In days when the world was young and when the gods walked on the earth, there reigned over the island of Cyprus a sculptor-king, and king of sculptors, named Pygmalion. In the language of our own day, we should call him “wedded to his art.” In woman he only saw the bane of man. Women, he believed, lured men from the paths to which their destiny called them. While man walked alone, he walked free—he had given no “hostages to fortune.” Alone, man could live for his art, could combat every danger that beset him, could escape, unhampered, from every pitfall in life. But woman was the ivy that clings to the oak, and throttles the oak in the end. No woman, vowed Pygmalion, should ever hamper him. And so at length he came to hate women, and, free of heart and mind, his genius wrought such great things that he became a very perfect sculptor. He had one passion, a passion for his art, and that sufficed him. Out of great rough blocks of marble he would hew the most perfect semblance of men and of women, and of everything that seemed to him most beautiful and the most worth preserving.
When we look now at the Venus of Milo, at the Diana of Versailles, and at the Apollo Belvidere in the Vatican, we can imagine what were the greater things that the sculptor of Cyprus freed from the dead blocks of marble. One day as he chipped and chiselled there came to him, like the rough sketch of a great picture, the semblance of a woman. How it came he knew not. Only he knew that in that great mass of pure white stone there seemed to be imprisoned the exquisite image of a woman, a woman that he must set free. Slowly, gradually, the woman came. Soon he knew that she was the most beautiful thing that his art had ever wrought. All that he had ever thought that a woman should be, this woman was. Her form and features were all most perfect, and so perfect were they, that he felt very sure that, had she been a woman indeed, most perfect would have been the soul within. For her he worked as he had never worked before. There came, at last, a day when he felt that another touch would be insult to the exquisite thing he had created. He laid his chisel aside and sat down to gaze at the Perfect Woman. She seemed to gaze back at him. Her parted lips were ready to speak—to smile. Her hands were held out to hold his hands. Then Pygmalion covered his eyes. He, the hater of women, loved a woman—a woman of chilly marble. The women he had scorned were avenged.
Day by day his passion for the woman of his own creation grew and grew. His hands no longer wielded the chisel. They grew idle. He would stand under the great pines and gaze across the sapphire-blue sea, and dream strange dreams of a marble woman who walked across the waves with arms outstretched, with smiling lips, and who became a woman of warm flesh and blood when her bare feet touched the yellow sand, and the bright sun of Cyprus touched her marble hair and turned it into hair of living gold. Then he would hasten back to his studio to find the miracle still unaccomplished, and would passionately kiss the little cold hands, and lay beside the little cold feet the presents he knew that young girls loved—bright shells and exquisite precious stones, gorgeous-hued birds and fragrant flowers, shining amber, and beads that sparkled and flashed with all the most lovely combinations of colour that the mind of artist could devise. Yet more he did, for he spent vast sums on priceless pearls and hung them in her ears and upon her cold white breast; and the merchants wondered who could be the one upon whom Pygmalion lavished the money from his treasury.
To his divinity he gave a name—“Galatea”; and always on still nights the myriad silver stars would seem to breathe to him “Galatea” … and on those days when the tempests blew across the sandy wastes of Arabia and churned up the fierce white surf on the rocks of Cyprus, the very spirit of the storm seemed to moan through the crash of waves in longing, hopeless and unutterable—“Galatea! … Galatea! …” For her he decked a couch with Tyrian purple, and on the softest of pillows he laid the beautiful head of the marble woman that he loved.
So the time wore on until the festival of Aphrodite drew near. Smoke from many altars curled out to sea, the odour of incense mingled with the fragrance of the great pine trees, and garlanded victims lowed and bleated as they were led to the sacrifice. As the leader of his people, Pygmalion faithfully and perfectly performed all his part in the solemnities and at last he was left beside the altar to pray alone. Never before had his words faltered as he laid his petitions before the gods, but on this day he spoke not as a sculptor-king, but as a child who was half afraid of what he asked.
“O Aphrodite!” he said, “who can do all things, give me, I pray you, one like my Galatea for my wife!”
“Give me my Galatea,” he dared not say; but Aphrodite knew well the words he would fain have uttered, and smiled to think how Pygmalion at last was on his knees. In token that his prayer was answered, three times she made the flames on the altar shoot up in a fiery point, and Pygmalion went home, scarcely daring to hope, not allowing his gladness to conquer his fear.
The shadows of evening were falling as he went into the room that he had made sacred to Galatea. On the purple-covered couch she lay, and as he entered it seemed as though she met his eyes with her own; almost it seemed that she smiled at him in welcome. He quickly went up to her and, kneeling by her side, he pressed his lips on those lips of chilly marble. So many times he had done it before, and always it was as though the icy lips that could never live sent their chill right through his heart, but now it surely seemed to him that the lips were cold no longer. He felt one of the little hands, and no more did it remain heavy and cold and stiff in his touch, but lay in his own hand, soft and living and warm. He softly laid his fingers on the marble hair, and lo, it was the soft and wavy burnished golden hair of his desire. Again, reverently as he had laid his offerings that day on the altar of Venus, Pygmalion kissed her lips. And then did Galatea, with warm and rosy cheeks, widely open her eyes, like pools in a dark mountain stream on which the sun is shining, and gaze with timid gladness into his own.
There are no after tales of Pygmalion and Galatea. We only know that their lives were happy and that to them was born a son, Paphos, from whom the city sacred to Aphrodite received its name. Perhaps Aphrodite may have smiled sometimes to watch Pygmalion, once the scorner of women, the adoring servant of the woman that his own hands had first designed.
PHAETON
“The road, to drive on which unskilled were Phaeton’s hands.”
Dante—Purgatorio.
To Apollo, the sun-god, and Clymene, a beautiful ocean-nymph, there was born in the pleasant land of Greece a child to whom was given the name of Phaeton, the Bright and Shining One. The rays of the sun seemed to live in the curls of the fearless little lad, and when at noon other children would seek the cool shade of the cypress groves, Phaeton would hold his head aloft and gaze fearlessly up at the brazen sky from whence fierce heat beat down upon his golden head.
“Behold, my father drives his chariot across the heavens!” he proudly proclaimed. “In a little while I, also, will drive the four snow-white steeds.”
His elders heard the childish boast with a smile, but when Epaphos, half-brother to Apollo, had listened to it many times and beheld the child, Phaeton, grow into an arrogant lad who held himself as though he were indeed one of the Immortals, anger grew in his heart. One day he turned upon Phaeton and spoke in fierce scorn:
“Dost say thou art son of a god? A shameless boaster and a liar art thou! Hast ever spoken to thy divine sire? Give us some proof of thy sonship! No more child of the glorious Apollo art thou than are the vermin his children,
