each military chief was surrounded -by younger companions in arms, says:—</p> - -<div class="blockquote"> - -<p class="dropcap">“There is great emulation among the companions, -which shall possess the highest place -in the favour of their chief; and among the chiefs, -which shall excel in the number and valour of his -companions. It is their dignity, their strength, -to be always surrounded with a large body of -select youth, an ornament in peace, a bulwark in -war... In the field of battle, it is disgraceful for -the chief to be surpassed in valour; it is disgraceful -for the companions not to equal their chief; -but it is reproach and infamy during a whole succeeding -life to retreat from the field surviving -him. To aid, to protect him; to place their own<span class="pagenum"><a id="Page_12"></a>[12]</span> -gallant actions to the account of his glory is their -first and most sacred engagement.” <i>Tacitus</i>, <i>Germania</i>, -13, 14, <i>Bohn Series</i>.</p> - -</div> - -<div class="sidenote"><i>The Khalifa at Khartoum</i></div> - -<div> -<img class="dropcap" src="images/dropcap-a.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">Among the Arab tribes very much -the same thing may be found, every -Sheikh having his bodyguard of -young men, whom he instructs and -educates, while they render to him their military and -personal devotion. In the late expedition of the -British to Khartoum (Nov., 1899), when Colonel -Wingate and his troops mowed down the Khalifa -and his followers with their Maxims, the death of -the Khalifa was thus described by a correspondent -of the daily papers:—</p> - -<div class="blockquote"> - -<p class="dropcap">“In the centre of what was evidently the main -attack on our right we came across a very large -number of bodies all huddled together in a very -small place; their horses lay dead behind them, the -Khalifa lay dead on his furma, or sheepskin, the -typical end of the Arab Sheikh who disdains surrender; -on his right was the Khalifa Aly Wad Hila, -and on his left Ahmed Fedil, his great fighting -leader, whilst all around him lay his faithful emirs, -all content to meet their death when he had chosen<span class="pagenum"><a id="Page_13"></a>[13]</span> -to meet his. His black Mulamirin, or bodyguard, -all lay dead in a straight line about 40 yards in front -of their master’s body, with their faces to the foe -and faithful to the last. It was truly a touching -sight, and one could not help but feel that ... their -end was truly grand.... Amongst the dead were -found two men tied together by the arms, who had -charged towards the guns and had got nearer than -any others. On enquiring of the prisoners Colonel -Wingate was told these two were great friends, and -on seeing the Egyptian guns come up had tied -themselves by the arms with a cord, swearing to -reach the guns or die together.”</p> - -</div> - -<div class="sidenote"><i>Primitive Germans</i></div> - -<p>Compare also the following quotation from Ammianus -Marcellinus (xvi. 13), who says that when -Chonodomarus, “King of the Alamanni,” was taken -prisoner by the Romans,</p> - -<div class="blockquote"> - -<p class="dropcap">“His companions, two hundred in number, and -three friends peculiarly attached to him, -thinking it infamous to survive their prince, or not -to die for him, surrendered themselves to be put -in bonds.”</p> - -</div> - -<div class="sidenote"><i>South African Tribes</i></div> - -<p>The following passage from Livingstone shows -the existence among the African tribes of his time -of a system, which Wood rightly says “has a singular<span class="pagenum"><a id="Page_14"></a>[14]</span> -resemblance to the instruction of pages in the -days of chivalry”:—</p> - -<div class="blockquote"> - -<p class="dropcap">“Monina (one of the confederate chiefs of the -Banyai) had a great number of young men -about him, from twelve to fifteen years of age. -These were all sons of free men, and bands of -young lads like them in the different districts leave -their parents about the age of puberty and live with -such men as Monina for the sake of instruction. -When I asked the nature of the instruction I was -told ‘Bonyái,’ which I suppose may be understood -as indicating manhood, for it sounds as if we should -say, ‘to teach an American Americanism,’ or, ‘an -Englishman to be English.’ While here they are -kept in subjection to rather stringent regulations.... -They remain unmarried until a fresh set of -youths is ready to occupy their place under the -same instruction.” <i>Missionary Travels and Researches -in South Africa.</i> <i>By David Livingstone</i>, -1857, p. 618.</p> - -</div> - -<p>M. Foley (Bulln. Soc. d’Anthr. de Paris, 1879) -speaks of fraternity in arms among the natives of -New Caledonia as forming a close tie—closer even -than consanguinity.</p> - -<p><span class="pagenum"><a id="Page_15"></a>[15]</span></p> - -<div class="sidenote"><i>Greek Friendship and Mediæval Chivalry</i></div> - -<div> -<img class="dropcap" src="images/dropcap-w.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">With regard to Greece, J. Addington -Symonds has some interesting remarks, -which are well worthy of -consideration; he says:—</p> - -<div class="blockquote"> - -<p class="dropcap">“Nearly all the historians of Greece have -failed to insist upon the fact that fraternity in -arms played for the Greek race the same part as the -idealisation of women for the knighthood of feudal -Europe. Greek mythology and history are full of -tales of friendship, which can only be paralleled by -the story of David and Jonathan in the Bible. The -legends of Herakles and Hylas, of Theseus and -Pirithöus, of Apollo and Hyacinth, of Orestes and -Pylades, occur immediately to the mind. Among -the noblest patriots, tyrannicides, lawgivers, and -self-devoted heroes in the early times of Greece, -we always find the names of friends and comrades -received with peculiar honour. Harmodius and -Aristogeiton, who slew the despot Hipparchus at -Athens; Diocles and Philolaus, who gave laws to -Thebes; Chariton and Melanippus, who resisted -the sway of Phalaris in Sicily; Cratinus and Aristodemus, -who devoted their lives to propitiate offended -deities when a plague had fallen on Athens; -these comrades, staunch to each other in their love,<span class="pagenum"><a id="Page_16"></a>[16]</span> -and elevated by friendship to the pitch of noblest -enthusiasm, were among the favourite saints of -Greek legend and history. In a word, the chivalry -of Hellas found its motive force in friendship rather -than in the love of women; and the motive force of -all chivalry is a generous, soul-exalting, unselfish -passion. The fruit which friendship bore among -the Greeks was courage in the face of danger, indifference -to life when honour was at stake, patriotic -ardour, the love of liberty, and lion-hearted -rivalry in battle. ‘Tyrants,’ said Plato, ‘stand in -awe of friends.’” <i>Studies of the Greek Poets.</i> <i>By J. A. -Symonds</i>, vol. 1, p. 97.</p> - -</div> - -<div class="sidenote"><i>Fraternity in Arms in Sparta</i></div> - -<div> -<img class="dropcap" src="images/dropcap-t.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">The customs connected with this fraternity -in arms, in Sparta and in -Crete, are described with care and at -considerable length in the following -extract from Müller’s <i>History and Antiquities of the -Doric Race</i>, book iv., ch. 4, par. 6:—</p> - -<div class="blockquote"> - -<p class="dropcap">“At Sparta the party loving was called εἰσπνήλας, -and his affection was termed a <i>breathing in</i>, or -<i>inspiring</i> (εἰσπνεῖν); which expresses the pure and -mental connection between the two persons, and -corresponds with the name of the other, viz.: ἀίτας, -<i>i.e.</i>, <i>listener</i> or <i>bearer</i>. Now it appears to have been<span class="pagenum"><a id="Page_17"></a>[17]</span> -the practice for every youth of good character to -have his lover; and on the other hand every well-educated -man was bound by custom to be the lover -of some youth. Instances of this connection are -furnished by several of the royal family of Sparta; -thus, Agesilaus, while he still belonged to the herd -(ἀγέλη) of youths, was the hearer (ἀίτας) of Lysander, -and himself had in his turn also a hearer; his -son Archidamus was the lover of the son of Sphodrias, -the noble Cleonymus; Cleomenes III. was -when a young man the hearer of Xenares, and later -in life the lover of the brave Panteus. The connection -usually originated from the proposal of the -lover; yet it was necessary that the listener should -accept him with real affection, as a regard to the -riches of the proposer was considered very disgraceful; -sometimes, however, it happened that -the proposal originated from the other party. The -connection appears to have been very intimate and -faithful; and was recognised by the State. If his -relations were absent, the youth might be represented -in the public assembly by his lover; in battle -too they stood near one another, where their fidelity -and affection were often shown till death; while -at home the youth was constantly under the eyes -of his lover, who was to him as it were a model and -pattern of life; which explains why, for many<span class="pagenum"><a id="Page_18"></a>[18]</span> -faults, particularly want of ambition, the lover -could be punished instead of the listener.”</p> - -</div> - -<div class="sidenote"><i>Crete</i></div> - -<div class="blockquote"> - -<p class="dropcap">“This ancient national custom prevailed with -still greater force in Crete; which island was -hence by many persons considered as the original -seat of the connection in question. Here too it was -disgraceful for a well-educated youth to be without -a lover; and hence the party loved was termed -κλεινὸς, the <i>praised</i>; the lover being simply called -φιλήτωρ. It appears that the youth was always -carried away by force, the intention of the ravisher -being previously communicated to the relations, -who however took no measures of precaution, and -only made a feigned resistance; except when the -ravisher appeared, either in family or talent, -unworthy of the youth. The lover then led him away -to his apartment (ἀνδρεῖον), and afterwards, with -any chance companions, either to the mountains -or to his estate. Here they remained two months -(the period prescribed by custom), which were -passed chiefly in hunting together. After this time -had expired, the lover dismissed the youth, and at -his departure gave him, according to custom, an -ox, a military dress, and brazen cup, with other -things; and frequently these gifts were increased -by the friends of the ravisher. The youth then -sacrificed the ox to Jupiter, with which he gave a feast<span class="pagenum"><a id="Page_19"></a>[19]</span> -to his companions: and now he stated how he had -been pleased with his lover; and he had complete -liberty by law to punish any insult or disgraceful -treatment. It depended now on the choice of the -youth whether the connection should be broken -off or not. If it was kept up, the companion in arms -(παραστάτης), as the youth was then called, wore -the military dress which had been given him, and -fought in battle next his lover, inspired with double -valour by the gods of war and love, according to -the notions of the Cretans; and even in man’s age -he was distinguished by the first place and rank in -the course, and certain insignia worn about the -body.</p> - -<p>“Institutions, so systematic and regular as these, -did not exist in any Doric State except Crete and -Sparta; but the feelings on which they were founded -seem to have been common to all the Dorians. -The loves of Philolaus, a Corinthian of the family -of the Bacchiadae, and the lawgiver of Thebes, and -of Diocles the Olympic conqueror, lasted until -death; and even their graves were turned towards -one another in token of their affection; and another -person of the same name was honoured in -Megara, as a noble instance of self-devotion for the -object of his love.” <i>Ibid.</i></p> - -</div> - -<div class="sidenote"><i>Diocles</i></div> - -<p>For an account of Philolaus and Diocles, Aristotle<span class="pagenum"><a id="Page_20"></a>[20]</span> -(Pol. ii. 9) may be referred to. The second -Diocles was an Athenian who died in battle for the -youth he loved.</p> - -<div class="blockquote"> - -<p class="dropcap">“His tomb was honoured with the ἐναγίσματα of -heroes, and a yearly contest for skill in kissing -formed part of his memorial celebration.” -<i>J. A. Symonds’</i> “<i>A Problem in Greek Ethics</i>,” <i>privately -printed</i>, 1883; <i>see also Theocritus</i>, Idyll xii. infra.</p> - -</div> - -<div class="sidenote"><i>Albanian Customs</i></div> - -<div> -<img class="dropcap" src="images/dropcap-h.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">Hahn, in his <i>Albanesische Studien</i>, says -that the Dorian customs of comradeship -still flourish in Albania “just as -described by the ancients,” and are -closely entwined with the whole life of the people—though -he says nothing of any military signification. -It appears to be a quite recognised institution -for a young man to take to himself a youth or boy as -his special comrade. He instructs, and when necessary -reproves, the younger; protects him, and -makes him presents of various kinds. The relation -generally, though not always ends with the marriage -of the elder. The following is reported by -Hahn as in the actual words of his informant (an -Albanian):—</p> - -<p><span class="pagenum"><a id="Page_21"></a>[21]</span></p> - -<div class="blockquote"> - -<p class="dropcap">“Love of this kind is occasioned by the sight -of a beautiful youth; who thus kindles in -the lover a feeling of wonder and causes his heart -to open to the sweet sense which springs from the -contemplation of beauty. By degrees love steals -in and takes possession of the lover, and to such -a degree that all his thoughts and feelings are absorbed -in it. When near the beloved he loses himself -in the sight of him; when absent he thinks of -him only.” These loves, he continued, “are with a -few exceptions as pure as sunshine, and the highest -and noblest affections that the human heart can -entertain.” <i>Hahn</i>, vol. 1, p. 166.</p> - -</div> - -<p>Hahn also mentions that troops of youths, like -the Cretan and Spartan <i>agelae</i>, are formed in Albania, -of twenty-five or thirty members each. The -comradeship usually begins during adolescence, -each member paying a fixed sum into a common -fund, and the interest being spent on two or three -annual feasts, generally held out of doors.</p> - -<div class="sidenote"><i>The Theban Band</i></div> - -<div> -<img class="dropcap" src="images/dropcap-t.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">The Sacred Band of Thebes, or Theban -Band, was a battalion composed -entirely of friends and lovers; and -forms a remarkable example of military<span class="pagenum"><a id="Page_22"></a>[22]</span> -comradeship. The references to it in later -Greek literature are very numerous, and there -seems no reason to doubt the general truth of the -traditions concerning its formation and its complete -annihilation by Philip of Macedon at the battle of -Chaeronea (<span class="allsmcap">B.C.</span> 338). Thebes was the last stronghold -of Hellenic independence, and with the Theban -Band Greek freedom perished. But the mere -existence of this phalanx, and the fact of its renown, -show to what an extent comradeship was recognised -and prized as an <i>institution</i> among these peoples. -The following account is taken from Plutarch’s <i>Life -of Pelopidas</i>, Clough’s translation:—</p> - -<div class="blockquote"> - -<p class="dropcap">“Gorgidas, according to some, first formed -the Sacred Band of 300 chosen men, to whom -as being a guard for the citadel the State allowed -provision, and all things necessary for exercise; -and hence they were called the city band, as citadels -of old were usually called cities. Others say -that it was composed of young men attached to -each other by personal affection, and a pleasant -saying of Pammenes is current, that Homer’s -Nestor was not well skilled in ordering an army, -when he advised the Greeks to rank tribe and tribe,<span class="pagenum"><a id="Page_23"></a>[23]</span> -and family and family, together, that so ‘tribe -might tribe, and kinsmen kinsmen aid,’ but that -he should have joined lovers and their beloved. -For men of the same tribe or family little value one -another when dangers press; but a band cemented -together by friendship grounded upon love is -never to be broken, and invincible; since the lovers, -ashamed to be base in sight of their beloved, -and the beloved before their lovers, willingly rush -into danger for the relief of one another. Nor can -that be wondered at since they have more regard -for their absent lovers than for others present; as -in the instance of the man who, when his enemy -was going to kill him, earnestly requested him to -run him through the breast, that his lover might -not blush to see him wounded in the back. It is a -tradition likewise that Ioläus, who assisted Hercules -in his labours and fought at his side, was beloved -of him; and Aristotle observes that even in -his time lovers plighted their faith at Ioläus’ tomb. -It is likely, therefore, that this band was called sacred -on this account; as Plato calls a lover a divine -friend. It is stated that it was never beaten till the -battle at Chaeronea; and when Philip after the -fight took a view of the slain, and came to the place -where the three hundred that fought his phalanx -lay dead together, he wondered, and understanding<span class="pagenum"><a id="Page_24"></a>[24]</span> -that it was the band of lovers, he shed tears and -said, ‘Perish any man who suspects that these men -either did or suffered anything that was base.’</p> - -<p>“It was not the disaster of Laius, as the poets imagine, -that first gave rise to this form of attachment -among the Thebans, but their lawgivers, designing -to soften whilst they were young their natural -fickleness, brought for example the pipe into great -esteem, both in serious and sportive occasions, and -gave great encouragement to these friendships in -the Palaestra, to temper the manner and character -of the youth. With a view to this, they did well -again to make Harmony, the daughter of Mars -and Venus, their tutelar deity; since where force -and courage is joined with gracefulness and winning -behaviour, a harmony ensues that combines -all the elements of society in perfect consonance -and order.</p> - -<p>“Gorgidas distributed this sacred Band all -through the front ranks of the infantry, and thus -made their gallantry less conspicuous; not being -united in one body, but mingled with many others -of inferior resolution, they had no fair opportunity -of showing what they could do. But Pelopidas, -having sufficiently tried their bravery at Tegyrae, -where they had fought alone, and around his own -person, never afterwards divided them, but keeping<span class="pagenum"><a id="Page_25"></a>[25]</span> -them entire, and as one man, gave them the -first duty in the greatest battles. For as horses run -brisker in a chariot than single, not that their joint -force divides the air with greater ease, but because -being matched one against another circulation kindles -and enflames their courage; thus, he thought, -brave men, provoking one another to noble actions, -would prove most serviceable and most resolute -where all were united together.”</p> - -</div> - -<div class="sidenote"><i>Athenæus</i></div> - -<div> -<img class="dropcap" src="images/dropcap-s.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">Stories of romantic friendship form -a staple subject of Greek literature, -and were everywhere accepted and -prized. The following quotations -from Athenæus and Plutarch contain allusions to -the Theban Band, and other examples:—</p> - -<div class="blockquote"> - -<p class="dropcap">“And the Lacedæmonians offer sacrifices to -Love before they go to battle, thinking that -safety and victory depend on the friendship of -those who stand side by side in the battle array.... -And the regiment among the Thebans, which -is called the <i>Sacred Band</i>, is wholly composed of -mutual lovers, indicating the majesty of the God, -as these men prefer a glorious death to a shameful -and discreditable life.” <i>Athenæus</i>, bk. xiii., ch. 12.</p> - -</div> - -<div class="sidenote"><i>Ioläus</i></div> - -<p>Ioläus, above-mentioned, is said to have been the<span class="pagenum"><a id="Page_26"></a>[26]</span> -charioteer of Hercules, and his faithful companion. -As the comrade of Hercules he was worshipped beside -him in Thebes, where the gymnasium was -named after him. Plutarch alludes to this friendship -again in his treatise on Love (<i>Eroticus</i>, par. -17):—</p> - -<div class="blockquote"> - -<p class="dropcap">“And as to the loves of Hercules, it is difficult -to record them because of their number; but -those who think that Ioläus was one of them do to -this day worship and honour him, and make their -loved ones swear fidelity at his tomb.”</p> - -</div> - -<div class="sidenote"><i>Plutarch on Love</i></div> - -<p>And in the same treatise:—</p> - -<div class="blockquote"> - -<p class="dropcap">“Consider also how Love (Eros) excels in -warlike feats, and is by no means idle, as Euripides -called him, nor a carpet knight, nor ‘sleeping -on soft maidens’ cheeks.’ For a man inspired -by Love needs not Ares to help him when he goes -out as a warrior against the enemy, but at the bidding -of his own god is ‘ready’ for his friend ‘to go -through fire and water and whirlwinds.’ And in -Sophocles’ play, when the sons of Niobe are being -shot at and dying, one of them calls out for no -helper or assister but his lover.</p> - -<p>“And you know of course how it was that Cleomachus, -the Pharsalian, fell in battle.... When<span class="pagenum"><a id="Page_27"></a>[27]</span> -the war between the Eretrians and Chalcidians was -at its height, Cleomachus had come to aid the -latter with a Thessalian force; and the Chalcidian -infantry seemed strong enough, but they had great -difficulty in repelling the enemy’s cavalry. So they -begged that high-souled hero, Cleomachus, to -charge the Eretrian cavalry first. And he asked the -youth he loved, who was by, if he would be a spectator -of the fight, and he saying he would, and -affectionately kissing him and putting his helmet -on his head, Cleomachus, with a proud joy, put -himself at the head of the bravest of the Thessalians, -and charged the enemy’s cavalry with such -impetuosity that he threw them into disorder and -routed them; and the Eretrian infantry also fleeing -in consequence, the Chalcidians won a splendid -victory. However, Cleomachus got killed, and -they show his tomb in the market place at Chalcis, -over which a huge pillar stands to this day.” <i>Eroticus</i>, -par. 17, <i>trans. Bohn’s Classics</i>.</p> - -</div> - -<p>And further on in the same:—</p> - -<div class="blockquote"> - -<p class="dropcap">“And among you Thebans, Pemptides, is it not -usual for the lover to give his boylove a complete -suit of armour when he is enrolled among the -men? And did not the erotic Pammenes change -the disposition of the heavy-armed infantry, censuring<span class="pagenum"><a id="Page_28"></a>[28]</span> -Homer as knowing nothing about love, -because he drew up the Achæans in order of battle -in tribes and clans, and did not put lover and love -together, that so ‘spear should be next to spear and -helmet to helmet’ (<i>Iliad</i>, xiii. 131), seeing that -love is the only invincible general. For men in -battle will leave in the lurch clansmen and friends, -aye, and parents and sons, but what warrior ever -broke through or charged through lover and love, -seeing that when there is no necessity lovers -frequently display their bravery and contempt -of life.”</p> - -</div> - -<div class="sidenote"><i>Athenæus on the same</i></div> - -<div> -<img class="dropcap" src="images/dropcap-t.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">The following is from the <i>Deipnosophists</i> -of Athenæus (bk. xiii. ch. 78):—</p> - -<div class="blockquote"> - -<p class="dropcap">“But Hieronymus the Peripatetic -says that the loves of youths -used to be much encouraged, for -this reason, that the vigour of the young and their -close agreement in comradeship have led to the -overthrow of many a tyranny. For in the presence -of his favorite a lover would rather endure anything -than earn the name of coward; a thing which -was proved in practice by the Sacred Band, established -at Thebes under Epaminondas; as well as -by the death of the Pisistratidæ, which was brought -about by Harmodius and Aristogeiton.</p> - -<p><span class="pagenum"><a id="Page_29"></a>[29]</span></p> - -<p>“And at Agrigentum in Sicily the same was -shown by the mutual love of Chariton and Melanippus—of -whom Melanippus was the younger -beloved, as Heraclides of Pontus tells in his Treatise -on Love. For these two having been accused -of plotting against Phalaris, and being put to torture -in order to force them to betray their accomplices, -not only did not tell, but even compelled -Phalaris to such pity of their tortures that he released -them with many words of praise. Whereupon -Apollo, pleased at his conduct, granted to -Phalaris a respite from death; and declared the -same to the men who inquired of the Pythian -priestess how they might best attack him. He also -gave an oracular saying concerning Chariton....</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">‘Blessed indeed was Chariton and Melanippus,</div> - <div class="verse indent0">Pioneers of Godhead, and of mortals the one most<a id="FNanchor_1" href="#Footnote_1" class="fnanchor">[1]</a> beloved.’”</div> - </div> -</div> -</div> -</div> - -<p>Epaminondas, the great Theban general and -statesman, so we are told by the same author, -had for his young comrades Asopichus and Cephisodorus, -“the latter of whom fell with him at -Mantineia, and is buried near him.”</p> - -<p><span class="pagenum"><a id="Page_30"></a>[30]</span></p> - -<div class="sidenote"><i>Parmenides and Zeno</i></div> - -<div> -<img class="dropcap" src="images/dropcap-t.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">These are mainly instances of what -might be called “military comradeship,” -but as may be supposed, -friendship in the early world did not -rest on this alone. With the growth of culture -other interests came in; and among the Greeks especially -association in the pursuit of art or politics -or philosophy became a common ground. Parmenides, -the philosopher, whose life was held peculiarly -holy, loved his pupil Zeno (see Plato <i>Parm</i>, 127A):</p> - -<div class="blockquote"> - -<p class="dropcap">“Parmenides and Zeno came to Athens, he -said, at the great Panathenæan festival; the -former was, at the time of his visit, about 65 years -old, very white with age, but well-favoured. Zeno -was nearly 40 years of age, of a noble figure and -fair aspect; and in the days of his youth he was reported -to have been beloved of Parmenides.”</p> - -</div> - -<div class="sidenote"><i>Phædo</i></div> - -<p>Pheidias, the sculptor, loved Pantarkes, a youth -of Elis, and carved his portrait at the foot of the -Olympian Zeus (Pausanias v. II), and politicians -and orators like Demosthenes and Æschines were -proud to avow their attachments. It was in a house<span class="pagenum"><a id="Page_31"></a>[31]</span> -of ill-fame, according to Diogenes Laertius (ii. 105) -that Socrates first met Phædo:—</p> - -<div class="blockquote"> - -<p class="dropcap">“This unfortunate youth was a native of Elis. -Taken prisoner in war, he was sold in the -public market to a slave dealer, who then acquired -the right by Attic law to engross his earnings for -his own pocket. A friend of Socrates, perhaps -Cebes, bought him from his master, and he became -one of the chief members of the Socratic circle. His -name is given to the Platonic dialogue on immortality, -and he lived to found what is called the -Eleo-Socratic School. No reader of Plato forgets -how the sage on the eve of his death stroked the -beautiful long hair of Phædo, and prophesied that -he would soon have to cut it short in mourning for -his teacher.” <i>J. A. Symonds</i>, <i>A Problem in Greek -Ethics</i> p. 58.</p> - -</div> - -<p>The relation of friendship to the pursuit of philosophy -is a favorite subject with Plato, and is illustrated -by some later quotations (see <i>infra</i> ch. 2).</p> - -<div class="sidenote"><i>The Story of Harmodius and Aristogeiton</i></div> - -<div> -<img class="dropcap" src="images/dropcap-i.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">I conclude the present section by -the insertion of three stories taken -from classical sources. Though of -a legendary character, it is probable -that they enshrine some memory or tradition of<span class="pagenum"><a id="Page_32"></a>[32]</span> -actual facts. The story of Harmodius and Aristogeiton -at any rate is treated by Herodotus and -Thucydides as a matter of serious history. The -names of these two friends were ever on the lips of -the Athenians as the founders of the city’s freedom, -and to be born of their blood was esteemed among -the highest of honours. But whether historical or -not, these stories have much the same value for us, -in so far as they indicate the ideals on which the -Greek mind dwelt, and which it considered possible -of realisation.</p> - -<div class="blockquote"> - -<p class="dropcap">“Now the attempt of Aristogeiton and Harmodius -arose out of a love affair, which I will -narrate at length; and the narrative will show that -the Athenians themselves give quite an inaccurate -account of their own tyrants, and of the incident -in question, and know no more than other Hellenes. -Pisistratus died at an advanced age in possession -of the tyranny, and then, not as is the -common opinion Hipparchus, but Hippias (who -was the eldest of his sons) succeeded to his power.</p> - -<p>“Harmodius was in the flower of his youth, and -Aristogeiton, a citizen of the middle class, became -his lover. Hipparchus made an attempt to gain<span class="pagenum"><a id="Page_33"></a>[33]</span> -the affections of Harmodius, but he would not -listen to him, and told Aristogeiton. The latter was -naturally tormented at the idea, and fearing that -Hipparchus, who was powerful, would resort to -violence, at once formed such a plot as a man in -his station might for the overthrow of the tyranny. -Meanwhile Hipparchus made another attempt; -he had no better success, and thereupon he determined, -not indeed to take any violent step, but to -insult Harmodius in some underhand manner, so -that his motive could not be suspected<a id="FNanchor_2" href="#Footnote_2" class="fnanchor">[2]</a>....</p> - -<p>“When Hipparchus found his advances repelled -by Harmodius he carried out his intention of insulting -him. There was a young sister of his whom -Hipparchus and his friends first invited to come -and carry a sacred basket in a procession, and then -rejected her, declaring that she had never been invited -by them at all because she was unworthy. -At this Harmodius was very angry, and Aristogeiton -for his sake more angry still. They and the -other conspirators had already laid their preparations, -but were waiting for the festival of the great -Panathenæa, when the citizens who took part in -the procession assembled in arms; for to wear -arms on any other day would have aroused suspicion. -Harmodius and Aristogeiton were to begin -the attack, and the rest were immediately to<span class="pagenum"><a id="Page_34"></a>[34]</span> -join in, and engage with the guards. The plot had -been communicated to a few only, the better to -avoid detection; but they hoped that, however few -struck the blow, the crowd who would be armed, -although not in the secret, would at once rise and -assist in the recovery of their own liberties.</p> - -<p>“The day of the festival arrived, and Hippias -went out of the city to the place called the Ceramicus, -where he was occupied with his guards in -marshalling the procession. Harmodius and -Aristogeiton, who were ready with their daggers, -stepped forward to do the deed. But seeing one -of the conspirators in familiar conversation with -Hippias, who was readily accessible to all, they -took alarm and imagined that they had been betrayed, -and were on the point or being seized. -Whereupon they determined to take their revenge -first on the man who had outraged them and was -the cause of their desperate attempt. So they -rushed, just as they were, within the gates. They -found Hipparchus near the Leocorium, as it was -called, and then and there falling upon him with -all the blind fury, one of an injured lover, the other -of a man smarting under an insult, they smote and -slew him. The crowd ran together, and so Aristogeiton -for the present escaped the guards; but he -was afterwards taken, and not very gently handled<span class="pagenum"><a id="Page_35"></a>[35]</span> -(<i>i.e.</i>, <i>tortured</i>). Harmodius perished on the spot.” -<i>Thuc</i>: vi. 54-56, <i>trans. by B. Jowett</i>.</p> - -</div> - -<div class="sidenote"><i>The Story of Orestes and Pylades</i></div> - -<div class="blockquote"> - -<p class="dropcap">“Phocis preserves from early times the memory -of the union between Orestes and Pylades, -who taking a god as witness of the passion between -them, sailed through life together as though in one -boat. Both together put to death Klytemnestra, as -though both were sons of Agamemnon; and Ægisthus -was slain by both. Pylades suffered more than -his friend by the punishment which pursued Orestes. -He stood by him when condemned, nor did -they limit their tender friendship by the bounds of -Greece, but sailed to the furthest boundaries of the -Scythians—the one sick, the other ministering to -him. When they had come into the Tauric land -straightway they were met by the matricidal fury; -and while the barbarians were standing round in a -circle Orestes fell down and lay on the ground, -seized by his usual mania, while Pylades ‘wiped -away the foam, tended his body, and covered him -with his well-woven cloak’—acting not only like a -lover but like a father.</p> - -<p>“When it was determined that one should remain -to be put to death, and the other should go to Mycenæ -to convey a letter, each wishes to remain for -the sake of the other, thinking that if he saves the -life of his friend he saves his own life. Orestes refused<span class="pagenum"><a id="Page_36"></a>[36]</span> -to take the letter, saying that Pylades was -more worthy to carry it, acting more like the lover -than the beloved. ‘For,’ he said, ‘the slaying of this -man would be a great grief to me, as I am the cause -of these misfortunes.’ And he added, ‘Give the -tablet to him, for (turning to Pylades) I will send -thee to Argos, in order that it may be well with -thee; as for me, let anyone kill me who desires it.’</p> - -<p>“Such love is always like that; for when from boyhood -a serious love has grown up and it becomes -adult at the age of reason, the long-loved object returns -reciprocal affection, and it is hard to determine -which is the lover of which, for—as from a -mirror—the affection of the lover is reflected from -the beloved.” <i>Trans. from Lucian’s Amores, by W. -J. Baylis.</i></p> - -</div> - -<div class="sidenote"><i>The Story of Damon and Pythias (or Phintias)</i></div> - -<div class="blockquote"> - -<p class="dropcap">“Damon and Phintias, initiates in the Pythagorean -mysteries, contracted so faithful a -friendship towards each other, that when Dionysius -of Syracuse intended to execute one of them, and -he had obtained permission from the tyrant to return -home and arrange his affairs before his death, -the other did not hesitate to give himself up as a -pledge of his friend’s return<a id="FNanchor_3" href="#Footnote_3" class="fnanchor">[3]</a>. He whose neck had -been in danger was now free; and he who might -have lived in safety was now in danger of death. So -everybody, and especially Dionysius, were wondering<span class="pagenum"><a id="Page_37"></a>[37]</span> -what would be the upshot of this novel and -dubious affair. At last, when the day fixed was close -at hand, and he had not returned, everyone condemned -the one who stood security, for his stupidity -and rashness. But he insisted that he had nothing -to fear in the matter of his friend’s constancy. -And indeed at the same moment and the hour fixed -by Dionysius, he who had received leave, returned. -The tyrant, admiring the courage of both, remitted -the sentence which had so tried their loyalty, and -asked them besides to receive him in the bonds of -their friendship, saying that he would make his -third place in their affection agreeable by his utmost -goodwill and effort. Such indeed are the powers of -friendship: to breed contempt of death, to overcome -the sweet desire of life, to humanise cruelty, to turn -hate into love, to compensate punishment by largess; -to which powers almost as much veneration -is due as to the cult of the immortal gods. For if -with these rests the public safety, on those does private -happiness depend; and as the temples are the -sacred domiciles of these, so of those are the loyal -hearts of men as it were the shrines consecrated by -some holy spirit.” <i>Valerius Maximus</i>, bk. iv. ch. 7. -<i>De Amicitiæ Vinculo</i>.</p> - -</div> - -<p><span class="pagenum"><a id="Page_38"></a>[38]</span></p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_39"></a>[39]</span></p> - -<h2 class="nobreak" id="II">II.<br /> -<span class="smaller"><i>The Place of Friendship in Greek Life & Thought</i></span></h2> - -</div> - -<p><span class="pagenum"><a id="Page_40"></a>[40]</span></p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_41"></a>[41]</span></p> - -<h3 class="nobreak"><i>The Place of Friendship in Greek Life & Thought</i></h3> - -</div> - -<div> -<img class="dropcap" src="images/dropcap-t.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">The extent to which the idea of friendship -(in a quite romantic sense) penetrated -the Greek mind is a thing very -difficult for us to realise; and some -modern critics entirely miss this point. They laud -the Greek culture to the skies, extolling the warlike -bravery of the people, their enthusiastic political and -social sentiment, their wonderful artistic sense, and -so forth; and at the same time speak of the stress -they laid on friendship as a little peculiarity of no -particular importance—not seeing that the latter was -the chief source of their bravery and independence, -one of the main motives of their art, and so far an organic -part of their whole polity that it is difficult to -imagine the one without the other. The Greeks<span class="pagenum"><a id="Page_42"></a>[42]</span> -themselves never made this mistake; and their literature -abounds with references to the romantic attachment -as the great inspiration of political and individual -life. Plato, himself, may almost be said to have -founded his philosophy on this sentiment.</p> - -<p>Nothing is more surprising to the modern than -to find Plato speaking, page after page, of Love, as -the safeguard of states and the tutoress of philosophy, -and then to discover that what we call love, <i>i.e.</i>, -the love between man and woman, is not meant at all—scarcely -comes within his consideration—but only -the love between men—what we should call romantic -friendship. His ideal of this latter love is ascetic; -it is an absorbing passion, but it is held in strong control. -The other love—the love of women—is for -him a mere sensuality. In this, to some extent, lies -the explanation of his philosophical position.</p> - -<p>But it is evident that in this fact—in the fact that -among the Greeks the love of women was considered -for the most part sensual, while the <i>romance</i> of love -went to the account of friendship, we have the -strength and the weakness of the Greek civilisation.<span class="pagenum"><a id="Page_43"></a>[43]</span> -Strength, because by the recognition everywhere of -romantic comradeship, public and private life was -filled by a kind of divine fire; weakness, because by -the non-recognition of woman’s equal part in such -comradeship, her saving, healing, and redeeming influence -was lost, and the Greek culture doomed to be -to that extent one-sided. It will, we may hope, be -the great triumph of the modern love (when it becomes -more of a true comradeship between man and -woman than it yet is) to give both to society and to -the individual the grandest inspirations, and perhaps -in conjunction with the other attachment, to lift the -modern nations to a higher level of political and artistic -advancement than even the Greeks attained. -I quote one or two modern writers on the subject, -and then some passages from Plato and others indicating -the philosophy of friendship as entertained -among the Greeks.</p> - -<p><span class="pagenum"><a id="Page_44"></a>[44]</span></p> - -<div class="sidenote"><i>Bishop Thirlwall on Greek Friendship</i></div> - -<div> -<img class="dropcap" src="images/dropcap-b.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">Bishop Thirlwall, that excellent -thinker and scholar, in his <i>History -of Greece</i> (vol. 1, p. 176) says:—</p> - -<div class="blockquote"> - -<p class="dropcap">“One of the noblest and most amiable -sides of the Greek character -is the readiness with which it lent itself to construct -intimate and durable friendships; and this is -a feature no less prominent in the earliest than in -the latest times. It was indeed connected with the -comparatively low estimation in which female society -was held; but the devotedness and constancy -with which these attachments were maintained was -not the less admirable and engaging. The heroic -companions whom we find celebrated, partly by -Homer and partly in traditions, which if not of -equal antiquity were grounded on the same feeling, -seem to have but one heart and soul, with scarcely -a wish or object apart, and only to live, as they are -always ready to die, for one another. It is true that -the relation between them is not always one of -perfect equality: but this is a circumstance which, -while it often adds a peculiar charm to the poetical -description, detracts little from the dignity of the -idea which it presents. Such were the friendships of -Hercules and Ioläus, of Theseus and Pirithöus, of -Orestes and Pylades: and though these may owe<span class="pagenum"><a id="Page_45"></a>[45]</span> -the greater part of their fame to the later epic or -even dramatic poetry, the moral groundwork undoubtedly -subsisted in the period to which the tradition -referred. The argument of the Iliad mainly -turns on the affection of Achilles for Patroclus—whose -love for the greater hero is only tempered by -reverence for his higher birth and his unequalled -prowess. But the mutual regard which united -Idomeneus and Meriones, Diomedes and Sthenelus—though, -as the persons themselves are less important, -it is kept more in the background—is -manifestly viewed by the poet in the same light. -The idea of a Greek hero seems not to have been -thought complete, without such a brother in arms -by his side.”</p> - -</div> - -<div class="sidenote"><i>Compared to Chivalry</i></div> - -<p>The following is from Ludwig Frey (<i>Der Eros und -die Kunst</i>, p. 33):—</p> - -<div class="blockquote"> - -<p class="dropcap">“Let it then be repeated: love for a youth was -for the Greeks something sacred, and can only -be compared with our German homage to -women—say the chivalric love of mediæval times.”</p> - -</div> - -<div class="sidenote"><i>Educational and Political Value</i></div> - -<div> -<img class="dropcap" src="images/dropcap-g.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">G. Lowes Dickinson, in his <i>Greek -View of Life</i>, noting the absence of romance -in the relations between men -and women of that civilisation, says:</p> - -<p><span class="pagenum"><a id="Page_46"></a>[46]</span></p> - -<div class="blockquote"> - -<p class="dropcap">“Nevertheless, it would be a mistake to -conclude, from these conditions, that the element -of romance was absent from Greek life. The -fact is simply that with them it took a different -form, that of passionate friendship between men. -Such friendships, of course, occur in all nations and -at all times, but among the Greeks they were, we -might say, an institution. Their ideal was the development -and education of the younger by the -older man, and in this view they were recognised -and approved by custom and law as an important -factor in the state.” <i>Greek View of Life</i>, p. 167.</p> - -</div> - -<div class="blockquote"> - -<p class="dropcap">“So much indeed were the Greeks impressed with -the manliness of this passion, with its power to -prompt to high thought and heroic action, that -some of the best of them set the love of man for -man far above that of man for woman. The one, -they maintained, was primarily of the spirit, the -other primarily of the flesh; the one bent upon shaping -to the type of all manly excellence both the -body and the soul of the beloved, the other upon a -passing pleasure of the senses.” <i>Ibid</i>, p. 172.</p> - -</div> - -<div class="sidenote"><i>Relation to Women</i></div> - -<p>The following are some remarks of J. A. Symonds -on the same subject:—</p> - -<div class="blockquote"> - -<p class="dropcap">“Partly owing to the social habits of their -cities, and partly to the peculiar notions which<span class="pagenum"><a id="Page_47"></a>[47]</span> -they entertained regarding the seclusion of free -women in the home, all the higher elements of -spiritual and mental activity, and the conditions -under which a generous passion was conceivable, -had become the exclusive privileges of men. It was -not that women occupied a semi-servile station, as -some students have imagined, or that within the -sphere of the household they were not the respected -and trusted helpmates of men. But circumstances -rendered it impossible for them to excite -romantic and enthusiastic passion. The exaltation -of the emotions was reserved for the male sex.” -<i>A Problem in Greek Ethics</i>, p. 68.</p> - -</div> - -<div class="sidenote"><i>J. A. Symonds on Socrates</i></div> - -<p>And he continues:—</p> - -<div class="blockquote"> - -<p class="dropcap">“Socrates therefore sought to direct and -moralise a force already existing. In the <i>Phædrus</i> -he describes the passion of love between man and -boy as a ‘<i>mania</i>,’ not different in quality from that -which inspires poets; and after painting that fervid -picture of the lover, he declares that the true object -of a noble life can only be attained by passionate -friends, bound together in the chains of close yet -temperate comradeship, seeking always to advance -in knowledge, self-restraint, and intellectual illumination. -The doctrine of the <i>Symposium</i> is not different, -except that Socrates here takes a higher<span class="pagenum"><a id="Page_48"></a>[48]</span> -flight. The same love is treated as the method -whereby the soul may begin her mystic journey to -the region of essential beauty, truth, and goodness. -It has frequently been remarked that Plato’s dialogues -have to be read as poems even more than as -philosophical treatises; and if this be true at all, it is -particularly true of both the <i>Phædrus</i> and the <i>Symposium</i>. -The lesson which both essays seem intended -to inculcate, is this: love, like poetry and prophecy, -is a divine gift, which diverts men from the -common current of their lives; but in the right use -of this gift lies the secret of all human excellence. -The passion which grovels in the filth of sensual -grossness may be transformed into a glorious enthusiasm, -a winged splendour, capable of soaring -to the contemplation of eternal verities.”</p> - -</div> - -<div> -<img class="dropcap" src="images/dropcap-i.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">In the <i>Symposium</i> or <i>Banquet</i> of Plato -(<span class="allsmcap">B.C.</span> 428—<span class="allsmcap">B.C.</span> 347), a supper party is -supposed, at which a discussion on -love and friendship takes place. The -friends present speak in turn—the enthusiastic -Phædrus, the clear-headed Pausanias, the grave doctor -Eryximachus, the comic and acute Aristophanes, -the young poet Agathon; Socrates, tantalising, suggestive, -and quoting the profound sayings of the<span class="pagenum"><a id="Page_49"></a>[49]</span> -prophetess Diotima; and Alcibiades, drunk, and -quite ready to drink more;—each in his turn, out -of the fulness of his heart, speaks; and thus in this -most dramatic dialogue we have love discussed from -every point of view, and with insight, acumen, romance -and humour unrivalled.</p> - -<div class="sidenote"><i>From the Speech of Phædrus in the Symposium</i></div> - -<p>Phædrus and Pausanias, in the two following -quotations, take the line which perhaps most thoroughly -represents the public opinion of the day—as -to the value of friendship in nurturing a spirit of -honour and freedom, especially in matters military -and political:—</p> - -<div class="blockquote"> - -<p class="dropcap">“Thus numerous are the witnesses who acknowledge -love to be the eldest of the gods. -And not only is he the eldest, he is also the source -of the greatest benefits to us. For I know not any -greater blessing to a young man beginning life -than a virtuous lover, or to the lover than a beloved -youth. For the principle which ought to be -the guide of men who would nobly live—that principle, -I say, neither kindred, nor honour, nor -wealth, nor any other motive is able to implant so -well as love. Of what am I speaking? of the sense -of honour and dishonour, without which neither<span class="pagenum"><a id="Page_50"></a>[50]</span> -states nor individuals ever do any good or great -work. And I say that a lover who is detected in doing -any dishonorable act, or submitting through -cowardice when any dishonour is done to him by -another, will be more pained at being detected by -his beloved than at being seen by his father, or -by his companions, or by anyone else. The beloved -too, when he is seen in any disgraceful situation, -has the same feeling about his lover. And if there -were only some way of contriving that a state or an -army should be made up of lovers and their loves, -they would be the very best governors of their own -city, abstaining from all dishonour, and emulating -one another in honour; and when fighting at one -another’s side, although a mere handful, they -would overcome the world. For what lover would -not choose rather to be seen by all mankind than -by his beloved, either when abandoning his post or -throwing away his arms? He would be ready to die -a thousand deaths rather than endure this. Or who -would desert his beloved, or fail him in the hour of -danger? The veriest coward would become an inspired -hero, equal to the bravest, at such a time; -love would inspire him. That courage which, as -Homer says, the god breathes into the soul of -heroes, love of his own nature infuses into the -lover.” <i>Symposium of Plato</i>, <i>trans. B. Jowett</i>.</p> - -</div> - -<p><span class="pagenum"><a id="Page_51"></a>[51]</span></p> - -<div class="sidenote"><i>Speech of Pausanias</i></div> - -<div class="blockquote"> - -<p class="dropcap">“In Ionia and other places, and generally in countries -which are subject to the barbarians, the -custom is held to be dishonorable; loves of youths -share the evil repute of philosophy and gymnastics, -because they are inimical to tyranny; for the -interests of rulers require that their subjects should -be poor in spirit, and that there should be no strong -bond of friendship or society among them, which -love above all other motives is likely to inspire, as -our Athenian tyrants learned by experience.” <i>Ibid.</i></p> - -</div> - -<div class="sidenote"><i>Speech of Aristophanes</i></div> - -<div> -<img class="dropcap" src="images/dropcap-a.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">Aristophanes goes more deeply -into the nature of this love of which -they are speaking. He says it is a -profound reality—a deep and intimate -union, abiding after death, and making of the -lovers “one departed soul instead of two.” But in -order to explain his allusion to “the other half” it -must be premised that in the earlier part of his speech -he has in a serio-comic vein pretended that human -beings were originally constructed double, with four -legs, four arms, etc.; but that as a punishment for -their sins Zeus divided them perpendicularly, “as -folk cut eggs before they salt them,” the males into<span class="pagenum"><a id="Page_52"></a>[52]</span> -two parts, the females into two, and the hermaphrodites -likewise into two—since when, these divided -people have ever pursued their lost halves, and -“thrown their arms around and embraced each -other, seeking to grow together again.” And so, -speaking of those who were originally males, he says:</p> - -<div class="blockquote"> - -<p class="dropcap">“And these when they grow up are our statesmen, -and these only, which is a great proof of -the truth of what I am saying. And when they reach -manhood they are lovers of youth, and are not -naturally inclined to marry or beget children, which -they do, if at all, only in obedience to the law, but -they are satisfied if they may be allowed to live with -one another unwedded; and such a nature is prone -to love and ready to return love, always embracing -that which is akin to him. And when one of them -finds his other half, whether he be a lover of youth -or a lover of another sort, the pair are lost in an -amazement of love and friendship and intimacy, -and one will not be out of the other’s sight, as I may -say, even for a moment: they will pass their whole -lives together; yet they could not explain what -they desire of one another. For the intense yearning -that each of them has towards the other does -not appear to be the desire of lovers’ intercourse,<span class="pagenum"><a id="Page_53"></a>[53]</span> -but of something else which the soul of either evidently -desires and cannot tell, and of which she -only has a dark and doubtful presentiment. Suppose -Hephæstus, with his instruments, to come to -the pair who are lying side by side and say to them, -‘What do you people want of one another?’ they -would be unable to explain. And suppose further -that when he saw their perplexity he said: ‘Do you -desire to be wholly one; always day and night to be -in one another’s company? for if this is what you -desire, I am ready to melt you into one and let you -grow together, so that being two you shall become -one, and while you live, live a common life as if -you were a single man, and after your death in the -world below still be one departed soul instead of -two—I ask whether this is what you lovingly desire, -and whether you are satisfied to attain this?’—there -is not a man of them who when he heard the -proposal would deny or would not acknowledge -that this meeting and melting in one another’s -arms, this becoming one instead of two, was the -very expression of his ancient need.” <i>Ibid.</i></p> - -</div> - -<div class="sidenote"><i>Speech of Socrates</i></div> - -<div> -<img class="dropcap" src="images/dropcap-s.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">Socrates, in his speech, and especially -in the later portion of it where -he quotes his supposed tutoress Diotima, -carries the argument up to its<span class="pagenum"><a id="Page_54"></a>[54]</span> -highest issue. After contending for the essentially -creative, generative nature of love, not only in the -Body but in the Soul, he proceeds to say that it is not -so much the seeking of a lost half which causes the -creative impulse in lovers, as the fact that in our -mortal friends we are contemplating (though unconsciously) -an image of the Essential and Divine -Beauty; it is this that affects us with that wonderful -“mania,” and lifts us into the region where we become -creators. And he follows on to the conclusion -that it is by wisely and truly loving our visible -friends that at last, after long long experience, there -dawns upon us the vision of that Absolute Beauty -which by mortal eyes must ever remain unseen:—</p> - -<div class="blockquote"> - -<p class="dropcap">“He who has been instructed thus far in the -things of love, and who has learned to see -the beautiful in due order and succession, when he -comes towards the end will suddenly perceive a -nature of wondrous beauty ... beauty absolute, -separate, simple and everlasting, which without -diminution and without increase, or any change, is -imparted to the evergrowing and perishing beauties -of all other things. He who, from these ascending<span class="pagenum"><a id="Page_55"></a>[55]</span> -under the influence of true love, begins to -perceive that beauty, is not far from the end.” <i>Ibid.</i></p> - -</div> - -<p>This is indeed the culmination, for Plato, of all -existence—the ascent into the presence of that endless -Beauty of which all fair mortal things are but the -mirrors. But to condense this great speech of Socrates -is impossible; only to persistent and careful -reading (if even then) will it yield up all its treasures.</p> - -<div class="sidenote"><i>Socrates in the Phædrus</i></div> - -<div> -<img class="dropcap" src="images/dropcap-i.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">In the dialogue named <i>Phædrus</i> the -same idea is worked out, only to some -extent in reverse order. As in the -<i>Symposium</i> the lover by rightly loving -at last rises to the vision of the Supreme Beauty; so -in the <i>Phædrus</i> it is explained that in reality every -soul <i>has</i> at some time seen that Vision (at the time, -namely, of its true initiation, when it was indeed -winged)—but has forgotten it; and that it is the -dim <i>reminiscence</i> of that Vision, constantly working -within us, which guides us to our earthly loves and -renders their effect upon us so transporting. Long -ago, in some other condition of being, we saw -Beauty herself:—</p> - -<p><span class="pagenum"><a id="Page_56"></a>[56]</span></p> - -<div class="blockquote"> - -<p class="dropcap">“But of beauty, I repeat again that we saw her -there shining in company with the celestial -forms; and coming to earth we find her here too, -shining in clearness through the clearest aperture -of sense. For sight is the keenest of our bodily senses; -though not by that is wisdom seen; her loveliness -would have been transporting if there had -been a visible image of her, and the same is true of -the loveliness of the other ideas as well. But this is -the privilege of beauty, that she is the loveliest and -also the most palpable to sight. Now he who is not -newly initiated, or who has become corrupted, does -not easily rise out of this world to the sight of -true beauty in the other; he looks only at her -earthly namesake, and instead of being awed at the -sight of her, like a brutish beast he rushes on to -enjoy and beget; he consorts with wantonness, and -is not afraid or ashamed of pursuing pleasure in -violation of nature. But he whose initiation is recent, -and who has been the spectator of many -glories in the other world, is amazed when he sees -anyone having a god-like face or form, which is the -expression of Divine Beauty; and at first a shudder -runs through him, and again the old awe steals -over him; then looking upon the face of his beloved -as of a god he reverences him, and if he were -not afraid of being thought a downright madman,<span class="pagenum"><a id="Page_57"></a>[57]</span> -he would sacrifice to his beloved as to the image -of a god.” <i>The Phædrus of Plato</i>, <i>trans. B. Jowett</i>.</p> - -</div> - -<p>And again:—</p> - -<div class="blockquote"> - -<p class="dropcap">“And so the beloved who, like a god, has received -every true and loyal service from his -lover, not in pretence but in reality, being also -himself of a nature friendly to his admirer, if in former -days he has blushed to own his passion and -turned away his lover, because his youthful companions -or others slanderously told him that he -would be disgraced, now as years advance, at the -appointed age and time, is led to receive him into -communion. For fate which has ordained that -there shall be no friendship among the evil has also -ordained that there shall ever be friendship among -the good. And when he has received him into communion -and intimacy, then the beloved is amazed -at the goodwill of the lover; he recognises that the -inspired friend is worth all other friendships or -kinships, which have nothing of friendship in -them in comparison. And when this feeling continues -and he is nearer to him and embraces him, -in gymnastic exercises and at other times of meeting, -then does the fountain of that stream, which -Zeus when he was in love with Ganymede named -desire, overflow upon the lover, and some enters<span class="pagenum"><a id="Page_58"></a>[58]</span> -into his soul, and some when he is filled flows out -again; and as a breeze or an echo rebounds from -the smooth rocks and returns whence it came, so -does the stream of beauty, passing the eyes which -are the natural doors and windows of the soul, return -again to the beautiful one; there arriving and -quickening the passages of the wings, watering -them and inclining them to grow, and filling the -soul of the beloved also with love.” <i>Ibid.</i></p> - -</div> - -<p>For Plato the real power which ever moves the -soul is this reminiscence of the Beauty which exists -before all worlds. In the actual world the soul lives -but in anguish, an exile from her true home; but in -the presence of her friend, who reveals the Divine, -she is loosed from her suffering and comes to her -haven of rest.</p> - -<div class="blockquote"> - -<p class="dropcap">“And wherever she [the soul] thinks that she -will behold the beautiful one, thither in her -desire she runs. And when she has seen him, and -bathed herself with the waters of desire, her constraint -is loosened, and she is refreshed, and has no -more pangs and pains; and this is the sweetest of -all pleasures at the time, and is the reason why the -soul of the lover will never forsake his beautiful -one, whom he esteems above all; he has forgotten<span class="pagenum"><a id="Page_59"></a>[59]</span> -mother and brethren and companions, and he -thinks nothing of the neglect and loss of his property; -the rules and proprieties of life, on which -he formerly prided himself, he now despises, and -is ready to sleep like a servant, wherever he is -allowed, as near as he can to his beautiful one, who -is not only the object of his worship, but the only -physician who can heal him in his extreme agony.” -<i>Ibid.</i></p> - -</div> - -<div class="sidenote"><i>The Banquet of Xenophon</i></div> - -<div> -<img class="dropcap" src="images/dropcap-a.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">At another time, in the Banquet of -Xenophon, Socrates is again made -to speak at length on the subject of -Love—though not in so inspired a -strain as in Plato:—</p> - -<div class="blockquote"> - -<p class="dropcap">“Truly, to speak for one, I never remember -the time when I was not in love; I know too -that Charmides has had a great many lovers, and -being much beloved has loved again. As for -Critobulus, he is still of an age to love, and to be -beloved; and Nicerates too, who loves so passionately -his wife, at least as report goes, is equally beloved -by her.... And as for you, Callias, you love, -as well as the rest of us; for who is it that is ignorant -of your love for Autolycus? It is the town-talk; -and foreigners, as well as our citizens, are<span class="pagenum"><a id="Page_60"></a>[60]</span> -acquainted with it. The reason for your loving -him, I believe to be that you are both born of illustrious -families; and at the same time are both -possessed of personal qualities that render you yet -more illustrious. For me, I always admired the -sweetness and evenness of your temper; but much -more when I consider that your passion for Autolycus -is placed on a person who has nothing luxurious -or affected in him; but in all things shows -a vigour and temperance worthy of a virtuous -soul; which is a proof at the same time that if he -is infinitely beloved, he deserves to be so. I confess -indeed I am not firmly persuaded whether -there be but one Venus or two, the celestial and -the vulgar; and it may be with this goddess, as -with Jupiter, who has many different names -though there is still but one Jupiter. But I know -very well that both the Venuses have quite -different altars, temples and sacrifices. The vulgar -Venus is worshipped after a common negligent -manner; whereas the celestial one is adored in -purity and sanctity of life. The vulgar inspires -mankind with the love of the body only, but the -celestial fires the mind with the love of the soul, -with friendship, and a generous thirst after noble -actions.... Nor is it hard to prove, Callias, that -gods and heroes have always had more passion and<span class="pagenum"><a id="Page_61"></a>[61]</span> -esteem for the charms of the soul, than those of the -body: at least this seems to have been the opinion -of our ancient authors. For we may observe in the -fables of antiquity that Jupiter, who loved several -mortals on account of their personal beauty only, -never conferred upon them immortality. Whereas -it was otherwise with Hercules, Castor, Pollux, -and several others; for having admired and applauded -the greatness of their courage and the -beauty of their minds, he enrolled them in the -number of the gods.... You are then infinitely -obliged to the gods, Callias, who have inspired you -with love and friendship for Autolycus, as they -have inspired Critobulus with the same for Amandra; -for real and pure friendship knows no difference -in sexes.” <i>Banquet of Xenophon</i> § viii. (<i>Bohn</i>).</p> - -</div> - -<div class="sidenote"><i>Plutarch Philosophises</i></div> - -<div> -<img class="dropcap" src="images/dropcap-p.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">Plutarch, who wrote in the first -century A.D. (nearly 500 years after -Plato), carried on the tradition of his -master, though with an admixture of -later influences; and philosophised about friendship, -on the basis of true love being a reminiscence.</p> - -<div class="blockquote"> - -<p class="dropcap">“The rainbow is I suppose a reflection caused -by the sun’s rays falling on a moist cloud, -making us think the appearance is in the cloud.<span class="pagenum"><a id="Page_62"></a>[62]</span> -Similarly erotic fancy in the case of noble souls -causes a reflection of the memory from things -which here appear and are called beautiful to what -is really divine and lovely and felicitous and wonderful. -But most lovers pursuing and groping -after the semblance of beauty in youths and women, -as in mirrors,<a id="FNanchor_4" href="#Footnote_4" class="fnanchor">[4]</a> can derive nothing more certain -than pleasure mixed with pain. And this -seems the love-delirium of Ixion, who instead of -the joy he desired embraced only a cloud, as children -who desire to take the rainbow into their -hands, clutching at whatever they see. But different -is the behaviour of the noble and chaste lover: -for he reflects on the divine beauty that can only be -felt, while he uses the beauty of the visible body -only as an organ of the memory, though he embraces -it and loves it, and associating with it is still -more inflamed in mind. And so neither in the body -do they sit ever gazing at and desiring <i>this</i> light, -nor after death do they return to this world again, -and skulk and loiter about the doors and bedchambers -of newly-married people, disagreeable -ghosts of pleasure-loving and sensual men and -women, who do not rightly deserve the name of<span class="pagenum"><a id="Page_63"></a>[63]</span> -lovers. For the true lover, when he has got into the -other world and associated with beauties as much -as is lawful, has wings and is initiated and passes -his time above in the presence of his Deity, dancing -and waiting upon him, until he goes back to -the meadows of the Moon and Aphrodite, and -sleeping there commences a new existence. But -this is a subject too high for the present occasion.” -<i>Plutarch’s Eroticus</i> § xx. <i>trans. Bohn’s Classics</i>.</p> - -</div> - -<p><span class="pagenum"><a id="Page_64"></a>[64]</span></p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_65"></a>[65]</span></p> - -<h2 class="nobreak" id="III">III.<br /> -<span class="smaller"><i>Poetry of Friendship among Greeks & Romans</i></span></h2> - -</div> - -<p><span class="pagenum"><a id="Page_66"></a>[66]</span></p> - -<hr class="chap x-ebookmaker-drop" /> - -<p><span class="pagenum"><a id="Page_67"></a>[67]</span></p> - -<h3 class="nobreak"><i>Poetry of Friendship among Greeks & Romans</i></h3> - -</div> - -<div> -<img class="dropcap" src="images/dropcap-t.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">The fact, already mentioned, that the -<i>romance</i> of love among the Greeks -was chiefly felt towards male friends, -naturally led to their poetry being -largely inspired by friendship; and Greek literature -contains such a great number of poems of this sort, -that I have thought it worth while to dedicate the -main portion of the following section to quotations -from them. No translations of course can do justice -to the beauty of the originals, but the few specimens -given may help to illustrate the depth and tenderness -as well as the temperance and sobriety which -on the whole characterised Greek feeling on this -subject, at any rate during the best period of Hellenic -culture. The remainder of the section is devoted -to Roman poetry of the time of the Cæsars.</p> - -<p><span class="pagenum"><a id="Page_68"></a>[68]</span></p> - -<div class="sidenote"><i>Motive of Homer’s Iliad</i></div> - -<p>It is not always realised that the Iliad of Homer -turns upon the motive of friendship, but the extracts -immediately following will perhaps make this -clear. E. F. M. Benecke in his <i>Position of Women in -Greek Poetry</i> (p. 76) says of the Iliad:—</p> - -<div class="blockquote"> - -<p class="dropcap">“It is a story of which the main motive is the love -of Achilles for Patroclus. This solution is astoundingly -simple, and yet it took me so long to -bring myself to accept it that I am quite ready to -forgive anyone who feels a similar hesitation. But -those who do accept it cannot fail to observe, on -further consideration, how thoroughly suitable a -motive of this kind would be in a national Greek -epic. For this is the motive running through the -whole of Greek life, till that life was transmuted by -the influence of Macedonia. The lover-warriors -Achilles and Patroclus are the direct spiritual -ancestors of the sacred Band of Thebans, who died -to a man on the field of Chæronæa.”</p> - -</div> - -<div class="sidenote"><i>J. A. Symonds on the same</i></div> - -<p>The following two quotations are from <i>The Greek -Poets</i> by J. A. Symonds, ch. iii. p. 80 <i>et seq.</i>:—</p> - -<div class="blockquote"> - -<p class="dropcap">“The <i>Iliad</i> therefore has for its whole subject -the passion of Achilles—that ardent energy -or μῆνις of the hero which displayed itself first as -anger against Agamemnon, and afterwards as love<span class="pagenum"><a id="Page_69"></a>[69]</span> -for the lost Patroclus. The truth of this was perceived -by one of the greatest poets and profoundest, -critics of the modern world, Dante. When Dante, -in the <i>Inferno</i>, wished to describe Achilles, he -wrote, with characteristic brevity:—</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent11">“Achille</div> - <div class="verse indent0">Che per amore al fine combatteo.”</div> - </div> - <div class="stanza"> - <div class="verse indent11">(“Achilles</div> - <div class="verse indent0">Who at the last was brought to fight by love.”)</div> - </div> -</div> -</div> - -<p>“In this pregnant sentence Dante sounded the -whole depth of the <i>Iliad</i>. The wrath of Achilles for -Agamemnon, which prevented him at first from -fighting; the love of Achilles, passing the love of -women, for Patroclus, which induced him to forego -his anger and to fight at last; these are the two -poles on which the <i>Iliad</i> turns.”</p> - -</div> - -<div class="sidenote"><i>Achilles and Patroclus</i></div> - -<p>After his quarrel with Agamemnon, not even all -the losses of the Greeks and the entreaties of Agamemnon -himself will induce Achilles to fight—not -till Patroclus is slain by Hector—Patroclus, his dear -friend “whom above all my comrades I honoured, -even as myself.” Then he rises up, dons his armour, -and driving the Trojans before him revenges himself -on the body of Hector. But Patroclus lies yet<span class="pagenum"><a id="Page_70"></a>[70]</span> -unburied; and when the fighting is over, to Achilles -comes the ghost of his dead friend:—</p> - -<div class="blockquote"> - -<p class="dropcap">“The son of Peleus, by the shore of the roaring -sea lay, heavily groaning, surrounded by his -Myrmidons; on a fair space of sand he lay, where -the waves lapped the beach. Then slumber took -him, loosing the cares of his heart, and mantling -softly around him, for sorely wearied were his -radiant limbs with driving Hector on by windy -Troy. There to him came the soul of poor Patroclus, -in all things like himself, in stature, and in the -beauty of his eyes and voice, and on the form was -raiment like his own. He stood above the hero’s -head, and spake to him:—</p> - -<p>“‘Sleepest thou, and me hast thou forgotten, -Achilles? Not in my life wert thou neglectful of -me, but in death. Bury me soon, that I may pass -the gates of Hades. Far off the souls, the shadows -of the dead, repel me, nor suffer me to join them -on the river bank; but, as it is, thus I roam around -the wide-doored house of Hades. But stretch to -me thy hand I entreat; for never again shall I return -from Hades when once ye shall have given -me the meed of funeral fire. Nay, never shall we -sit in life apart from our dear comrades and take -counsel together. But me hath hateful fate<span class="pagenum"><a id="Page_71"></a>[71]</span> -enveloped—fate that was mine at the moment of -my birth. And for thyself, divine Achilles, it is -doomed to die beneath the noble Trojan’s wall. -Another thing I say to thee, and bid thee do it if -thou wilt obey me:—lay not my bones apart from -thine, Achilles, but lay them together; for we were -brought up together in your house, when Menœtius -brought me, a child, from Opus to your house, -because of woeful bloodshed on the day in which -I slew the son of Amphidamas, myself a child, not -willing it but in anger at our games. Then did the -horseman, Peleus, take me, and rear me in his -house, and cause me to be called thy squire. So -then let one grave also hide the bones of both of us, -the golden urn thy goddess-mother gave to thee.’</p> - -<p>“Him answered swift-footed Achilles:—</p> - -<p>‘Why, dearest and most honoured, hast thou -hither come, to lay on me this thy behest? All -things most certainly will I perform, and bow to -what thou biddest. But stand thou near: even for -one moment let us throw our arms upon each -other’s neck, and take our fill of sorrowful wailing.’</p> - -<p>“So spake he, and with his outstretched hands he -clasped, but could not seize. The spirit, earthward, -like smoke, vanished with a shriek. Then all astonished -arose Achilles, and beat his palms together, -and spake a piteous word:—</p> - -<p><span class="pagenum"><a id="Page_72"></a>[72]</span></p> - -<p>‘Heavens! is there then, among the dead, soul -and the shade of life, but thought is theirs no more -at all? For through the night the soul of poor Patroclus -stood above my head, wailing and sorrowing -loud, and bade me do his will; it was the very -semblance of himself.’</p> - -<p>“So spake he, and in the hearts of all of them he -raised desire of lamentation; and while they were -yet mourning, to them appeared rose-fingered -dawn about the piteous corpse.” <i>Iliad</i>, xxiii. -59 <i>et seq.</i></p> - -</div> - -<div class="sidenote"><i>Plato on the above</i></div> - -<div> -<img class="dropcap" src="images/dropcap-p.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">Plato in the <i>Symposium</i> dwells tenderly -on this relation between Achilles -and Patroclus:—</p> - -<div class="blockquote"> - -<p class="dropcap">[And great] “was the reward of -the true love of Achilles towards -his lover Patroclus—his lover and not his -love (the notion that Patroclus was the beloved -one is a foolish error into which Æschylus has fallen, -for Achilles was surely the fairer of the two, -fairer also than all the other heroes; and, as -Homer informs us, he was still beardless, and -younger far). And greatly as the gods honour the -virtue of love, still the return of love on the part of -the beloved to the lover is more admired and -valued and rewarded by them, for the lover has a<span class="pagenum"><a id="Page_73"></a>[73]</span> -nature more divine and worthy of worship. Now -Achilles was quite aware, for he had been told by -his mother, that he might avoid death and return -home, and live to a good old age, if he abstained -from slaying Hector. Nevertheless he gave his life -to revenge his friend, and dared to die, not only on -his behalf, but after his death. Wherefore the -gods honoured him even above Alcestis, and sent -him to the Islands of the Blest.” <i>Symposium, speech -of Phædrus</i>, <i>trans. by B. Jowett</i>.</p> - -</div> - -<div class="sidenote"><i>Criticism of Plato’s View</i></div> - -<p>And on this passage Symonds has the following -note:—</p> - -<div class="blockquote"> - -<p class="dropcap">“Plato, discussing the <i>Myrmidones</i> of Æschylus, -remarks in the <i>Symposium</i> that the -tragic poet was wrong to make Achilles the lover -of Patroclus, seeing that Patroclus was the elder of -the two, and that Achilles was the youngest and -most beautiful of all the Greeks. The fact however -is that Homer raises no question in our minds -about the relation of lover and beloved. Achilles -and Patroclus are comrades. Their friendship is -equal. It was only the reflective activity of the -Greek mind, working upon the Homeric legend -by the light of subsequent custom, which introduced -these distinctions.” <i>The Greek Poets</i>, ch. iii. -p. 103.</p> - -</div> - -<p><span class="pagenum"><a id="Page_74"></a>[74]</span></p> - -<div class="sidenote"><i>Athenæus</i></div> - -<p>From the time of Homer onwards, Greek literature -was full of songs celebrating friendship:—</p> - -<div class="blockquote"> - -<p class="dropcap">“And in fact there was such emulation about -composing poems of this sort, and so far was -any one from thinking lightly of the amatory -poets, that Æschylus, who was a very great poet, -and Sophocles too introduced the subject of the -loves of men on the stage in their tragedies: the -one describing the love of Achilles for Patroclus, -and the other, in his Niobe, the mutual love of her -sons (on which account some have given an ill -name to that tragedy); and all such passages as -those are very agreeable to the spectators.” <i>Athenæus</i>, -bk. xiii. ch. 75.</p> - -</div> - -<div class="sidenote"><i>From Theognis</i></div> - -<div> -<img class="dropcap" src="images/dropcap-o.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">One of the earlier Greek poets was -Theognis (<span class="allsmcap">B.C.</span> 550) whose Gnomæ -or Maxims were a series of verses -mostly addressed to his young friend -Kurnus, whom by this means he sought to guide -and instruct out of the stores of his own riper experience. -The verses are reserved and didactic for -the most part, but now and then, as in the following -passage, show deep underlying feeling:—</p> - -<p><span class="pagenum"><a id="Page_75"></a>[75]</span></p> - -<div class="blockquote"> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0 dropcap">“Lo, I have given thee wings wherewith to fly</div> - <div class="verse indent2">Over the boundless ocean and the earth;</div> - <div class="verse indent0">Yea, on the lips of many shalt thou lie</div> - <div class="verse indent2">The comrade of their banquet and their mirth.</div> - <div class="verse indent0">Youths in their loveliness shall make thee sound</div> - <div class="verse indent2">Upon the silver flute’s melodious breath;</div> - <div class="verse indent0">And when thou goest darkling underground</div> - <div class="verse indent2">Down to the lamentable house of death,</div> - <div class="verse indent0">Oh yet not then from honour shalt thou cease,</div> - <div class="verse indent2">But wander, an imperishable name,</div> - <div class="verse indent0">Kurnus, about the seas and shores of Greece,</div> - <div class="verse indent2">Crossing from isle to isle the barren main.</div> - <div class="verse indent0">Horses thou shalt not need, but lightly ride</div> - <div class="verse indent2">Sped by the Muses of the violet crown,</div> - <div class="verse indent0">And men to come, while earth and sun abide,</div> - <div class="verse indent2">Who cherish song shall cherish thy renown.</div> - <div class="verse indent0">Yea, I have given thee wings! and in return</div> - <div class="verse indent2">Thou givest me the scorn with which I burn.”</div> - </div> - <div class="stanza"> - <div class="verse right"><i>Theognis Gnomai</i>, lines 237-254,<br /><i>trans. by G. Lowes Dickinson</i>.</div> - </div> -</div> -</div> - -</div> - -<div class="sidenote"><i>Sappho</i></div> - -<div> -<img class="dropcap" src="images/dropcap-a.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">As Theognis had his well-loved disciples, -so had the poetess Sappho (600 -<span class="allsmcap">B.C.</span>) Her devotion to her girl-friends -and companions is indeed proverbial.</p> - -<p><span class="pagenum"><a id="Page_76"></a>[76]</span></p> - -<div class="blockquote"> - -<p class="dropcap">“What Alcibiades and Charmides and Phædrus -were to Socrates, Gyrinna and Atthis -and Anactoria were to the Lesbian.” <i>Max Tyrius</i>, -<i>quoted in H. T. Wharton’s Sappho</i>, p. 23.</p> - -</div> - -<div class="sidenote"><i>To Lesbia</i></div> - -<p>Perhaps the few lines of Sappho, translated or -paraphrased by Catullus under the title <i>To Lesbia</i>, -form the most celebrated fragment of her extant -work. They may be roughly rendered thus:—</p> - -<div class="blockquote"> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0 dropcap">“Peer of all the gods unto me appeareth</div> - <div class="verse indent0">He of men who sitting beside thee heareth</div> - <div class="verse indent0">Close at hand thy syllabled words sweet spoken,</div> - <div class="verse indent8">Or loving laughter—</div> - </div> - <div class="stanza"> - <div class="verse indent0">That sweet laugh which flutters my heart and bosom.</div> - <div class="verse indent0">For, at sight of thee, in an instant fail me</div> - <div class="verse indent0">Voice and speech, and under my skin there courses</div> - <div class="verse indent8">Swiftly a thin flame;</div> - </div> - <div class="stanza"> - <div class="verse indent0">Darkness is on my eyes, in my ears a drumming,</div> - <div class="verse indent0">Drenched in sweat my frame, my body trembling;</div> - <div class="verse indent0">Paler ev’n than grass—’tis, I doubt, but little</div> - <div class="verse indent8">From death divides me.”</div> - </div> -</div> -</div> - -</div> - -<p><span class="pagenum"><a id="Page_77"></a>[77]</span></p> - -<div class="sidenote"><i>Anacreon to Bathyllus</i></div> - -<div> -<img class="dropcap" src="images/dropcap-s.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">Several of the odes of Anacreon -(<span class="allsmcap">B.C.</span> 520) are addressed to his young -friend Bathyllus. The following short -one has been preserved to us by Athenæus -(bk. xiii. § 17):—</p> - -<div class="blockquote"> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0 dropcap">“O boy, with virgin-glancing eye,</div> - <div class="verse indent2">I call thee, but thou dost not hear;</div> - <div class="verse indent0">Thou know’st not how my soul doth cry</div> - <div class="verse indent2">For thee, its charioteer.”</div> - </div> -</div> -</div> - -</div> - -<div class="sidenote"><i>Epigram on Lovers</i></div> - -<p>Anacreon had not the passion and depth of Sappho, -but there is a mark of genuine feeling in some -of his poems, as in this simple little epigram:—</p> - -<div class="blockquote"> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0 dropcap">“On their hindquarters horses</div> - <div class="verse indent2">Are branded oft with fire,</div> - <div class="verse indent0">And anyone knows a Parthian</div> - <div class="verse indent2">Because he wears a tiar;</div> - <div class="verse indent0">And I at sight of lovers</div> - <div class="verse indent2">Their nature can declare,</div> - <div class="verse indent0">For in their hearts they too</div> - <div class="verse indent2">Some subtle flame-mark bear.”</div> - </div> -</div> -</div> - -</div> - -<div class="sidenote"><i>Pindar to Theoxenos</i></div> - -<p>The following fragment is from Pindar’s Ode to -his young friend Theoxenos—in whose arms Pindar -is said to have died (<span class="allsmcap">B.C.</span> 442):—</p> - -<p><span class="pagenum"><a id="Page_78"></a>[78]</span></p> - -<div class="blockquote"> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0 dropcap">“O soul, ’tis thine in season meet,</div> - <div class="verse indent0">To pluck of love the blossom sweet,</div> - <div class="verse indent2">When hearts are young:</div> - <div class="verse indent0">But he who sees the blazing beams,</div> - <div class="verse indent0">The light that from <i>that</i> forehead streams,</div> - <div class="verse indent2">And is not stung;—</div> - <div class="verse indent0">Who is not storm-tossed with desire,—</div> - <div class="verse indent0">Lo! he, I ween, with frozen fire,</div> - <div class="verse indent0">Of adamant or stubborn steel</div> - <div class="verse indent0">Is forged in his cold heart that cannot feel.”</div> - </div> - <div class="stanza"> - <div class="verse right"><i>Trans. by J. Addington Symonds</i>,<br /><i>The Greek Poets</i>, vol. 1, p. 286.</div> - </div> -</div> -</div> - -</div> - -<div class="sidenote"><i>Epigrams of Plato</i></div> - -<div> -<img class="dropcap" src="images/dropcap-p.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">Plato’s epigrams on Aster and Agathon -are well known. The two first-quoted -make a play of course on the -name Aster (star).</p> - -<div class="blockquote"> - -<p class="center"><i>To Aster</i>:</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0 dropcap">“Thou wert the morning star among the living,</div> - <div class="verse indent2">Ere thy fair light had fled;</div> - <div class="verse indent0">Now, having died, thou art as Hesperus, giving</div> - <div class="verse indent2">New splendour to the dead.”</div> - </div> - <div class="stanza"> - <div class="verse right">(<i>Shelley.</i>)</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_79"></a>[79]</span></p> - -<p class="center"><i>To the same</i>:</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0 dropcap">“Thou at the stars dost gaze, who art <i>my</i> star—O would that I were</div> - <div class="verse indent0">Heaven, to gaze on thee, ever with thousands of eyes.”</div> - </div> -</div> -</div> - -<p class="center"><i>To Agathon</i>:</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0 dropcap">“Thee as I kist, behold! on my lips my own soul was trembling;</div> - <div class="verse indent0">For, bold one, she had come, meaning to find her way through.”</div> - </div> -</div> -</div> -</div> - -<div class="sidenote"><i>Meleager</i></div> - -<p>There are many other epigrams and songs on the -same subject from the Greek writers. The following -is by Meleager (a native of Gadara in Palestine) -about 60 <span class="allsmcap">B.C.</span>, and one of the sweetest and most -human of the lyric poets:—</p> - -<div class="blockquote"> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0 dropcap">“O mortals crossed in love! the Southwind, see!</div> - <div class="verse indent2">That blows so fair for sailor folk, hath ta’en</div> - <div class="verse indent0">Half of my soul, Andragathos, from me.</div> - <div class="verse indent2">Thrice happy ships, thrice blesséd billowy main,</div> - <div class="verse indent0">And four times favored wind that bears the youth,</div> - <div class="verse indent0">O would I were a Dolphin! so, in truth,</div> - <div class="verse indent0">High on my shoulders ferried he should come</div> - <div class="verse indent0">To Rhodes, sweet haunt of boys, his island-home.”</div> - </div> - <div class="stanza"> - <div class="verse right"><i>From the Greek Anthology</i>, ii. 402.</div> - </div> -</div> -</div> - -</div> - -<p><span class="pagenum"><a id="Page_80"></a>[80]</span></p> - -<div class="sidenote"><i>Epigram</i></div> - -<p>Also from the Greek Anthology:—</p> - -<div class="blockquote"> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0 dropcap">“O say, and again repeat, fair, fair—and still I will say it—</div> - <div class="verse indent2">How fair, my friend, and good to see, thou art;</div> - <div class="verse indent0">On pine or oak or wall thy name I do not blazon—</div> - <div class="verse indent2">Love has too deeply graved it in my heart.”</div> - </div> -</div> -</div> - -</div> - -<div class="sidenote"><i>Epitaph Anonymous</i></div> - -<div class="blockquote"> - -<p class="dropcap">“Perhaps the most beautiful [says J. A. Symonds] -of the sepulchral epigrams is one by -an unknown writer, of which I here give a free -paraphrase. <i>Anth. Pal.</i>, vii. 346:—</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">‘Of our great love, Parthenophil,</div> - <div class="verse indent0">This little stone abideth still</div> - <div class="verse indent2">Sole sign and token:</div> - <div class="verse indent0">I seek thee yet, and yet shall seek,</div> - <div class="verse indent0">Tho’ faint mine eyes, my spirit weak</div> - <div class="verse indent2">With prayers unspoken.</div> - </div> - <div class="stanza"> - <div class="verse indent0">Meanwhile best friend of friends, do thou,</div> - <div class="verse indent0">If this the cruel fates allow,</div> - <div class="verse indent2">By death’s dark river,</div> - <div class="verse indent0">Among those shadowy people, drink</div> - <div class="verse indent0">No drop for me on Lethe’s brink:</div> - <div class="verse indent2">Forget me never!’”</div> - </div> - <div class="stanza"> - <div class="verse right"><i>The Greek Poets</i>, vol. 2, p. 298.</div> - </div> -</div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_81"></a>[81]</span></p> - -<div> -<img class="dropcap" src="images/dropcap-t.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">Theocritus, though coming late -in the Greek age (about 300 <span class="allsmcap">B.C.</span>) -when Athens had yielded place to -Alexandria, still carried on the Greek -tradition in a remarkable way. A native of Syracuse, -he caught and echoed in a finer form the life and -songs of the country folk of that region—themselves -descendants of Dorian settlers. Songs and -ballads full of similar notes linger among the Greek -peasants, shepherds and fisher-folk, even down to -the present day.</p> - -<div class="sidenote"><i>Theocritus Idyl XII.</i></div> - -<p>The following poem (trans. by M. J. Chapman, -1836) is one of the best known and most beautiful -of his Idyls:—</p> - -<div class="blockquote"> - -<p class="center"><span class="smcap">Idyl XII.</span></p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0 dropcap">“Art come, dear youth? two days and nights away!</div> - <div class="verse indent0">(Who burn with love, grow aged in a day.)</div> - <div class="verse indent0">As much as apples sweet the damson crude</div> - <div class="verse indent0">Excel; the blooming spring the winter rude;</div> - <div class="verse indent0">In fleece the sheep her lamb; the maid in sweetness</div> - <div class="verse indent0">The thrice-wed dame; the fawn the calf in fleetness;</div><span class="pagenum"><a id="Page_82"></a>[82]</span> - <div class="verse indent0">The nightingale in song all feathered kind—</div> - <div class="verse indent0">So much thy longed-for presence cheers my mind.</div> - <div class="verse indent0">To thee I hasten, as to shady beech,</div> - <div class="verse indent0">The traveller, when from the heaven’s reach</div> - <div class="verse indent0">The sun fierce blazes. May our love be strong,</div> - <div class="verse indent0">To all hereafter times the theme of song!</div> - <div class="verse indent0">‘Two men each other loved to that degree,</div> - <div class="verse indent0">That either friend did in the other see</div> - <div class="verse indent0">A dearer than himself. They lived of old</div> - <div class="verse indent0">Both golden natures in an age of gold.’</div> - </div> - <div class="stanza"> - <div class="verse indent0">O father Zeus! ageless immortals all!</div> - <div class="verse indent0">Two hundred ages hence may one recall,</div> - <div class="verse indent0">Down-coming to the irremeable river,</div> - <div class="verse indent0">This to my mind, and this good news deliver:</div> - <div class="verse indent0">‘E’en now from east to west, from north to south,</div> - <div class="verse indent0">Your mutual friendship lives in every mouth.’</div> - <div class="verse indent0">This, as they please, th’ Olympians will decide:</div> - <div class="verse indent0">Of thee, by blooming virtue beautified,</div> - <div class="verse indent0">My glowing song shall only truth disclose;</div> - <div class="verse indent0">With falsehood’s pustules I’ll not shame my nose.</div> - <div class="verse indent0">If thou dost sometime grieve me, sweet the pleasure</div> - <div class="verse indent0">Of reconcilement, joy in double measure</div> - <div class="verse indent0">To find thou never didst intend the pain,</div> - <div class="verse indent0">And feel myself from all doubt free again.</div><span class="pagenum"><a id="Page_83"></a>[83]</span> - </div> - <div class="stanza"> - <div class="verse indent0">And ye Megarians, at Nisæa dwelling,</div> - <div class="verse indent0">Expert at rowing, mariners excelling,</div> - <div class="verse indent0">Be happy ever! for with honours due</div> - <div class="verse indent0">Th’ Athenian Diocles, to friendship true</div> - <div class="verse indent0">Ye celebrate. With the first blush of spring</div> - <div class="verse indent0">The youth surround his tomb: there who shall bring</div> - <div class="verse indent0">The sweetest kiss, whose lip is purest found,</div> - <div class="verse indent0">Back to his mother goes with garlands crowned.</div> - <div class="verse indent0">Nice touch the arbiter must have indeed,</div> - <div class="verse indent0">And must, methinks, the blue-eyed Ganymede</div> - <div class="verse indent0">Invoke with many prayers—a mouth to own</div> - <div class="verse indent0">True to the touch of lips, as Lydian stone</div> - <div class="verse indent0">To proof of gold—which test will instant show</div> - <div class="verse indent0">The pure or base, as money changers know.”</div> - </div> -</div> -</div> -</div> - -<div class="sidenote"><i>Idyl XXIX.</i></div> - -<p>The following Idyl, of which I append a rendering, -is attributed to Theocritus:—</p> - -<div class="blockquote"> - -<p class="center"><span class="smcap">Idyl XXIX.</span></p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0 dropcap">“They say, dear boy, that wine and truth agree;</div> - <div class="verse indent0">And, being in wine, I’ll tell the truth to thee—</div> - <div class="verse indent0">Yes, all that works in secret in my soul.</div> - <div class="verse indent0">’Tis this: thou dost not love me with thy whole</div> - <div class="verse indent0">Untampered heart. I know; for half my time</div> - <div class="verse indent0">Is spent in gazing on thy beauty’s prime;</div><span class="pagenum"><a id="Page_84"></a>[84]</span> - <div class="verse indent0">The other half is nought. When thou art good,</div> - <div class="verse indent0">My days are like the gods’; but when the mood</div> - <div class="verse indent0">Tormenting takes thee, ’tis my night of woe.</div> - <div class="verse indent0">How were it right to vex a lover so?</div> - <div class="verse indent0">Take my advice, my lad, thine elder friend,</div> - <div class="verse indent0">’Twill make thee glad and grateful in the end:</div> - <div class="verse indent0">In one tree build one nest, so no grim snake</div> - <div class="verse indent0">May creep upon thee. For to-day thou’lt make</div> - <div class="verse indent0">Thy home on one branch, and to-morrow changing</div> - <div class="verse indent0">Wilt seek another, to what’s new still ranging;</div> - <div class="verse indent0">And should a stranger praise your handsome face,</div> - <div class="verse indent0">Him more than three-year-proven friend you’ll grace,</div> - <div class="verse indent0">While him who loved you first you’ll treat as cold</div> - <div class="verse indent0">As some acquaintanceship of three days old.</div> - <div class="verse indent0">Thou fliest high, methinks, in love and pride;</div> - <div class="verse indent0">But I would say: keep ever at thy side</div> - <div class="verse indent0">A mate that is thine equal; doing so,</div> - <div class="verse indent0">The townsfolk shall speak well of thee alway,</div> - <div class="verse indent0">And love shall never visit thee with woe—</div> - <div class="verse indent0">Love that so easily men’s hearts can flay,</div> - <div class="verse indent0">And mine has conquered that was erst of steel.</div> - <div class="verse indent0">Nay, by thy gracious lips I make appeal:</div> - <div class="verse indent0">Remember thou wert younger a year agone</div> - <div class="verse indent0">And we grow grey and wrinkled, all, or e’er</div> - <div class="verse indent0">We can escape our doom; of mortals none</div> - <div class="verse indent0">His youth retakes again, for azure wings</div><span class="pagenum"><a id="Page_85"></a>[85]</span> - <div class="verse indent0">Are on her shoulders, and we sons of care</div> - <div class="verse indent0">Are all too slow to catch such flying things.</div> - </div> - <div class="stanza"> - <div class="verse indent0">Mindful of this, be gentle, is my prayer,</div> - <div class="verse indent0">And love me, guileless, ev’n as I love thee;</div> - <div class="verse indent0">So when thou hast a beard, such friends as were</div> - <div class="verse indent0">Achilles and Patroclus we may be.”</div> - </div> -</div> -</div> -</div> - -<div class="sidenote"><i>Bion</i></div> - -<div> -<img class="dropcap" src="images/dropcap-b.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">Bion was a poet of about the same -period as Theocritus, but of whom -little is known. The following is a -fragment translated by A. Lang:—</p> - -<div class="blockquote"> - -<p class="dropcap">“Happy are they that love, when with equal -love they are rewarded. Happy was Theseus, -when Pirithöus was by his side, yea tho’ he went -down to the house of implacable Hades. Happy -among hard men and inhospitable was Orestes, for -that Pylades chose to share his wanderings. And <i>he</i> -was happy, Achilles Æacides, while his darling -lived,—happy was he in his death, because he -avenged the dread fate of Patroclus.” <i>Theocritus</i>, -<i>Bion and Moschus</i>, <i>Golden Treasury series</i>, p. 182.</p> - -</div> - -<div class="sidenote"><i>Lament for Bion by Moschus</i></div> - -<p>The beautiful <i>Lament for Bion</i> by Moschus is interesting -in this connection, and should be compared<span class="pagenum"><a id="Page_86"></a>[86]</span> -with Shelley’s lament for Keats in <i>Adonais</i>—for -which latter poem indeed it supplied some -suggestions:—</p> - -<div class="blockquote"> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0 dropcap">“Ye mountain valleys, pitifully groan!</div> - <div class="verse indent0">Rivers and Dorian springs for Bion weep!</div> - <div class="verse indent0">Ye plants drop tears! ye groves lamenting moan!</div> - <div class="verse indent0">Exhale your life, wan flowers; your blushes deep</div> - <div class="verse indent0">In grief, anemonies and roses, steep!</div> - <div class="verse indent0">In softest murmurs, Hyacinth! prolong</div> - <div class="verse indent0">The sad, sad woe thy lettered petals keep;</div> - <div class="verse indent0">Our minstrel sings no more his friends among</div> - <div class="verse indent0">Sicilian muses! now begin the doleful song.”</div> - </div> - <div class="stanza"> - <div class="verse right"><i>M. J. Chapman trans. in the<br />Greek Pastoral Poets, 1836.</i></div> - </div> -</div> -</div> - -</div> - -<div class="sidenote"><i>Story of Hyacinthus</i></div> - -<p>The allusion to Hyacinth is thus explained by -Chapman:—</p> - -<div class="blockquote"> - -<p class="dropcap">“Hyacinthus, a Spartan youth, the son -of Clio, was in great favour with Apollo. -Zephyrus, being enraged that he preferred Apollo -to him, blew the discus when flung by -Apollo, on a day that Hyacinthus was playing at -discus-throwing with that god, against the head -of the youth, and so killed him. Apollo, being<span class="pagenum"><a id="Page_87"></a>[87]</span> -unable to save his life, changed him into the flower -which was named after him, and on whose petals -the Greeks fancied they could trace the notes of a -grief, ἂι, ἂι.<a id="FNanchor_5" href="#Footnote_5" class="fnanchor">[5]</a> A festival called the Hyacinthia was -celebrated for three days in each year at Sparta, in -honour of the god and his unhappy favorite.” <i>Note -to Moschus</i>, Idyl iii.</p> - -</div> - -<div class="sidenote"><i>Told by Ovid</i></div> - -<p>The story of Apollo and Hyacinth is gracefully -told by Ovid, in the tenth book of his Metamorphoses:—</p> - -<div class="blockquote"> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0 dropcap">“Midway betwixt the past and coming night</div> - <div class="verse indent0">Stood Titan<a id="FNanchor_6" href="#Footnote_6" class="fnanchor">[6]</a> when the pair, their limbs unrobed,</div> - <div class="verse indent0">And glist’ning with the olive’s unctuous juice,</div> - <div class="verse indent0">In friendly contest with the discus vied.”</div> - </div> -</div> -</div> - -</div> - -<p>[The younger one is struck by the discus; and -like a fading flower]</p> - -<div class="blockquote"> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">“To its own weight unequal drooped the head</div> - <div class="verse indent0">Of Hyacinth; and o’er him wailed the god:—</div> - <div class="verse indent0">Liest thou so, Œbalia’s child, of youth</div> - <div class="verse indent0">Untimely robbed, and wounded by my fault—</div> - <div class="verse indent0">At once my grief and guilt?—This hand hath dealt</div><span class="pagenum"><a id="Page_88"></a>[88]</span> - <div class="verse indent0">Thy death! ’Tis I who send thee to the grave!</div> - <div class="verse indent0">And yet scarce guilty, unless guilt it were</div> - <div class="verse indent0">To sport, or guilt to love thee! Would this life</div> - <div class="verse indent0">Might thine redeem, or be with thine resigned!</div> - <div class="verse indent0">But thou—since Fate denies a god to die—</div> - <div class="verse indent0">Be present with me ever! Let thy name</div> - <div class="verse indent0">Dwell ever in my heart and on my lips,</div> - <div class="verse indent0">Theme of my lyre and burden of my song;</div> - <div class="verse indent0">And ever bear the echo of my wail</div> - <div class="verse indent0">Writ on thy new-born flower! The time shall come</div> - <div class="verse indent0">When, with thyself associate, to its name</div> - <div class="verse indent0">The mightiest of the Greeks shall link his own.</div> - <div class="verse indent2">Prophetic as Apollo mourned, the blood</div> - <div class="verse indent0">That with its dripping crimson dyed the turf</div> - <div class="verse indent0">Was blood no more: and sudden sprang to life</div> - <div class="verse indent0">A flower.”</div> - </div> - <div class="stanza"> - <div class="verse right"><i>Ovid’s Metamorphoses</i> <i>trans.<br />H. King</i>, <i>London</i>, 1871.</div> - </div> -</div> -</div> - -</div> - -<div class="sidenote"><i>Virgil Eclogue II.</i></div> - -<div> -<img class="dropcap" src="images/dropcap-i.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">In Roman literature, generally, as -might be expected, with its more -materialistic spirit, the romance of -a friendship is little dwelt upon; -though the grosser side of the passion, in such -writers as Catullus and Martial, is much in evidence.<span class="pagenum"><a id="Page_89"></a>[89]</span> -Still we find in Virgil a notable instance. His -2nd Eclogue bears the marks of genuine feeling; -and, according to some critics, he there under the -guise of Shepherd Corydon’s love for Alexis -celebrates his own attachment to the youthful -Alexander:—</p> - -<div class="blockquote"> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0 dropcap">“Corydon, keeper of cattle, once loved the fair lad Alexis;</div> - <div class="verse indent0">But he, the delight of his master, permitted no hope to the shepherd.</div> - <div class="verse indent0">Corydon, lovesick swain, went into the forest of beeches,</div> - <div class="verse indent0">And there to the mountains and woods—the one relief of his passion—</div> - <div class="verse indent0">With useless effort outpoured the following artless complainings:—</div> - <div class="verse indent0">Alexis, barbarous youth, say, do not my mournful lays move thee?</div> - <div class="verse indent0">Showing me no compassion, thou’lt surely compel me to perish.</div> - <div class="verse indent0">Even the cattle now seek after places both cool and shady;</div> - <div class="verse indent0">Even the lizards green conceal themselves in the thorn-bush.</div><span class="pagenum"><a id="Page_90"></a>[90]</span> - <div class="verse indent0">Thestylis, taking sweet herbs, such as garlic and thyme, for the reapers</div> - <div class="verse indent0">Faint with the scorching noon, doth mash them and bray in a mortar.</div> - <div class="verse indent0">Alone in the heat of the day am I left with the screaming cicalas,</div> - <div class="verse indent0">While patient in tracking thy path, I ever pursue thee, Belovéd.”</div> - </div> - <div class="stanza"> - <div class="verse right"><i>Trans. by J. W. Baylis.</i></div> - </div> -</div> -</div> - -</div> - -<div class="sidenote"><i>Corydon and Alexis</i></div> - -<p>There is a translation of this same 2nd Eclogue, -by Abraham Fraunce (1591) which is interesting -not only on account of its felicity of phrase, -but because, as in the case of some other Elizabethan -hexameters, the metre is ruled by <i>quantity</i>, <i>i.e.</i>, -length of syllables, instead of by <i>accent</i>. The following -are the first five lines of Fraunce’s translation:—</p> - -<div class="blockquote"> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0 dropcap">“Silly shepherd Corydon lov’d hartyly fayre lad Alexis,</div> - <div class="verse indent0">His master’s dearling, but saw noe matter of hoping;</div> - <div class="verse indent0">Only amydst darck groves thickset with broade-shadoe beech-trees</div><span class="pagenum"><a id="Page_91"></a>[91]</span> - <div class="verse indent0">Dayly resort did he make, thus alone to the woods, to the mountayns,</div> - <div class="verse indent0">With broken speeches fond thoughts there vainly revealing.”</div> - </div> -</div> -</div> - -</div> - -<div class="sidenote"><i>Catullus to Quintius</i></div> - -<div> -<img class="dropcap" src="images/dropcap-c.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">Catullus also (b. <span class="allsmcap">B.C.</span> 87) has some -verses of real feeling:—</p> - -<div class="blockquote"> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0 dropcap">“Quintius, if ’tis thy wish and will</div> - <div class="verse indent2">That I should owe my eyes to thee,</div> - <div class="verse indent0">Or anything that’s dearer still,</div> - <div class="verse indent2">If aught that’s dearer there can be;</div> - </div> - <div class="stanza"> - <div class="verse indent0">Then rob me not of that I prize,</div> - <div class="verse indent2">Of the dear form that is to me,</div> - <div class="verse indent0">Oh! far far dearer than my eyes,</div> - <div class="verse indent2">Or aught, if dearer aught there be.”</div> - </div> - <div class="stanza"> - <div class="verse right"><i>Catullus</i>, <i>trans. Hon. J. Lamb</i>, 1821.</div> - </div> -</div> -</div> - -</div> - -<div class="sidenote"><i>To Juventius</i></div> - -<div class="blockquote"> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0 dropcap">“If all complying, thou would’st grant</div> - <div class="verse indent2">Thy lovely eyes to kiss, my fair,</div> - <div class="verse indent0">Long as I pleased; oh! I would plant</div> - <div class="verse indent2">Three hundred thousand kisses there.</div> - </div> - <div class="stanza"> - <div class="verse indent0">Nor could I even then refrain,</div> - <div class="verse indent2">Nor satiate leave that fount of blisses,</div><span class="pagenum"><a id="Page_92"></a>[92]</span> - <div class="verse indent0">Tho’ thicker than autumnal grain</div> - <div class="verse indent2">Should be our growing crop of kisses.”</div> - </div> - <div class="stanza"> - <div class="verse right">(<i>Ibid.</i>)</div> - </div> -</div> -</div> - -</div> - -<div class="sidenote"><i>To Licinius</i></div> - -<div class="blockquote"> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0 dropcap">“Long at our leisure yesterday</div> - <div class="verse indent0">Idling, Licinius, we wrote</div> - <div class="verse indent0">Upon my tablets verses gay,</div> - <div class="verse indent0">Or took our turns, as fancy smote,</div> - <div class="verse indent0">At rhymes and dice and wine.</div> - </div> - <div class="stanza"> - <div class="verse indent0">But when I left, Licinius mine,</div> - <div class="verse indent0">Your grace and your facetious mood</div> - <div class="verse indent0">Had fired me so, that neither food</div> - <div class="verse indent0">Would stay my misery, nor sleep</div> - <div class="verse indent0">My roving eyes in quiet keep.</div> - <div class="verse indent0">But still consumed, without respite,</div> - <div class="verse indent0">I tossed about my couch in vain</div> - <div class="verse indent0">And longed for day—if speak I might,</div> - <div class="verse indent0">Or be with you again.</div> - </div> - <div class="stanza"> - <div class="verse indent0">But when my limbs with all the strain</div> - <div class="verse indent0">Worn out, half dead lay on my bed,</div> - <div class="verse indent0">Sweet friend to thee this verse I penned,</div> - <div class="verse indent0">That so thou mayest condescend</div> - <div class="verse indent0">To understand my pain.</div> - </div> - <div class="stanza"> - <div class="verse indent0">So now, Licinius, beware!</div> - <div class="verse indent0">And be not rash, but to my prayer</div> - <div class="verse indent0">A gracious hearing tender;</div><span class="pagenum"><a id="Page_93"></a>[93]</span> - <div class="verse indent0">Lest on thy head pounce Nemesis:</div> - <div class="verse indent0">A goddess sudden and swift she is—</div> - <div class="verse indent0">Beware lest thou offend her!”</div> - </div> -</div> -</div> - -</div> - -<div class="sidenote"><i>Martial to Diadumenos</i></div> - -<p>The following little poem is taken from Martial:</p> - -<div class="blockquote"> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0 dropcap">“As a vineyard breathes, whose boughs with grapes are bending,</div> - <div class="verse indent2">Or garden where are hived Sicanian bees;</div> - <div class="verse indent0">As upturned clods when summer rain’s descending</div> - <div class="verse indent2">Or orchards rich with blossom-laden trees;</div> - <div class="verse indent0">So, cruel youth, thy kisses breathe—so sweet—</div> - <div class="verse indent2">Would’st thou but grant me all their grace, complete!”</div> - </div> -</div> -</div> - -</div> - -<p><span class="pagenum"><a id="Page_94"></a>[94]</span></p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_95"></a>[95]</span></p> - -<h2 class="nobreak" id="IV">IV.<br /> -<span class="smaller"><i>Friendship in Early Christian & Mediæval Times</i></span></h2> - -</div> - -<p><span class="pagenum"><a id="Page_96"></a>[96]</span></p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_97"></a>[97]</span></p> - -<h3 class="nobreak"><i>Friendship in Early Christian & Mediæval Times</i></h3> - -</div> - -<div> -<img class="dropcap" src="images/dropcap-t.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">The quotations we have given from -Plato and others show the very high -ideal of friendship which obtained in -the old world, and the respect accorded -to it. With the incoming of the Christian -centuries, and the growth of Alexandrian and -Germanic influences, a change began to take place. -Woman rose to greater freedom and dignity and -influence than before. The romance of love began to -centre round her.<a id="FNanchor_7" href="#Footnote_7" class="fnanchor">[7]</a> The days of chivalry brought a -new devotion into the world, and the Church exalted -the Virgin Mother to the highest place in -heaven. Friendship between men ceased to be regarded -in the old light—<i>i.e.</i>, as a thing of deep<span class="pagenum"><a id="Page_98"></a>[98]</span> -feeling, and an important social institution. It was -even, here and there, looked on with disfavour—and -lapses from the purity or chastity of its standard -were readily suspected and violently reprobated. -Certainly it survived in the monastic life for a long -period; but though inspiring this to a great extent, -its influence was not generally acknowledged. The -Family, in the modern and more limited sense of -the word (as opposed to the clan), became the recognised -unit of social life, and the ideal centre of all -good influences (as illustrated in the worship of the -Holy Family). At the same time, by this very -shrinkage of the Family, as well as by other influences, -the solidarity of society became to some -extent weakened, and gradually the more communistic -forms of the early world gave place to the -individualism of the commercial period.</p> - -<p>The special sentiment of comrade-love or attachment -(being a thing inherent in human nature) -remained of course through the Christian centuries, -as before, and unaltered—except that being no -longer recognised it became a private and personal<span class="pagenum"><a id="Page_99"></a>[99]</span> -affair, running often powerfully enough beneath the -surface of society, but openly unacknowledged, and -so far deprived of some of its dignity and influence. -Owing to this fact there is nothing, for this period, -to be quoted in the way of general ideal or public -opinion on the subject of friendship, and the following -sections therefore become limited to the expression -of individual sentiments and experiences, in -prose and poetry. These we find, during the mediæval -period, largely colored by religion; while at -the Renaissance and afterwards they are evidently -affected by Greek associations.</p> - -<div class="sidenote"><i>Saint Augustine</i></div> - -<div> -<img class="dropcap" src="images/dropcap-f.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">Following are some passages from -S. Augustine:—</p> - -<div class="blockquote"> - -<p class="dropcap">“In those years when I first began -to teach in my native town, I had -made a friend, one who through having the same -interests was very dear to me, one of my own age, -and like me in the first flower of youth. We had -grown up together, and went together to school, -and used to play together. But he was not yet so -great a friend as afterwards, nor even then was our -friendship true; for friendship is not true unless<span class="pagenum"><a id="Page_100"></a>[100]</span> -Thou cementest it between those who are united -to Thee by that ‘love which is shed abroad in our -hearts by the Holy Ghost which is given unto us.’ -Yet our friendship was but too sweet, and fermented -by the pursuit of kindred studies. For I had -turned him aside from the true faith (of which as -a youth he had but an imperfect grasp) to pernicious -and superstitious fables, for which my mother -grieved over me. And now in mind he erred -with me, and my soul could not endure to be -separated from him. But lo, Thou didst follow -close behind Thy fugitives, Thou—both God of -vengeance and fountain of mercies—didst convert -us by wonderful ways; behold, Thou didst take -him out of this life, when scarcely a year had our -close intimacy lasted—sweet to me beyond the -sweetness of my whole life....</p> - -<p>“No ray of light pierced the gloom with which -my heart was enveloped by this grief, and wherever -I looked I beheld death. My native place was -a torment to me, and my father’s house strangely -joyless; and whatever I had shared with him, -without him was now turned into a huge torture. -My longing eyes sought him everywhere, and -found him not; and I hated the very places, because -he was not in them, neither could they say to -me ‘he is coming,’ as they used to do when he was<span class="pagenum"><a id="Page_101"></a>[101]</span> -alive and was absent. And I became a great puzzle -to myself, and I asked my soul why it was so sad, -and why so disquieted within me; and it knew not -what to answer. And if I said ‘Trust thou in God,’ -it rightly did not obey; for that dearest one whom -it had lost was both truer and better than that -phantasm in which it was bidden to trust. Weeping -was the only thing which was sweet to me, and it -succeeded my friend in the dearest place in my -heart.” <i>S. Augustine, Confessions</i>, bk. 4, ch. iv. -<i>Trans. by Rev. W. H. Hutchings, M.A.</i></p> - -</div> - -<div class="blockquote"> - -<p class="dropcap">“I was miserable, and miserable is every soul -which is fettered by the love of perishable -things; he is torn to pieces when he loses them, -and then he perceives how miserable he was in -reality while he possessed them. And so was I -then, and I wept most bitterly, and in that bitterness -I found rest. Thus was I miserable, and that -miserable life I held dearer than my friend. For -though I would fain have changed it, yet to it I -clung even more than to him; and I cannot say -whether I would have parted with it for his sake, -as it is related, if true, that Orestes and Pylades -were willing to do, for they would gladly have -died for each other, or together, for they preferred -death to separation from each other. But in me -a feeling which I cannot explain, and one of a<span class="pagenum"><a id="Page_102"></a>[102]</span> -contradictory nature had arisen; for I had at once an -unbearable weariness of living, and a fear of dying. -For I believe the more I loved him, the more -I hated and dreaded death which had taken him -from me, and regarded it as a most cruel enemy; -and I felt as if it would soon devour all men, now -that its power had reached him.... For I marvelled -that other mortals lived, because he whom -I had loved, without thought of his ever dying, -was dead; and that I still lived—I who was another -self—when he was gone, was a greater marvel -still. Well said a certain one of his friend, -‘Thou half of my soul;’ for I felt that his soul and -mine were ‘one soul in two bodies’: and therefore -life was to me horrible, because I hated to live as -half of a life; and therefore perhaps I feared to die, -lest he should wholly die whom I had loved so -greatly.” <i>Ibid</i>, ch. vi.</p> - -</div> - -<div class="sidenote"><i>Montalembert on the Monks</i></div> - -<div> -<img class="dropcap" src="images/dropcap-i.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">It is interesting to see, in these extracts -from S. Augustine, and in -those which follow from Montalembert, -the points of likeness and -difference between the Christian ideal of love and -that of Plato. Both are highly transcendental, both -seem to contemplate an inner union of souls, beyond<span class="pagenum"><a id="Page_103"></a>[103]</span> -the reach of space and time; but in Plato the -union is in contemplation of the Eternal Beauty, -while in the Christian teachers it is in devotion to a -personal God.</p> - -<div class="blockquote"> - -<p class="dropcap">“If inanimate nature was to them an abundant -source of pleasure they had a life still more -lively and elevated in the life of the heart, in the -double love which burned in them—the love of -their brethren inspired and consecrated by the -love of God.” <i>Monks of the West</i>, introdn., ch. v.</p> - -</div> - -<div class="blockquote"> - -<p class="dropcap">“Everything invited and encouraged them -to choose one or several souls as the intimate -companions of their life.... And to prove how -little the divine love, thus understood and practised, -tends to exclude or chill the love of man for -man, never was human eloquence more touching -or more sincere than in that immortal elegy by -which S. Bernard laments a lost brother snatched -by death from the cloister:—‘Flow, flow my tears, -so eager to flow! he who prevented your flowing -is here no more! It is not he who is dead, it is I who -now live only to die. Why, O why have we loved, -and why have we lost each other.’” <i>Ibid.</i></p> - -</div> - -<div class="blockquote"> - -<p class="dropcap">“The mutual affection which reigned among -the monks flowed as a mighty stream through<span class="pagenum"><a id="Page_104"></a>[104]</span> -the annals of the cloister. It has left its trace even -in the ‘formulas,’ collected with care by modern -erudition.... The correspondence of the most -illustrious, of Geoffrey de Vendôme, of Pierre le -Vénérable, and of S. Bernard, give proofs of it at -every page.” <i>Ibid.</i></p> - -</div> - -<div class="sidenote"><i>Saint Anselm</i></div> - -<div> -<img class="dropcap" src="images/dropcap-s.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">Saint Anselm’s letters to brother -monks are full of expressions of the -same ardent affection. Montalembert -gives several examples:—</p> - -<div class="blockquote"> - -<p class="dropcap">“Souls well-beloved of my soul,” he wrote to -two near relatives whom he wished to draw to -Bec, “my eyes ardently desire to behold you; my -arms expand to embrace you; my lips sigh for -your kisses; all the life that remains to me is consumed -with waiting for you. I hope in praying, -and I pray in hoping—come and taste how gracious -the Lord is—you cannot fully know it while -you find sweetness in the world.”</p> - -</div> - -<div class="sidenote"><i>To his Friend Lanfranc</i></div> - -<div class="blockquote"> - -<p class="dropcap">“‘Far from the eyes, far from the heart’ say the -vulgar. Believe nothing of it; if it was so, the -farther you were distant from me the cooler my -love for you would be; whilst on the contrary, -the less I can enjoy your presence, the more the -desire of that pleasure burns in the soul of your -friend.”</p> - -</div> - -<p><span class="pagenum"><a id="Page_105"></a>[105]</span></p> - -<div class="sidenote"><i>To Gondulph</i></div> - -<div class="blockquote"> - -<p class="dropcap">“To Gondulf, Anselm——I put no other or -longer salutations at the head of my letter, -because I can say nothing more to him whom -I love. All who know Gondulph and Anselm -know well what this means, and how much love is -understood in these two names.” ... “How could -I forget thee? Can a man forget one who is placed -like a seal upon his heart? In thy silence I know -that thou lovest me; and thou also, when I say nothing, -thou knowest that I love thee. Not only -have I no doubt of thee, but I answer for thee that -thou art sure of me. What can my letter tell thee -that thou knowest not already, thou who art my -second soul? Go into the secret place of thy heart, -look there at thy love for me, and thou shalt see -mine for thee.” ... “Thou knewest how much -I love thee, but I knew it not. He who has separated -us has alone instructed me how dear to me -thou wert. No, I knew not before the experience -of thy absence how sweet it was to have thee, how -bitter to have thee not. Thou hast another friend -whom thou hast loved as much or more than me to -console thee, but I have no longer thee!—thee! -thee! thou understandest? and nothing to replace -thee. Those who rejoice in the possession of thee -may perhaps be offended by what I say. Ah! let -them content themselves with their joy, and permit -me to weep for him whom I ever love.”</p> - -</div> - -<p><span class="pagenum"><a id="Page_106"></a>[106]</span></p> - -<div class="sidenote"><i>The Story of Amis and Amile</i></div> - -<div> -<img class="dropcap" src="images/dropcap-t.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">The story of Amis and Amile, a mediæval -legend, translated by William -Morris (as well as by Walter Pater) -from the <i>Bibliotheca Elzeviriana</i>, is -very quaint and engaging in its old-world extravagance -and supernaturalism:—</p> - -<div class="blockquote"> - -<p class="dropcap">Amis and Amile were devoted friends, twins -in resemblance and life. On one occasion, -having strayed apart, they ceased not to seek each -other for two whole years. And when at last they -met “they lighted down from their horses, and -embraced and kissed each other, and gave thanks -to God that they were found. And they swore -fealty and friendship and fellowship perpetual, -the one to the other, on the sword of Amile, -wherein were relics.” Thence they went together -to the court of “Charles, king of France.”</p> - -<p>Here soon after, Amis took Amile’s place in a -tournament, saved his life from a traitor, and won -for him the King’s daughter to wife. But so it happened -that, not long after, he himself was stricken -with leprosy and brought to Amile’s door. And -when Amile and his royal bride knew who it was -they were sore grieved, and they brought him in -and placed him on a fair bed, and put all that they<span class="pagenum"><a id="Page_107"></a>[107]</span> -had at his service. And it came to pass one night -“whenas Amis and Amile lay in one chamber -without other company, that God sent to Amis -Raphael his angel, who said to him: ‘Sleepest thou, -Amis?’ And he, who deemed that Amile had -called to him, answered: ‘I sleep not, fair sweet -fellow.’ Then the angel said to him: ‘Thou hast -answered well, for thou art the fellow of the citizens -of heaven, and thou hast followed after Job, -and Thoby in patience. Now I am Raphael, an -angel of our Lord, and am come to tell thee of a -medicine for thine healing, whereas he hath heard -thy prayers. Thou shalt tell to Amile thy fellow, -that he slay his two children and wash thee in their -blood, and thence thou shalt get the healing of -thy body.’”</p> - -<p>Amis was shocked when he heard these words, -and at first refused to tell Amile; but the latter -had also heard the angel’s voice, and pressed him -to tell. Then, when he knew, he too was sorely -grieved. But at last he determined in his mind not -even to spare his children for the sake of his friend, -and going secretly to their chamber he slew them, -and bringing some of their blood washed Amis—who -immediately was healed. He then arrayed -Amis in his best clothes and, after going to the -church to give thanks, they met Amile’s wife who<span class="pagenum"><a id="Page_108"></a>[108]</span> -(not knowing all) rejoiced greatly too. But Amile, -going apart again to the children’s chamber to -weep over them, found them at play in bed, with -only a thread of crimson round their throats to -mark what had been done!</p> - -<p>The two knights fell afterwards and were killed -in the same battle; “for even as God had joined -them together by good accord in their life-days, -so in their death they were not sundered.” And a -miracle was added, for even when they were -buried apart from each other the two coffins leapt -together in the night and were found side by side -in the morning.</p> - -</div> - -<p>Of this story Mr. Jacobs, in his introduction to -William Morris’ translation, says: “Amis and Amile -were the David and Jonathan, the Orestes and -Pylades, of the mediæval world.” There were some -thirty other versions of the legend “in almost all -the tongues of Western and Northern Europe”—their -“peerless friendship” having given them a -place among the mediæval saints. (See <i>Old French -Romances</i> trans. by William Morris, London, 1896.)</p> - -<p><span class="pagenum"><a id="Page_109"></a>[109]</span></p> - -<div class="sidenote"><i>Eastern Poets</i></div> - -<div> -<img class="dropcap" src="images/dropcap-i.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">It may not be out of place here, and -before passing on to the times of the -Renaissance and Modern Europe, to -give one or two extracts relating to -Eastern countries. The honour paid to friendship -in Persia, Arabia, Syria and other Oriental lands -has always been great, and the tradition of this -attachment there should be especially interesting to -us, as having arisen independently of classic or -Christian ideals. The poets of Persia, Saadi and -Jalal-ud-din Rumi (13th cent.), Hafiz (14th cent.), -Jami (15th cent.), and others, have drawn much of -their inspiration from this source; but unfortunately -for those who cannot read the originals, their -work has been scantily translated, and the translations -themselves are not always very reliable. -The extraordinary way in which, following the -method of the Sufis, and of Plato, they identify the -mortal and the divine love, and see in their beloved -an image or revelation of God himself, makes their -poems difficult of comprehension to the Western<span class="pagenum"><a id="Page_110"></a>[110]</span> -mind. Apostrophes to Love, Wine, and Beauty -often, with them, bear a frankly twofold sense, -material and spiritual. To these poets of the mid-region -of the earth, the bitter antagonism between -matter and spirit, which like an evil dream has -haunted so long both the extreme Western and the -extreme Eastern mind, scarcely exists; and even the -body “which is a portion of the dust-pit” has -become perfect and divine.</p> - -<div class="sidenote"><i>Jalal-ud-din Rumi</i></div> - -<div class="blockquote"> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0 dropcap">“Every form you see has its archetype in the placeless world....</div> - <div class="verse indent0">From the moment you came into the world of being</div> - <div class="verse indent0">A ladder was placed before you that you might escape (ascend).</div> - <div class="verse indent0">First you were mineral, later you turned to plant,</div> - <div class="verse indent0">Then you became an animal: how should this be a secret to you?</div> - <div class="verse indent0">Afterwards you were made man, with knowledge, reason, faith;</div> - <div class="verse indent0">Behold the body, which is a portion of the dust-pit, how perfect it has grown!</div> - <div class="verse indent0">When you have travelled on from man, you will doubtless become an angel;</div><span class="pagenum"><a id="Page_111"></a>[111]</span> - <div class="verse indent0">After that you are done with earth: your station is in heaven.</div> - <div class="verse indent0">Pass again even from angelhood: enter that ocean,</div> - <div class="verse indent0">That your drop may become a sea which is a hundred seas of ‘Oman.’”</div> - </div> - <div class="stanza"> - <div class="verse right"><i>From the Divani Shamsi Tabriz of Jalal-ud-din<br />Rumi, trans. by R. A. Nicholson.</i></div> - </div> -</div> -</div> - -</div> - -<div class="blockquote"> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0 dropcap">“’Twere better that the spirit which wears not true love as a garment</div> - <div class="verse indent0">Had not been: its being is but shame.</div> - <div class="verse indent0">Be drunken in love, for love is all that exists....</div> - <div class="verse indent0">Dismiss cares and be utterly clear of heart,</div> - <div class="verse indent0">Like the face of a mirror, without image or picture.</div> - <div class="verse indent0">When it becomes clear of images, all images are contained in it.”</div> - </div> - <div class="stanza"> - <div class="verse right"><i>Ibid.</i></div> - </div> -</div> -</div> - -</div> - -<div class="blockquote"> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0 dropcap">“Happy the moment when we are seated in the palace, thou and I,</div> - <div class="verse indent0">With two forms and with two figures, but with one soul, thou and I.”</div> - </div> - <div class="stanza"> - <div class="verse right"><i>Ibid.</i></div> - </div> -</div> -</div> - -</div> - -<div class="blockquote"> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0 dropcap">“Once a man came and knocked at the door of his friend.</div> - <div class="verse indent0">His friend said, ‘Who art thou, O faithful one?’</div> - <div class="verse indent0">He said, ‘’Tis I.’ He answered, ‘There is no admittance.</div><span class="pagenum"><a id="Page_112"></a>[112]</span> - <div class="verse indent0">There is no room for the raw at my well-cooked feast.</div> - <div class="verse indent0">Naught but fire of separation and absence</div> - <div class="verse indent0">Can cook the raw one and free him from hypocrisy!</div> - <div class="verse indent0">Since thy <i>self</i> has not yet left thee,</div> - <div class="verse indent0">Thou must be burned in fiery flames.’</div> - <div class="verse indent0">The poor man went away, and for one whole year</div> - <div class="verse indent0">Journeyed burning with grief for his friend’s absence.</div> - <div class="verse indent0">His heart burned till it was cooked; then he went again</div> - <div class="verse indent0">And drew near to the house of his friend.</div> - <div class="verse indent0">He knocked at the door in fear and trepidation</div> - <div class="verse indent0">Lest some careless word should fall from his lips.</div> - <div class="verse indent0">His friend shouted, ‘Who is that at the door?’</div> - <div class="verse indent0">He answered, ‘’Tis thou who art at the door, O beloved!’</div> - <div class="verse indent0">The friend said, ‘Since ’tis I, let me come in,</div> - <div class="verse indent0">There is not room for two I’s in one house.’”</div> - </div> - <div class="stanza"> - <div class="verse right"><i>From the Masnavi of Jalal-ud-din<br />Rumi, trans, by E. H. Whinfield.</i></div> - </div> -</div> -</div> - -</div> - -<div class="sidenote"><i>Hafiz and Saadi</i></div> - -<div> -<img class="dropcap" src="images/dropcap-s.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">Some short quotations here following -are taken from <i>Flowers culled from -Persian Gardens</i> (Manchester, 1872):</p> - -<div class="blockquote"> - -<p class="dropcap">“Everyone, whether he be -abstemious or self-indulgent<span class="pagenum"><a id="Page_113"></a>[113]</span> -is searching after the Friend. Every place may be -the abode of love, whether it be a mosque or a synagogue.... -On thy last day, though the cup be in -thy hand, thou may’st be borne away to Paradise -even from the corner of the tavern.” <i>Hafiz</i>.</p> - -</div> - -<div class="blockquote"> - -<p class="dropcap">“I have heard a sweet word which was spoken -by the old man of Canaan (Jacob)—‘No -tongue can express what means the separation of -friends.’” <i>Hafiz</i>.</p> - -</div> - -<div class="blockquote"> - -<p class="dropcap">“Neither of my own free will cast I myself -into the fire; for the chain of affection was -laid upon my neck. I was still at a distance when -the fire began to glow, nor is this the moment that -it was lighted up within me. Who shall impute it -to me as a fault, that I am enchanted by my friend, -that I am content in casting myself at his feet?” -<i>Saadi</i>.</p> - -</div> - -<p>Hahn in his <i>Albanesische Studien</i>, already quoted -(p. 20), gives some of the verses of Neçin or Nesim -Bey, a Turco-Albanian poet, of which the following -is an example:—</p> - -<div class="blockquote"> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0 dropcap">“Whate’er, my friend, or false or true,</div> - <div class="verse indent2">The world may tell thee, give no ear,</div> - <div class="verse indent2">For to separate us, dear,</div> - <div class="verse indent0">The world will say that one is two.</div><span class="pagenum"><a id="Page_114"></a>[114]</span> - <div class="verse indent0">Who should seek to separate us</div> - <div class="verse indent2">May he never cease to weep.</div> - <div class="verse indent0">The rain at times may cease; but he</div> - <div class="verse indent2">In Summer’s warmth or Winter’s sleep</div> - <div class="verse indent2">May he never cease to weep.”</div> - </div> -</div> -</div> - -</div> - -<div> -<img class="dropcap" src="images/dropcap-b.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">Besides literature there is no doubt a -vast amount of material embedded in -the customs and traditions of these -countries and awaiting adequate recognition -and interpretation. The following quotations -may afford some glimpses of interest.</p> - -<div class="sidenote"><i>Suleyman and Ibrahim</i></div> - -<p>Suleyman the Magnificent.—The story of Suleyman’s -attachment to his Vezir Ibrahim is told as -follows by Stanley Lane-Poole:—</p> - -<div class="blockquote"> - -<p class="dropcap">“Suleyman, great as he was, shared his greatness -with a second mind, to which his reign -owed much of its brilliance. The Grand Vezir -Ibrahim was the counterpart of the Grand Monarch -Suleyman. He was the son of a sailor at Parga, -and had been captured by corsairs, by whom he -was sold to be the slave of a widow at Magnesia. -Here he passed into the hands of the young prince -Suleyman, then Governor of Magnesia, and soon -his extraordinary talents and address brought him -promotion.... From being Grand Falconer on the<span class="pagenum"><a id="Page_115"></a>[115]</span> -accession of Suleyman, he rose to be first minister -and almost co-Sultan in 1523.</p> - -<p>“He was the object of the Sultan’s tender regard: -an emperor knows better than most men how solitary -is life without friendship and love, and Suleyman -loved this man more than a brother. Ibrahim -was not only a friend, he was an entertaining and -instructive companion. He read Persian, Greek -and Italian; he knew how to open unknown worlds -to the Sultan’s mind, and Suleyman drank in his -Vezir’s wisdom with assiduity. They lived together: -their meals were shared in common; even -their beds were in the same room. The Sultan gave -his sister in marriage to the sailor’s son, and Ibrahim -was at the summit of power.” <i>Turkey, Story of -Nations series</i>, p. 174.</p> - -</div> - -<div class="sidenote"><i>Story of a Bagdad Dervish</i></div> - -<div> -<img class="dropcap" src="images/dropcap-j.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">J. S. Buckingham, in his <i>Travels -in Assyria, Media and Persia</i>, speaking -of his guide whom he had engaged at -Bagdad, and who was supposed to -have left his heart behind him in that city, says:—</p> - -<div class="blockquote"> - -<p class="dropcap">“Amidst all this I was at a loss to conceive -how the Dervish could find much enjoyment -[in the expedition] while laboring under the strong -passion which I supposed he must then be feeling<span class="pagenum"><a id="Page_116"></a>[116]</span> -for the object of his affections at Bagdad, whom he -had quitted with so much reluctance. What was -my surprise however on seeking an explanation of -this seeming inconsistency, to find it was the son, -and not the daughter, of his friend Elias who held -so powerful a hold on his heart. I shrank back from -the confession as a man would recoil from a serpent -on which he had unexpectedly trodden ... -but in answer to enquiries naturally suggested by -the subject he declared he would rather suffer -death than do the slightest harm to so pure, so -innocent, so heavenly a creature as this....</p> - -<p>“I took the greatest pains to ascertain by a severe -and minute investigation, how far it might be possible -to doubt of the purity of the passion by which -this Affgan Dervish was possessed, and whether -it deserved to be classed with that described as prevailing -among the ancient Greeks; and the result -fully satisfied me that both were the same. Ismael -was however surprised beyond measure when I assured -him that such a feeling was not known at all -among the peoples of Europe.” <i>Travels, &c.</i>, 2nd -edition, vol. 1, p. 159.</p> - -</div> - -<div class="sidenote"><i>Another Story</i></div> - -<div class="blockquote"> - -<p class="dropcap">“The Dervish added a striking instance of the -force of these attachments, and the sympathy -which was felt in the sorrows to which they led, by -the following fact from his own history. The place<span class="pagenum"><a id="Page_117"></a>[117]</span> -of his residence, and of his usual labour, was near -the bridge of the Tigris, at the gate of the Mosque -of the Vizier. While he sat here, about five or six -years since, surrounded by several of his friends -who came often to enjoy his conversation and -beguile the tedium of his work, he observed, passing -among the crowd, a young and beautiful -Turkish boy, whose eyes met his, as if by destiny, -and they remained fixedly gazing on each other for -some time. The boy, after ‘blushing like the first -hue of a summer morning,’ passed on, frequently -turning back to look on the person who had regarded -him so ardently. The Dervish felt his heart -‘revolve within him,’ for such was his expression, -and a cold sweat came across his brow. He hung -his head upon his graving-tool in dejection, and excused -himself to those about him by saying he felt -suddenly ill. Shortly afterwards the boy returned, -and after walking to and fro several times, drawing -nearer and nearer, as if under the influence of some -attracting charm, he came up to his observer and -said, ‘Is it really true, then, that you love me?’ -‘This,’ said Ismael, ‘was a dagger in my heart; -I could make no reply.’ The friends who were near -him, and now saw all explained, asked him if there -had been any previous acquaintance existing between -them. He assured them that they had never<span class="pagenum"><a id="Page_118"></a>[118]</span> -seen each other before. ‘Then,’ they replied, ‘such -an event must be from God.’</p> - -<p>“The boy continued to remain for a while with -this party, told with great frankness the name and -rank of his parents, as well as the place of his residence, -and promised to repeat his visit on the following -day. He did this regularly for several -months in succession, sitting for hours by the -Dervish, and either singing to him or asking him -interesting questions, to beguile his labours, until -as Ismael expressed himself, ‘though they were -still two bodies they became one soul.’ The youth -at length fell sick, and was confined to his bed, -during which time his lover, Ismael, discontinued -entirely his usual occupations and abandoned himself -completely to the care of his beloved. He -watched the changes of his disease with more than -the anxiety of a parent, and never quitted his bedside, -night or day. Death at length separated them; -but even when the stroke came the Dervish could -not be prevailed on to quit the corpse. He constantly -visited the grave that contained the remains -of all he held dear on earth, and planting -myrtles and flowers there after the manner of the -East, bedewed them daily with his tears. His -friends sympathised powerfully in his distress, -which he said ‘continued to feed his grief’ until he<span class="pagenum"><a id="Page_119"></a>[119]</span> -pined away to absolute illness, and was near following -the fate of him whom he deplored.” <i>Ibid</i>, p. 160.</p> - -</div> - -<div class="sidenote"><i>Explanation</i></div> - -<div class="blockquote"> - -<p class="dropcap">“From all this, added to many other examples -of a similar kind, related as happening between -persons who had often been pointed out to -me in Arabia and Persia, I could no longer doubt -the existence in the East of an affection for male -youths, of as pure and honorable a kind as that -which is felt in Europe for those of the other -sex ... and it would be as unjust to suppose that -this necessarily implied impurity of desire as to -contend that no one could admire a lovely countenance -and a beautiful form in the other sex, and -still be inspired with sentiments of the most pure -and honorable nature towards the object of his -admiration.” <i>Ibid</i>, p. 163.</p> - -</div> - -<div class="blockquote"> - -<p class="dropcap">“One powerful reason why this passion may -exist in the East, while it is quite unknown -in the West, is probably the seclusion of women in -the former, and the freedom of access to them in -the latter.... Had they [the Asiatics] the unrestrained -intercourse which we enjoy with such superior -beings as the virtuous and accomplished -females of our own country they would find nothing -in nature so deserving of their love as -these.” <i>Ibid</i>, p. 165.</p> - -</div> - -<p><span class="pagenum"><a id="Page_120"></a>[120]</span></p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_121"></a>[121]</span></p> - -<h2 class="nobreak" id="V">V.<br /> -<span class="smaller"><i>The Renaissance and Modern Times</i></span></h2> - -</div> - -<p><span class="pagenum"><a id="Page_122"></a>[122]</span></p> - -<hr class="chap x-ebookmaker-drop" /> - -<p><span class="pagenum"><a id="Page_123"></a>[123]</span></p> - -<h3 class="nobreak"><i>The Renaissance and Modern Times</i></h3> - -<div class="sidenote"><i>Montaigne and Stephen de la Boëtie</i></div> - -<div> -<img class="dropcap" src="images/dropcap-w.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">With the Renaissance, and the impetus -it gave at that time to the study -of Greek and Roman models, the -exclusive domination of Christianity -and the Church was broken. A literature of -friendship along classic lines began to spring up. -Montaigne (b. 1533) was saturated with classic -learning. His essays were doubtless largely formed -upon the model of Plutarch. His friendship with -Stephen de la Boëtie was evidently of a romantic -and absorbing character. It is referred to in the following -passage by William Hazlitt; and the description -of it occupies a large part of Montaigne’s -Essay on Friendship.</p> - -<p><span class="pagenum"><a id="Page_124"></a>[124]</span></p> - -<div class="blockquote"> - -<p class="dropcap">“The most important event of his counsellor’s -life at Bordeaux was the friendship which he -there formed with Stephen de la Boëtie, an affection -which makes a streak of light in modern biography -almost as beautiful as that left us by Lord -Brook and Sir Philip Sydney. Our essayist and his -friend esteemed, before they saw, each other. La -Boëtie had written a little work<a id="FNanchor_8" href="#Footnote_8" class="fnanchor">[8]</a> in which Montaigne -recognised sentiments congenial with his -own, and which indeed bespeak a soul formed in -the mould of classic times. Of Montaigne, la -Boëtie had also heard accounts, which made him -eager to behold him, and at length they met at -a large entertainment given by one of the magistrates -of Bordeaux. They saw and loved, and were -thenceforward all in all to each other. The picture -that Montaigne in his essays draws of this friendship -is in the highest degree beautiful and touching; -nor does la Boëtie’s idea of what is due to this -sacred bond betwixt soul and soul fall far short of -the grand perception which filled the exalted mind -of his friend.... Montaigne married at the age of -33, but, as he informs us, not of his own wish or -choice. ‘Might I have had my wish,’ says he, -‘I would not have married Wisdom herself if she -would have had me.’” <i>Life of Montaigne</i>, <i>by Wm. -Hazlitt</i>.</p> - -</div> - -<p><span class="pagenum"><a id="Page_125"></a>[125]</span></p> - -<div class="sidenote"><i>Montaigne on Friendship</i></div> - -<p>The following is from Montaigne’s Essay, bk. 1, -ch. xxvii:—</p> - -<div class="blockquote"> - -<p class="dropcap">“As to marriage, besides that it is a covenant, -the <i>making</i> of which is only free, but the continuance -in it forced and compelled, having another -dependence than that of our own free will, -and a bargain moreover commonly contracted to -other ends, there happen a thousand intricacies in -it to unravel, enough to break the thread, and to -divert the current, of a lively affection: whereas -friendship has no manner of business or traffic with -anything but itself.... For the rest, what we commonly -call friends and friendships are nothing but -an acquaintance and connection, contracted either -by accident or upon some design, by means of -which there happens some little intercourse betwixt -our souls: but, in the friendship I speak of, -they mingle and melt into one piece, with so -universal a mixture that there is left no more sign -of the seam by which they were first conjoined. If -any one should importune me to give a reason -why I loved him [Stephen de la Boëtie] I feel it -could no otherwise be expressed than by making -answer, ‘Because it was he; because it was I.’ -There is, beyond what I am able to say, I know -not what inexplicable and inevitable power that -brought on this union. We sought one another<span class="pagenum"><a id="Page_126"></a>[126]</span> -long before we met, and from the characters we -heard of one another, which wrought more upon -our affections than in reason mere reports should -do, and, as I think, by some secret appointment of -heaven; we embraced each other in our names; -and at our first meeting, which was accidentally at -a great city entertainment, we found ourselves so -mutually pleased with one another—we became -at once mutually so endeared—that thenceforward -nothing was so near to us as one another....</p> - -<p>“Common friendships will admit of division, -one may love the beauty of this, the good humour -of that person, the liberality of a third, the paternal -affection of a fourth, the fraternal love of a fifth, -and so on. But this friendship that possesses the -whole soul, and there rules and sways with an absolute -sovereignty, can admit of no rival.... In -good earnest, if I compare all the rest of my life -with the four years I had the happiness to enjoy -the sweet society of this excellent man, ’tis nothing -but smoke, but an obscure and tedious night. -From the day that I lost him I have only led a sorrowful -and languishing life; and the very pleasures -that present themselves to me, instead of -administering anything of consolation, double my -affliction for his loss. We were halves throughout, -and to that degree that, methinks, by outliving -him I defraud him of his part.”</p> - -</div> - -<p><span class="pagenum"><a id="Page_127"></a>[127]</span></p> - -<div class="sidenote"><i>Sidney, Greville and Dyer</i></div> - -<div> -<img class="dropcap" src="images/dropcap-p.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">Philip Sidney, born 1554, was -remarkable for his strong personal -attachments. Chief among his allies -were his school-mate and distant relative, -Fulke Greville (born in the same year as himself), -and his college friend Edward Dyer (also -about his own age). He wrote youthful verses to -both of them. The following, according to the -fashion of the age, are in the form of an invocation -to the pastoral god Pan:—</p> - -<div class="blockquote"> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0 dropcap">“Only for my two loves’ sake,</div> - <div class="verse indent0">In whose love I pleasure take;</div> - <div class="verse indent0">Only two do me delight</div> - <div class="verse indent0">With their ever-pleasing sight;</div> - <div class="verse indent0">Of all men to thee retaining</div> - <div class="verse indent0">Grant me with these two remaining.”</div> - </div> -</div> -</div> - -</div> - -<div class="sidenote"><i>Philip Sidney and Hubert Languet</i></div> - -<p>An interesting friendship existed also between Sidney -and the well-known French Protestant, Hubert -Languet—many years his senior—whose conversation -and correspondence helped much in the formation -of Sidney’s character. These two had shared<span class="pagenum"><a id="Page_128"></a>[128]</span> -together the perils of the massacre of S. Bartholomew, -and had both escaped from France across the -Rhine to Germany, where they lived in close intimacy -at Frankfort for a length of time; and after -this a warm friendship and steady correspondence—varied -by occasional meetings—continued between -the two until Languet’s death. Languet had been -Professor of Civil Law at Padua, and from 1550 forwards -was recognised as one of the leading political -agents of the Protestant Powers.</p> - -<div class="blockquote"> - -<p class="dropcap">“The elder man immediately discerned in Sidney -a youth of no common quality, and the -attachment he conceived for him savoured of romance. -We possess a long series of Latin letters -from Languet to his friend, which breathe the tenderest -spirit of affection, mingled with wise counsel -and ever watchful thought for the young man’s -higher interests.... There must have been something -inexplicably attractive in his [Sidney’s] -person and his genius at this time; for the tone of -Languet’s correspondence can only be matched -by that of Shakespeare in the sonnets written for -his unknown friend.” <i>Sir Philip Sidney</i>, <i>English -Men of Letters Series</i>, pp. 27, 28.</p> - -</div> - -<p><span class="pagenum"><a id="Page_129"></a>[129]</span></p> - -<p>Of this relation Fox Bourne says:—</p> - -<div class="blockquote"> - -<p class="dropcap">“No love-oppressed youth can write with more -earnest passion and more fond solicitude, -or can be troubled with more frequent fears and -more causeless jealousies, than Languet, at this -time 55 years old, shows in his letters to Sidney, -now 19.”</p> - -</div> - -<div class="sidenote"><i>Giordano Bruno</i></div> - -<div> -<img class="dropcap" src="images/dropcap-i.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">It may be appropriate here to introduce -two or three sonnets from -Michel Angelo (b. 1475). Michel -Angelo, one of the greatest, perhaps -the greatest, artist of the Italian Renaissance, was -deeply imbued with the Greek spirit. His conception -of Love was close along the line of Plato’s. For -him the body was the symbol, the expression, the -dwelling place of some divine beauty. The body -may be loved, but it should only be loved <i>as</i> a symbol, -not for itself. Diotima in the <i>Symposium</i> had said -that in our mortal loves we first come to recognise -(dimly) the divine form of beauty which is Eternal. -Maximus Tyrius (Dissert. xxvi. 8) commenting on -this, confirms it, saying that nowhere else but in the<span class="pagenum"><a id="Page_130"></a>[130]</span> -human form, “the loveliest and most intelligent of -bodily creatures,” does the light of divine beauty -shine so clear. Michel Angelo carried on the conception, -gave it noble expression, and held to it -firmly in the midst of a society which was certainly -willing enough to love the body (or try to love it) -merely for its own sake. And Giordano Bruno -(b. 1550) at a later date wrote as follows:—</p> - -<div class="blockquote"> - -<p class="dropcap">“All the loves—if they be heroic and not -purely animal, or what is called natural, and -slaves to generation as instruments in some way -of nature—have for object the divinity, and tend -towards divine beauty, which first is communicated to, -and shines in, souls, and from them or -rather through them is communicated to bodies; -whence it is that well-ordered affection loves the -body or corporeal beauty, insomuch as it is an indication -of beauty of spirit.” <i>Gli Eroici Furori</i> (dial. -iii. 13), <i>trans. L. Williams</i>.</p> - -</div> - -<div class="sidenote"><i>Michel Angelo’s Sonnets</i></div> - -<div> -<img class="dropcap" src="images/dropcap-t.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">The labours of Von Scheffler and -others have now pretty conclusively -established that the love-poems of -Michel Angelo were for the most<span class="pagenum"><a id="Page_131"></a>[131]</span> -part written to male friends—though this fact was -disguised by the pious frauds of his nephew, who -edited them in the first instance. Following are -three of his sonnets, translated by J. A. Symonds. -It will be seen that the last line of the first contains -a play on the name of his friend:—</p> - -<div class="blockquote"> - -<p class="center"><i>To Tommaso de’ Cavalieri:</i></p> - -<p class="center">A CHE PIU DEBB’IO.</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0 dropcap">“Why should I seek to ease intense desire</div> - <div class="verse indent2">With still more tears and windy words of grief,</div> - <div class="verse indent2">When heaven, or late or soon, sends no relief</div> - <div class="verse indent2">To souls whom love hath robed around with fire.</div> - </div> - <div class="stanza"> - <div class="verse indent0">Why need my aching heart to death aspire,</div> - <div class="verse indent2">When all must die? Nay death beyond belief</div> - <div class="verse indent2">Unto these eyes would be both sweet and brief,</div> - <div class="verse indent2">Since in my sum of woes all joys expire!</div> - </div> - <div class="stanza"> - <div class="verse indent0">Therefore because I cannot shun the blow</div> - <div class="verse indent2">I rather seek, say who must rule my breast,</div> - <div class="verse indent2">Gliding between her gladness and her woe?</div> - <div class="verse indent0">If only chains and bands can make me blest,</div> - <div class="verse indent2">No marvel if alone and bare I go</div> - <div class="verse indent2">An armèd Knight’s captive and slave confessed.”</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_132"></a>[132]</span></p> - -<p class="center">NON VIDER GLI OCCHI MIEI.</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0 dropcap">“No mortal thing enthralled these longing eyes</div> - <div class="verse indent2">When perfect peace in thy fair face I found;</div> - <div class="verse indent2">But far within, where all is holy ground,</div> - <div class="verse indent2">My soul felt Love, her comrade of the skies:</div> - <div class="verse indent0">For she was born with God in Paradise;</div> - <div class="verse indent2">Nor all the shows of beauty shed around</div> - <div class="verse indent2">This fair false world her wings to earth have bound;</div> - <div class="verse indent2">Unto the Love of Loves aloft she flies.</div> - </div> - <div class="stanza"> - <div class="verse indent0">Nay, things that suffer death quench not the fire</div> - <div class="verse indent2">Of deathless spirits; nor eternity</div> - <div class="verse indent2">Serves sordid Time, that withers all things rare.</div> - <div class="verse indent0">Not love but lawless impulse is desire:</div> - <div class="verse indent2">That slays the soul; our love makes still more fair</div> - <div class="verse indent2">Our friends on earth, fairer in death on high.”</div> - </div> -</div> -</div> - -<p class="center">VEGGIO NEL TUO BEL VISO.</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0 dropcap">“From thy fair face I learn, O my loved lord,</div> - <div class="verse indent2">That which no mortal tongue can rightly say;</div> - <div class="verse indent2">The soul imprisoned in her house of clay,</div> - <div class="verse indent2">Holpen by thee to God hath often soared:</div> - <div class="verse indent0">And tho’ the vulgar, vain, malignant horde</div> - <div class="verse indent2">Attribute what their grosser wills obey,</div> - <div class="verse indent2">Yet shall this fervent homage that I pay,</div> - <div class="verse indent2">This love, this faith, pure joys for us afford.</div><span class="pagenum"><a id="Page_133"></a>[133]</span> - <div class="verse indent0">Lo, all the lovely things we find on earth,</div> - <div class="verse indent2">Resemble for the soul that rightly sees,</div> - <div class="verse indent2">That source of bliss divine which gave us birth:</div> - <div class="verse indent0">Nor have we first fruits or remembrances</div> - <div class="verse indent2">Of heaven elsewhere. Thus, loving loyally,</div> - <div class="verse indent2">I rise to God and make death sweet by thee.”</div> - </div> -</div> -</div> -</div> - -<div class="sidenote"><i>Richard Barnfield</i></div> - -<div> -<img class="dropcap" src="images/dropcap-r.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">Richard Barnfield, one of the -Elizabethan singers (b. 1574) wrote -a long poem, dedicated to “The -Ladie Penelope Rich” and entitled -“The Affectionate Shepheard,” which he describes -as “an imitation of Virgil in the 2nd Eclogue, of -Alexis.” I quote the first two stanzas:—</p> - -<div class="blockquote"> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse center">I.</div> - <div class="verse indent0 dropcap">“Scarce had the morning starre hid from the light</div> - <div class="verse indent0">Heaven’s crimson Canopie with stars bespangled,</div> - <div class="verse indent0">But I began to rue th’ unhappy sight</div> - <div class="verse indent0">Of that fair boy that had my heart intangled;</div> - <div class="verse indent2">Cursing the Time, the Place, the sense, the sin;</div> - <div class="verse indent2">I came, I saw, I view’d, I slippèd in.</div><span class="pagenum"><a id="Page_134"></a>[134]</span> - </div> - <div class="stanza"> - <div class="verse center">II.</div> - <div class="verse indent0">If it be sin to love a sweet-fac’d Boy,</div> - <div class="verse indent0">(Whose amber locks trust up in golden tramels</div> - <div class="verse indent0">Dangle adown his lovely cheekes with joye</div> - <div class="verse indent0">When pearle and flowers his faire haire enamels)</div> - <div class="verse indent2">If it be sin to love a lovely Lad,</div> - <div class="verse indent2">Oh then sinne I, for whom my soule is sad.”</div> - </div> -</div> -</div> - -</div> - -<div class="sidenote"><i>Barnfield’s Sonnets</i></div> - -<p>These stanzas, and the following three sonnets -(also by Barnfield) from a series addressed to a -youth, give a fair sample of a considerable class of -Elizabethan verses, in which classic conceits were -mingled with a certain amount of real feeling:—</p> - -<div class="blockquote"> - -<p class="center"><span class="smcap">Sonnet IV.</span></p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0 dropcap">“Two stars there are in one fair firmament</div> - <div class="verse indent2">(Of some intitled Ganymede’s sweet face)</div> - <div class="verse indent2">Which other stars in brightness do disgrace,</div> - <div class="verse indent0">As much as Po in cleanness passeth Trent.</div> - <div class="verse indent0">Nor are they common-natur’d stars; for why,</div> - <div class="verse indent2">These stars when other shine vaile their pure light,</div> - <div class="verse indent2">And when all other vanish out of sight</div> - <div class="verse indent0">They add a glory to the world’s great eie:</div><span class="pagenum"><a id="Page_135"></a>[135]</span> - <div class="verse indent0">By these two stars my life is only led,</div> - <div class="verse indent2">In them I place my joy, in them my pleasure,</div> - <div class="verse indent2">Love’s piercing darts and Nature’s precious treasure,</div> - <div class="verse indent0">With their sweet food my fainting soul is fed:</div> - <div class="verse indent2">Then when my sunne is absent from my sight</div> - <div class="verse indent2">How can it chuse (with me) but be darke night?”</div> - </div> -</div> -</div> - -<p class="center"><span class="smcap">Sonnet XVIII.</span></p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0 dropcap">“Not Megabetes, nor Cleonymus</div> - <div class="verse indent2">(Of whom great Plutarch makes such mention,</div> - <div class="verse indent2">Praysing their faire with rare invention),</div> - <div class="verse indent0">As Ganymede were halfe so beauteous.</div> - <div class="verse indent0">They onely pleased the eies of two great kings,</div> - <div class="verse indent2">But all the world at my love stands amazed,</div> - <div class="verse indent2">Nor one that on his angel’s face hath gazed,</div> - <div class="verse indent0">But (ravisht with delight) him presents bring:</div> - </div> - <div class="stanza"> - <div class="verse indent0">Some weaning lambs, and some a suckling kyd,</div> - <div class="verse indent2">Some nuts, and fil-beards, others peares and plums;</div> - <div class="verse indent2">Another with a milk-white heyfar comes;</div> - <div class="verse indent0">As lately Ægon’s man (Damœtas) did;</div> - <div class="verse indent2">But neither he nor all the Nymphs beside,</div> - <div class="verse indent2">Can win my Ganymede with them t’ abide.”</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_136"></a>[136]</span></p> - -<p class="center"><span class="smcap">Sonnet XIX.</span></p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0 dropcap">“Ah no; nor I my selfe: tho’ my pure love</div> - <div class="verse indent2">(Sweete Ganymede) to thee hath still been pure,</div> - <div class="verse indent2">And ev’n till my last gaspe shall aie endure,</div> - <div class="verse indent0">Could ever thy obdurate beuty move:</div> - <div class="verse indent0">Then cease, oh goddesse sonne (for sure thou art</div> - <div class="verse indent2">A Goddesse sonne that can resist desire),</div> - <div class="verse indent2">Cease thy hard heart, and entertain love’s fire</div> - <div class="verse indent0">Within thy sacred breast: by Nature’s art.</div> - </div> - <div class="stanza"> - <div class="verse indent0">And as I love thee more than any Creature</div> - <div class="verse indent2">(Love thee, because thy beautie is divine,</div> - <div class="verse indent2">Love thee, because my selfe, my soule, is thine:</div> - <div class="verse indent0">Wholie devoted to thy lovely feature),</div> - <div class="verse indent2">Even so of all the vowels, I and U</div> - <div class="verse indent2">Are dearest unto me, as doth ensue.”</div> - </div> -</div> -</div> -</div> - -<div class="sidenote"><i>Francis Bacon on Friendship</i></div> - -<div> -<img class="dropcap" src="images/dropcap-f.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">Francis Bacon’s essay <i>Of friendship</i> -is known to everybody. Notwithstanding -the somewhat cold and -pragmatic style and genius of the -author, the subject seems to inspire him with a -certain enthusiasm; and some good things are said.</p> - -<p><span class="pagenum"><a id="Page_137"></a>[137]</span></p> - -<div class="blockquote"> - -<p class="dropcap">“But we may go farther and affirm most truly -that it is a mere and miserable solitude to want -true friends, without which the world is but a -wilderness; and even in this scene also of solitude, -whosoever in the frame of his nature and affections -is unfit for friendship, he taketh it of the -beast, and not from humanity. A principal fruit of -friendship is the ease and discharge of the fulness -of the heart, which passions of all kinds do cause -and induce. We know diseases of stoppings and -suffocations are the most dangerous in the body; -and it is not much otherwise in the mind: you may -take sarza to open the liver, steel to open the -spleen, flower of sulphur for the lungs, castoreum -for the brain; but no receipt openeth the heart -but a true friend, to whom you may impart griefs, -joys, fears, hopes, suspicions, counsels, and whatsoever -lieth upon the heart to oppress it, in a kind -of civil shrift or confession....</p> - -<p>“Certainly if a man would give it a hard phrase, -those that want friends to open themselves unto, -are cannibals of their own hearts; but one thing is -most admirable (wherewith I will conclude this -first fruit of friendship) which is, that this communicating -of a man’s self to his friend worketh -two contrary effects, for it redoubleth joys, and -cutteth griefs in halfs; for there is no man that imparteth<span class="pagenum"><a id="Page_138"></a>[138]</span> -his joys to his friend, but he joyeth the -more, and no man that imparteth his griefs to his -friend, but he grieveth the less.” Essay 27, <i>Of -friendship</i>.</p> - -</div> - -<div class="sidenote"><i>Shakespeare’s Sonnets</i></div> - -<div> -<img class="dropcap" src="images/dropcap-s.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">Shakespeare’s sonnets have been -much discussed, and surprise and even -doubt have been expressed as to their -having been addressed (the first 126 -of them) to a man friend; but no one who reads -them with open mind can well doubt this conclusion; -nor be surprised at it, who knows anything -of Elizabethan life and literature. “Were it not for -the fact,” says F. T. Furnivall, “that many critics -really deserving the name of Shakespeare students, -and not Shakespeare fools, have held the Sonnets to -be merely dramatic, I could not have conceived that -poems so intensely and evidently autobiographic -and self-revealing, poems so one with the spirit and -inner meaning of Shakespeare’s growth and life, -could ever have been conceived to be other than -what they are—the records of his own loves and -fears.”</p> - -<p><span class="pagenum"><a id="Page_139"></a>[139]</span></p> - -<div class="blockquote"> - -<p class="center"><span class="smcap">Sonnet XVIII.</span></p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0 dropcap">“Shall I compare thee to a summer’s day?</div> - <div class="verse indent0">Thou art more lovely and more temperate:</div> - <div class="verse indent0">Rough winds do shake the darling buds of May,</div> - <div class="verse indent0">And summer’s lease hath all too short a date.</div> - <div class="verse indent0">Some time too hot the eye of heaven shines,</div> - <div class="verse indent0">And often is his gold complexion dimmed;</div> - <div class="verse indent0">And every fair from fair sometime declines,</div> - <div class="verse indent0">By chance, or nature’s changing course, untrimmed;</div> - <div class="verse indent0">But thy eternal summer shall not fade,</div> - <div class="verse indent0">Nor lose possession of that fair thou owest;</div> - <div class="verse indent0">Nor shall death brag thou wander’st in his shade,</div> - <div class="verse indent0">When in eternal lines to time thou growest.</div> - <div class="verse indent2">So long as men can breathe, or eyes can see,</div> - <div class="verse indent2">So long lives this, and this gives life to thee.”</div> - </div> -</div> -</div> - -<p class="center"><span class="smcap">Sonnet XX.</span></p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0 dropcap">“A woman’s face, with Nature’s own hand painted,</div> - <div class="verse indent0">Hast thou, the master-mistress of my passion;</div> - <div class="verse indent0">A woman’s gentle heart, but not acquainted</div> - <div class="verse indent0">With shifting change, as is false women’s fashion;</div> - <div class="verse indent0">An eye more bright than theirs, less false in rolling,</div> - <div class="verse indent0">Gilding the object whereupon it gazeth;</div> - <div class="verse indent0">A man in hue, all hues in his controlling,</div> - <div class="verse indent0">Which steals men’s eyes, and women’s souls amazeth;</div><span class="pagenum"><a id="Page_140"></a>[140]</span> - <div class="verse indent0">And for a woman wert thou first created;</div> - <div class="verse indent0">Till Nature, as she wrought thee, fell a-doting,</div> - <div class="verse indent0">And by addition me of thee defeated,</div> - <div class="verse indent0">By adding one thing to my purpose nothing.</div> - <div class="verse indent2">But since she pricked thee out for women’s pleasure,</div> - <div class="verse indent2">Mine be thy love, and thy love’s use their treasure.”</div> - </div> -</div> -</div> - -<p class="center"><span class="smcap">Sonnet CIV.</span></p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0 dropcap">“To me, fair friend, you never can be old,</div> - <div class="verse indent0">For as you were when first your eye I ey’d,</div> - <div class="verse indent0">Such seems your beauty still. Three winters cold</div> - <div class="verse indent0">Have from the forest shook three summers’ pride;</div> - <div class="verse indent0">Three beauteous springs to yellow autumn turned</div> - <div class="verse indent0">In process of the seasons I have seen;</div> - <div class="verse indent0">Three April perfumes in three hot Junes burned,</div> - <div class="verse indent0">Since first I saw you fresh, which yet are green.</div> - </div> - <div class="stanza"> - <div class="verse indent0">Ah! yet doth beauty, like a dial hand,</div> - <div class="verse indent0">Steal from his figure, and no pace perceived;</div> - <div class="verse indent0">So your sweet hue, which methinks still doth stand,</div> - <div class="verse indent0">Hath motion, and mine eye may be deceived;</div> - <div class="verse indent2">For fear of which, hear this, thou age unbred,</div> - <div class="verse indent2">Ere you were born was beauty’s summer dead.”</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_141"></a>[141]</span></p> - -<p class="center"><span class="smcap">Sonnet CVIII.</span></p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0 dropcap">“What’s in the brain that ink may character,</div> - <div class="verse indent0">Which hath not figur’d to thee my true spirit?</div> - <div class="verse indent0">What’s new to speak, what new to register,</div> - <div class="verse indent0">That may express my love, or thy dear merit?</div> - <div class="verse indent0">Nothing, sweet boy; but yet, like prayers divine,</div> - <div class="verse indent0">I must each day say o’er the very same,</div> - <div class="verse indent0">Counting no old thing old, thou mine, I thine,</div> - <div class="verse indent0">Even as when first I hallow’d thy fair name.</div> - </div> - <div class="stanza"> - <div class="verse indent0">So that eternal love, in love’s fresh case,</div> - <div class="verse indent0">Weighs not the dust and injury of age;</div> - <div class="verse indent0">Nor gives to necessary wrinkles place,</div> - <div class="verse indent0">But makes antiquity for aye his page;</div> - <div class="verse indent2">Finding the first conceit of love there bred,</div> - <div class="verse indent2">Where time and outward form would show it dead.”</div> - </div> -</div> -</div> -</div> - -<div class="sidenote"><i>Merchant of Venice</i></div> - -<div> -<img class="dropcap" src="images/dropcap-t.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">That Shakespeare, when the drama -needed it, could fully and warmly -enter into the devotion which one -man may feel for another, as well as -into the tragedy which such devotion may entail, is -shown in his <i>Merchant of Venice</i> by the figure of<span class="pagenum"><a id="Page_142"></a>[142]</span> -Antonio, over whom from the first line of the play -(“In sooth I know not why I am so sad”) there -hangs a shadow of destiny. The following lines are -from Act iv. sc. 1:—</p> - -<div class="blockquote"> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="speaker"><i>Antonio</i>: “Commend me to your honorable wife;</div> - <div class="verse indent0">Tell her the process of Antonio’s end;</div> - <div class="verse indent0">Say how I loved you, speak me fair in death;</div> - <div class="verse indent0">And when the tale is told, bid her be judge,</div> - <div class="verse indent0">Whether Bassanio had not once a love.</div> - <div class="verse indent0">Repent not you that you shall lose your friend,</div> - <div class="verse indent0">And he repents not that he pays your debt;</div> - <div class="verse indent0">For, if the Jew do cut but deep enough,</div> - <div class="verse indent0">I’ll pay it instantly with all my heart.</div> - </div> - <div class="stanza"> - <div class="speaker"><i>Bassanio</i>: Antonio, I am married to a wife,</div> - <div class="verse indent0">Who is as dear to me as life itself;</div> - <div class="verse indent0">But life itself, my wife, and all the world,</div> - <div class="verse indent0">Are not with me esteem’d above thy life:</div> - <div class="verse indent0">I would lose all, ay, sacrifice them all,</div> - <div class="verse indent0">Here to this devil, to deliver you.”</div> - </div> -</div> -</div> - -</div> - -<div class="sidenote"><i>Henry the Fifth</i></div> - -<p class="noindent">We may also, in this connection, quote his <i>Henry -the Fifth</i> (act iv. scene 6) for the deaths of the Duke<span class="pagenum"><a id="Page_143"></a>[143]</span> -of York and the Earl of Suffolk at the battle of -Agincourt. Exeter, addressing Henry, says:—</p> - -<div class="blockquote"> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0 dropcap">“Suffolk first died; and York, all haggled over,</div> - <div class="verse indent0">Comes to him, where in gore he lay insteep’d,</div> - <div class="verse indent0">And takes him by the beard, kisses the gashes,</div> - <div class="verse indent0">That bloodily did yawn upon his face;</div> - <div class="verse indent0">He cries aloud,—‘Tarry, dear cousin Suffolk!</div> - <div class="verse indent0">My soul shall thine keep company to heaven:</div> - <div class="verse indent0">Tarry, sweet soul, for mine; then fly abreast,</div> - <div class="verse indent0">As in this glorious and well-foughten field</div> - <div class="verse indent0">We kept together in our chivalry!’</div> - <div class="verse indent0">Upon these words I came and cheered him up:</div> - <div class="verse indent0">He smiled me in the face, raught me his hand,</div> - <div class="verse indent0">And, with a feeble gripe, says, ‘Dear my Lord,</div> - <div class="verse indent0">Commend my service to my sovereign.’</div> - <div class="verse indent0">So did he turn, and over Suffolk’s neck</div> - <div class="verse indent0">He threw his wounded arm, and kissed his lips;</div> - <div class="verse indent0">And so, espoused to death, with blood he seal’d</div> - <div class="verse indent0">A testament of noble-ending love.”</div> - </div> -</div> -</div> - -</div> - -<div class="sidenote"><i>Sir Thomas Browne</i></div> - -<p class="noindent">Shakespeare, with his generous many-sided nature -was, as the Sonnets seem to show, and as we should -expect, capable of friendship, passionate friendship, -towards both men and women. Perhaps this marks<span class="pagenum"><a id="Page_144"></a>[144]</span> -the highest reach of temperament. That there are -cases in which devotion to a man-friend altogether -replaces the love of the opposite sex is curiously -shown by the following extract from Sir Thomas -Browne:—</p> - -<div class="blockquote"> - -<p class="dropcap">“I never yet cast a true affection on a woman; -but I have loved my friend as I do virtue, my -soul, my God.... I love my friend before myself, -and yet methinks I do not love him enough: some -few months hence my multiplied affection will -make me believe I have not loved him at all. When -I am from him, I am dead till I be with him; when -I am with him, I am not satisfied, but would be still -nearer him.... This noble affection falls not on -vulgar and common constitutions, but on such -as are marked for virtue: he that can love his -friend with this noble ardour, will in a competent -degree affect all.” <i>Sir Thomas Browne</i>, <i>Religio -Medici</i>, 1642.</p> - -</div> - -<div class="sidenote"><i>William Penn</i></div> - -<div> -<img class="dropcap" src="images/dropcap-w.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">William Penn (b. 1644) the founder -of Pennsylvania, and of Philadelphia, -“The city of brotherly love” -was a great believer in friendship. -He says in his <i>Fruits of Solitude</i>:—</p> - -<p><span class="pagenum"><a id="Page_145"></a>[145]</span></p> - -<div class="blockquote"> - -<p class="dropcap">“A true friend unbosoms freely, advises -justly, assists readily, adventures boldly, -takes all patiently, defends courageously, and continues -a friend unchangeably.... In short, choose -a friend as thou dost a wife, till death separate you.... -Death cannot kill what never dies. Nor can -spirits ever be divided that love and live in the -same Divine Principle; the Root and Record of -their friendship.... This is the comfort of friends, -that though they may be said to die, yet their -friendship and society are, in the best sense, ever -present, because immortal.”</p> - -</div> - -<div class="sidenote"><i>William of Orange</i></div> - -<div> -<img class="dropcap" src="images/dropcap-i.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">It may be worth while here to insert -two passages from Macaulay’s History -of England. The first deals with -the remarkable intimacy between the -Young Prince William of Orange and “a gentleman -of his household” named Bentinck. William’s -escape from a malignant attack of small-pox</p> - -<div class="blockquote"> - -<p class="noindent">“was attributed partly to his own singular equanimity, -and partly to the intrepid and indefatigable, -friendship of Bentinck. From the hands of Bentinck -alone William took food and medicine—by -Bentinck alone William was lifted from his bed -and laid down in it. ‘Whether Bentinck slept or<span class="pagenum"><a id="Page_146"></a>[146]</span> -not while I was ill,’ said William to Temple with -great tenderness, ‘I know not. But this I know, -that through sixteen days and nights, I never once -called for anything but that Bentinck was instantly -at my side.’ Before the faithful servant had entirely -performed his task, he had himself caught -the contagion.” (But he recovered.) <i>History of -England</i>, ch. vii.</p> - -</div> - -<div class="sidenote"><i>Princess Anne and Lady Churchill</i></div> - -<p>The second passage describes the devotion of the -Princess Anne (daughter of James II. and afterwards -Queen Anne) to Lady Churchill—a devotion -which had considerable influence on the political -situation.</p> - -<div class="blockquote"> - -<p class="dropcap">“It is a common observation that differences of -taste, understanding, and disposition are no -impediments to friendship, and that the closest intimacies -often exist between minds, each of which -supplies what is wanting in the other. Lady -Churchill was loved and even worshipped by -Anne. The princess could not live apart from the -object of her romantic fondness. She married, and -was a faithful and even an affectionate wife; but -Prince George, a dull man, whose chief pleasures -were derived from his dinner and his bottle, acquired -over her no influence comparable to that<span class="pagenum"><a id="Page_147"></a>[147]</span> -exercised by her female friend, and soon gave himself -up with stupid patience to the dominion of -that vehement and commanding spirit by which -his wife was governed.” <i>History of England</i>, ch. vii.</p> - -</div> - -<div class="sidenote"><i>Archbishop Potter</i></div> - -<div> -<img class="dropcap" src="images/dropcap-t.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">That the tradition of Greek thought -was not quite obliterated in England -by the Puritan movement is shown -by the writings of Archbishop Potter, -who speaks with approval of friendship as followed -among the Greeks, “not only in private, but by the -public allowance and encouragement of their laws; -for they thought there could be no means more -effectual to excite their youth to noble undertakings, -nor any greater security to their commonwealths, -than this generous passion.” He then quotes Athenæus, -saying that “free commonwealths and all -those states that consulted the advancement of -their own honour, seem to have been unanimous in -establishing laws to encourage and reward it.” <i>John -Potter</i>, <i>Antiquities of Greece</i>, 1698.</p> - -<div class="sidenote"><i>Winckelmann’s Letters</i></div> - -<p>The 18th century however in England, with -its leaning towards formalism, was perhaps not<span class="pagenum"><a id="Page_148"></a>[148]</span> -favorable to the understanding of the Greek -spirit. At any rate there is not much to show in that -direction. In Germany the classical tradition in art -was revived by Raphael Mengs, while Winckelmann, -the art critic, showed himself one of the best -interpreters of the Hellenic world that has ever -lived. His letters too, to his personal friends, -breathe a spirit of the tenderest and most passionate -devotion: “Friendship,” he says, “without love is -mere acquaintanceship.” Winckelmann met, in -1762, in Rome, a young nobleman, Reinhold von -Berg, to whom he became deeply attached:—</p> - -<div class="blockquote"> - -<p class="dropcap">“Almost at first sight there sprang up, on -Winckelmann’s side, an attachment as romantic, -emotional and passionate as love. In a -letter to his friend he said, ‘From the first moment -an indescribable attraction towards you, excited by -something more than form and feature, caused me -to catch an echo of that harmony which passes -human understanding and which is the music of -the everlasting concord of things.... I was aware -of the deep consent of our spirits, the instant I saw -you.’ And in a later letter: ‘No name by which -I might call you would be sweet enough or sufficient<span class="pagenum"><a id="Page_149"></a>[149]</span> -for my love; all that I could say would be far -too feeble to give utterance to my heart and soul. -Truly friendship came from heaven and was not -created by mere human impulses.... My one -friend, I love you more than any living thing, and -time nor chance nor age can ever lessen this love.” -<i>Ludwig Frey</i>, <i>Der Eros und die Kunst</i>, <i>Leipzig</i>, -1898, p. 211.</p> - -</div> - -<div class="sidenote"><i>Goethe on Winckelmann</i></div> - -<div> -<img class="dropcap" src="images/dropcap-g.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">Goethe, that universal genius, has -some excellent thoughts on this subject; -speaking of Winckelmann he -says:—</p> - -<div class="blockquote"> - -<p class="dropcap">“The affinities of human beings in Antiquity -give evidence of an important distinction between -ancient and modern times. The relation to -women, which among us has become so tender and -full of meaning, hardly aspired in those days beyond -the limits of vulgar necessity. The relation -of parents to their children seems in some respects -to have been tenderer. More to them than all other -feelings was the friendship between persons of the -male sex (though female friends too, like Chloris -and Thyia, were inseparable, even in Hades). In -these cases of union between two youths, the -passionate fulfilment of loving duties, the joys of<span class="pagenum"><a id="Page_150"></a>[150]</span> -inseparableness, the devotion of one for the other, -the unavoided companionship in death, fill us with -astonishment; indeed one feels oneself ashamed -when poets, historians, philosophers and orators -overwhelm us with legends, anecdotes, sentiments -and ideas, containing such meaning and feeling. -Winckelmann felt himself <i>born</i> for a friendship of -this kind—not only as capable of it, but in the -highest degree in need of it; he became conscious -of his true self only under the form of friendship.” -<i>Goethe on Winckelmann</i>.</p> - -</div> - -<div class="sidenote"><i>Poem by Goethe</i></div> - -<p>Some of Goethe’s poems further illustrate this -subject. In the Saki Nameh of his West-Oestlichen -Divan he has followed the style of a certain class of -Persian love-songs. The following poem is from -a Cupbearer to his Master:—</p> - -<div class="blockquote"> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0 dropcap">“In the market-place appearing</div> - <div class="verse indent2">None thy Poet-fame dispute;</div> - <div class="verse indent0">I too gladly hear thy singing,</div> - <div class="verse indent2">I too hearken when thou’rt mute.</div> - </div> - <div class="stanza"> - <div class="verse indent0">Yet I love thee, when thou printest</div> - <div class="verse indent2">Kisses not to be forgot,</div> - <div class="verse indent0">Best of all, for words may perish,</div> - <div class="verse indent2">But a kiss lives on in thought.</div><span class="pagenum"><a id="Page_151"></a>[151]</span> - </div> - <div class="stanza"> - <div class="verse indent0">Rhymes on rhymes fair meaning carry,</div> - <div class="verse indent2">Thoughts to think bring deeper joy;</div> - <div class="verse indent0">Sing to other folk, but tarry</div> - <div class="verse indent2">Silent with thy serving-boy.”</div> - </div> -</div> -</div> - -</div> - -<div class="sidenote"><i>August von Platen</i></div> - -<div> -<img class="dropcap" src="images/dropcap-c.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">Count August von Platen -(born at Ansbach in Bavaria, 1796) -was in respect of style one of the most -finished and perfect of German poets. -His nature (which was refined and self-controlled) -led him from the first to form the most romantic -attachments with men. He freely and openly expressed -his feelings in his verses; of which a great -number are practically love-poems addressed to his -friends. They include a series of twenty-six sonnets -to one of his friends, Karl Theodor German. Of -these Raffalovich says (<i>Uranisme</i>, Lyons, 1896, -p. 351):—</p> - -<div class="blockquote"> - -<p class="dropcap">“These sonnets to Karl Theodor German are -among the most beautiful in German literature. -Platen in the sonnet surpasses all the German -poets, including even Goethe. In them perfection -of form, and poignancy or wealth of emotion are<span class="pagenum"><a id="Page_152"></a>[152]</span> -illustrated to perfection. The sentiment is similar -to that of the sonnets of Shakespeare (with their -personal note), and the form that of the Italian or -French sonnet.”</p> - -</div> - -<div class="sidenote"><i>Platen’s Sonnets</i></div> - -<p>Platen, however, was unfortunate in his affairs of -the heart, and there is a refrain of suffering in his -poems which comes out characteristically in the -following sonnet:—</p> - -<div class="blockquote"> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0 dropcap">“Since pain is life and life is only pain,</div> - <div class="verse indent2">Why he can feel what I have felt before,</div> - <div class="verse indent2">Who seeing joy sees it again no more</div> - <div class="verse indent0">The instant he attempts his joy to gain;</div> - <div class="verse indent0">Who, caught as in a labyrinth unaware,</div> - <div class="verse indent2">The outlet from it never more can find;</div> - <div class="verse indent2">Whom love seems only for this end to bind—</div> - <div class="verse indent0">In order to hand over to Despair;</div> - </div> - <div class="stanza"> - <div class="verse indent0">Who prays each dizzy lightning-flash to end him,</div> - <div class="verse indent2">Each star to reel his thread of life away</div> - <div class="verse indent0">With all the torments which his heart are rending;</div> - <div class="verse indent2">And envies even the dead their pillow of clay,</div> - <div class="verse indent0">Where Love no more their foolish brains can steal.</div> - <div class="verse indent0">He who knows this, knows me, and what I feel.”</div> - </div> -</div> -</div> - -</div> - -<div class="sidenote"><i>On the Death of Pindar</i></div> - -<p>One of Platen’s sonnets deals with an incident, -referred to in an earlier page, namely, the death of<span class="pagenum"><a id="Page_153"></a>[153]</span> -the poet Pindar in the theatre, in the arms of his -young friend Theoxenos:—</p> - -<div class="blockquote"> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0 dropcap">“Oh! when I die, would I might fade away</div> - <div class="verse indent2">Like the pale stars, swiftly and silently,</div> - <div class="verse indent2">Would that death’s messenger might come to me,</div> - <div class="verse indent0">As once it came to Pindar—so they say.</div> - <div class="verse indent0">Not that I would in Life, or in my Verse,</div> - <div class="verse indent2">With him, the great Incomparable, compare;</div> - <div class="verse indent2">Only his Death, my friend, I ask to share:</div> - <div class="verse indent0">But let me now the gracious tale rehearse.</div> - </div> - <div class="stanza"> - <div class="verse indent0">Long at the play, hearing sweet Harmony,</div> - <div class="verse indent2">He sat; and wearied out at last, had lain</div> - <div class="verse indent0">His cheek upon his dear one’s comely knee;</div> - <div class="verse indent2">Then when it died away—the choral strain—</div> - <div class="verse indent0">He who thus cushioned him said: Wake and come!</div> - <div class="verse indent2">But to the Gods above he had gone home.”</div> - </div> -</div> -</div> - -</div> - -<div class="sidenote"><i>Wagner and Ludwig II.</i></div> - -<div> -<img class="dropcap" src="images/dropcap-t.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">The correspondence of Richard Wagner -discloses the existence of a very -warm friendship between him and -Ludwig II., the young king of Bavaria. -Ludwig as a young man appears to have been -a very charming personality, good looking, engaging -and sympathetic; everyone was fond of him.<span class="pagenum"><a id="Page_154"></a>[154]</span> -Yet his tastes led him away from “society,” into retirement, -and the companionship of Nature and -a few chosen friends—often of humble birth. Already -at the age of fifteen he had heard Lohengrin, -and silently vowed to know the composer. One of -his first acts when he came to the throne was to send -for Wagner; and from the moment of their meeting -a personal intimacy sprang up between them, which -in due course led to the establishment of the theatre -at Bayreuth, and to the liberation of Wagner’s -genius to the world. Though the young king at -a later time lost his reason—probably owing to his -over-sensitive emotional nature—this does not detract -from the service that he rendered to Music by -his generous attachment. How Wagner viewed the -matter may be gathered from Wagner’s letters.</p> - -<div class="blockquote"> - -<p class="dropcap">“He, the king, loves me, and with the deep -feeling and glow of a first love; he perceives -and knows everything about me, and understands -me as my own soul. He wants me to stay with him -always.... I am to be free and my own master, not -his music-conductor—only my very self and his -friend.” <i>Letters to Mme. Eliza Wille</i>, 4th May, 1864.</p> - -</div> - -<p><span class="pagenum"><a id="Page_155"></a>[155]</span></p> - -<div class="blockquote"> - -<p class="dropcap">“It is true that I have my young king who genuinely -adores me. You cannot form an idea of -our relations. I recall one of the dreams of my -youth. I once dreamed that Shakespeare was alive: -that I really saw and spoke to him: I can never forget -the impression that dream made on me. Then -I would have wished to see Beethoven, though he -was already dead. Something of the same kind -must pass in the mind of this lovable man when -with me. He says he can hardly believe that he -really possesses me. None can read without astonishment, -without enchantment, the letters he -writes to me.” <i>Ibid</i>, 9th Sept., 1864.</p> - -</div> - -<div class="blockquote"> - -<p class="dropcap">“I hope now for a long period to gain strength -again by quiet work. This is made possible for -me by the love of an unimaginably beautiful and -thoughtful being: it seems that it <i>had</i> to be even -so greatly gifted a man and one so destined for -me, as this young King of Bavaria. What he is to -me no one can imagine. My guardian! In his love -I completely rest and fortify myself towards the -completion of my task.” <i>Letter to his brother-in-law</i>, -10th Sept., 1865.</p> - -</div> - -<p>[For letters from Ludwig to Wagner see <a href="#Page_183">Additions, -infra p. 183.</a>]</p> - -<p><span class="pagenum"><a id="Page_156"></a>[156]</span></p> - -<div class="sidenote"><i>Wagner on Greek Comradeship</i></div> - -<div> -<img class="dropcap" src="images/dropcap-i.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">In these letters we see chiefly of course -the passionate sentiments of which -Ludwig was capable; but that Wagner -fully understood the feeling and -appreciated it may be gathered from various passages -in his published writings—such as the following, -in which he seeks to show how the devotion of -comradeship became the chief formative influence -of the Spartan State:—</p> - -<div class="blockquote"> - -<p class="dropcap">“This beauteous naked man is the kernel of all -Spartanhood; from genuine delight in the -beauty of the most perfect human body—that of -the male—arose that spirit of comradeship which -pervades and shapes the whole economy of the -Spartan State. This love of man to man, in its -primitive purity, proclaims itself as the noblest and -least selfish utterance of man’s sense of beauty, for -it teaches man to sink and merge his entire self in -the object of his affection;” and again:—“The -higher element of that love of man to man consisted -even in this: that it excluded the motive of egoistic -physicalism. Nevertheless it not only included a -purely spiritual bond of friendship, but this spiritual -friendship was the blossom and the crown of -the physical friendship. The latter sprang directly<span class="pagenum"><a id="Page_157"></a>[157]</span> -from delight in the beauty, aye in the material -bodily beauty of the beloved comrade; yet this delight -was no egoistic yearning, but a thorough -stepping out of self into unreserved sympathy -with the comrade’s joy in himself; involuntarily -betrayed by his life-glad beauty-prompted bearing. -This love, which had its basis in the noblest pleasures -of both eye and soul—not like our modern -postal correspondence of sober friendship, half business-like, -half sentimental—was the Spartan’s only -tutoress of youth, the never-ageing instructress -alike of boy and man, the ordainer of common -feasts and valiant enterprises; nay the inspiring -helpmeet on the battlefield. For this it was that -knit the fellowship of love into battalions of war, -and fore-wrote the tactics of death-daring, in rescue -of the imperilled or vengeance for the slaughtered -comrade, by the infrangible law of the soul’s -most natural necessity.” <i>The Art-work of the Future</i>, -<i>trans. by W. A. Ellis</i>.</p> - -</div> - -<div class="sidenote"><i>K. H. Ulrichs</i></div> - -<div> -<img class="dropcap" src="images/dropcap-w.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">We may close this record of celebrated -Germans with the name of K. H. -Ulrichs, a Hanoverian by birth who -occupied for a long time an official -position in the revenue department at Vienna, and -who became well known about 1866 through his<span class="pagenum"><a id="Page_158"></a>[158]</span> -writings on the subject of friendship. He gives, in -his pamphlet <i>Memnon</i>, an account of the “story of -his heart” in early years. In an apparently quite -natural way, and independently of outer influences, -his thoughts had from the very first been of friends -of his own sex. At the age of 14, the picture of a -Greek hero or god, a statue, seen in a book, woke in -him the tenderest longings.</p> - -<div class="blockquote"> - -<p class="dropcap">“This picture (he says), put away from me, as -it was, a hundred times, came again a hundred -times before the eyes of my soul. But of -course for the origin of my special temperament it -is in no way responsible. It only woke up what was -already slumbering there—a thing which might -have been done equally well by something else.”</p> - -</div> - -<p>From that time forward the boy worshipped with -a kind of romantic devotion elder friends, young -men in the prime of early manhood; and later still -his writings threw a flood of light on the “urning” -temperament—as he called it—of which he was -himself so marked an example.</p> - -<div class="sidenote"><i>Ulrichs’ Verses</i></div> - -<p>Some of Ulrichs’ verses are scattered among his -prose writings:—</p> - -<p><span class="pagenum"><a id="Page_159"></a>[159]</span></p> - -<div class="blockquote"> - -<p class="center"><i>To his friend Eberhard.</i></p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0 dropcap">“And so farewell! perchance on Earth</div> - <div class="verse indent2">God’s finger—as ’twixt thee and me—</div> - <div class="verse indent0">Will never make that wonder clear</div> - <div class="verse indent2">Why thus It drew me unto thee.”</div> - </div> - <div class="stanza"> - <div class="verse right"><i>Memnon</i>, <i>Leipzig</i>, 1898, p. 104.</div> - </div> -</div> -</div> -</div> - -<p>And this:—</p> - -<div class="blockquote"> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0 dropcap">“It was the day of our first meeting—</div> - <div class="verse indent2">That happy day, in Davern’s grove—</div> - <div class="verse indent0">I felt the Spring wind’s tender greeting,</div> - <div class="verse indent2">And April touched my heart to love.</div> - <div class="verse indent0">Thy hand in mine lay kindly mated;</div> - <div class="verse indent0">Thy gaze held mine quite fascinated—</div> - <div class="verse indent2">So gracious wast, and fair!</div> - <div class="verse indent0">Thy glance my life-thread almost severed;</div> - <div class="verse indent0">My heart for joy and gladness quivered,</div> - <div class="verse indent2">Nigh more than it could bear.</div> - </div> - <div class="stanza"> - <div class="verse indent0">There in the grove at evening’s hour</div> - <div class="verse indent2">The breeze thro’ budding twigs hath ranged,</div> - <div class="verse indent0">And lips have learned to meet each other,</div> - <div class="verse indent2">And kisses mute exchanged.”</div> - </div> - <div class="stanza"> - <div class="verse right"><i>Memnon</i>, p. 23.</div> - </div> -</div> -</div> - -</div> - -<p><span class="pagenum"><a id="Page_160"></a>[160]</span></p> - -<div class="sidenote"><i>Byron’s Letters</i></div> - -<div> -<img class="dropcap" src="images/dropcap-t.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">To return to England. With the beginning -of the 19th century we find two -great poets, Byron and Shelley, both -interested in and even writing in a -romantic strain on the subject in question.</p> - -<p>Byron’s attachment, when at Cambridge, to Eddleston -the chorister, a youth two years younger than -himself, is well known. In a youthful letter to Miss -Pigot he, Byron, speaks of it in enthusiastic terms:</p> - -<div class="blockquote"> - -<p class="right">“Trin. Coll., Camb., <i>July</i> 5th, 1807.</p> - -<p class="dropcap">“I rejoice to hear you are interested in my protégé; -he has been my <i>almost constant</i> associate -since October, 1805, when I entered Trinity College. -His <i>voice</i> first attracted my attention, his -<i>countenance</i> fixed it, and his <i>manners</i> attached me to -him for ever. He departs for a mercantile house in -town in October, and we shall probably not meet -till the expiration of my minority, when I shall -leave to his decision either entering as a partner -through my interest or residing with me altogether. -Of course he would in his present frame of -mind prefer the latter, but he may alter his opinion -previous to that period; however he shall have his -choice. I certainly love him more than any human -being, and neither time nor distance have had the<span class="pagenum"><a id="Page_161"></a>[161]</span> -least effect on my (in general) changeable disposition. -In short we shall put Lady E. Butler and -Miss Ponsonby to the blush, Pylades and Orestes -out of countenance, and want nothing but a catastrophe -like Nisus and Euryalus to give Jonathan -and David the ‘go by.’ He certainly is more attached -to <i>me</i> than even I am in return. During the -whole of my residence at Cambridge we met every -day, summer and winter, without passing <i>one</i> tiresome -moment, and separated each time with increasing -reluctance.”</p> - -</div> - -<div class="sidenote"><i>The Adieu</i></div> - -<p>Eddleston gave Byron a cornelian (brooch-pin) -which Byron prized much, and is said to have kept -all his life. He probably refers to it, and to the inequality -of condition between him and Eddleston, -in the following stanza from his poem, <i>The Adieu</i>, -written about this time:—</p> - -<div class="blockquote"> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0 dropcap">“And thou, my friend, whose gentle love</div> - <div class="verse indent2">Yet thrills my bosom’s chords,</div> - <div class="verse indent0">How much thy friendship was above</div> - <div class="verse indent2">Description’s power of words!</div> - <div class="verse indent0">Still near my breast thy gift I wear</div> - <div class="verse indent0">Which sparkled once with Feeling’s tear,</div> - <div class="verse indent2">Of Love, the pure, the sacred gem;</div> - <div class="verse indent0">Our souls were equal, and our lot</div> - <div class="verse indent0">In that dear moment quite forgot;</div> - <div class="verse indent2">Let pride alone condemn.”</div> - </div> -</div> -</div> - -</div> - -<p><span class="pagenum"><a id="Page_162"></a>[162]</span></p> - -<div> -<img class="dropcap" src="images/dropcap-t.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">The Lady Eleanor Butler and Miss -Sarah Ponsonby mentioned in the -above letter were at that time living -at Llangollen, in Wales, and were -known as the “Ladies of Llangollen,” their romantic -attachment to each other having already become -proverbial. When Miss Ponsonby was seventeen, -and Lady E. Butler some twenty years older, they -had run away from their respective and respectable -homes in Ireland, and taking a cottage at Llangollen -lived there, inseparable companions, for the rest -of their lives. Letters and diaries of contemporary -celebrities mention their romantic devotion. (The -Duke of Wellington was among their visitors.) -Lady Eleanor died in 1829, at the age of ninety; -and Miss Ponsonby only survived her “beloved -one” (as she always called her) by two years.</p> - -<div class="sidenote"><i>Byron’s Nisus and Euryalus</i></div> - -<div> -<img class="dropcap" src="images/dropcap-a.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">As to the allusion to Nisus and Euryalus, -Byron’s paraphrase of the -episode (from the 9th book of -Virgil’s Æneid) serves to show his -interest in it:—</p> - -<p><span class="pagenum"><a id="Page_163"></a>[163]</span></p> - -<div class="blockquote"> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0 dropcap">“Nisus, the guardian of the portal, stood,</div> - <div class="verse indent0">Eager to gild his arms with hostile blood;</div> - <div class="verse indent0">Well-skilled in fight the quivering lance to wield,</div> - <div class="verse indent0">Or pour his arrows thro’ the embattled field:</div> - <div class="verse indent0">From Ida torn, he left his Sylvan cave,</div> - <div class="verse indent0">And sought a foreign home, a distant grave.</div> - <div class="verse indent2">To watch the movements of the Daunian host,</div> - <div class="verse indent0">With him Euryalus sustains the post;</div> - <div class="verse indent0">No lovelier mien adorn’d the ranks of Troy,</div> - <div class="verse indent0">And beardless bloom yet graced the gallant boy;</div> - <div class="verse indent0">Tho’ few the seasons of his youthful life,</div> - <div class="verse indent0">As yet a novice in the martial strife,</div> - <div class="verse indent0">’Twas his, with beauty, valour’s gifts to share—</div> - <div class="verse indent0">A soul heroic, as his form was fair.</div> - <div class="verse indent2">These burn with one pure flame of generous love;</div> - <div class="verse indent0">In peace, in war, united still they move;</div> - <div class="verse indent0">Friendship and glory form their joint reward;</div> - <div class="verse indent0">And now combined they hold their nightly guard.”</div> - </div> -</div> -</div> - -<p>[The two then carry out a daring raid on the -enemy, in which Euryalus is slain. Nisus, coming to -his rescue is—after performing prodigies of valor—slain -too.]</p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">“Thus Nisus all his fond affection proved—</div> - <div class="verse indent0">Dying, revenged the fate of him he loved;</div><span class="pagenum"><a id="Page_164"></a>[164]</span> - <div class="verse indent0">Then on his bosom sought his wonted place,</div> - <div class="verse indent0">And death was heavenly in his friend’s embrace!</div> - <div class="verse indent2">Celestial pair! if aught my verse can claim,</div> - <div class="verse indent0">Wafted on Time’s broad pinion, yours is fame!</div> - <div class="verse indent0">Ages on ages shall your fate admire,</div> - <div class="verse indent0">No future day shall see your names expire,</div> - <div class="verse indent0">While stands the Capitol, immortal dome!</div> - <div class="verse indent0">And vanquished millions hail their empress, Rome!”</div> - </div> -</div> -</div> -</div> - -<div class="sidenote"><i>T. Moore on Byron</i></div> - -<p class="noindent">Byron’s friendships, in fact, with young men were -so marked that Moore in his <i>Life and Letters of Lord -Byron</i> seems to have felt it necessary to mention and, -to some extent, to explain them:—</p> - -<div class="blockquote"> - -<p class="dropcap">“During his stay in Greece (in 1810) we find -him forming one of those extraordinary -friendships—if attachment to persons so inferior -to himself can be called by that name—of which -I have already mentioned two or three instances -in his younger days, and in which the pride of -being a protector and the pleasure of exciting gratitude -seem to have contributed to his mind the -chief, pervading charm. The person whom he now -adopted in this manner, and from similar feelings -to those which had inspired his early attachments -to the cottage boy near Newstead and the young -chorister at Cambridge, was a Greek youth, named<span class="pagenum"><a id="Page_165"></a>[165]</span> -Nicolo Giraud, the son, I believe, of a widow lady -in whose house the artist Lusieri lodged. In this -young man he seems to have taken the most lively -and even brotherly interest.”</p> - -</div> - -<div class="sidenote"><i>Shelley on Friendship</i></div> - -<div> -<img class="dropcap" src="images/dropcap-s.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">Shelley, in his fragmentary <i>Essay -on Friendship</i>—stated by his friend -Hogg to have been written “not long -before his death”—says:—</p> - -<div class="blockquote"> - -<p class="dropcap">“I remember forming an attachment of this -kind at school. I cannot recall to my memory -the precise epoch at which this took place; but -I imagine it must have been at the age of eleven or -twelve. The object of these sentiments was a boy -about my own age, of a character eminently generous, -brave and gentle, and the elements of human -feeling seemed to have been, from his birth, genially -compounded within him. There was a delicacy -and a simplicity in his manners, inexpressibly attractive. -It has never been my fortune to meet with -him since my schoolboy days; but either I confound -my present recollections with the delusions -of past feelings, or he is now a source of honour -and utility to everyone around him. The tones of -his voice were so soft and winning, that every -word pierced into my heart; and their pathos was -so deep that in listening to him the tears have involuntarily<span class="pagenum"><a id="Page_166"></a>[166]</span> -gushed from my eyes. Such was the -being for whom I first experienced the sacred -sentiments of friendship.”</p> - -</div> - -<p class="noindent">It may be noted that Hogg takes the reference as -to himself!</p> - -<div class="sidenote"><i>Leigh Hunt on School-life</i></div> - -<div> -<img class="dropcap" src="images/dropcap-w.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">With this passage we may compare -the following from Leigh Hunt:—</p> - -<div class="blockquote"> - -<p class="dropcap">“If I had reaped no other benefit -from Christ Hospital, the school -would be ever dear to me from the -recollection of the friendships I formed in it, and -of the first heavenly taste it gave me of that most -spiritual of the affections.... If ever I tasted a -disembodied transport on earth, it was in those -friendships which I entertained at school, before -I dreamt of any maturer feeling. I shall never forget -the impression it made on me. I loved my -friend for his gentleness, his candour, his truth, -his good repute, his freedom even from my own -livelier manner, his calm and reasonable kindness. -It was not any particular talent that attracted me -to him, or anything striking whatsoever. I should -say, in one word, it was his goodness. I doubt -whether he ever had a conception of a tithe of the -regard and respect I entertained for him; and -I smile to think of the perplexity (though he never<span class="pagenum"><a id="Page_167"></a>[167]</span> -showed it) which he probably felt sometimes at my -enthusiastic expressions; for I thought him a kind -of angel. It is no exaggeration to say, that, take -away the unspiritual part of it—the genius and the -knowledge—and there is no height of conceit indulged -in by the most romantic character in Shakespeare, -which surpassed what I felt towards the -merits I ascribed to him, and the delight which -I took in his society. With the other boys I played -antics, and rioted in fantastic jests; but in his -society, or whenever I thought of him, I fell into -a kind of Sabbath state of bliss; and I am sure -I could have died for him.</p> - -<p>“I experienced this delightful affection towards -three successive schoolfellows, till two of them had -for some time gone out into the world and forgotten -me; but it grew less with each, and in more -than one instance became rivalled by a new set of -emotions, especially in regard to the last, for I fell -in love with his sister—at least, I thought so. But -on the occurrence of her death, not long after, -I was startled at finding myself assume an air of -greater sorrow than I felt, and at being willing to -be relieved by the sight of the first pretty face that -turned towards me.... My friend, who died himself -not long after his quitting the University, was -of a German family in the service of the court, very<span class="pagenum"><a id="Page_168"></a>[168]</span> -refined and musical.” <i>Autobiography of Leigh Hunt</i>, -<i>Smith and Elder</i>, 1870, p. 75.</p> - -</div> - -<div class="sidenote"><i>Lord Beaconsfield’s “Coningsby”</i></div> - -<div> -<img class="dropcap" src="images/dropcap-o.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">On this subject of boy-friendships and -their intensity Lord Beaconsfield has, -in <i>Coningsby</i>, a quite romantic passage, -which notwithstanding its sentimental -setting may be worth quoting; because, -after all, it signalises an often-forgotten or unconsidered -aspect of school-life:—</p> - -<div class="blockquote"> - -<p class="dropcap">“At school, friendship is a passion. It entrances -the being; it tears the soul. All loves of after-life -can never bring its rapture, or its wretchedness; -no bliss so absorbing, no pangs of jealousy -or despair so crushing and so keen! What tenderness -and what devotion; what illimitable confidence, -infinite revelations of inmost thoughts; -what ecstatic present and romantic future; what -bitter estrangements and what melting reconciliations; -what scenes of wild recrimination, agitating -explanations, passionate correspondence; what -insane sensitiveness, and what frantic sensibility; -what earthquakes of the heart and whirlwinds of -the soul are confined in that simple phrase, a -schoolboy’s friendship!”</p> - -</div> - -<p><span class="pagenum"><a id="Page_169"></a>[169]</span></p> - -<div class="sidenote"><i>Tennyson’s “In Memoriam”</i></div> - -<div> -<img class="dropcap" src="images/dropcap-a.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">Alfred Tennyson, in his great -poem <i>In Memoriam</i>, published about -the middle of the 19th century, gives -superb expression to his love for his -lost friend, Arthur Hallam. Reserved, dignified, in -sustained meditation and tender sentiment, yet half -revealing here and there a more passionate feeling; -expressing in simplest words the most difficult and -elusive thoughts (<i>e.g.</i>, Cantos 128 and 129), as well -as the most intimate and sacred moods of the soul; -it is indeed a great work of art. Naturally, being -such, it was roundly abused by the critics on its -first appearance. The <i>Times</i> solemnly rebuked its -language as unfitted for any but amatory tenderness, -and because young Hallam was a barrister -spent much wit upon the poet’s “Amaryllis of the -Chancery bar.” Tennyson himself, speaking of -<i>In Memoriam</i>, mentioned (see <i>Memoir</i> by his son, -p. 800) “the number of shameful letters of abuse -he had received about it!”</p> - -<p><span class="pagenum"><a id="Page_170"></a>[170]</span></p> - -<div class="blockquote"> - -<p class="center"><span class="smcap">Canto XIII.</span></p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0 dropcap">“Tears of the widower, when he sees,</div> - <div class="verse indent2">A late-lost form that sleep reveals,</div> - <div class="verse indent2">And moves his doubtful arms, and feels</div> - <div class="verse indent0">Her place is empty, fall like these;</div> - </div> - <div class="stanza"> - <div class="verse indent0">Which weep a loss for ever new,</div> - <div class="verse indent2">A void where heart on heart reposed;</div> - <div class="verse indent2">And, where warm hands have prest and closed,</div> - <div class="verse indent0">Silence, till I be silent too.</div> - </div> - <div class="stanza"> - <div class="verse indent0">Which weep the comrade of my choice,</div> - <div class="verse indent2">An awful thought, a life removed,</div> - <div class="verse indent2">The human-hearted man I loved,</div> - <div class="verse indent0">A spirit, not a breathing voice.</div> - </div> - <div class="stanza"> - <div class="verse indent0">Come Time, and teach me, many years,</div> - <div class="verse indent2">I do not suffer in a dream;</div> - <div class="verse indent2">For now so strange do these things seem,</div> - <div class="verse indent0">Mine eyes have leisure for their tears;</div> - </div> - <div class="stanza"> - <div class="verse indent0">My fancies time to rise on wing,</div> - <div class="verse indent2">And glance about the approaching sails,</div> - <div class="verse indent2">As tho’ they brought but merchant’s bales,</div> - <div class="verse indent0">And not the burden that they bring.”</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_171"></a>[171]</span></p> - -<p class="center"><span class="smcap">Canto XVIII.</span></p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0 dropcap">“’Tis well, ’tis something, we may stand</div> - <div class="verse indent4">Where he in English earth is laid,</div> - <div class="verse indent2">And from his ashes may be made</div> - <div class="verse indent0">The violet of his native land.</div> - </div> - <div class="stanza"> - <div class="verse indent0">’Tis little; but it looks in truth</div> - <div class="verse indent2">As if the quiet bones were blest</div> - <div class="verse indent2">Among familiar names to rest</div> - <div class="verse indent0">And in the places of his youth.</div> - </div> - <div class="stanza"> - <div class="verse indent0">Come then, pure hands, and bear the head</div> - <div class="verse indent2">That sleeps, or wears the mask of sleep,</div> - <div class="verse indent2">And come, whatever loves to weep,</div> - <div class="verse indent0">And hear the ritual of the dead.</div> - </div> - <div class="stanza"> - <div class="verse indent0">Ah yet, ev’n yet, if this might be,</div> - <div class="verse indent2">I, falling on his faithful heart,</div> - <div class="verse indent2">Would breathing thro’ his lips impart</div> - <div class="verse indent0">The life that almost dies in me:</div> - </div> - <div class="stanza"> - <div class="verse indent0">That dies not, but endures with pain,</div> - <div class="verse indent2">And slowly forms the firmer mind,</div> - <div class="verse indent2">Treasuring the look it cannot find,</div> - <div class="verse indent0">The words that are not heard again.”</div> - </div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_172"></a>[172]</span></p> - -<p class="center"><span class="smcap">Canto LIX.</span></p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0 dropcap">“If, in thy second state sublime,</div> - <div class="verse indent4">Thy ransom’d reason change replies</div> - <div class="verse indent2">With all the circle of the wise,</div> - <div class="verse indent0">The perfect flower of human time;</div> - </div> - <div class="stanza"> - <div class="verse indent0">And if thou cast thine eyes below,</div> - <div class="verse indent2">How dimly character’d and slight,</div> - <div class="verse indent2">How dwarf’d a growth of cold and night,</div> - <div class="verse indent0">How blanch’d with darkness must I grow!</div> - </div> - <div class="stanza"> - <div class="verse indent0">Yet turn thee to the doubtful shore,</div> - <div class="verse indent2">Where thy first form was made a man;</div> - <div class="verse indent2">I loved thee, Spirit, and love, nor can</div> - <div class="verse indent0">The soul of Shakspeare love thee more.”</div> - </div> -</div> -</div> - -<p class="center"><span class="smcap">Canto CXXVII.</span></p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0 dropcap">“Dear friend, far off, my lost desire,</div> - <div class="verse indent4">So far, so near, in woe or weal;</div> - <div class="verse indent2">O loved the most when most I feel</div> - <div class="verse indent0">There is a lower and a higher;</div> - </div> - <div class="stanza"> - <div class="verse indent0">Known and unknown, human, divine!</div> - <div class="verse indent2">Sweet human hand and lips and eye,</div> - <div class="verse indent2">Dear heavenly friend that canst not die,</div> - <div class="verse indent0">Mine, mine, for ever, ever, mine!</div><span class="pagenum"><a id="Page_173"></a>[173]</span> - </div> - <div class="stanza"> - <div class="verse indent0">Strange friend, past, present and to be;</div> - <div class="verse indent2">Loved deeplier, darklier understood;</div> - <div class="verse indent2">Behold I dream a dream of good</div> - <div class="verse indent0">And mingle all the world with thee.”</div> - </div> -</div> -</div> - -<p class="center"><span class="smcap">Canto CXXVIII.</span></p> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0 dropcap">“Thy voice is on the rolling air;</div> - <div class="verse indent2">I hear thee where the waters run;</div> - <div class="verse indent2">Thou standest in the rising sun,</div> - <div class="verse indent0">And in the setting thou art fair.</div> - </div> - <div class="stanza"> - <div class="verse indent0">What art thou then? I cannot guess;</div> - <div class="verse indent2">But tho’ I seem in star and flower</div> - <div class="verse indent2">To feel thee some diffusive power,</div> - <div class="verse indent0">I do not therefore love thee less:</div> - </div> - <div class="stanza"> - <div class="verse indent0">My love involves the love before;</div> - <div class="verse indent2">My love is vaster passion now;</div> - <div class="verse indent2">Tho’ mixed with God and Nature thou,</div> - <div class="verse indent0">I seem to love thee more and more.</div> - </div> - <div class="stanza"> - <div class="verse indent0">Far off thou art, but ever nigh;</div> - <div class="verse indent2">I have thee still, and I rejoice;</div> - <div class="verse indent2">I prosper, circled with thy voice;</div> - <div class="verse indent0">I shall not lose thee tho’ I die.”</div> - </div> -</div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_174"></a>[174]</span></p> - -<div class="sidenote"><i>Browning’s “May and Death”</i></div> - -<div> -<img class="dropcap" src="images/dropcap-f.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">Following is a little poem by -Robert Browning entitled <i>May and -Death</i>, which may well be placed near -the stanzas of <i>In Memoriam</i>:—</p> - -<div class="blockquote"> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0 dropcap">“I wish that when you died last May,</div> - <div class="verse indent2">Charles, there had died along with you</div> - <div class="verse indent0">Three parts of Spring’s delightful things;</div> - <div class="verse indent2">Ay, and for me the fourth part too.</div> - </div> - <div class="stanza"> - <div class="verse indent0">A foolish thought, and worse, perhaps!</div> - <div class="verse indent2">There must be many a pair of friends</div> - <div class="verse indent0">Who arm-in-arm deserve the warm</div> - <div class="verse indent2">Moon-births and the long evening-ends.</div> - </div> - <div class="stanza"> - <div class="verse indent0">So, for their sake, be May still May!</div> - <div class="verse indent2">Let their new time, as mine of old,</div> - <div class="verse indent0">Do all it did for me; I bid</div> - <div class="verse indent2">Sweet sights and sounds throng manifold.</div> - </div> - <div class="stanza"> - <div class="verse indent0">Only one little sight, one plant</div> - <div class="verse indent2">Woods have in May, that starts up green</div> - <div class="verse indent0">Save a sole streak which, so to speak,</div> - <div class="verse indent2">Is Spring’s blood, spilt its leaves between—</div> - </div> - <div class="stanza"> - <div class="verse indent0">That, they might spare; a certain wood</div> - <div class="verse indent2">Might miss the plant; their loss were small;</div> - <div class="verse indent0">But I—whene’er the leaf grows there—</div> - <div class="verse indent2">It’s drop comes from my heart, that’s all.”</div> - </div> -</div> -</div> - -</div> - -<p><span class="pagenum"><a id="Page_175"></a>[175]</span></p> - -<div class="sidenote"><i>Ralph Waldo Emerson</i></div> - -<div> -<img class="dropcap" src="images/dropcap-b.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">Between Browning and Whitman -we may insert a few lines from R. W. -Emerson:—</p> - -<div class="blockquote"> - -<p class="dropcap">“The only way to have a friend -is to be one.... In the last -analysis love is only the reflection of a man’s own -worthiness from other men. Men have sometimes -exchanged names with their friends, as if they -would signify that in their friend each loved his -own soul.</p> - -<p>“The higher the style we demand of friendship, -of course the less easy to establish it with flesh and -blood.... Friends, such as we desire, are dreams -and fables. But a sublime hope cheers ever the -faithful heart, that elsewhere, in other regions of -the universal power, souls are now acting, enduring, -and daring, which can love us, and which -we can love.” <i>Essay on Friendship.</i></p> - -</div> - -<div class="sidenote"><i>Henry D. Thoreau</i></div> - -<p>These also from Henry D. Thoreau:—</p> - -<div class="blockquote"> - -<p class="dropcap">“No word is oftener on the lips of men than -Friendship, and indeed no thought is more -familiar to their aspirations. All men are dreaming -of it, and its drama, which is always a tragedy, is -enacted daily. It is the secret of the universe. You -may thread the town, you may wander the country, -and none shall ever speak of it, yet thought is<span class="pagenum"><a id="Page_176"></a>[176]</span> -everywhere busy about it, and the idea of what is -possible in this respect affects our behaviour towards -all new men and women, and a great many -old ones. Nevertheless I can remember only two -or three essays on this subject in all literature.... -To say that a man is your friend, means commonly -no more than this, that he is not your enemy. -Most contemplate only what would be the accidental -and trifling advantages of friendship, as -that the friend can assist in time of need, by his -substance, or his influence, or his counsel; but -he who foresees such advantages in this relation -proves himself blind to its real advantage, or indeed -wholly inexperienced in the relation itself.... -What is commonly called Friendship is only -a little more honour among rogues. But sometimes -we are said to <i>love</i> another, that is, to -stand in a true relation to him, so that we give the -best to, and receive the best from, him. Between -whom there is hearty truth there is love; and in -proportion to our truthfulness and confidence in -one another our lives are divine and miraculous, -and answer to our ideal. There are passages of -affection in our intercourse with mortal men and -women, such as no prophecy had taught us to expect, -which transcend our earthly life, and anticipate -heaven for us.” <i>From On the Concord River.</i></p> - -</div> - -<p><span class="pagenum"><a id="Page_177"></a>[177]</span></p> - -<div class="sidenote"><i>Walt Whitman</i></div> - -<div> -<img class="dropcap" src="images/dropcap-i.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">I conclude this collection with -a few quotations from Whitman, for -whom “the love of comrades” perhaps -stands as the most intimate part -of his message to the world—“Here the frailest -leaves of me and yet my strongest lasting.” Whitman, -by his great power, originality and initiative, -as well as by his deep insight and wide vision, is in -many ways the inaugurator of a new era to mankind; -and it is especially interesting to find that this -idea of comradeship, and of its establishment as a -<i>social institution</i>, plays so important a part with him. -We have seen that in the Greek age, and more or -less generally in the ancient and pagan world, comradeship -was an institution; we have seen that in -Christian and modern times, though existent, it was -socially denied and ignored, and indeed to a great -extent fell under a kind of ban; and now Whitman’s -attitude towards it suggests to us that it really is -destined to pass into its third stage, to arise again, -and become a recognised factor of modern life, and<span class="pagenum"><a id="Page_178"></a>[178]</span> -even in a more extended and perfect form than -at first.<a id="FNanchor_9" href="#Footnote_9" class="fnanchor">[9]</a></p> - -<div class="blockquote"> - -<p class="dropcap">“It is to the development, identification, and -general prevalence of that fervid comradeship -(the adhesive love, at least rivaling the amative -love hitherto possessing imaginative literature, if -not going beyond it), that I look for the counterbalance -and offset of our materialistic and vulgar -American Democracy, and for the spiritualisation -thereof. Many will say it is a dream, and will not -follow my inferences; but I confidently expect a -time when there will be seen, running like a half-hid -warp through all the myriad audible and visible -worldly interests of America, threads of manly -friendship, fond and loving, pure and sweet, strong -and lifelong, carried to degrees hitherto unknown—not -only giving tone to individual character, and -making it unprecedently emotional, muscular, heroic, -and refined, but having deepest relations to -general politics. I say Democracy infers such -loving comradeship, as its most inevitable twin or<span class="pagenum"><a id="Page_179"></a>[179]</span> -counterpart, without which it will be incomplete, -in vain, and incapable of perpetuating itself.” -<i>Democratic Vistas, note.</i></p> - -</div> - -<div class="sidenote"><i>“Leaves of Grass”</i></div> - -<p>The three following poems are taken from <i>Leaves -of Grass</i>:—</p> - -<div class="blockquote"> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0 dropcap">“Recorders ages hence,</div> - <div class="verse indent0">Come, I will take you down underneath this impassive exterior, I will tell you what to say of me,</div> - <div class="verse indent0">Publish my name and hang up my picture as that of the tenderest lover,</div> - <div class="verse indent0">The friend the lover’s portrait, of whom his friend his lover was fondest,</div> - <div class="verse indent0">Who was not proud of his songs, but of the measureless ocean of love within him, and freely pour’d it forth,</div> - <div class="verse indent0">Who often walk’d lonesome walks thinking of his dear friends, his lovers,</div> - <div class="verse indent0">Who pensive away from one he lov’d often lay sleepless and dissatisfied at night,</div> - <div class="verse indent0">Who knew too well the sick, sick dread lest the one he lov’d might secretly be indifferent to him,</div> - <div class="verse indent0">Whose happiest days were far away through fields, in woods, on hills, he and another wandering hand in hand, they twain apart from other men,</div><span class="pagenum"><a id="Page_180"></a>[180]</span> - <div class="verse indent0">Who oft as he saunter’d the streets curv’d with his arm the shoulder of his friend, while the arm of his friend rested upon him also.”</div> - </div> - <div class="stanza"> - <div class="verse right"><i>Leaves of Grass</i>, 1891-2 edn., p. 102.</div> - </div> -</div> -</div> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0 dropcap">“When I heard at the close of the day how my name had been receiv’d with plaudits in the capital, still it was not a happy night for me that follow’d,</div> - <div class="verse indent0">And else when I carous’d, or when my plans were accomplish’d, still I was not happy,</div> - <div class="verse indent0">But the day when I rose at dawn from the bed of perfect health, refresh’d, singing, inhaling the ripe breath of autumn,</div> - <div class="verse indent0">When I saw the full moon in the west grow pale and disappear in the morning light,</div> - <div class="verse indent0">When I wander’d alone over the beach, and undressing bathed, laughing with the cool waters, and saw the sun rise,</div> - <div class="verse indent0">And when I thought how my dear friend my lover was on his way coming, O then I was happy,</div> - <div class="verse indent0">O then each breath tasted sweeter, and all that day my food nourish’d me more, and the beautiful day pass’d well,</div> - <div class="verse indent0">And the next came with equal joy, and with the next at evening came my friend,</div><span class="pagenum"><a id="Page_181"></a>[181]</span> - <div class="verse indent0">And that night while all was still I heard the waters roll slowly continuously up the shores,</div> - <div class="verse indent0">I heard the hissing rustle of the liquid and sands as directed to me whispering to congratulate me,</div> - <div class="verse indent0">For the one I love most lay sleeping by me under the same cover in the cool night,</div> - <div class="verse indent0">In the stillness in the autumn moonbeams his face was inclined toward me,</div> - <div class="verse indent0">And his arm lay lightly around my breast—and that night I was happy.”</div> - </div> - <div class="stanza"> - <div class="verse right"><i>Ibid</i>, p. 103.</div> - </div> -</div> -</div> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0 dropcap">“I hear it was charged against me that I sought to destroy institutions,</div> - <div class="verse indent0">But really I am neither for nor against institutions,</div> - <div class="verse indent0">(What indeed have I in common with them? or what with the destruction of them?)</div> - <div class="verse indent0">Only I will establish in the Mannahatta and in every city of these States inland and seaboard,</div> - <div class="verse indent0">And in the fields and woods, and above every keel little or large that dents the water,</div> - <div class="verse indent0">Without edifices or rules or trustees or any argument,</div> - <div class="verse indent0">The institution of the dear love of comrades.”</div> - </div> - <div class="stanza"> - <div class="verse right"><i>Ibid</i>, p. 107.</div> - </div> -</div> -</div> -</div> - -<p><span class="pagenum"><a id="Page_182"></a>[182]</span></p> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_183"></a>[183]</span></p> - -<h2 class="nobreak" id="Additions"><i>Additions</i><br /> -<span class="smaller">[1906]</span></h2> - -</div> - -<p><span class="pagenum"><a id="Page_184"></a>[184]</span></p> - -<hr class="chap x-ebookmaker-drop" /> - -<p><span class="pagenum"><a id="Page_185"></a>[185]</span></p> - -<h3 class="nobreak" id="Greek_Times"><i>Greek Times</i></h3> - -<div class="sidenote"><i>Aristotle</i></div> - -<div> -<img class="dropcap" src="images/dropcap-a.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">Aristotle (Ethics bk. viii.) says:</p> - -<div class="blockquote"> - -<p class="dropcap">“Friendship is a thing most -necessary to life, since without -friends no one would choose to -live, though possessed of all other -advantages.”... “Since then his own life is, -to a good man, a thing naturally sweet and ultimately -desirable, for a similar reason is the life of -his friend agreeable to him, and delightful merely -on its own account, and without reference to any -object beyond it; and to live without friends is -to be destitute of a good, unconditioned, absolute, -and in itself desirable; and therefore to be -deprived of one of the most solid and most -substantial of all enjoyments.”</p> - -<p>“Being asked ‘What is Friendship?’ Aristotle -replied ‘One soul in two bodies.’” <i>Diog. Laertius.</i></p> - -</div> - -<div class="sidenote"><i>Epaminondas and Pelopidas</i></div> - -<div> -<img class="dropcap" src="images/dropcap-e.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">Epaminondas and Pelopidas, the -Theban statesmen and generals, were -celebrated for their devotion to each -other. In a battle (<span class="allsmcap">B.C.</span> 385) against -the Arcadians, Epaminondas is said to have saved<span class="pagenum"><a id="Page_186"></a>[186]</span> -his friend’s life. Plutarch in his Life of Pelopidas -relates of them:—</p> - -<div class="blockquote"> - -<p class="dropcap">“Epaminondas and he were both born -with the same dispositions to all kinds of -virtues, but Pelopidas took more pleasure in the -exercises of the body, and Epaminondas in the -improvements of the mind; so that they spent -all their leisure time, the one in hunting, and -the palestra, the other in learned conversation, -and the study of philosophy. But of all the -famous actions for which they are so much celebrated, -the judicious part of mankind reckon -none so great and glorious as that strict friendship -which they inviolably preserved through the -whole course of their lives, in all the high posts -they held, both military and civil.... For -being both in that battle, near one another in the -infantry, and fighting against the Arcadians, that -wing of the Lacedæmonians in which they were, -gave way and was broken; which Pelopidas and -Epaminondas perceiving, they joined their shields, -and keeping close together, bravely repulsed all -that attacked them, till at last Pelopidas, after -receiving seven large wounds, fell upon a heap -of friends and enemies that lay dead together. -Epaminondas, though he believed him slain, advanced<span class="pagenum"><a id="Page_187"></a>[187]</span> -before him to defend his body and arms, -and for a long time maintained his ground against -great numbers of the Arcadians, being resolved -to die rather than desert his companion and leave -him in the enemy’s power; but being wounded -in his breast by a spear, and in his arm by a -sword, he was quite disabled and ready to fall, -when Agesipolis, king of the Spartans, came from -the other wing to his relief, and beyond all -expectation saved both their lives.”</p> - -</div> - -<div class="sidenote"><i>Polemon and Krates</i></div> - -<div> -<img class="dropcap" src="images/dropcap-p.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">Polemon and Krates were followers -of Plato in philosophy, and in their -time (about 300 <span class="allsmcap">B.C.</span>) leaders of the -Platonic School. They were, according -to Hesychius, devoted friends:</p> - -<div class="blockquote"> - -<p class="dropcap">“Krates and Polemon loved each other so -well that they not only were occupied in -life with the same work, but they almost drew -breath simultaneously; and in death they shared -the same grave. On account of which, Archesilaus, -who visited them in company with Theophrastus -(a pupil of Aristotle), spoke of them as -gods, or survivors from the Golden Age.”</p> - -<p class="right"><i>Hesychius</i> xl.</p> - -</div> - -<p><span class="pagenum"><a id="Page_188"></a>[188]</span></p> - -<div class="sidenote"><i>Alexander and Hephæstion</i></div> - -<div> -<img class="dropcap" src="images/dropcap-a.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">Alexander, the great World-Conqueror, -was born <span class="allsmcap">B.C.</span> 356, and -was King of Macedonia <span class="allsmcap">B.C.</span> 336-323. -His great favorite was Hephæstion, -who had been brought up and educated -with him.</p> - -<div class="blockquote"> - -<p class="dropcap">“When Hephæstion died at Ecbatana (in -324) Alexander placed his weapons upon -the funeral pyre, with gold and silver for the -dead man, and a robe—which last, among the -Persians is a symbol of great honour. He shore -off his own hair, as in Homeric grief, and behaved -like the Achilles of Homer. Indeed he -acted more violently and passionately than the -latter, for he caused the towers and strongholds of -Ecbatana to be demolished all round. As long as -he only dedicated his own hair, he was behaving, -I think, like a Greek; but when he laid hands -on the very walls, Alexander was already showing -his grief in foreign fashion. Even in his clothing -he departed from ordinary custom, and gave -himself up to his mood, his love, and his tears.”</p> - -<p class="right"><i>Aelian’s Varia Historia</i>, vii, 8.</p> - -</div> - -<p><span class="pagenum"><a id="Page_189"></a>[189]</span></p> - -<h3 class="nobreak"><i>Persian Poetry</i></h3> - -<div class="sidenote"><i>From Sadi’s Rose-Garden</i></div> - -<div> -<img class="dropcap" src="images/dropcap-v.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">Von Kupffer, in his Anthology, <i>Lieblingminne -und Freundes liebe in der Weltliteratur</i>, -gives the following three -poems from Sadi and Hafiz:—</p> - -<div class="blockquote"> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0 dropcap">“A youth there was of golden heart and nature,</div> - <div class="verse indent0">Who loved a friend, his like in every feature;</div> - <div class="verse indent0">Once, as upon the ocean sailed the pair,</div> - <div class="verse indent0">They chanced into a whirlpool unaware.</div> - <div class="verse indent0">A fisherman made haste the first to save,</div> - <div class="verse indent0">Ere his young life should meet a watery grave;</div> - <div class="verse indent0">But crying from the raging surf, he said:</div> - <div class="verse indent0">‘Leave me, and seize my comrade’s hand instead.’</div> - <div class="verse indent0">E’en as he spoke the mortal swoon o’ertook him,</div> - <div class="verse indent0">With that last utterance life and sense forsook him.</div> - </div> - <div class="stanza"> - <div class="verse indent0">Learn not love’s temper from that shallow pate</div> - <div class="verse indent0">Who in the hour of fear forsakes his mate;</div> - <div class="verse indent0">True friends will ever act like him above</div> - <div class="verse indent0">(Trust one who is experienced in love);</div> - <div class="verse indent0">For Sadi knows full well the lover’s part,</div> - <div class="verse indent0">And Bagdad understands the Arab heart.</div> - <div class="verse indent0">More than all else thy loved one shalt thou prize,</div> - <div class="verse indent0">Else is the whole world hidden from thine eyes.”</div> - </div> -</div> -</div> - -</div> - -<p><span class="pagenum"><a id="Page_190"></a>[190]</span></p> - -<div class="sidenote"><i>From Sadi’s Pleasure Garden</i></div> - -<div class="blockquote"> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0 dropcap">“Lov’st thou a being formed of dust like thee—</div> - <div class="verse indent0">Peace and contentment from thy heart shall flee;</div> - <div class="verse indent0">Waking, fair limbs and features shall torment thee;</div> - <div class="verse indent0">Sleeping, thy love in dreams shall hold and haunt thee.</div> - <div class="verse indent0">Under his feet thy head is bowed to earth;</div> - <div class="verse indent0">Compared with him the world’s a paltry crust;</div> - <div class="verse indent0">If to thy loved one gold is nothing worth,</div> - <div class="verse indent0">Why, then to thee is gold no more than dust.</div> - <div class="verse indent2">Hardly a word for others canst thou find,</div> - <div class="verse indent0">For no room’s left for others in thy mind.”</div> - </div> -</div> -</div> - -</div> - -<div class="sidenote"><i>Hafiz to his Friend</i></div> - -<div class="blockquote"> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0 dropcap">“Dear Friend, since thou hast passed the whole</div> - <div class="verse indent0">Of one sweet night, till dawn, with me,</div> - <div class="verse indent0">I were scarce mortal, could I spend</div> - <div class="verse indent0">Another hour apart from thee.</div> - <div class="verse indent0">The fear of death, for all of time</div> - <div class="verse indent0">Hath left me since my soul partook</div> - <div class="verse indent0">The water of true Life, that wells</div> - <div class="verse indent0">In sweet abundance from thy brook.”</div> - </div> -</div> -</div> - -</div> - -<p><span class="pagenum"><a id="Page_191"></a>[191]</span></p> - -<h3 class="nobreak" id="Renaissance"><i>Renaissance</i></h3> - -<div class="sidenote"><i>Beaumont and Fletcher</i></div> - -<div> -<img class="dropcap" src="images/dropcap-b.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">Beaumont and Fletcher are two -names which time and immortal -friendship have sealed in one. Francis -Beaumont was son of a judge, -and John Fletcher, who was some -four or five years the elder of the two, son of a -bishop. The one went to Oxford, the other to -Cambridge. Both took to writing at an early age; -they probably met at the Mermaid Tavern, about -the year 1604, and a friendship sprang up between -them of the closest character. “The intimacy -which now commenced was one of singular warmth -even for that romantic age.” (Chambers’ Biog. -Dict.) For many years they lived in the same house -as bachelors, writing plays together, and sharing -everything in common. Then in 1613 Beaumont -married, but died in 1616. Fletcher lived on -unmarried, till 1625, when he died of the plague.</p> - -<p>J. St. L. Strachey, in his introduction to the -works of Beaumont and Fletcher in the Mermaid -Series, says:—</p> - -<p><span class="pagenum"><a id="Page_192"></a>[192]</span></p> - -<div class="blockquote"> - -<p class="dropcap">“In the whole range of English literature, search -it from Chaucer till to-day, there is no figure -more fascinating or more worthy of attention -than ‘the mysterious double personallity’ of Beaumont -and Fletcher. Whether we bow to the -sentiment of the first Editor, who, though he -knew the secret of the poets, yet since never -parted while they lived’ conceived it not equitable -to ‘separate their ashes,’ and so refuse to think -of them apart; whether we adopt the legendary -union of the comrade-poets who dwelt on the -Bank-side, who lived and worked together, their -thoughts no less in common than the cloak and -bed o’er which tradition has grown fond; whether -we think of them as two minds so married that -to divorce or disunite them were a sacrilegious -deed; or whether we yield to the subtler influences -of the critical fancy, and delight to -discover and explore each from its source, the -twin fountains of inspiration that feed the majestic -stream of song that flows through ‘The Lost -Aspatia’s’ tragedy, etc. ... whether we treat -the poets as a mystery to which love and sympathy -are the initiation, or as a problem for the -tests and reagents of critical analysis to solve, -the double name of Beaumont and Fletcher will<span class="pagenum"><a id="Page_193"></a>[193]</span> -ever strike the fancy and excite the imagination -as does no other name in the annals of English -song.”</p> - -</div> - -<p>George Varley, in his Introduction to the -works of B. and F. (London, E. Moxon, 1839) -says:—</p> - -<div class="blockquote"> - -<p class="dropcap">“The story of their common life, which scandalises -some biographers, contains much -that is agreeable to me, as offering a picture of -perfect union whose heartiness excuses its homeliness -... but when critics would explain away -the community of cloak and clothes by accident -or slander, methinks their fastidiousness exceeds -their good feeling.”</p> - -</div> - -<div class="sidenote"><i>Sweet Fletcher’s Brain</i></div> - -<p>Beaumont was a man of great personal beauty -and charm. Ben Jonson was much attracted to -him. Fletcher delighted to do him honour and -to put his name first on their title page; though -it is probable that Beaumont’s share in the plays -was the lesser one. See following verses by Sir -Aston Cokaine in the 1st Collection of their works, -published 1647:—</p> - -<p><span class="pagenum"><a id="Page_194"></a>[194]</span></p> - -<div class="blockquote"> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0 dropcap">“In the large book of playes you late did print,</div> - <div class="verse indent0">In Beaumont and in Fletcher’s name, why in’t</div> - <div class="verse indent0">Did you not justice? Give to each his due?</div> - <div class="verse indent0">For Beaumont of those many writ in few,</div> - <div class="verse indent0">And Massinger in other few; the main</div> - <div class="verse indent0">Being sole issues of sweet Fletcher’s brain.</div> - <div class="verse indent0">But how came I, you ask, so much to know?</div> - <div class="verse indent0">Fletcher’s chief bosome-friend inform’d me so.”</div> - </div> -</div> -</div> - -</div> - -<div class="sidenote"><i>Fletcher’s lament for his Friend</i></div> - -<p>The following lines were written by Fletcher -on the death of Beaumont:—</p> - -<div class="blockquote"> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0 dropcap">“Come, sorrow, come! bring all thy cries,</div> - <div class="verse indent0">All thy laments, and all thy weeping eyes!</div> - <div class="verse indent0">Burn out, you living monuments of woe!</div> - <div class="verse indent0">Sad, sullen griefs, now rise and overflow!</div> - <div class="verse indent8">Virtue is dead;</div> - <div class="verse indent8">Oh! cruel fate!</div> - <div class="verse indent8">All youth is fled;</div> - <div class="verse indent8">All our laments too late.</div> - <div class="verse indent0">Oh, noble youth, to thy ne’er dying name,</div> - <div class="verse indent0">Oh, happy youth, to thy still growing fame,</div> - <div class="verse indent0">To thy long peace in earth, this sacred knell</div> - <div class="verse indent0">Our last loves ring—farewell, farewell, farewell!</div> - <div class="verse indent0">Go, happy soul, to thy eternal birth!</div> - <div class="verse indent0">And press his body lightly, gentle Earth.”</div> - </div> -</div> -</div> - -</div> - -<p><span class="pagenum"><a id="Page_195"></a>[195]</span></p> - -<div class="sidenote"><i>An Epitaph</i></div> - -<p>And among the poems attributed to Francis -Beaumont is one generally supposed to be -addressed to Fletcher, and speaking of an alliance -hidden from the world—of which the last five -lines run:—</p> - -<div class="blockquote"> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0 dropcap">“If when I die, physicians doubt</div> - <div class="verse indent0">What caused my death, and these to view</div> - <div class="verse indent0">Of all their judgments, which was true,</div> - <div class="verse indent0">Rip up my heart; O, then I fear</div> - <div class="verse indent0">The world will see thy picture there.”</div> - </div> -</div> -</div> - -</div> - -<p class="noindent">—though it is perhaps more probable that it was -addressed to Beaumont by Fletcher, and has accidentally -found place among the former’s writings.</p> - -<p>In the <i>Maids Tragedy</i> by B. and F., (Act I. -Scene i.) we have Melantius speaking about his -companion Amintor, a young nobleman:—</p> - -<div class="blockquote"> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0 dropcap">“All joys upon him! for he is my friend.</div> - <div class="verse indent0">Wonder not that I call a man so young my friend:</div> - <div class="verse indent0">His worth is great; radiant he is, and temperate;</div> - <div class="verse indent0">And one that never thinks his life his own,</div> - <div class="verse indent0">If his friend need it.”</div> - </div> -</div> -</div> - -</div> - -<p><span class="pagenum"><a id="Page_196"></a>[196]</span></p> - -<div class="sidenote"><i>Vauvenargues on De Seytres</i></div> - -<div> -<img class="dropcap" src="images/dropcap-t.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">The devotion of Vauvenargues to -his friend De Seytres is immortalized -by the <i>éloge</i> he wrote on -the occasion of the latter’s death. -V., a youth of noble family, born -in S. France in 1715, entered military service -and the regiment of the King at an early age. -He seems to have been a gentle, wise character, -much beloved by his comrades. During the French -invasion of Bohemia, in 1741, when he was about -26, he met Hippolyte de Seytres, who belonged to -the same regiment, and who was only 18 years of -age. A warm friendship sprang up between the -two, but lasted for a brief time only. De Seytres -died during the privations of the terrible Siege of -Prague in 1742. Vauvenargues escaped, but with -the loss of his health, as well as of his friend. He -took to literature, and wrote some philosophic -works, and became correspondent and friend of -Voltaire, but died in 1747 at the early age of 32. -In his <i>éloge</i> he speaks of his friend as follows:—</p> - -<p><span class="pagenum"><a id="Page_197"></a>[197]</span></p> - -<div class="blockquote"> - -<p class="dropcap">“By nature full of grace, his movements natural, -his manners frank, his features noble and -grave, his expression sweet and penetrating; one -could not look upon him with indifference. -From the first his loveable exterior won all -hearts in his favour, and whoever was in the -position to know his character could not but -admire the beauty of his disposition. Never did -he despise or envy or hate anyone. He understood -all the passions and opinions, even the -most singular, that the world blames. They -did not surprise him; he penetrated their cause, -and found in his own reflexions the means of -explaining them.”</p> - -<p>“And so Hippolyte,” he continues, “I was -destined to be the survivor in our friendship—just -when I was hoping that it would mitigate -all the sufferings and ennui of my life even to -my latest breath. At the moment when my -heart, full of security, placed blind confidence in -thy strength and youth, and abandoned itself to -gladness—O Misery! in that moment a mighty -hand was extinguishing the sources of life in thy -blood. Death was creeping into thy heart, and -harbouring in thy bosom!... O pardon -me once more; for never canst thou have doubted<span class="pagenum"><a id="Page_198"></a>[198]</span> -the depth of my attachment. I loved thee before -I was able to know thee. I have never loved -but thee ... I was ignorant of thy very -name and life, but my heart adored thee, spoke -with thee, saw thee and sought thee in solitude. -Thou knewest me but for a moment; and when -we did become acquainted, already a thousand -times had I paid homage in secret to thy virtues.... -Shade worthy of heaven, whither hast -thou fled! Do my sighs reach thee? I tremble—O -abyss profound, O woe, O death, O grave! -Dark veil and viewless night, and mystery of -Eternity!”</p> - -</div> - -<p>(It is said that Vauvenargues thought more of -this memorial inscription to his friend than of any -other of his works, and constantly worked at and -perfected it.)</p> - -<div class="sidenote"><i>From Schiller’s Don Karlos</i></div> - -<div> -<img class="dropcap" src="images/dropcap-s.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">Schiller, the great German poet, -had an enthusiastic appreciation of -friendship-love, as can be seen from -his poems “Freundschaft” and “Die -Burgschaft,” and others of his writings. -His tragedy Don Karlos turns upon the<span class="pagenum"><a id="Page_199"></a>[199]</span> -death of one friend for the sake of another. The -young Infanta of Spain, Don Karlos, alienated by -the severities of his father, Phillip II., enters into -plots and intrigues, from the consequences of -which he is only saved by his devoted companion, -the Marquis of Posa, who, by making himself out -the guilty party, dies in the Prince’s stead. Early -in the play (Act I., Scene ii.) the attachment -between the two is outlined:—</p> - -<div class="sidenote"><i>Karlos and Roderick</i></div> - -<div class="blockquote"> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="speaker"><i>Karlos.</i> <span class="spacer">Oh, if indeed ’tis true—</span></div> - <div class="verse indent0">What my heart says—that out of millions, thou</div> - <div class="verse indent0">Hast been decreed at last to understand me;</div> - <div class="verse indent0">If it be true that Nature all-creative</div> - <div class="verse indent0">In moulding Karlos copied Roderick,</div> - <div class="verse indent0">And strung the tender chords of our two souls</div> - <div class="verse indent0">Harmonious in the morning of our lives;</div> - <div class="verse indent0">If even a tear that eases thus my sorrow</div> - <div class="verse indent0">Is dearer to thee than my father’s favour—</div> - </div> - <div class="stanza"> - <div class="speaker"><i>Marquis of Posa.</i> Oh, dearer than the world!</div> - </div> - <div class="stanza"> - <div class="speaker"><i>Karlos.</i> <span class="spacer">So low, so low</span></div> - <div class="verse indent0">Have I now fallen, have become so needy,</div> - <div class="verse indent0">That of our early childish years together</div><span class="pagenum"><a id="Page_200"></a>[200]</span> - <div class="verse indent0">I must remind thee—must indeed entreat</div> - <div class="verse indent0">Thy payment of those long-forgotten debts</div> - <div class="verse indent0">Which thou, while yet in sailor garb, contractedst;</div> - <div class="verse indent0">When thou and I, two boys of venturous habit,</div> - <div class="verse indent0">Grew up, and side by side, in brotherhood.</div> - <div class="verse indent0">No grief oppressed me then—save that thy spirit</div> - <div class="verse indent0">Seemed so eclipsing mine—until at length</div> - <div class="verse indent0">I boldly dared to <i>love</i> thee without limit,</div> - <div class="verse indent0">Since to be <i>like</i> thee was beyond my dreams.</div> - <div class="verse indent0">Then I began, with myriad tenderness</div> - <div class="verse indent0">And brother-love most loyal, to torment thee;</div> - <div class="verse indent0">And thou, proud heart, returned it all so coldly.</div> - <div class="verse indent0">Oft would I stand there—and thou saw’st it not!</div> - <div class="verse indent0">And hot and heavy tear-drops from my eyes</div> - <div class="verse indent0">Hung, when perchance, thou, Roderick, hastening past me,</div> - <div class="verse indent0">Would’st throw thy arms about some lesser playmate.</div> - <div class="verse indent0">“Why only these?” I cried, and wept aloud</div> - <div class="verse indent0">“Am I not also worthy of thy heart?”</div> - <div class="verse indent0">But thou—</div><span class="pagenum"><a id="Page_201"></a>[201]</span> - <div class="verse indent0">So cold and serious before me kneeling,</div> - <div class="verse indent0">“Homage” thou said’st, “to the King’s son is due.”</div> - </div> - <div class="stanza"> - <div class="speaker"><i>Marquis</i>. A truce, O Prince, to all these tales of childhood,</div> - <div class="verse indent0">They make my cheeks red even now with shame!</div> - </div> - <div class="stanza"> - <div class="speaker"><i>Karlos</i>. And this from thee indeed I did not merit.</div> - <div class="verse indent0">Contemn thou could’st, and even rend my heart,</div> - <div class="verse indent0">But ne’er estrange. Three times thou did’st repulse</div> - <div class="verse indent0">The young Prince from thee; thrice again he came</div> - <div class="verse indent0">As suppliant to thee—to entreat thy love,</div> - <div class="verse indent0">And urgently to press his love upon thee.</div> - <div class="verse indent0">But that which Karlos could not, chance effected.</div> - </div> -</div> -</div> - -</div> - -<p>(The story is then related of how as a boy he -took on himself the blame for a misdemeanour of -Roderick’s, and was severely punished by his -royal father)—</p> - -<p><span class="pagenum"><a id="Page_202"></a>[202]</span></p> - -<div class="blockquote"> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0">Under the pitiless strokes my blood flowed red;</div> - <div class="verse indent0">I looked on thee and wept not. But the King</div> - <div class="verse indent0">Was angered by my boyish heroism,</div> - <div class="verse indent0">And for twelve terrible hours emprisoned me</div> - <div class="verse indent0">In a dark dungeon, to repent thereof.</div> - <div class="verse indent0">So proud and fierce was my determination</div> - <div class="verse indent0">By Roderick to be beloved. Thou cam’st,</div> - <div class="verse indent0">And loudly weeping at my feet did’st fall,</div> - <div class="verse indent0">“Yes, yes,” did’st cry, “my pride is overcome,</div> - <div class="verse indent0">One day, when thou art king, I will repay thee.”</div> - </div> - <div class="stanza"> - <div class="speaker"><i>Marquis</i> (<i>giving his hand</i>.)</div> - <div class="verse indent0">I will so, Karl. My boyish affidavit</div> - <div class="verse indent0">As man I now renew; I will repay;</div> - <div class="verse indent0">My hour will also strike, perchance.</div> - </div> -</div> -</div> - -</div> - -<div class="sidenote"><i>The devotion of Roderick</i></div> - -<p>(The hour comes, when Roderick takes on -himself the blame for an intrigue of Don Karlos -with the Queen and William of Orange. He -writes a letter to the latter, and allows it purposely -to fall into the King’s hands. He is assassinated -by order of the King; and the following speech -over his body (Act V., Scene iv.) is made to the<span class="pagenum"><a id="Page_203"></a>[203]</span> -King by Don Karlos, who thenceforth abjures all -love except for the memory of his friend.)</p> - -<div class="blockquote"> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="speaker"><i>Karlos</i> (to the King.)</div> - <div class="verse indent0">The dead man was my friend. And would you know</div> - <div class="verse indent0">Wherefore he died? He perished for my sake.</div> - <div class="verse indent0">Yes, Sire, for we were brothers! brothers by</div> - <div class="verse indent0">A nobler chain than Nature ever forges.</div> - <div class="verse indent0">Love was his glorious life-career. And love</div> - <div class="verse indent0">For me, his great, his glorious death. Mine was he.</div> - <div class="verse indent0">What time his lowly bearing puffed you up,</div> - <div class="verse indent0">What time his gay persuasive eloquence</div> - <div class="verse indent0">Made easy sport of your proud giant-spirit.</div> - <div class="verse indent0">You thought to dominate him quite—and were</div> - <div class="verse indent0">The obedient creature of his deeper plans.</div> - <div class="verse indent0">That I am prisoner, is the schemed result</div> - <div class="verse indent0">Of his great friendship. To achieve my safety</div> - <div class="verse indent0">He wrote that letter to the Prince of Orange—</div> - <div class="verse indent0">O God! the first, last falsehood of his life.</div> - <div class="verse indent0">To rescue me he went to meet the Fate</div> - <div class="verse indent0">Which he has suffered. With your gracious favours</div><span class="pagenum"><a id="Page_204"></a>[204]</span> - <div class="verse indent0">You loaded him. He died for me. On him</div> - <div class="verse indent0">You pressed the favours of your heart and friendship.</div> - <div class="verse indent0">Your sceptre was the plaything of his hands;</div> - <div class="verse indent0">He threw it from him, and for me he died.</div> - </div> -</div> -</div> - -</div> - -<div class="sidenote"><i>Fritz of Prussia and Von Katte</i></div> - -<div> -<img class="dropcap" src="images/dropcap-t.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">There is little, I believe, in the -historical facts relating to Don -Karlos to justify this tale of friendship; -but there seems great probability -that the incidents were transferred by Schiller -from the history of Frederick the Great, of Prussia, -when a youth at his father’s court. The devotion -that existed between the young Frederick and -Lieut. Von Katte, the anger and severities of the -royal parent, the supposed conspiracy, the emprisonment -of Frederick, and the execution of -Von Katte, are all reproduced in Schiller’s play.</p> - -<div class="sidenote"><i>Death of Von Katte</i></div> - -<p>Von Katte was a young man of good family -and strange but charming personality, who, as soon -as he came to Court, being three or four years -older than Frederick, exercised a strong attraction<span class="pagenum"><a id="Page_205"></a>[205]</span> -upon the latter. The two were always together, -and finally, enraged by the harshness of the royal -father, they plotted flight to England. They were -arrested, and Katte, accused of treason to the -throne, was condemned to death. That this sentence -was pronounced, not so much for political -reasons, as in order to do despite to the affection -between him and the Crown Prince, is strongly -suggested by the circumstances. Von Katte was -sent from a distance in order to be executed at -Cüstrin, in the fortress where the Prince was confined, -and with instructions that the latter should -witness his execution. Carlyle, in his life of -Frederick II., says:—</p> - -<div class="blockquote"> - -<p class="dropcap">“Katte wore, by order, a brown dress exactly -like the Prince’s; the Prince is already -brought down into a lower room to see Katte as -he passes, (to see Katte die has been the royal -order, but they smuggled that into abeyance) and -Katte knows he shall see him.” [Besserer, the -chaplain of the Garrison, quoted by Carlyle, -describing the scene as they approached the Castle, -says:—‘Here, after long wistful looking about,<span class="pagenum"><a id="Page_206"></a>[206]</span> -he did get sight of his beloved Jonathan at a -window in the Castle, from whom, he, with -politest and most tender expression, speaking in -French, took leave, with no little emotion of -sorrow.] “<i>Pardonnez moi, mon cher Katte</i>” cried -Friedrich. “<i>La mort est douce pour un si aimable -Prince</i>,” said Katte, and fared on; round some -angle of the Fortress it appears; not in sight of -Friedrich, who sank in a faint, and had seen his -last glimpse of Katte in this world.’</p> - -<p class="right"><i>Life of Frederick II.</i>, vol. 2, p. 489.</p> - -</div> - -<div class="sidenote"><i>Frederick the Great</i></div> - -<p>Frederick’s grief and despair were extreme for -a time. Then his royal father found him a wife, -in the Princess Elizabeth of Brunswick, whom he -obediently married, but in whom he showed little -interest—their meetings growing rarer and rarer -till at last they became merely formal. Later, -and after his accession, he spent most of his leisure -time when away from the cares of war and political -re-organisation, at his retreat at Sans-Souci, afar -from feminine society (a fact which provoked -Voltaire’s sarcasms), and in the society of his -philosophic and military friends, to many of whom<span class="pagenum"><a id="Page_207"></a>[207]</span> -he was much attached. Von Kupffer has unearthed -from his poems printed at Sans-Souci in 1750 the -following, addressed to Count Von Kaiserlinck, -a favorite companion, on whom he bestowed the -by-name of Cesarion:—</p> - -<div class="blockquote"> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0 dropcap">“Cesarion, let us keep unspoiled</div> - <div class="verse indent0">Our faith, and be true friends,</div> - <div class="verse indent0">And pair our lives like noble Greeks,</div> - <div class="verse indent4">And to like noble ends!</div> - <div class="verse indent0">That friend from friend may never hide</div> - <div class="verse indent0">A fault through weakness or thro’ pride,</div> - <div class="verse indent4">Or sentiment that cloys.</div> - <div class="verse indent0">Thus gold in fire the brighter glows,</div> - <div class="verse indent0">And far more rare and precious grows,</div> - <div class="verse indent4">Refined from all alloys.”</div> - </div> -</div> -</div> - -</div> - -<div class="sidenote"><i>Frederick to Cesarion</i></div> - -<p>There is also in the same collection a long and -beautiful ode “To the shades of Cesarion,” of -which the following are a few lines:—</p> - -<div class="blockquote"> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0 dropcap">“O God! how hard the word of Fate!</div> - <div class="verse indent0">Cesarion dead! His happy days</div> - <div class="verse indent0">Death to the grave has consecrate.</div> - <div class="verse indent4">His charm I mourn and gentle grace.</div> - <div class="verse indent0">He’s dead—my tender, faithful mate!</div><span class="pagenum"><a id="Page_208"></a>[208]</span> - <div class="verse indent0">A thousand daggers pierce my heart;</div> - <div class="verse indent0">It trembles, torn with grief and pain.</div> - <div class="verse indent4">He’s gone! the dawn comes not again!</div> - <div class="verse indent0">Thy grave’s the goal of my heart’s strife;</div> - <div class="verse indent4">Holy shall thy remembrance be;</div> - <div class="verse indent0">To thee I poured out love in life;</div> - <div class="verse indent4">And love in death I vow to thee.”</div> - </div> -</div> -</div> - -</div> - -<div class="sidenote"><i>Herder on Greek Friendship</i></div> - -<div> -<img class="dropcap" src="images/dropcap-j.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">Johann Gottfried von Herder -(1744-1803) as theologian, philosopher, -friend of Goethe, Court -preacher at Weimar, and author of -<i>Ideas on the Philosophy of History</i> has -had a great and enduring reputation. The following -extract is from the just-mentioned book:—</p> - -<div class="blockquote"> - -<p class="dropcap">“Never has a branch born finer fruit than -that little branch of Olive, Ivy, and Pine, -which was the victor’s crown among the Greeks. -It gave to the young men good looks, good -health, and good spirits; it made their limbs -nimble, graceful and well-formed; in their souls -it lighted the first sparks of the desire for good -name, the love of fame even, and stamped on -them the inviolable temper of men who live for -their city and their country. Finally, what was<span class="pagenum"><a id="Page_209"></a>[209]</span> -most precious, it laid the foundation in their -characters of that predilection for male society -and friendship which so markedly distinguishes -the Greeks. In Greece, woman was not the one -prize of life for which the young man fought and -strove; the loveliest Helen could only mould the -spirit of one Paris, even though her beauty might -be the coveted object of all manly valour. The -feminine sex, despite the splendid examples of -every virtue that it exhibited in Greece, as elsewhere, -remained there only a secondary object of -the manly life. The thoughts of aspiring youths -reached towards something higher. The bond -of friendship which they knitted among themselves -or with grown men, compelled them into -a school which Aspasia herself could hardly have -introduced them to; so that in many of the -states of Greece manly love became surrounded -and accompanied by those intelligent and educational -influences, that permanence of character -and devotion, whose sentiment and meaning we -read of in Plato almost as if in a romance from -some far planet.”</p> - -</div> - -<p><span class="pagenum"><a id="Page_210"></a>[210]</span></p> - -<div class="sidenote"><i>Von Kupffer on Ethics and Politics</i></div> - -<div> -<img class="dropcap" src="images/dropcap-e.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">Elisar von Kupffer, in the introduction -to his Anthology, from which I have -already quoted a few extracts, speaks -at some length on the great ethical -and political significance of a loving comradeship. -He says:—</p> - -<div class="blockquote"> - -<p class="dropcap">“In open linkage and attachment to each other -ought youth to rejoice in youth. In attachment -to another, one loses the habit of thinking -only of self. In the love and tender care and -instruction that the youth receives from his lover -he learns from boyhood up to recognise the good -of self-sacrifice and devotion; and in the love -which he shows, whether in the smaller or the -greater offerings of an intimate friendship, he -accustoms himself to self-sacrifice for another. -In this way the young man is early nurtured into -a member of the Community—to a useful member -and not one who has self and only self in mind. -And how much closer thus does unit grow to -unit, till indeed the whole comes to feel itself -a whole!...</p> - -<p>“The close relationship between two men has -this further result—that folk instinctively and<span class="pagenum"><a id="Page_211"></a>[211]</span> -not without reason judge of one from the other; -so that should the one be worthy and honorable, -he naturally will be anxious that the other should -not bring a slur upon him. Thus there arises -a bond of moral responsibility with regard to -character. And what can be of more advantage -to the community than that the individual members -should feel responsible for each other? -Surely it is just that which constitutes national -sentiment, and the strength of a people, namely, -that it should form a complete whole in itself, -where each unit feels locked and linked with the -others. Such unions may be of the greatest -social value, as in the case of the family. And -it is especially in the hour of danger that the -effect of this unity of feeling shows itself; for -where one man stands or falls with another, -where glad self-sacrifice, learnt in boyhood, becomes -so to speak, a warm-hearted instinct, there -is developed a power of incalculable import, a -power that folly alone can hold cheap. Indeed, -the unconquerable force of these unions has -already been practically shown, as in the Sacred -Band of the Thebans who fought to its bitter -end the battle of Leuctra; and, psychologically -speaking, the explanation is most natural; for<span class="pagenum"><a id="Page_212"></a>[212]</span> -where one person feels himself united, body and -soul to another, is it not natural that he should -put forth all his powers in order to help the other, -in order to manifest his love for him in every -way? If any one cannot or will not perceive this -we may indeed well doubt either the intelligence -of his head or the morality of his heart.”</p> - -</div> - -<div class="sidenote"><i>Friedrich Rückert to his Friend</i></div> - -<div> -<img class="dropcap" src="images/dropcap-f.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">Friedrich Rückert (1788-1866), -Professor of Oriental Literature in -Berlin, wrote verses in memory of -his friend Joseph Kopp:—</p> - -<div class="blockquote"> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0 dropcap">“How shall I know myself without thee,</div> - <div class="verse indent0">Who knew myself as part of thee?</div> - <div class="verse indent0">I only know one half is vanished,</div> - <div class="verse indent0">And half alone is left, of me.</div> - <div class="verse indent0">Never again my proper mind</div> - <div class="verse indent0">I’ll know; for thee I’ll never find.</div> - </div> - <div class="stanza"> - <div class="verse indent0">Never again, out there in space,</div> - <div class="verse indent0">I’ll find thee; but here, deep within.</div> - <div class="verse indent0">I see, tho’ not in dreams, thy face;</div> - <div class="verse indent0">My waking eyes thy presence win,</div> - <div class="verse indent0">And all my thought and poesy</div> - <div class="verse indent0">Are but my offering to thee.</div> - </div> - <div class="stanza"> - <div class="verse indent0">...</div><span class="pagenum"><a id="Page_213"></a>[213]</span> - </div> - <div class="stanza"> - <div class="verse indent0">My Jonathan, now hast thou fled,</div> - <div class="verse indent0">And I to weep thy loss remain;</div> - <div class="verse indent0">If David’s harp might grace my hands</div> - <div class="verse indent0">O might it help to ease my pain!</div> - <div class="verse indent0">My friend, my Joseph, true of faith,</div> - <div class="verse indent0">In life so loved—so loved in death.”</div> - </div> -</div> -</div> - -</div> - -<div class="sidenote"><i>Rough Weather Friends</i></div> - -<p>And the following are by Joseph Kitir, an -Austrian poet:—</p> - -<div class="blockquote"> - -<div class="poetry-container"> -<div class="poetry"> - <div class="stanza"> - <div class="verse indent0 dropcap">“Not where breathing roses bless</div> - <div class="verse indent0">The night, or summer airs caress;</div> - <div class="verse indent0">Not in Nature’s sacred grove;</div> - <div class="verse indent0">No, but at a tap-room table,</div> - <div class="verse indent0">Sitting in the window-gable</div> - <div class="verse indent0">Did we plight our troth of love.</div> - </div> - <div class="stanza"> - <div class="verse indent0">No fair lime tree’s roofing shade</div> - <div class="verse indent0">By the spring wind gently swayed</div> - <div class="verse indent0">Formed for us a bower of bliss;</div> - <div class="verse indent0">No, stormbound, but love-intent,</div> - <div class="verse indent0">There against the damp wall bent</div> - <div class="verse indent0">We two bartered kiss for kiss.</div> - </div> - <div class="stanza"> - <div class="verse indent0">Therefore shalt thou, Love so rare</div> - <div class="verse indent0">(Child of storms and wintry air),</div> - <div class="verse indent0">Not like Spring’s sweet fragrance fade.</div> - <div class="verse indent0">Even in sorrow thou shalt flourish,</div> - <div class="verse indent0">Frost shall not make thee afraid,</div> - <div class="verse indent0">And in storms thou shalt not perish.”</div> - </div> -</div> -</div> - -</div> - -<p><span class="pagenum"><a id="Page_214"></a>[214]</span></p> - -<div class="sidenote"><i>Ludwig II. to Richard Wagner</i></div> - -<div> -<img class="dropcap" src="images/dropcap-o.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">On <a href="#Page_154">p. 154, 155 above</a> are given some -letters of Richard Wagner relative -to Ludwig II.’s deep attachment -to him. Below are some of the -actual letters of Ludwig to Wagner. (See Prof. -C. Beyer’s book, <i>Ludwig II., König von Bayern</i>.)</p> - -<div class="blockquote"> - -<p class="dropcap">“Dear Friend, O I see clearly that your sufferings -are deep-rooted! You tell me, -beloved friend, that you have looked deep into -the hearts of men, and seen there the villainy -and corruption that dwells within. Yes, I believe -you, and I can well understand that moments -come to you of disgust with the human race; -yet always will we remember (will we not, -beloved?) that there are yet many noble and -good people, for whom it is a real pleasure to -live and work. And yet you say you are no -use for this world!—I pray you, do not despair, -your true friend conjures you; have Courage: -‘Love helps us to bear and suffer all things, love -brings at last the victor’s crown!’ Love recognises, -even in the most corrupt, the germ of -good; she alone overcomes all!—Live on, -darling of my soul. I recall your own words to -you. To learn to forget is a noble work!—Let<span class="pagenum"><a id="Page_215"></a>[215]</span> -us be careful to hide the faults of others; it was -for all men indeed that the Saviour died and -suffered. And now, what a pity that ‘Tristan’ -can not be presented to-day; will it perhaps -to-morrow? Is there any chance?</p> - -<p class="center">Unto death your faithful friend,</p> - -<p class="right"><span class="smcap">Ludwig</span>.”</p> - -<p><i>15th May, 1865.</i></p> - -</div> - -<div class="blockquote"> - -<p class="noindent">“<i>Purschling</i>, <i>4th Aug., 1865</i>.</p> - -<p class="dropcap">“My one, my much-loved Friend,—You express -to me your sorrow that, as it seems -to you, each one of our last meetings has only -brought pain and anxiety to me.—Must I then -remind my loved one of Brynhilda’s words?—Not -only in gladness and enjoyment, but in suffering -also Love makes man blest.... -When does my friend think of coming to the -‘Hill-Top,’ to the woodland’s aromatic breezes?—Should -a stay in that particular spot not altogether -suit, why, I beg my dear one to choose -any of my other mountain-cabins for his residence.—What -is mine is his! Perhaps we may meet -on the way between the Wood and the World, -as my friend expressed it!... To thee I am -wholly devoted; for thee, for thee only to live!</p> - -<p class="center">Unto death your own, your faithful</p> - -<p class="right"><span class="smcap">Ludwig</span>.”</p> - -</div> - -<p><span class="pagenum"><a id="Page_216"></a>[216]</span></p> - -<div class="blockquote"> - -<p class="noindent">“<i>Hohenschwangau</i>, <i>2nd Nov., 1865</i>.</p> - -<p class="dropcap">“My one Friend, my ardently beloved! This -afternoon, at 3.30, I returned from a -glorious tour in Switzerland! How this land -delighted me!—There I found your dear letter; -deepest warmest thanks for the same. With new -and burning enthusiasm has it filled me; I see -that the beloved marches boldly and confidently -forward, towards our great and eternal goal.</p> - -<p>“All hindrances I will victoriously like a hero -overcome. I am entirely at thy disposal; let -me now dutifully prove it.—Yes, we must meet -and speak together. I will banish all evil clouds; -Love has strength for all. You are the star that -shines upon my life, and the sight of you ever -wonderfully strengthens me.—Ardently I long -for you, O my presiding Saint, to whom I pray! -I should be immensely pleased to see my friend -here in about a week; oh, we have plenty to say! -If only I could quite banish from me the curse of -which you speak, and send it back to the deeps -of night from whence it sprang!—How I love, -how I love you, my one, my highest good!...</p> - -<p>“My enthusiasm and love for you are boundless. -Once more I swear you faith till death!</p> - -<p class="center">Ever, ever your devoted</p> - -<p class="right"><span class="smcap">Ludwig</span>.”</p> - -</div> - -<p><span class="pagenum"><a id="Page_217"></a>[217]</span></p> - -<div class="sidenote"><i>Byron’s Calmar and Orla</i></div> - -<div> -<img class="dropcap" src="images/dropcap-b.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">Byron’s “Death of Calmar and Orla: -an Imitation of Ossian,” is, like his -“Nisus and Euryalus” (see above, -p. 163), a story of two hero-friends -who, refusing to be separated, die -together in battle:—</p> - -<div class="blockquote"> - -<p class="dropcap">“In Morven dwelt the chief; a beam of war to -Fingal. His steps in the field were marked -in blood. Lochlin’s sons had fled before his -angry spear; but mild was the eye of Calmar; -soft was the flow of his yellow locks: they -streamed like the meteor of the night. No maid -was the sigh of his soul: his thoughts were -given to friendship—to dark-haired Orla, destroyer -of heroes! Equal were their swords in -battle; but fierce was the pride of Orla—gentle -alone to Calmar. Together they dwelt in the -cave of Oithona.” [Orla is sent by the King on -a mission of danger amid the hosts of the enemy. -Calmar insists on accompanying him, in spite of -all entreaties to the contrary. They are discovered. -A fight ensues, and they are slain.] “Morn -glimmers on the hills: no living foe is seen; -but the sleepers are many; grim they lie on -Erin. The breeze of ocean lifts their locks;<span class="pagenum"><a id="Page_218"></a>[218]</span> -yet they do not awake. The hawks scream -above their prey.</p> - -<p>“Whose yellow locks wave o’er the breast of a -chief? Bright as the gold of the stranger they -mingle with the dark hair of his friend. ’Tis -Calmar: he lies on the bosom of Orla. Theirs -is one stream of blood. Fierce is the look of -gloomy Orla. He breathes not, but his eye is -still aflame. It glares in death unclosed. His -hand is grasped in Calmar’s; but Calmar lives! -He lives, though low. ‘Rise,’ said the King, -‘Rise, son of Mora: ’tis mine to heal the -wounds of heroes. Calmar may yet bound on -the hills of Morven.’</p> - -<p>“‘Never more shall Calmar chase the deer of -Morven with Orla,’ said the hero. ‘What were -the chase to me alone? Who should share -the spoils of battle with Calmar? Orla is at rest. -Rough was thy soul, Orla! Yet soft to me as -the dew of morn. It glared on others in lightning: -to me a silver beam of night. Bear my -sword to blue-eyed Mora; let it hang in my -empty hall. It is not pure from blood: but it -could not save Orla. Lay me with my friend. -Raise the song when I am dead.’” [So they are -laid by the stream of Lubar, and four gray stones -mark the dwelling of Orla and Calmar.]</p> - -</div> - -<p><span class="pagenum"><a id="Page_219"></a>[219]</span></p> - -<div class="sidenote"><i>Hæckel’s Visit to Ceylon</i></div> - -<div> -<img class="dropcap" src="images/dropcap-e.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">Ernst Hæckel, in his “Visit to Ceylon” -describes the devotion entertained for -him by his Rodiya serving-boy at Belligam, -near Galle. The keeper of the -rest-house at Belligam was an old and philosophically-minded -man, whom Hæckel, from his likeness -to a well known head, could not help calling -by the name of Socrates. And he continues:—</p> - -<div class="sidenote"><i>His Rodiya Boy</i></div> - -<div class="blockquote"> - -<p class="dropcap">“It really seemed as though I should be pursued -by the familiar aspects of classical -antiquity from the first moment of my arrival at -my idyllic home. For, as Socrates led me up -the steps of the open central hall of the rest-house, -I saw before me, with uplifted arms in an -attitude of prayer, a beautiful naked brown -figure, which could be nothing else than the -famous statue of the ‘Youth adoring.’ How -surprised I was when the graceful bronze statue -suddenly came to life, and dropping his arms -fell on his knees, and, after raising his black eyes -imploringly to mine, bowed his handsome face so -low at my feet that his long black hair fell on the -floor! Socrates informed me that this boy was a -Pariah, a member of the lowest caste, the Rodiyas,<span class="pagenum"><a id="Page_220"></a>[220]</span> -who had lost his parents at an early age, so he -had taken pity on him. He was told off to my -exclusive service, had nothing to do the livelong -day but obey my wishes, and was a good boy, -sure to do his duty punctually. In answer to -the question what I was to call my new body-servant, -the old man informed me that his name -was Gamameda. Of course I immediately thought -of Ganymede, for the favorite of Jove himself -could not have been more finely made, or have -had limbs more beautifully proportioned and -moulded. As Gamameda also displayed a peculiar -talent as butler, and never allowed anyone else to -open me a cocoa-nut or offer me a glass of palm -wine, it was no more than right that I should -dub him Ganymede.</p> - -<p>“Among the many beautiful figures which move -in the foreground of my memories of the paradise -of Ceylon, Ganymede remains one of my -dearest favorites. Not only did he fulfil his -duties with the greatest attention and conscientiousness, -but he developed a personal attachment -and devotion to me which touched me deeply. -The poor boy, as a miserable outcast of the -Rodiya caste, had been from his birth the object -of the deepest contempt of his fellow-men, and<span class="pagenum"><a id="Page_221"></a>[221]</span> -subjected to every sort of brutality and ill-treatment. -With the single exception of old Socrates, -who was not too gentle with him either, no one -perhaps had ever cared for him in any way. He -was evidently as much surprised as delighted to -find me willing to be kind to him from the first.... -I owe many beautiful and valuable contributions -to my museum to Ganymede’s unfailing -zeal and dexterity. With the keen eye, the neat -hand, and the supple agility of the Cinghalese -youth, he could catch a fluttering moth or a -gliding fish with equal promptitude; and his -nimbleness was really amazing, when, out hunting, -he climbed the tall trees like a cat, or scrambled -through the densest jungle to recover the prize -I had killed.” <i>My Visit to Ceylon</i>, <i>by Ernst -Hæckel</i>, p. 200. (Kegan Paul, Trench & Co., -1883).</p> - -</div> - -<p>Hæckel stayed some weeks in and around -Belligam; and continues, (p. 272):—</p> - -<div class="blockquote"> - -<p class="dropcap">“On my return to Belligam I had to face one -of the hardest duties of my whole stay in -Ceylon: to tear myself away from this lovely -spot of earth, where I had spent six of the -happiest and most interesting weeks in my life.... -But hardest of all was the parting from<span class="pagenum"><a id="Page_222"></a>[222]</span> -my faithful Ganymede; the poor lad wept -bitterly, and implored me to take him with me -to Europe. In vain had I assured him that it -was impossible, and told him of our chill climate -and dull skies. He clung to my knees and -declared that he would follow me unhesitatingly -wherever I would take him. I was at last almost -obliged to use force to free myself from his -embrace. I got into the carriage which was -waiting, and as I waved a last farewell to my -good brown friends, I almost felt as if I had been -expelled from Paradise.”</p> - -</div> - -<div class="sidenote"><i>Edward Fitzgerald’s friendships</i></div> - -<div> -<img class="dropcap" src="images/dropcap-e.jpg" width="100" height="100" alt="" /> -</div> - -<p class="dropcap-pic">Edward Fitzgerald, the interpreter and -translator of <i>Omar Khayyam</i>, was a man -of the deepest feeling and sensibility, -with a special gift for friendship. Men -like Tennyson and Thackeray declared that they -loved him best of all their friends. He himself -said in one of his letters “My friendships are -more like loves.” A. C. Benson, his biographer, -writes of him:—</p> - -<div class="blockquote"> - -<p class="dropcap">“He was always taking fancies, and once under -the spell he could see no faults in his<span class="pagenum"><a id="Page_223"></a>[223]</span> -friend. His friendship for Browne arose out of -one of these romantic impulses. So too his -affection for Posh, the boatman; for Cowell, and -for Alfred Smith, the farmer of Farlingay and -Boulge, who had been his protégé as a boy. He -seems to have been one of those whose best -friendships are reserved for men; for though -he had beloved women friends like Mrs. Cowell -and Mrs. Kemble, yet these are the exceptions -rather than the rule. The truth is, there was a -strong admixture of the feminine in Fitzgerald’s -character.” <i>Fitzgerald, English Men of Letters -Series</i>, ch. viii.</p> - -</div> - -<div class="sidenote"><i>Fitzgerald and Posh</i></div> - -<p>The friendship with Posh, the fisherman, at -Lowestoft and at Woodbridge, lasted over many -years. Fitzgerald had a herring-lugger built for -him, which he called the <i>Meum and Tuum</i>, and in -which they had many a sail together. Benson, -speaking of their first meeting, says:—</p> - -<div class="blockquote"> - -<p class="dropcap">“In the same year [1864] came another great -friendship. He made the acquaintance of a -stalwart sailor named Joseph Fletcher, commonly -called Posh. It was at Lowestoft that he was -found, where Fitzgerald used, as he wrote in<span class="pagenum"><a id="Page_224"></a>[224]</span> -1850, ‘to wander about the shore at night longing -for some fellow to accost me who might give -some promise of filling up a very vacant place -in my heart.’ Posh had seen the melancholy -figure wandering about, and years after, when -Fitz used to ask him why he had not been -merciful enough to speak to him, Posh would -reply that he had not thought it becoming. -Posh was, in Fitzgerald’s own words, ‘a man of -the finest Saxon type, with a complexion, <i>vif, -mâle et flamboyant</i>, blue eyes, a nose less than -Roman, more than Greek, and strictly auburn -hair that woman might sigh to possess.’ He -was too, according to Fitz, ‘a man of simplicity -of soul, justice of thought, tenderness of nature, -a gentleman of Nature’s grandest type.’ Fitz -became deeply devoted to this big-handed, soft-hearted, -grave fellow, then 24 years of age.”</p> - -<p class="right"><i>Ibid</i>, ch. iii.</p> - -</div> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="footnotes"> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_225"></a>[225]</span></p> - -<h2 class="nobreak" id="FOOTNOTES">FOOTNOTES</h2> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_1" href="#FNanchor_1" class="label">[1]</a> This curious oracle seems purposely to -confuse the singular and plural.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_2" href="#FNanchor_2" class="label">[2]</a> Digression in praise of the political -administration of the Pisistratidæ.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_3" href="#FNanchor_3" class="label">[3]</a> “For the two men lived together, and -had their possessions in common.” <i>Iamblichus, de Vita -Pythagoræ</i> bk. i. ch. 33.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_4" href="#FNanchor_4" class="label">[4]</a> “For now we see by means of a mirror darkly (lit. enigmatically); -but then face to face; now I know in part; but then shall I know even -as also I am known.” <i>1 Cor.</i> xiii. 12.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_5" href="#FNanchor_5" class="label">[5]</a> Seen within the flower we call Larkspur.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_6" href="#FNanchor_6" class="label">[6]</a> The Sun.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_7" href="#FNanchor_7" class="label">[7]</a> Benecke, <i>Woman in Greek Poetry</i>, traces a germ -of this romance even in Greek days.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_8" href="#FNanchor_8" class="label">[8]</a> “De la Servitude Volontaire”.</p> - -</div> - -<div class="footnote"> - -<p><a id="Footnote_9" href="#FNanchor_9" class="label">[9]</a> As Whitman in this connection (like Tennyson in connection with -<i>In Memoriam</i>) is sure to be accused of morbidity, it may be worth while -to insert the following note from <i>In re Walt Whitman</i>, p. 115, “Dr. -Drinkard in 1870, when Whitman broke down from rupture of a small -blood-vessel in the brain, wrote to a Philadelphia doctor detailing -Whitman’s case, and stating that he was a man ‘with the most natural -habits, bases, and organisation he had ever seen.’”</p> - -</div> - -</div> - -<hr class="chap x-ebookmaker-drop" /> - -<div class="chapter"> - -<p><span class="pagenum"><a id="Page_226"></a>[226]</span></p> - -<h2 class="nobreak" id="Index">Index</h2> - -</div> - -<hr class="chap x-ebookmaker-drop" /> - -<h3 class="nobreak">INDEX</h3> - -<ul> - -<li class="ifrst"><i>Achilles and Patroclus</i>, <a href="#Page_45">45</a>, <a href="#Page_68">68 <i>et seq.</i></a>, <a href="#Page_74">74</a>, <a href="#Page_85">85</a></li> - -<li class="indx"><i>Æschylus, on Achilles</i>, <a href="#Page_72">72</a>, <a href="#Page_73">73</a></li> - -<li class="indx"><i>African Customs</i>, <a href="#Page_4">4</a>, <a href="#Page_5">5</a>, <a href="#Page_6">6</a>, <a href="#Page_14">14</a></li> - -<li class="indx"><i>Agathon, epigram to, by Plato</i>, <a href="#Page_79">79</a></li> - -<li class="indx"><i>Agesilaus and Lysander</i>, <a href="#Page_17">17</a></li> - -<li class="indx"><i>Albania, Customs</i>, <a href="#Page_20">20</a>, <a href="#Page_21">21</a></li> - -<li class="indx"><i>Alexander the Great and Hephæstion</i>, <a href="#Page_188">188</a></li> - -<li class="indx"><i>Amis and Amile, story of</i>, <a href="#Page_106">106</a></li> - -<li class="indx"><i>Anacreon, epigram</i>, <a href="#Page_77">77</a>;</li> -<li class="isub1"><i>to Bathyllus</i>, <a href="#Page_77">77</a></li> - -<li class="indx"><i>Anne, Princess, and Lady Churchill</i>, <a href="#Page_146">146</a></li> - -<li class="indx"><i>Anselm’s letters to brother Monks</i>, <a href="#Page_104">104</a>;</li> -<li class="isub1"><i>to Lanfranc</i>, <a href="#Page_104">104</a>;</li> -<li class="isub1"><i>to Gondulph</i>, <a href="#Page_105">105</a></li> - -<li class="indx"><i>Apollo and Hyacinth</i>, <a href="#Page_88">88</a></li> - -<li class="indx"><i>Arabia, customs</i>, <a href="#Page_12">12</a>, <a href="#Page_109">109</a>, <a href="#Page_119">119</a></li> - -<li class="indx"><i>Archidamus and Cleonymus</i>, <a href="#Page_17">17</a></li> - -<li class="indx"><i>Aristophanes, speech of</i>, <a href="#Page_51">51 <i>et seq.</i></a></li> - -<li class="indx"><i>Aristotle quoted</i>, <a href="#Page_185">185</a></li> - -<li class="indx"><i>Aster, epigrams to, by Plato</i>, <a href="#Page_78">78</a></li> - -<li class="indx"><i>Athenæus quoted</i>, <a href="#Page_25">25</a>, <a href="#Page_28">28</a>, <a href="#Page_74">74</a>, <a href="#Page_147">147</a></li> - -<li class="indx"><i>Augustine, Saint, his friend</i>, <a href="#Page_99">99 <i>et seq.</i></a></li> - - -<li class="ifrst"><i>Bacon, Francis, quoted</i>, <a href="#Page_137">137</a></li> - -<li class="indx"><i>Bagdad Dervish, story of</i>, <a href="#Page_116">116</a>;</li> -<li class="isub1"><i>another story</i>, <a href="#Page_177">177</a></li> - -<li class="indx"><i>Balonda, ceremonies among</i>, <a href="#Page_4">4</a></li> - -<li class="indx"><span class="pagenum"><a id="Page_227"></a>[227]</span><i>Banyai, customs among the</i>, <a href="#Page_14">14</a></li> - -<li class="indx"><i>Barnfield, Richard, “The Affectionate Shepheard,”</i> <a href="#Page_133">133</a>;</li> -<li class="isub1"><i>Sonnets</i>, <a href="#Page_134">134 <i>et seq.</i></a></li> - -<li class="indx"><i>Baylis, J. W., quoted</i>, <a href="#Page_36">36</a>, <a href="#Page_90">90</a></li> - -<li class="indx"><i>Beaconsfield, Lord, on boy-friendships</i>, <a href="#Page_168">168</a></li> - -<li class="indx"><i>Beaumont and Fletcher</i>, <a href="#Page_191">191 <i>et seq.</i></a></li> - -<li class="indx"><i>Bengali coolies</i>, <a href="#Page_7">7</a></li> - -<li class="indx"><i>Benecke, E. F. M., quoted</i>, <a href="#Page_68">68</a>, <a href="#Page_97">97</a></li> - -<li class="indx"><i>Bernard, Saint</i>, <a href="#Page_103">103</a></li> - -<li class="indx"><i>Bion quoted</i>, <a href="#Page_86">86</a></li> - -<li class="indx"><i>Blood, mutual tasting of</i>, <a href="#Page_5">5</a></li> - -<li class="indx"><i>Browne, Sir Thomas, “Religio Medici” quoted</i>, <a href="#Page_144">144</a></li> - -<li class="indx"><i>Browning, Robert, poem by</i>, <a href="#Page_174">174</a></li> - -<li class="indx"><i>Bruno, Giordano, quoted</i>, <a href="#Page_130">130</a></li> - -<li class="indx"><i>Buckingham, J. S., Travels in Assyria, &c.</i>, <a href="#Page_115">115 <i>et seq.</i></a></li> - -<li class="indx"><i>Butler, Lady E., and Miss Ponsonby</i>, <a href="#Page_161">161</a>, <a href="#Page_162">162</a></li> - -<li class="indx"><i>Byron, letter to Miss Pigot</i>, <a href="#Page_160">160</a>;</li> -<li class="isub1"><i>friendship with Eddleston</i>, <a href="#Page_161">161</a>;</li> -<li class="isub1"><i>paraphrase of story of Nisus and Euryalus</i>, <a href="#Page_163">163</a>;</li> -<li class="isub1"><i>comments by T. Moore</i>, <a href="#Page_164">164</a>;</li> -<li class="isub1"><i>story of Calmar and Orla</i>, <a href="#Page_217">217</a></li> - - -<li class="ifrst"><i>Callias and Autolycus</i>, <a href="#Page_59">59</a></li> - -<li class="indx"><i>Calmar and Orla</i>, <a href="#Page_217">217</a></li> - -<li class="indx"><i>Carlyle, T., on Fritz of Prussia and von Katte</i>, <a href="#Page_205">205</a></li> - -<li class="indx"><i>Catullus</i>, <a href="#Page_89">89</a>;</li> -<li class="isub1"><i>to Quintius</i>, <a href="#Page_92">92</a>;</li> -<li class="isub1"><i>to Juventius</i>, <a href="#Page_92">92</a>;</li> -<li class="isub1"><i>to Licinius</i>, <a href="#Page_93">93</a></li> - -<li class="indx"><i>Chæronæa, battle of</i>, <a href="#Page_22">22</a>, <a href="#Page_23">23</a>, <a href="#Page_68">68</a></li> - -<li class="indx"><i>Chariton and Melanippus</i>, <a href="#Page_15">15</a>;</li> -<li class="isub1"><span class="pagenum"><a id="Page_228"></a>[228]</span><i>story of</i>, <a href="#Page_29">29</a></li> - -<li class="indx"><i>Chivalry, customs of, in Arabia and Africa</i>, <a href="#Page_11">11</a>, <a href="#Page_12">12</a>, <a href="#Page_14">14</a></li> - -<li class="indx"><i>Chivalry, mediæval, compared with Greek friendship</i>, <a href="#Page_15">15</a>, <a href="#Page_45">45</a>, <a href="#Page_47">47</a></li> - -<li class="indx"><i>Christian influences</i>, <a href="#Page_97">97 <i>et seq.</i></a></li> - -<li class="indx"><i>Christian and Greek Ideals compared</i>, <a href="#Page_98">98</a></li> - -<li class="indx"><i>Cleomachus, story of</i>, <a href="#Page_27">27</a></li> - -<li class="indx"><i>Comrade-attachment, institution in the early world</i>, <a href="#Page_1">1 <i>et seq.</i></a>, <a href="#Page_41">41</a>, <a href="#Page_46">46</a>, <a href="#Page_177">177, &c.</a>;</li> -<li class="isub1"><i>essential part of Greek civilisation</i>, <a href="#Page_41">41</a>, <a href="#Page_42">42 <i>et seq.</i></a>, <a href="#Page_208">208</a>, <a href="#Page_209">209</a>;</li> -<li class="isub1"><i>romance of</i>, <a href="#Page_42">42</a>, <a href="#Page_46">46</a>, <a href="#Page_47">47</a>, <a href="#Page_52">52</a>, <a href="#Page_53">53</a>, <a href="#Page_56">56-60</a>, <a href="#Page_68">68 <i>et seq.</i></a>;</li> -<li class="isub1"><i>heroic quality</i>, <a href="#Page_11">11</a>, <a href="#Page_12">12</a>, <a href="#Page_13">13</a>, <a href="#Page_16">16</a>, <a href="#Page_21">21-25</a>, <a href="#Page_28">28</a>, <a href="#Page_31">31-37</a>, <a href="#Page_50">50</a>, <a href="#Page_51">51, &c.</a>;</li> -<li class="isub1"><i>Educational value</i>, <a href="#Page_16">16-21</a>, <a href="#Page_46">46</a>, <a href="#Page_49">49</a>, <a href="#Page_74">74</a>, <a href="#Page_210">210</a>, <a href="#Page_211">211</a>;</li> -<li class="isub1"><i>relation to chivalry</i>, <a href="#Page_11">11-16</a>, <a href="#Page_45">45</a>, <a href="#Page_47">47</a>, <a href="#Page_97">97</a>;</li> -<li class="isub1"><i>relation to Politics</i>, <a href="#Page_42">42</a>, <a href="#Page_46">46</a>, <a href="#Page_49">49</a>, <a href="#Page_50">50</a>, <a href="#Page_99">99</a>, <a href="#Page_147">147</a>, <a href="#Page_211">211</a>, <a href="#Page_212">212</a>;</li> -<li class="isub1"><i>relation to Philosophy</i>, <a href="#Page_30">30</a>, <a href="#Page_47">47-63</a>;</li> -<li class="isub1"><i>relation to the Divine Love</i>, <a href="#Page_48">48</a>, <a href="#Page_54">54-59</a>, <a href="#Page_63">63</a>, <a href="#Page_130">130</a>, <a href="#Page_132">132</a>, <a href="#Page_133">133</a>, <a href="#Page_145">145</a></li> - -<li class="indx"><i>Cratinus and Aristodemus</i>, <a href="#Page_15">15</a></li> - -<li class="indx"><i>Crete, customs</i>, <a href="#Page_17">17</a></li> - - -<li class="ifrst"><i>Damon and Pythias</i>, <a href="#Page_8">8</a>;</li> -<li class="isub1"><i>story of</i>, <a href="#Page_36">36</a></li> - -<li class="indx"><i>Dante quoted</i>, <a href="#Page_69">69</a></li> - -<li class="indx"><i>David and Jonathan</i>, <a href="#Page_6">6</a>, <a href="#Page_7">7</a>, <a href="#Page_15">15</a>, <a href="#Page_108">108</a></li> - -<li class="indx"><i>Democratic Vistas quoted</i>, <a href="#Page_178">178</a></li> - -<li class="indx"><i>Dickinson, G. L., quoted</i>, <a href="#Page_45">45</a>, <a href="#Page_75">75</a></li> - -<li class="indx"><i>Diocles, tomb honoured by lovers</i>, <a href="#Page_20">20</a>, <a href="#Page_82">82</a></li> - -<li class="indx"><span class="pagenum"><a id="Page_229"></a>[229]</span><i>Diocles and Philolaus</i>, <a href="#Page_15">15</a>, <a href="#Page_19">19</a></li> - -<li class="indx"><i>Diomedes and Sthenelus</i>, <a href="#Page_45">45</a></li> - -<li class="indx"><i>Diotima the prophetess</i>, <a href="#Page_53">53</a>, <a href="#Page_129">129</a></li> - -<li class="indx"><i>Don Karlos and the Marquis of Posa</i>, <a href="#Page_199">199 <i>et seq.</i></a></li> - -<li class="indx"><i>Dorian customs</i>, <a href="#Page_16">16 <i>et seq.</i></a></li> - - -<li class="ifrst"><i>Eastern countries and poets</i>, <a href="#Page_109">109</a></li> - -<li class="indx"><i>Eighteenth Century, influence of</i>, <a href="#Page_147">147</a></li> - -<li class="indx"><i>Emerson, R. W., essay on friendship</i>, <a href="#Page_175">175</a></li> - -<li class="indx"><i>Epaminondas</i>, <a href="#Page_28">28</a>, <a href="#Page_29">29</a>;</li> -<li class="isub1"><i>and Pelopidas</i>, <a href="#Page_185">185</a></li> - -<li class="indx"><i>Epigrams, Greek Anthology</i>, <a href="#Page_80">80</a>;</li> -<li class="isub1"><i>of Plato</i>, <a href="#Page_78">78</a>, <a href="#Page_79">79</a></li> - -<li class="indx"><i>Epitaph, Greek Anthology</i>, <a href="#Page_80">80</a></li> - -<li class="indx"><i>Exchange of gifts</i>, <a href="#Page_5">5</a>, <a href="#Page_6">6</a>, <a href="#Page_7">7</a>, <a href="#Page_18">18</a>, <a href="#Page_36">36</a>;</li> -<li class="isub1"><i>of names</i>, <a href="#Page_5">5</a>, <a href="#Page_6">6</a>;</li> -<li class="isub1"><i>of flowers</i>, <a href="#Page_7">7</a></li> - - -<li class="ifrst"><i>Fitzgerald, Edward, friendship for Tennyson, Thackeray and others</i>, <a href="#Page_222">222</a>;</li> -<li class="isub1"><i>devotion to Fletcher, or ‘Posh,’ the sailor</i>, <a href="#Page_223">223</a>, <a href="#Page_224">224</a></li> - -<li class="indx"><i>Fletcher, John, lament for Francis Beaumont</i>, <a href="#Page_194">194</a></li> - -<li class="indx"><i>Flower Friends</i>, <a href="#Page_7">7</a></li> - -<li class="indx"><i>Fraunce, Abraham, translation of Virgil</i>, <a href="#Page_91">91</a></li> - -<li class="indx"><i>Frederick the Great, his friendship with von Katte</i>, <a href="#Page_204">204 <i>et seq.</i></a>;</li> -<li class="isub1"><i>poems by</i>, <a href="#Page_207">207</a></li> - -<li class="indx"><i>Frey, Ludwig, quoted</i>, <a href="#Page_45">45</a>, <a href="#Page_149">149</a></li> - - -<li class="ifrst"><i>Gamameda or Ganymede</i>, <a href="#Page_220">220</a></li> - -<li class="indx"><i>Ganymede</i>, <a href="#Page_57">57</a>, <a href="#Page_82">82</a></li> - -<li class="indx"><i>Germans, primitive</i>, <a href="#Page_11">11</a>, <a href="#Page_13">13</a></li> - -<li class="indx"><span class="pagenum"><a id="Page_230"></a>[230]</span><i>Germany, modern</i>, <a href="#Page_147">147 <i>et seq.</i></a></li> - -<li class="indx"><i>Goethe, on Winckelmann and Greek friendships</i>, <a href="#Page_149">149</a>;</li> -<li class="isub1"><i>poem by</i>, <a href="#Page_150">150</a></li> - -<li class="indx"><i>Greek friendship compared with mediæval chivalry</i>, <a href="#Page_15">15</a>, <a href="#Page_45">45</a>, <a href="#Page_47">47</a></li> - - -<li class="ifrst"><i>Hæckel, Ernst, and his Rodiya boy in Ceylon</i>, <a href="#Page_219">219 <i>et seq.</i></a></li> - -<li class="indx"><i>Hafiz quoted</i>, <a href="#Page_113">113</a>, <a href="#Page_190">190</a></li> - -<li class="indx"><i>Hallam, Arthur, and Tennyson</i>, <a href="#Page_169">169 <i>et seq.</i></a></li> - -<li class="indx"><i>Harmodius and Aristogeiton</i>, <a href="#Page_15">15</a>, <a href="#Page_28">28</a>;</li> -<li class="isub1"><i>story of</i>, <a href="#Page_32">32</a></li> - -<li class="indx"><i>Hazlitt, Wm., Life of Montaigne quoted</i>, <a href="#Page_124">124</a></li> - -<li class="indx"><i>Hephæstion, favorite of Alexander the Great</i>, <a href="#Page_188">188</a></li> - -<li class="indx"><i>Hercules and Ioläus</i>, <a href="#Page_23">23</a>, <a href="#Page_25">25</a>, <a href="#Page_44">44</a></li> - -<li class="indx"><i>Herder on Greek friendship</i>, <a href="#Page_208">208</a>, <a href="#Page_209">209</a></li> - -<li class="indx"><i>Hermaphrodites</i>, <a href="#Page_52">52</a></li> - -<li class="indx"><i>Homer’s Iliad, motive of</i>, <a href="#Page_68">68-72</a></li> - -<li class="indx"><i>Hyacinth, favorite of Apollo</i>, <a href="#Page_87">87</a>;</li> -<li class="isub1"><i>story of</i>, <a href="#Page_88">88</a></li> - - -<li class="ifrst"><i>Idomeneus and Meriones</i>, <a href="#Page_45">45</a></li> - -<li class="indx"><i>“In Memoriam,” Tennyson’s, reviled by the “Times,”</i> <a href="#Page_169">169</a>;</li> -<li class="isub1"><i>quoted</i>, <a href="#Page_170">170 <i>et seq.</i></a></li> - -<li class="indx"><i>Ioläus</i>, <a href="#Page_23">23</a>, <a href="#Page_25">25</a>, <a href="#Page_44">44</a></li> - - -<li class="ifrst"><i>Jalal-ud-din Rumi</i>, <a href="#Page_109">109</a>, <a href="#Page_110">110</a>, <a href="#Page_111">111</a></li> - -<li class="indx"><i>Jealousy in friendship</i>, <a href="#Page_9">9</a></li> - - -<li class="ifrst"><i>Kasendi, an African ceremony</i>, <a href="#Page_5">5</a></li> - -<li class="indx"><span class="pagenum"><a id="Page_231"></a>[231]</span><i>Khalifa at Khartoum</i>, <a href="#Page_12">12</a></li> - -<li class="indx"><i>Kitir, Joseph, verses by</i>, <a href="#Page_213">213</a></li> - - -<li class="ifrst"><i>Lacedæmonians, customs among</i>, <a href="#Page_25">25</a></li> - -<li class="indx"><i>Ladies, the, of Llangollen</i>, <a href="#Page_161">161</a>, <a href="#Page_162">162</a></li> - -<li class="indx"><i>“Leaves of Grass” quoted</i>, <a href="#Page_179">179-181</a></li> - -<li class="indx"><i>Leigh Hunt on school-friendships</i>, <a href="#Page_166">166</a>, <a href="#Page_167">167</a></li> - -<li class="indx"><i>Lover answerable for his friend</i>, <a href="#Page_18">18</a>;</li> -<li class="isub1"><i>disgraceful for a youth not to have a lover</i>, <a href="#Page_18"><i>ibid</i></a></li> - -<li class="indx"><i>Lovers invincible in battle</i>, <a href="#Page_11">11</a>, <a href="#Page_12">12</a>, <a href="#Page_13">13</a>, <a href="#Page_23">23</a>, <a href="#Page_24">24</a>, <a href="#Page_28">28</a></li> - -<li class="indx"><i>Lucian quoted</i>, <a href="#Page_35">35</a></li> - -<li class="indx"><i>Ludwig of Bavaria and R. Wagner</i>, <a href="#Page_153">153 <i>et seq.</i></a>;</li> -<li class="isub1"><i>letters to Wagner</i>, <a href="#Page_214">214 <i>et seq.</i></a></li> - - -<li class="ifrst"><i>Macaulay’s History of England quoted</i>, <a href="#Page_145">145</a>, <a href="#Page_146">146</a></li> - -<li class="indx"><i>Maid’s Tragedy quoted</i>, <a href="#Page_195">195</a></li> - -<li class="indx"><i>Manganjas, ceremonies among</i>, <a href="#Page_5">5</a></li> - -<li class="indx"><i>Mania, divine</i>, <a href="#Page_54">54</a></li> - -<li class="indx"><i>Marquesas Islands</i>, <a href="#Page_9">9</a></li> - -<li class="indx"><i>Martial’s epigrams quoted</i>, <a href="#Page_94">94</a></li> - -<li class="indx"><i>Maximus Tyrius quoted</i>, <a href="#Page_129">129</a></li> - -<li class="indx"><i>“May and Death,” poem by Browning</i>, <a href="#Page_174">174</a></li> - -<li class="indx"><i>Melantius and Amintor</i>, <a href="#Page_195">195</a></li> - -<li class="indx"><i>Meleager, verses by</i>, <a href="#Page_79">79</a></li> - -<li class="indx"><i>Melville, Herman, quoted</i>, <a href="#Page_8">8 <i>et seq.</i></a></li> - -<li class="indx"><i>Michel Angelo, Sonnets</i>, <a href="#Page_129">129</a>;</li> -<li class="isub1"><i>quoted</i>, <a href="#Page_131">131 <i>et seq.</i></a></li> - -<li class="indx"><i>Military Comradeship</i>, <a href="#Page_11">11 <i>et seq.</i></a></li> - -<li class="indx"><span class="pagenum"><a id="Page_232"></a>[232]</span><i>Monastic life, friendship in</i>, <a href="#Page_97">97</a>, <a href="#Page_103">103 <i>et seq.</i></a></li> - -<li class="indx"><i>Montaigne and Stephen de la Boëtie</i>, <a href="#Page_123">123 <i>et seq.</i></a>;</li> -<li class="isub1"><i>on marriage</i>, <a href="#Page_125">125</a></li> - -<li class="indx"><i>Montalembert quoted</i>, <a href="#Page_103">103 <i>et seq.</i></a></li> - -<li class="indx"><i>Moore, T., on Byron’s friendships</i>, <a href="#Page_164">164</a></li> - -<li class="indx"><i>Moschus, lament for Bion</i>, <a href="#Page_86">86</a></li> - -<li class="indx"><i>Mulamirin, or bodyguard of Khalifa</i>, <a href="#Page_13">13</a></li> - -<li class="indx"><i>Müller, History and Antiquities of the Doric Race</i>, <a href="#Page_16">16 <i>et seq.</i></a></li> - - -<li class="ifrst"><i>Niobe, the sons of</i>, <a href="#Page_26">26</a>, <a href="#Page_27">27</a></li> - - -<li class="ifrst"><i>Orestes and Pylades</i>, <a href="#Page_15">15</a>, <a href="#Page_44">44</a>;</li> -<li class="isub1"><i>story of</i>, <a href="#Page_35">35</a></li> - - -<li class="ifrst"><i>Parmenides and Zeno</i>, <a href="#Page_30">30</a></li> - -<li class="indx"><i>Patroclus and Achilles</i>, <a href="#Page_45">45</a>, <a href="#Page_68">68</a>, <a href="#Page_74">74</a>, <a href="#Page_85">85</a></li> - -<li class="indx"><i>Penn, William, quoted</i>, <a href="#Page_145">145</a></li> - -<li class="indx"><i>Persia, customs</i>, <a href="#Page_109">109</a>, <a href="#Page_119">119</a></li> - -<li class="indx"><i>Persian Poetry</i>, <a href="#Page_110">110 <i>et seq.</i></a>, <a href="#Page_189">189</a>, <a href="#Page_190">190</a></li> - -<li class="indx"><i>Phædo, story of</i>, <a href="#Page_31">31</a></li> - -<li class="indx"><i>Phædrus of Plato</i>, <a href="#Page_47">47</a>, <a href="#Page_49">49</a>, <a href="#Page_55">55</a></li> - -<li class="indx"><i>Pheidias and Pantarkes</i>, <a href="#Page_30">30</a></li> - -<li class="indx"><i>Philip of Macedon and the Theban Band</i>, <a href="#Page_23">23</a></li> - -<li class="indx"><i>Pindar to Theoxenos</i>, <a href="#Page_78">78</a>;</li> -<li class="isub1"><i>see also</i> <a href="#Page_153">153</a></li> - -<li class="indx"><i>Platen, Count August von</i>, <a href="#Page_151">151</a>;</li> -<li class="isub1"><i>sonnets to his friend Karl Theodor German</i>, <a href="#Page_151">151</a>, <a href="#Page_152">152</a>;</li> -<li class="isub1"><i>sonnet on death of Pindar</i>, <a href="#Page_153">153</a></li> - -<li class="indx"><i>Plato quoted</i>, <a href="#Page_16">16</a>, <a href="#Page_48">48 <i>et seq.</i></a>, <a href="#Page_72">72</a>, <a href="#Page_73">73</a>;</li> -<li class="isub1"><span class="pagenum"><a id="Page_233"></a>[233]</span><i>epigrams</i>, <a href="#Page_78">78</a></li> - -<li class="indx"><i>Plutarch quoted</i>, <a href="#Page_22">22</a>, <a href="#Page_26">26</a>, <a href="#Page_27">27</a>, <a href="#Page_61">61 <i>et seq.</i></a>;</li> -<li class="isub1"><i>referred to</i>, <a href="#Page_123">123</a></li> - -<li class="indx"><i>Polemon and Krates</i>, <a href="#Page_187">187</a></li> - -<li class="indx"><i>Polynesian Apollo</i>, <a href="#Page_9">9</a></li> - -<li class="indx"><i>Polynesian customs</i>, <a href="#Page_8">8 <i>et seq.</i></a></li> - -<li class="indx"><i>‘Posh’ and Edward Fitzgerald</i>, <a href="#Page_223">223</a>, <a href="#Page_224">224</a></li> - -<li class="indx"><i>Potter, Archbishop, quoted</i>, <a href="#Page_147">147</a></li> - - -<li class="ifrst"><i>Raffalovich quoted</i>, <a href="#Page_151">151</a></li> - -<li class="indx"><i>Reminiscence, true love a</i>, <a href="#Page_55">55-59</a></li> - -<li class="indx"><i>Renaissance, influence of</i>, <a href="#Page_99">99</a>, <a href="#Page_123">123</a></li> - -<li class="indx"><i>Rückert, verses to his friend, Joseph Kopp</i>, <a href="#Page_21">21</a></li> - - -<li class="ifrst"><i>Saadi quoted</i>, <a href="#Page_113">113</a>, <a href="#Page_189">189</a>, <a href="#Page_190">190</a></li> - -<li class="indx"><i>Sacred Band, see Theban Band</i></li> - -<li class="indx"><i>Sacredness of friendship in the early world</i>, <a href="#Page_10">10</a>, <a href="#Page_37">37</a>, <a href="#Page_45">45</a></li> - -<li class="indx"><i>Sappho</i>, <a href="#Page_75">75</a>;</li> -<li class="isub1"><i>to Lesbia</i>, <a href="#Page_76">76</a></li> - -<li class="indx"><i>Schiller quoted</i>, <a href="#Page_198">198 <i>et seq.</i></a></li> - -<li class="indx"><i>School-friendships</i>, <a href="#Page_165">165 <i>et seq.</i></a></li> - -<li class="indx"><i>Sentiment of Comradeship, influenced by Christianity</i>, <a href="#Page_97">97 <i>et seq.</i></a>;</li> -<li class="isub1"><i>by the Renaissance</i>, <a href="#Page_99">99</a>, <a href="#Page_123">123</a>;</li> -<li class="isub1"><i>its place in the monastic life</i>, <a href="#Page_97">97</a>, <a href="#Page_103">103 <i>et seq.</i></a>;</li> -<li class="isub1"><i>in modern Democracy</i>, <a href="#Page_178">178</a>, <a href="#Page_211">211</a></li> - -<li class="indx"><i>Shakespeare</i>, <a href="#Page_128">128</a>, <a href="#Page_138">138</a>, <a href="#Page_152">152</a>;</li> -<li class="isub1"><i>sonnets quoted</i>, <a href="#Page_139">139 <i>et seq.</i></a>;</li> -<li class="isub1"><i>Merchant of Venice</i>, <a href="#Page_142">142</a>;</li> -<li class="isub1"><i>Henry V.</i>, <a href="#Page_143">143</a></li> - -<li class="indx"><i>Shelley, Adonais</i>, <a href="#Page_86">86</a>;</li> -<li class="isub1"><i>essay on friendship</i>, <a href="#Page_165">165</a></li> - -<li class="indx"><i>Sidney, Philip, friendship with Fulke Greville</i>, <a href="#Page_127">127</a>;</li> -<li class="isub1"><span class="pagenum"><a id="Page_234"></a>[234]</span><i>with Hubert Languet</i>, <a href="#Page_127">127</a>, <a href="#Page_128">128</a></li> - -<li class="indx"><i>Sininyane and Moshoshoma</i>, <a href="#Page_5">5</a>, <a href="#Page_6">6</a></li> - -<li class="indx"><i>Socrates, his views</i>, <a href="#Page_47">47</a>;</li> -<li class="isub1"><i>quoted</i>, <a href="#Page_53">53 <i>et seq.</i></a>, <a href="#Page_58">58</a>, <a href="#Page_59">59</a>, <a href="#Page_75">75</a></li> - -<li class="indx"><i>Socrates and Phædo</i>, <a href="#Page_31">31</a></li> - -<li class="indx"><i>Sophocles, his tragedy of Niobe</i>, <a href="#Page_74">74</a></li> - -<li class="indx"><i>Sparta, customs</i>, <a href="#Page_16">16</a></li> - -<li class="indx"><i>Suleyman the Magnificent and Ibrahim</i>, <a href="#Page_114">114</a></li> - -<li class="indx"><i>Symonds, J. A., quoted</i>, <a href="#Page_15">15</a>, <a href="#Page_20">20</a>, <a href="#Page_31">31</a>, <a href="#Page_47">47</a>, <a href="#Page_68">68</a>, <a href="#Page_79">79</a></li> - -<li class="indx"><i>Symposium of Plato</i>, <a href="#Page_48">48 <i>et seq.</i></a>;</li> -<li class="isub1"><i>speech of Phædrus</i>, <a href="#Page_49">49</a>;</li> -<li class="isub1"><i>of Pausanias</i>, <a href="#Page_51">51</a>;</li> -<li class="isub1"><i>of Aristophanes</i>, <a href="#Page_52">52</a>;</li> -<li class="isub1"><i>of Socrates</i>, <a href="#Page_53">53</a>, <a href="#Page_54">54</a>;</li> -<li class="isub1"><i>also</i> <a href="#Page_72">72</a></li> - -<li class="indx"><i>Symposium of Xenophon</i>, <a href="#Page_59">59-61</a></li> - - -<li class="ifrst"><i>Tacitus, Germania</i>, <a href="#Page_11">11</a></li> - -<li class="indx"><i>Tahiti, customs in</i>, <a href="#Page_8">8</a></li> - -<li class="indx"><i>Tennyson, Alfred, and his friend Hallam</i>, <a href="#Page_169">169</a>;</li> -<li class="isub1"><i>“In Memoriam” quoted</i>, <a href="#Page_170">170 <i>et seq.</i></a></li> - -<li class="indx"><i>Theban Band, account of</i>, <a href="#Page_21">21 <i>et seq.</i></a>;</li> -<li class="isub1"><i>also</i> 28, <a href="#Page_68">68</a>, <a href="#Page_211">211</a></li> - -<li class="indx"><i>Theocritus, Idyll xii.</i>, <a href="#Page_80">80 <i>et seq.</i></a>;</li> -<li class="isub1"><i>Idyll xxix.</i>, <a href="#Page_83">83</a></li> - -<li class="indx"><i>Theognis and Kurnus</i>, <a href="#Page_74">74</a>, <a href="#Page_75">75</a></li> - -<li class="indx"><i>Theseus and Pirithöus</i>, <a href="#Page_15">15</a>, <a href="#Page_44">44</a>, <a href="#Page_85">85</a></li> - -<li class="indx"><i>Thirlwall, Bishop, quoted</i>, <a href="#Page_44">44</a></li> - -<li class="indx"><i>Thoreau, H. D., quoted</i>, <a href="#Page_175">175-6</a></li> - -<li class="indx"><i>Thucydides quoted</i>, <a href="#Page_32">32</a></li> - - -<li class="ifrst"><i>Ulrichs, K. H.</i>, <a href="#Page_157">157</a>;</li> -<li class="isub1"><i>verses quoted</i>, <a href="#Page_159">159</a></li> - -<li class="indx"><i>Valerius Maximus quoted</i>, <a href="#Page_37">37</a></li> - -<li class="indx"><span class="pagenum"><a id="Page_235"></a>[235]</span><i>Vauvenargues and De Seytres</i>, <a href="#Page_196">196</a>, <a href="#Page_197">197</a></li> - -<li class="indx"><i>Virgil, 2nd Eclogue</i>, <a href="#Page_90">90</a>;</li> -<li class="isub1"><i>imitated</i>, <a href="#Page_133">133</a></li> - -<li class="indx"><i>Vision, the divine</i>, <a href="#Page_55">55</a>, <a href="#Page_56">56</a>, <a href="#Page_58">58</a></li> - -<li class="indx"><i>Von Katte, his execution</i>, <a href="#Page_205">205</a></li> - -<li class="indx"><i>Von Kupffer, Anthology quoted</i>, <a href="#Page_189">189</a>, <a href="#Page_190">190</a>, <a href="#Page_210">210</a>, <a href="#Page_211">211</a></li> - - -<li class="ifrst"><i>Wagner, Richard, friendship with Ludwig II.</i>, <a href="#Page_153">153</a>;</li> -<li class="isub1"><i>letters</i>, <a href="#Page_154">154</a>, <a href="#Page_155">155</a>;</li> -<li class="isub1"><i>on Greek comradeship</i>, <a href="#Page_156">156</a></li> - -<li class="indx"><i>Whitman, Walt, his “love of comrades,”</i> <a href="#Page_177">177</a>;</li> -<li class="isub1"><i>Democratic Vistas quoted</i>, <a href="#Page_178">178</a>;</li> -<li class="isub1"><i>Leaves of Grass quoted</i>, <a href="#Page_179">179-181</a></li> - -<li class="indx"><i>William of Orange and Bentinck</i>, <a href="#Page_145">145</a></li> - -<li class="indx"><i>Winckelmann</i>, <a href="#Page_148">148</a>;</li> -<li class="isub1"><i>his letters</i>, <a href="#Page_148">148</a>;</li> -<li class="isub1"><i>Goethe on</i>, <a href="#Page_149">149</a></li> - -</ul> - -<p class="titlepage"><span class="smcap">The End.</span></p> - -<p class="center smaller"><i>Printed by <span class="smcap">S. 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