And in one very remote village lives the sorceress Pamphile, who turns her neighbours into various animals. What true humour in the scene where, after mounting the rickety stairs, Lucius, peeping curiously through a chink in the door, is a spectator of the transformation of the old witch herself into a bird, that she may take flight to the object of her affections—into an owl! “First she stripped off every rag she had. Then opening a certain chest she took from it many small boxes, and removing the lid of one of them, rubbed herself over for a long time, from head to foot, with an ointment it contained, and after much low muttering to her lamp, began to jerk at last and shake her limbs. And as her limbs moved to and fro, out burst the soft feathers: stout wings came forth to view: the nose grew hard and hooked: her nails were crooked into claws; and Pamphile was an owl. She uttered a queasy screech; and, leaping little by little from the ground, making trial of herself, fled presently, on full wing, out of doors.”
By clumsy imitation of this process, Lucius, the hero of the romance, transforms himself, not as he had intended into a showy winged creature, but into the animal which has given name to the book; for throughout it there runs a vein of racy, homely satire on the love of magic then prevalent, curiosity concerning which had led Lucius to meddle with the old woman’s appliances. “Be you my Venus,” he says to the pretty maidservant who has introduced him to the view of Pamphile, “and let me stand by you a winged Cupid!” and, freely applying the magic ointment, sees himself transformed, “not into a bird, but into an ass!”
Well! the proper remedy for his distress is a supper of roses, could such be found, and many are his quaintly picturesque attempts to come by them at that adverse season; as he contrives to do at last, when, the grotesque procession of Isis passing by with a bear and other strange animals in its train, the ass following along with the rest suddenly crunches the chaplet of roses carried in the High-priest’s hand.
Meantime, however, he must wait for the spring, with more than the outside of an ass; “though I was not so much a fool, nor so truly an ass,” he tells us, when he happens to be left alone with a daintily spread table, “as to neglect this most delicious fare, and feed upon coarse hay.” For, in truth, all through the book, there is an unmistakably real feeling for asses, with bold touches like Swift’s, and a genuine animal breadth. Lucius was the original ass, who peeping slyly from the window of his hiding-place forgot all about the big shade he cast just above him, and gave occasion to the joke or proverb about “the peeping ass and his shadow.”
But the marvellous, delight in which is one of the really serious elements in most boys, passed at times, those young readers still feeling its fascination, into what French writers call the “macabre”—that species of almost insane preoccupation with the materialities of our mouldering flesh, that luxury of disgust in gazing on corruption, which was connected, in this writer at least, with not a little obvious coarseness. It was a strange notion of the gross lust of the actual world, that Marius took from some of these episodes. “I am told,” they read, “that when foreigners are interred, the old witches are in the habit of outracing the funeral procession, to ravage the corpse”—in order to obtain certain cuttings and remnants from it, with which to injure the living—“especially if the witch has happened to cast her eye upon some goodly young man.” And the scene of the night-watching of a dead body lest the witches should come to tear off the flesh with their teeth, is worthy of Théophile Gautier.
But set as one of the episodes in the main narrative, a true gem amid its mockeries, its coarse though genuine humanity, its burlesque horrors, came the tale of Cupid and Psyche, full of brilliant, lifelike situations, speciosa locis, and abounding in lovely visible imagery (one seemed to see and handle the golden hair, the fresh flowers, the precious works of art in it!) yet full also of a gentle idealism, so that you might take it, if you chose, for an allegory. With a concentration of all his finer literary gifts, Apuleius had gathered into it the floating star-matter of many a delightful old story.—
The Story of Cupid and Psyche
In a certain city lived a king and queen who had three daughters exceeding fair. But the beauty of the elder sisters, though pleasant to behold, yet passed not the measure of human praise, while such was the loveliness of the youngest that men’s speech was too poor to commend it worthily and could express it not at all. Many of the citizens and of strangers, whom the fame of this excellent vision had gathered thither, confounded by that matchless beauty, could but kiss the fingertips of their right hands at sight of her, as in adoration to the goddess Venus herself. And soon a rumour passed through the country that she whom the blue deep had borne, forbearing her divine dignity, was even then moving among men, or that by some fresh germination from the stars, not the sea now, but the earth, had put forth a new Venus, endued with the flower of virginity.
This belief, with the fame of the maiden’s loveliness, went daily further into distant lands, so that many people were
