Charlotte Yonge - Love and Life - An Old Story in Eighteenth Century Costume

The first edition of this tale was put forth without explaining the old fable on which it was founded—a fable recurring again and again in fairy myths, though not traceable in the classic world till a very late period, when it appeared among the tales of Apuleius, of the province of Africa, sometimes called the earliest novelist. There are, however, fragments of the same story in the popular tales of all countries, so that it is probable that Apuleius availed himself of an early form of one of these. They are to be found from India to Scandinavia, adapted to the manners and fancy of every country in turn, Beauty and the Beast and the Black Bull of Norroway are the most familiar forms of the tale, and it seemed to me one of those legends of such universal property that it was quite fair to put it into 18th century English costume.

Some have seen in it a remnant of the custom of some barbarous tribes, that the wife should not behold her husband for a year after marriage, and to this the Indian versions lend themselves; but Apuleius himself either found it, or adapted it to the idea of the Soul (the Life) awakened by Love, grasping too soon and impatiently, then losing it, and, unable to rest, struggling on through severe toils and labours till her hopes are crowned even at the gates of death. Psyche, the soul or life, whose emblem is the butterfly, thus even in heathen philosophy strained towards the higher Love, just glimpsed at for a while.

Christians gave a higher meaning to the fable, and saw in it the Soul, or the Church, to whom her Bridegroom has been for a while made known, striving after Him through many trials, to be made one with Him after passing through Death. The Spanish poet Calderon made it the theme of two sacred dramas, in which the lesson of Faith, not Sight, was taught, with special reference to the Holy Eucharist.

English poetry has, however, only taken up its simple classical aspect. In the early part of the century, Mrs. Tighe wrote a poem in Spenserian stanza, called Psyche , which was much admired at the time; and Mr. Morris has more lately sung the story in his Earthly Paradise . This must be my excuse for supposing the outline of the tale to be familiar to most readers.

The fable is briefly thus:—

Venus was jealous of the beauty of a maiden named Psyche, the youngest of three daughters of a king. She sent misery on the land and family, and caused an oracle to declare that the only remedy was to deck his youngest daughter as a bride, and leave her in a lonely place to become the prey of a monster. Cupid was commissioned by his mother to destroy her. He is here represented not as a child, but as a youth, who on seeing Psyche’s charms, became enamoured of her, and resolved to save her from his mother and make her his own. He therefore caused Zephyr to transport her to a palace where everything delightful and valuable was at her service, feasts spread, music playing, all her wishes fulfilled, but all by invisible hands. At night in the dark, she was conscious of a presence who called himself her husband, showed the fondest affection for her, and promised her all sorts of glory and bliss, if she would be patient and obedient for a time.

This lasted till yearnings awoke to see her family. She obtained consent with much difficulty and many warnings. Then the splendour in which she lived excited the jealousy of her sisters, and they persuaded her that her visitor was really the monster who would deceive her and devour her. They thus induced her to accept a lamp with which to gaze on him when asleep. She obeyed them, then beholding the exquisite beauty of the sleeping god of love, she hung over him in rapture till a drop of the hot oil fell on his shoulder and awoke him. He sprang up, sorrowfully reproached her with having ruined herself and him, and flew away, letting her fall as she clung to him.

The palace was broken up, the wrath of Venus pursued her; Ceres and all the other deities chased her from their temples; even when she would have drowned herself, the river god took her in his arms, and laid her on the bank. Only Pan had pity on her, and counselled her to submit to Venus, and do her bidding implicitly as the only hope of regaining her lost husband.

Venus spurned her at first, and then made her a slave, setting her first to sort a huge heap of every kind of grain in a single day. The ants, secretly commanded by Cupid, did this for her. Next, she was to get a lock of golden wool from a ram feeding in a valley closed in by inaccessible rocks; but this was procured for her by an eagle; and lastly, Venus, declaring that her own beauty had been impaired by attendance on her injured son, commanded Psyche to visit the Infernal Regions and obtain from Proserpine a closed box of cosmetic which was on no account to be opened. Psyche thought death alone could bring her to these realms, and was about to throw herself from a tower, when a voice instructed her how to enter a cavern, and propitiate Cerberus with cakes after the approved fashion.

She thus reached Proserpine’s throne, and obtained the casket, but when she had again reached the earth, she reflected that if Venus’s beauty were impaired by anxiety, her own must have suffered far more; and the prohibition having of course been only intended to stimulate her curiosity, she opened the casket, out of which came the baneful fumes of Death! Just, however, as she fell down overpowered, her husband, who had been shut up by Venus, came to the rescue, and finding himself unable to restore her, cried aloud to Jupiter, who heard his prayer, reanimated Psyche, and gave her a place among the gods.

If times differ, human nature and national character vary but little; and thus, in looking back on former times, we are by turns startled by what is curiously like, and curiously unlike, our own sayings and doings.

The feelings of a retired officer of the nineteenth century expecting the return of his daughters from the first gaiety of the youngest darling, are probably not dissimilar to those of Major Delavie, in the earlier half of the seventeen hundreds, as he sat in the deep bay window of his bed-room; though he wore a green velvet nightcap; and his whole provision of mental food consisted of half a dozen worn numbers of the Tatler , and a Gazette a fortnight old. The chair on which he sat was elbowed, and made easy with cushions and pillows, but that on which his lame foot rested was stiff and angular. The cushion was exquisitely worked in chain-stich, as were the quilt and curtains of the great four-post bed, and the only carpeting consisted of three or four narrow strips of wool-work. The walls were plain plaster, white-washed, and wholly undecorated, except that the mantelpiece was carved with the hideous caryatides of the early Stewart days, and over it were suspended a long cavalry sabre, and the accompanying spurs and pistols; above them the miniature of an exquisitely lovely woman, with a white rose in her hair and a white favour on her breast.

The window was a deep one projecting far into the narrow garden below, for in truth the place was one of those old manor houses which their wealthy owners were fast deserting in favour of new specimens of classical architecture as understood by Louis XIV., and the room in which the Major sat was one of the few kept in habitable repair. The garden was rich with white pinks, peonies, lilies of the valley, and early roses, and there was a flagged path down the centre, between the front door and a wicket-gate into a long lane bordered with hawthorn hedges, the blossoms beginning to blush with the advance of the season. Beyond, rose dimly the spires and towers of a cathedral town, one of those county capitals to which the provincial magnates were wont to resort during the winter, keeping a mansion there for the purpose, and providing entertainment for the gentry of the place and neighbourhood.