The Golden Ass is the chief work of Apuleius. Lector intende; lætaberis, he says in ending his short preface, and he judged his work aright. The hero, Lucius, is a man with an extravagant interest in magic, and he puts himself in the way of hearing the most wonderful stories of witchcraft and enchantment. Apuleius tells them with the utmost liveliness and humour. Magical transformations, the vengeance of witches, the vivification of waterskins—one tale comes crowding after another, real and vivid, with the most alarming and the most amusing details. For example, we are told by an eye-witness (like everybody else in the book he is a master-hand at story-telling) how he saw witches by night cut the throat of his friend, draw out the heart and plug the hole with a sponge; how terrified he was of the hags to begin with, and then lest he should himself be accused of the murder; how the man rose and went on his journey—somewhat wearily, it is true; and how, as they rested, he stooped to drink, the sponge fell out and he was dead.
Lucius meddles with the drugs of a witch, and, wishing to transform himself to a bird, by the ill-luck of using the wrong box he becomes an ass. He is carried off by robbers, and, while he has the most varied adventures of his own, he is enabled to record some of the most gorgeous exploits that brigands ever told one another in an ass's hearing.[[93]] What is more, a young girl is captured and held to ransom, and to comfort her for a little, the old woman who cooks the robbers' food—"a witless and bibulous old hag"—tells her a story—"such a pretty little tale," that the ass, who is listening, wishes he had pen and paper to take it down. For, while in aspect Lucius is an ass, his mind remains human—human enough to reflect sometimes what "a genuine ass" he is—and his skin has not, he regrets, the proper thickness of true ass-hide. The tale which he would like to write down is Cupid and Psyche. "Erant in quadam civitate," begins the old woman—"There were in a certain city a king and a queen."
The old and universal fairy-tales of the invisible husband, the cruel sisters, and the impossible quests are here woven together and brought into connexion with the Olympic pantheon, and through all runs a slight thread, only here and there visible, of allegory. But if Psyche is at times the soul, and if the daughter she bears to Cupid is Pleasure, the fairy-tale triumphs gloriously over the allegory, and remains the most wonderful thing of the kind in Latin. Here, and in the Golden Ass in general, the extraordinarily embroidered language of Apuleius is far more in keeping than in his philosophic writings. His hundreds of diminutives and neologisms, his antitheses, alliterations, assonances, figures and tropes, his brilliant invention, his fun and humour, here have full scope and add pleasure to every fresh episode of the fairy-tale and of the larger and more miscellaneous tale of adventure in which it is set—in the strangest setting conceivable. Cupid and Psyche is his own addition to the story of the Ass—quite irrelevant, and like many other irrelevant things in books an immense enrichment.
Another development of the original story which is similarly due to Apuleius alone is the climax in the last book. The ass, in the Greek story, becomes a man by eating roses. In the Latin, Lucius, weary of the life of an ass, finds himself by moonlight on the seashore near Corinth, and amid "the silent secrets of opaque night," he reflects that "the supreme goddess rules in transcendent majesty and governs human affairs by her providence." So he addresses a rather too eloquent prayer to the Queen of Heaven under her various possible names, Ceres, Venus, Diana and Proserpine. He then falls asleep, and at once "lo! from mid sea, uplifting a countenance venerable even to gods, emerges a divine form. Gradually the vision, gleaming all over, and shaking off the sea, seemed to stand before me." A crown of flowers rests on her flowing hair. Glittering stars, the moon, flowers and fruits, are wrought into her raiment, which shimmers white and yellow and red as the light falls upon it. In one hand is a sistrum, in the other a golden vessel shaped like a boat, with an asp for its handle.[[94]] She speaks.
Isis
"Lo! I come in answer, Lucius, to thy prayers, I mother of Nature, mistress of all the elements, initial offspring of ages, chief of divinities, queen of the dead, first of the heavenly ones, in one form expressing all gods and goddesses. I rule with my rod the bright pinnacles of heaven, the healthful breezes of the sea, the weeping silence of the world below. My sole godhead, in many an aspect, with many a various rite, and many a name, all the world worships." Some of these names she recites, and then declares her "true name, Queen Isis."[[95]] The next day is her festival, she says, and her priest, taught by her in a dream, will tender Lucius the needful roses; he will eat and be a man again. But hereafter all his life must be devoted to the goddess, and then in the Elysian fields he shall see her again, shining amid the darkness of Acheron, propitious to him.
The next day all falls as predicted. The procession of Isis is elaborately described.[[96]] The prelude of the pomp is a series of men dressed in various characters,—one like a soldier, another like a woman, others like a gladiator, a philospher and so forth. There is a tame bear dressed like a woman, and a monkey "in a Phrygian garment of saffron." Then come women in white, crowned with flowers, some with mirrors hanging on their backs, some carrying ivory combs. Men and women follow with torches and lamps; then a choir of youths in white, singing a hymn, and fluteplayers dedicated to Serapis. After this a crowd of initiates of both sexes, of every age and degree, dressed in white linen and carrying sistra,—the men with shaven heads. Then came five chief priests with emblems, and after them the images of the gods borne by other priests—Anubis with his dog's head, black and gold—after him the figure of a cow "the prolific image of the all-mother goddess" ("which one of this blessed ministry bore on his shoulder, with mimicking gait")—then an image of divinity, like nothing mortal, an ineffable symbol, worthy of all veneration for its exquisite art. At this point came the priest with the promised roses—"my salvation"—and Lucius ate and was a man again. The priest, in a short homily, tells him he has now reached the haven of quiet; Fortune's blindness has no more power over him; he is taken to the bosom of a Fortune who can see, who can illuminate even the other gods. Let him rejoice and consecrate his life to the goddess, undertake her warfare and become her soldier.[[97]]
The pomp moves onward till they reach the shore, and there a sacred ship is launched—inscribed with Egyptian hieroglyphics, purified with a burning torch, an egg, and sulphur, on her sail a vow written in large letters. She is loaded with aromatics; and "filled with copious gifts and auspicious prayers" she sails away before a gentle breeze and is lost to sight. The celebrants then return to the temple, but we have perhaps followed them far enough.
From now on to the end of the book the reformed Lucius lives in the odour of sanctity. He never sleeps without a vision of the goddess. He passes on from initiation to initiation, though the service of religion is difficult, chastity arduous, and life now a matter of circumspection—it had not been before. The initiations are, he owns, rather expensive.[[98]] "Perhaps, my enthusiastic reader, thou wilt ask—anxiously enough—what was said, what done. I would speak if it were lawful to speak, thou shouldst know if it were lawful to hear.... Hear then, and believe, for it is true. I drew near to the confines of death; I trod the threshold of Proserpine; I was borne through all the elements and returned. At midnight I saw the sun flashing with bright light. Gods of the world below, gods of the world above, into their presence I came, I worshipped there in their sight." Garments, emblems, rites, purifications are the elements of his life now. Nor does he grudge the trouble and expense, for the gods are blessing him with forensic success. In a dream, Osiris himself "chief among the great gods, of the greater highest, greatest of the highest, ruler of the greatest," appears in person, and promises him—speaking with his own awful voice—triumphs at the bar, with no need to fear the envy his learning might rouse. He should be one of the god's own Pastophori, one of "his quinquennial decurions." So "with my hair perfectly shaved, I performed in gladness the duties of that most ancient college, established in Sulla's times, not shading nor covering my baldness, but letting it be universally conspicuous." And there ends the Golden Ass.
Was it true—this story of the ass? Augustine says that Apuleius "either disclosed or made up" these adventures. Both he and Lactantius had to show their contemporaries that there was a difference between the miracles of Apuleius and those of Christ.[[99]] The Emperor Septimius Severus, on the other hand, sneered at his rival Albinus for reading "the Punic Milesian-tales of his fellow-countryman Apuleius and such literary trifles."[[100]]