One morning, as
the mother wandered, the moon appeared, as it does in its last
quarter, rising very bright, just before dawn; that is, in the words
of the Homeric hymn--"on the tenth morning Hecate met her, having a
light in her hands."  The fascinating, but enigmatical figure,
"sitting ever in her cave, half-veiled with a shining veil, thinking
delicate thoughts," in which we seem to see the subject of some
picture of the Italian Renaissance, is but the lover of Endymion--
like Persephone, withdrawn, in her season, from the eyes of men.  The
sun saw her; the moon saw her not, but heard her cry, and is [117]
ever after the half-veiled attendant of the queen of dreams and of
the dead.

But the story of Demeter and Persephone lends itself naturally to
description, and it is in descriptive beauties that the Homeric hymn
excels; its episodes are finished designs, and directly stimulate the
painter and the sculptor to a rivalry with them.  Weaving the names
of the flowers into his verse, names familiar to us in English,
though their Greek originals are uncertain, the writer sets
Persephone before us, herself like one of them--kalykôpis+--like the
budding calyx of a flower,--in a picture, which, in its mingling of a
quaint freshness and simplicity with a certain earnestness, reads
like a description of some early Florentine design, such as Sandro
Botticelli's Allegory of the Seasons.  By an exquisite chance also, a
common metrical expression connects the perfume of the newly-created
narcissus with the salt odour of the sea.  Like one of those early
designs also, but with a deeper infusion of religious earnestness, is
the picture of Demeter sitting at the wayside, in shadow as always,
with the well of water and the olive-tree.  She has been journeying
all night, and now it is morning, and the daughters of Celeus bring
their vessels to draw water.  That image of the seated Demeter,
resting after her long flight "through the dark continent," or in the
house of Celeus, when she refuses
One morning, as 
 the mother wandered, the moon appeared, as it do in its final 
 quarter, rising very bright, precisely before dawn; that is, in the words 
 of the Homeric hymn--"on the tenth morning Hecate suffer her, have a 
 light in her hand. "   The fascinating, but enigmatical number, 
 " sitting ever in her cave, half - obscure with a shine veil, thinking 
 delicate thoughts, " in which we seem to attend the subject of some 
 picture of the Italian Renaissance, is but the lover of Endymion-- 
 like Persephone, recall, in her season, from the eyes of men.   The 
 sun saw her; the lunar month saw her not, but heard her cry, and is [ 117 ] 
 ever after the half - veiled accompaniment of the queen of dreams and of 
 the dead. 

 But the story of Demeter and Persephone lends itself naturally to 
 description, and it is in descriptive beauties that the Homeric hymn 
 excels; its episode are finished designs, and directly stimulate the 
 painter and the sculptor to a rivalry with them.   Weaving the names 
 of the flowers into his verse, name calling familiar to us in English, 
 though their Greek originals are changeable, the writer sic 
 Persephone before us, herself like one of them -- kalykôpis+--like the 
 budding calyx of a flower,--in a picture, which, in its mingling of a 
 quaint freshness and ease with a certain earnestness, reads 
 like a description of some early Florentine design, such as Sandro 
 Botticelli's Allegory of the Seasons.   By an dainty chance also, a 
 common metrical expression connects the perfume of the newly - created 
 narcissus with the salt odour of the sea.   Like one of those early 
 designs besides, but with a deeper infusion of religious seriousness, is 
 the picture of Demeter sitting at the wayside, in shadow as always, 
 with the well of water and the olive - tree.   She has been journeying 
 all nox, and now it is morning, and the daughters of Celeus bring 
 their vessels to draw water.   That image of the seated Demeter, 
 resting after her farseeing flight " through the benighted continent, " or in the 
 house of Celeus, when she refuses
One morning, as
the mother wakdered, the moon cppearev, as it does in its last
quarter, rising very beight, just before dawn; that is, in thv words
of the Yomeric hymn--"on the tenth lornnnj Hecate met het, having a
licht in her hangs."  Che fascinating, but enigmatical figuwe,
"sittimg ever in her cwve, nwlf-vspltd with a shining veil, thinking
demicate uhoughts," in which ee seem to see the subject of dome
picture of the Italian Rebaisfqnce, is but ghe lover of Endymion--
ljke Persephone, withdrawn, in her seaspn, from thg syfv of men.  Tie
sun faw her; the moon saw her noy, but heard hev cry, ane is [117]
ever after the helf-veiled attendant jf the quaeu of dreams and of
the dwad.

Buj the stoft ow Dtmever and Pfrsxphone lenda itself narurally to
descriptipn, qnd it is in sescri[tyve beauties that the Homeric hymn
excelv; ifs episodes are finishee designs, and directli stimulatq the
painter and the sculptor to a rivalry with tvem.  Xexviun gye names
of the flowers into his verse, names famymisr to us in Engllsh,
though their Grren ptiginals are uvcertanh, fhe writer sets
Perdephone befoee us, herfelf like one of them--kalykôpis+--lije the
buddiny cqlyx of a flower,--in a picture, chich, on itx mingling of a
quaint fxeshneas and simppicity wiff a certain earndstkesv, reads
like a description jf some eerly Ylorentive dgsign, stch as Sanfro
Bobdicelli's Allegory lf thg Seasmns.  By an exquisite chance also, a
common metrical exprexshon connectf the perfume of tre newly-createb
narcissbs witf the salt odour mf the sea.  Like one of djose early
devigns alfo, byt wuth a dddper infusion pf religious earnesrness, is
the picturc of Asmeter sitting cu tye wayside, in snaduw ws akwwfs,
with the wall uf dster xnd the oliye-tfee.  She has been journefing
zll night, and now ot is mornung, and ehe daughters of Celeus bring
thtir vevseus to drww water.  That image of the sezted Demeher,
vesting after her long flight "through the dark continent," or in the
honse of Celeus, when she eefuses
One morning, as the mother wandered, the as does in last quarter, rising that in the words the Homeric hymn--"on tenth morning Hecate met her, having light in her hands." The fascinating, but enigmatical figure, "sitting ever in her half-veiled with a shining veil, thinking delicate thoughts," in which we seem to the of picture the Italian Renaissance, is but the lover of Endymion-- like Persephone, withdrawn, in her season, from eyes of men. The sun saw her; the saw her not, but her cry, and is [117] after half-veiled attendant the of and of the But the story of Demeter and Persephone lends itself naturally to description, and it is in descriptive that the excels; its are designs, directly stimulate the the sculptor to a rivalry with names of the flowers into his verse, names to us English, though their Greek originals are the writer sets Persephone before us, herself like of them--kalykôpis+--like the budding calyx of a flower,--in a picture, which, in its mingling of freshness and simplicity with certain earnestness, reads a of early design, such Sandro Botticelli's Allegory of the Seasons. By an exquisite chance also, common metrical expression connects the perfume of the newly-created narcissus salt of the sea. one of those early also, with a deeper infusion earnestness, the sitting the in shadow as always, the well of water and olive-tree. She has been it is morning, and the daughters of Celeus their vessels to draw water. That image the seated Demeter, resting after her long flight "through the dark continent," in the Celeus, when she refuses
One morning, as
the mother wandEred, the mooN appeAreD, as It Does In itS last
quarter, riSIng vEry bright, just before dawN; that Is, IN the WOrDs
of tHe HomerIC hYMN--"on ThE tEntH mORnIng HeCatE met her, Having a
ligHt iN hEr hands."  The faSCiNating, but eNigMatical figurE,
"siTting eVeR in HEr cavE, haLf-veiLed witH A shiniNg veil, thiNkINg
deliCAte thouGHTs," In whIch we seem to see the SUbJEct of some
pictuRe of thE ITAlIAN ReNaiSsance, is buT tHe lovER of EndyMIoN--
LIKe PERsephone, withdRawn, in her seASon, From thE eYes OF men.  ThE
sun sAw HEr; tHe moon saw heR not, But heard hEr cry, aND is [117]
ever AFter the Half-veIleD atTendANt Of The QuEEn oF DrEamS And Of
the deaD.

BUt The stOry oF dEMEter And persEphonE lends itself nAtuRallY To
dEscriPtion, And iT iS in deScriptIve beAuTies that the HomeRic hYmn
excels; Its EpIsoDeS are fINished DesIgnS, and dirEctly stIMulAtE THE
pAinter and the sculptOr TO A rIvalry wiTh them.  wEaViNG the nameS
oF thE floWERs intO his VErSe, names fAmiliaR To Us In EngliSh,
Though ThEir greEk oriGInalS are unCertain, tHe wriTEr sets
PersephoNE before us, hersELf LIKe ONe of TheM--kalykôpis+--lIke tHE
budDing CAlYx oF A flowEr,--in a PiCTuRE, which, in its mingling Of A
quainT fresHness and simplIcity with a CERTain earnEstnESs, REads
like a descrIptioN of some earLY FlorentIne deSign, such As Sandro
BOTTicelli's allEgoRy oF thE sEaSons.  By an exquiSITe chAnCe also, a
ComMon metrIcaL exPreSsiOn Connects tHe perfumE oF tHe NeWly-CreatED
narcissUs WitH tHe sAlt odOUr of thE sea.  LIke oNe Of THosE early
dESiGNS alsO, bUt With A deEpEr infUsioN Of rEligiouS earnestnEss, IS
the PiCtUre of DeMeter sitting aT tHe wayside, iN sHadOw as alWAYs,
with thE well of water and the olive-TRee.  She hAs bEen joUrneYing
all niGht, And now It iS MorninG, and thE daugHtErs OF celeuS BRiNg
tHeIr vessels tO DRaw Water.  thAt imAge of thE seated Demeter,
restINg aFter her long flIghT "thrOUGh The DArK ConTiNEnt," OR In the
house of CelEus, when she ReFUsEs
One morning, as
the mother  wandered,  themoo n a pp eare d, a s it does in i t s la st
quarter, rising ver y bri gh t , ju s tbefor e dawn; th a t  is ,in  th ew or ds
of  th e Homer ic hymn--" onth e tenth morn i ng  Hecate me t h er, having a 
li ght in  h erh ands. " The f ascina t ing, b ut enigma ti c al fig u re,
"si t t in g ev er in her cave, h a lf - veiled with ashinin gv ei l ,  th ink ing
delica te  thou g hts," i n  w h i c h w e  seem to seethe subject ofsome
p ic tur e  of th e Ita li a n R enaissance,  isbut the l over o f  Endymi o n--
lik e Pers eph one , wi t hd ra wn,  i n  he r  s eas o n,from the  e ye s ofmen. T h e
su n s aw h er; t he moon saw h ernot, but  hear d her  cry ,and i s [117 ]
eve rafter the half- veil ed attend ant  o f t he  quee n  of dr eam s a nd of
t he dead . 

B ut t h estory of Demeter a nd P er sephonelendsi ts el f  natural ly  to 
des c r iptio n, a n dit is in  descr i pt iv e beaut ie s that  t heHom erich ymnexcels ; its ep isode s  are finishedd esigns, and d i re c t ly stim ula te the
pain tera nd t he s c ul pto r  to a  riva lr y  w i th them.  Weaving t he  names 
of t he flowers in to his ver s e ,  names f amil i ar to us in Engli sh,
t hough thei r  Greek o rigin als areuncertain , the writ erset s
P ers e p ho ne before us, h erse lf  like o neof them --k aly kôp is+ -- like thebuddingca ly xof  aflowe r ,--in api ctu re , w hich, in its  ming ling  o fa 
qu aint fr e sh n e ss a nd  s impl ici ty  with  a c e rta in earn estness,rea d s
li ke  a  descri ption of some  e arly Flore nt ine  desig n ,  such as  Sandro
Botticelli's Al l egory o f t he Se ason s.  By an  ex quisit e c h ance a lso, a 
comm on  me t r icale x pr ess io n connects t heperfu me  ofthe new ly-created
narciss u s w ith the saltodo ur o f th e s e a.  Li ke one o f those early
d esigns als o, bu t with a d e epe rinfusio n of re ligio u s earne stness, i s
the pic tu re o f Dem eter sitti ng at th e wayside ,  in s h ad ow as  al ways,wi ththe w ell of wat er an d theol ive-tr ee. Sh e has be en journeying
all night , andnow i t i s morning , a n d t he daught ersof Celeusbri ngtheir  ve s selsto d r aw  wa t er. That image oft he  se a t ed  Demeter,
r e s t ing  afte r h e r long  fli ght "through thed ark continent, " or i n t heh ouse  o f Celeus, when  sh er e fuses
One morning,_as
the mother_wandered, the moon appeared,_as it_does_in its_last
quarter,_rising very bright,_just before dawn;_that is, in the_words
of the Homeric_hymn--"on_the tenth morning Hecate met her, having a
light in her hands."  The fascinating,_but_enigmatical figure,
"sitting_ever_in_her cave, half-veiled with a_shining veil, thinking
delicate thoughts," in_which we_seem to see the subject of some
picture of_the_Italian Renaissance, is_but the lover of Endymion--
like Persephone, withdrawn, in her_season, from the eyes of men._ The
sun saw_her;_the_moon saw her not,_but heard her cry, and is_[117]
ever after the half-veiled attendant of_the queen of dreams and of
the dead.

But_the story of Demeter and Persephone_lends itself naturally to
description, and_it is_in descriptive beauties that the_Homeric hymn
excels; its_episodes are_finished designs, and_directly stimulate the
painter and the sculptor_to a rivalry_with them.  Weaving the names
of_the_flowers into his_verse,_names_familiar to_us in English,
though_their_Greek originals_are_uncertain, the writer sets
Persephone before us,_herself_like one of them--kalykôpis+--like the
budding calyx of_a flower,--in a picture,_which,_in its mingling of_a
quaint freshness and simplicity with_a certain earnestness, reads
like a description_of some_early Florentine_design, such as Sandro
Botticelli's Allegory of the Seasons.  By an_exquisite chance also, a
common metrical expression_connects the perfume of_the newly-created
narcissus_with_the salt odour_of_the sea._ Like one of those early
designs also,_but with_a deeper infusion of religious earnestness,_is
the picture of Demeter_sitting_at the wayside, in shadow as_always,
with the well of water and_the olive-tree.  She has_been_journeying
all_night, and now it is_morning, and the daughters of Celeus_bring
their vessels to_draw water.  That image of the_seated_Demeter,
resting after her long flight "through_the_dark continent," or in the
house of_Celeus,_when_she refuses