sometimes excels the original, while it veils those features that too
much offend modern taste.

[323] Couat, 142. There are reasons to believe that the epistles
referred to are not by Ovid. Aristaenetus lived about the fifth
century. It is odd that the poem of Callimachus should have been lost
after surviving eight centuries.

[324] See also Helbig's Chap. XXII. on the increasing lubricity of
Greek art.

[325] Space permitting, it would be interesting to examine these poets
in detail, as well as the other Romans--Virgil, Horace, Lucretius,
etc., who came less under Greek influence. But in truth such
examination would be superfluous. Any one may pursue the investigation
by himself, and if he will bear in mind and apply as tests, the last
seven of my ingredients of love--the altruistic-supersensual group--he
cannot fail to become convinced that there are no instances of what I
have described as romantic love in Latin literature any more than in
Greek. And since it is the province of poets to idealize, we may feel
doubly sure that the emotions which they did not even imagine cannot
have existed in the actual life of their more prosaic contemporaries.
It would, indeed, be strange if a people so much more coarse-fibred
and practical, and so much less emotional and esthetic, than the
Greeks, should have excelled them in the capacity for what is one of
the most esthetic and the most imaginative of all sentiments.

Before leaving the poets, I may add that the Greek _Anthology_, the
basis of which was laid by Meleager, a contemporary of the Roman poets
just referred to, contains a collection of short poems by many Greek
writers, in which, of course, some of my critics have discovered
romantic love. One of them wrote that "the poems of Meleager alone in
the Greek _Anthology_ would suffice to refute the notion that Greece
ignored romantic passion." If this critic will take the trouble to
read these poems of Meleager in the original he will find that a
disgustingly large number relate to [Greek: paiderastia], which in
No. III. is expressly declared to be superior to the love for women;
that most of the others relate to hetairai; and that not one of
them--or one in the whole _Anthology_--comes up to my standard of
romantic love.

[326] The best-known ancient story of "love-suicide" is that of
Pyramus and Thisbe. Pyramus, having reason to think that Thisbe, with
whom he had arranged a secret interview at the tomb of Ninus, has been
devoured by a lion, stabs himself in despair, and Thisbe, on finding
his body, plunges on to the same sword, still warm with his blood.
This tale, which is probably of Babylonian origin, is related by Ovid
(_Metamorph._, IV., 55-166), and was much admired and imitated in the
Middle Ages. Comment on it would be superfluous after what I have
written on pages 605-610.

[327] See Rohde, 130; Christ, 349.

[328] No more like stories of romantic love than these are the five
"love-stories" written in the second century after Christ by Plutarch.
This is the more remarkable as Plutarch was one of the few ancient
writers to whom at any rate the _idea_ occurred that women _might be_
able to feel and inspire a love rising above the senses. This
suggestion is what distinguishes his _Dialogue on Love_ most favorably
from Plato's _Symposium_, which it otherwise, however, resembles
strikingly in the peculiar notions regarding the relation of the
sexes; showing how tenacious the unnatural Greek ideas were in Greek
life. Plutarch's various writings show that though he had advanced
notions compared with other Greeks, he was nearly as far from
appreciating true femininity, chivalry, and romantic love as Lucian,
who also wrote a dialogue on love in the old-fashioned manner.

[329] Hirschig's _Scriptores Erotici_ begins with Parthenius and
includes Achilles Tatius, Longus, Xenophon, Heliodorus, Chariton, etc.
The right-hand column gives a literal translation into Latin.

[330] _Der Griechische Roman_, 432-67. An excrescence of this theory
is the foolish story that "Bishop" Heliodorus, being called upon by a
provincial synod either to destroy his erotic books or to abdicate his
position, preferred the latter alternative. The date of the real
Heliodorus is perhaps the end of the third or the first half of the
fourth century after Christ.

[331] He refers in a footnote to such scenes as are painted in I., 32,
4; II., 9, 11; III., 14, 24, 3; IV., 6, 3--scones and hypocritically
naïve experiments which he justly considers much more offensive than
the notorious scene between Daphnis and Lykainion (III., 18).

[332] Rohde (516) tries to excuse Goethe for his ridiculous praise of
this romance (Eckermann, II., 305, 318-321, 322) because he knew the
story only in the French version of Amyot-Courier. But I find that
this version retains most of the coarseness of the original, and I see
no reason for seeking any other explanation of Goethe's attitude than
his own indelicacy and obtuseness which, as I noted on page 208, made
him go into ecstacies of admiration over a servant whom lust prompted
to attempt rape and commit murder. As for Professor Murray, his
remarks are explicable only on the assumption that he has never read
this story in the original. This is not a violent assumption. Some
years ago a prominent professor of literature, ancient and modern, in
a leading American university, hearing me say one day that _Daphnis
and Chloe_ was one of the most immoral stories ever written, asked in
a tone of surprise: "Have you read it in the original?" Evidently _he_
never had! It is needless to add that translations never exceed the
originals in impropriety and usually improve on them. The Rev. Rowland
Smith, who prepared the English version for Bohn's Library, found
himself obliged repeatedly to resort to Latin.

Apart from his coarseness, there is nothing in Longus's conception of
love that goes beyond the ideas of the Alexandrians. Of the symptoms
of true love--mental or sentimental, esthetic and sympathetic,
altruistic and supersensual, he knows no more than Sappho did a
thousand years before him. Indeed, in making lovers become indolent,
cry out as if they had been beaten, and jump into rivers as if they
were afire, he is even cruder and more absurd than Sappho was in her
painting of sensual passion. His whole idea of love is summed up in
what the old shepherd Philetas says to Daphnis and Chloe (II., 7):
[Greek: _Egvov d' ego kai tauron erasthenta kai hos oistro plaegeis
emukato, kai tragon philaesanta aiga kai aekolouthei pantachou. Autos
men gar aemaen neos kai aerasthen Amarullidos_].

[333] See Rehde, 345; on Musaeus, 472, 133.

[334] Lucii Apulei _Metamorphoseon_, Libri XI., Ed. van der Vliet
(_Teubner_), IV., 89-135.

[335] See the remarks on _Tristan and Isolde_ in my _Wagner and his
Works_, II., 138.




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