45. Since, in my present writings, I hope to bring into one focus the pieces of study fragmentarily given during past life, I may refer my readers to the first chapter of the 'Queen of the Air' for the explanation of the way in which all great myths are founded, partly on physical, partly on moral fact,—so that it is not possible for persons who neither know the aspect of nature, nor the constitution of the human soul, to understand a word of them. Naming the Greek gods, therefore, you have first to think of the physical power they represent. When Horace calls Vulcan 'Avidus,' he thinks of him as the power of Fire; when he speaks of Jupiter's red right hand, he thinks of him as the power of rain with lightning; and when Homer speaks of Juno's dark eyes, you have to remember that she is the softer form of the rain power, and to think of the fringes of the rain-cloud across the light of the horizon. Gradually the idea becomes personal

and human in the "Dove's eyes within thy locks,"[[10]] and "Dove's eyes by the river of waters" of the Song of Solomon.

46. "Or Cytherea's breath,"—the two thoughts of softest glance, and softest kiss, being thus together associated with the flower: but note especially that the Island of Cythera was dedicated to Venus because it was the chief, if not the only Greek island, in which the purple fishery of Tyre was established; and in our own minds should be marked not only as the most southern fragment of true Greece, but the virtual continuation of the chain of mountains which separate the Spartan from the Argive territories, and are the natural home of the brightest Spartan and Argive beauty which is symbolized in Helen.

47. And, lastly, in accepting for the order this name of Cytherides, you are to remember the names of Viola and Giulietta, its two limiting families, as those of Shakspeare's two most loving maids—the two who love simply, and to the death: as distinguished from the greater natures in whom earthly Love has its due part, and no more; and farther still from the greatest, in whom the earthly love is quiescent, or subdued, beneath the thoughts of duty and immortality.

It may be well quickly to mark for you the levels of

loving temper in Shakspeare's maids and wives, from the greatest to the least.

48. 1. Isabel. All earthly love, and the possibilities of it, held in absolute subjection to the laws of God, and the judgments of His will. She is Shakspeare's only 'Saint.' Queen Catherine, whom you might next think of, is only an ordinary woman of trained religious temper:—her maid of honour gives Wolsey a more Christian epitaph.

2. Cordelia. The earthly love consisting in diffused compassion of the universal spirit; not in any conquering, personally fixed, feeling.

"Mine enemy's dog,

Though he had bit me, should have stood that night