haustible. Mythology is lifted into life, and life itself transformed to mystery at the wizard's touch. The misery and terror of the Ass's life are intercepted by the story of Cupid and Psyche,Cupid and Psyche set forth with rare beauty and distinction of style. And yet this interlude, exquisitely planned and phrased, which suggested a worthless play[1] to Tom Heywood, and has been an inspiration to many poets from Mrs. Tighe to Mr. Bridges, is the one conspicuous fault of the book. Admirable in itself, it is out of proportion as well as out of key, and though you turn to it again and again for its own sake, you skip it industriously when it keeps you from robbery and witchcraft. But the most remarkable characteristic of The Golden Ass is the ever-present element of sorcery, of the MacabreThe Macabre Element as Mr. Pater calls it. Grim spectres and horrid ghosts stalk through its pages. The merriest Milesian jest turns sudden to the terror of death and corruption. The very story which Boccaccio borrowed is shifted by Apuleius to a weird conclusion. The baker, having most wittily avenged his wife's deceit, is lured into a chamber by a meagre, ragged, ill-favoured woman, her hair scattering upon her face, and when the servants burst open the door to find their master, behold! no woman, but only the baker hanging from a rafter dead! And where for pure horror will you match Meroe's mutilation of Socrates? Secretly the witch attacks him in his sleep, drives her sword deep into his neck, and dragging out his heart, stops the wound with a sponge. Aristomenes, unwilling witness
- ↑ Loves Maistresse: or, the Queens Masque. As it was three times presented before their two Excellent Majesties, within the space of eight dayes. In the presence of sundry forraigne Ambassadors. 1636.
