Love and Life An Old Story in Eighteenth Century Costume   By: Charlotte Mary Yonge (1823-1901)

An Old Story in Eighteenth Century Costume

By Charlotte M. Yonge

Transcriber's note: There are numerous examples throughout this text of words appearing in alternate spellings: madame/madam, practise/ practice, Ladyship/ladyship, &c. We can only wonder what the publisher had in mind. I have left them unchanged. D.L.

PREFACE TO THE SECOND EDITION.

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.