Henry Thomas Riley - The Metamorphoses of Ovid, Book XI (Fable. 1) lyrics

While Orpheus is singing to his lyre on Mount Rhodope, the women of Thrace celebrate their orgies. During that ceremony they take advantage of the opportunity to punish Orpheus for his indifference towards their s**; and, in the fury inspired by their rites, they beat him to d**h. His head and lyre are carried by the stream of the river Hebrus into the sea, and are cast on shore on the isle of Lesbos. A serpent, about to attack the head when thrown on shore, is changed into a stone, and the Bacchan*ls who have k**ed him are transformed into trees. While with songs such as these, the Thracian poet is leading the woods and the natures of savage beasts, and the following rocks, lo! the matrons of the Ciconians, having their raving breasts covered with the skins of wild beasts, from the summit of a hill, espy Orpheus adapting his voice to the sounded strings of his harp. One of these, tossing her hair along the light breeze, says, “See! see! here is our contemner!” and hurls her spear at the melodious mouth of the bard of Apollo: but, being wreathed at the end with leaves, it makes a mark without any wound. The weapon of another is a stone, which, when thrown, is overpowered in the very air by the harmony of his voice and his lyre, and lies before his feet, a suppliant, as it were, for an attempt so daring. But still this rash warfare increases, and all moderation departs, and direful fury reigns triumphant. And yet all their weapons would have been conquered by his music; but the vast clamour, and the Berecynthian pipe1 with the blown horns, and the tambourines, and the clapping of hands, and Bacchan*lian yells, prevented the sound of the lyre from being heard. Then, at last, the stones became red with the blood of the bard, now no longer heard. But first the Mænades lay hands on innumerable birds, even yet charmed with his voice as he sang, and serpents, and a throng of wild beasts, the glory of this audience of Orpheus; and after that, they turn upon Orpheus with blood-stained right hands; and they flock together, as the birds, if at any time they see the bird of night strolling about by day; and as when the stag that is doomed to die2 in the morning sand in the raised amphitheatre is a prey to the dogs; they both attack the bard, and hurl the thyrsi, covered with green leaves, not made for such purposes as these. Some throw clods, some branches torn from trees, others flint stones. And that weapons may not be wanting for their fury, by chance some oxen are turning up the earth with the depressed ploughshare; and not far from thence, some strong-armed peasants, providing the harvest with plenteous sweat, are digging the hard fields; they, seeing this frantic troop, run away, and leave the implements of their labour; and there lie, dispersed throughout the deserted fields, harrows and heavy rakes, and long spades. After they, in their rage, have seized upon these, and have torn to pieces the oxen with their threatening horns, they return to the destruction of the bard; and they impiously murder him, extending his hands, and then for the first time uttering words in vain, and making no effect on them with his voice. And (Oh Jupiter!) through those lips listened to by rocks, and understood by the senses of wild beasts, his life breathed forth, departs into the breezes.3 The mournful birds, the crowd of wild beasts, the hard stones, the woods that oft had followed thy song bewailed thee. Trees, too, shedding their foliage, mourned thee, losing their leaves. They say, too, that rivers swelled with their own tears; and the Naiads and Dryads had mourning garments of dark colour, and dishevelled hair. The limbs lie scattered4 in various places. Thou, Hebrus, dost receive the head and the lyre; and (wondrous to relate!) while it rolls down the midst of the stream, the lyre complains in I know not what kind of mournful strain. His lifeless tongue, too, utters a mournful sound, to which the banks mournfully reply. And now, borne onward to the sea, they leave their native stream, and reach the shores of Methymnæan Lesbos.5 Here an infuriated serpent attacks the head thrown up on the foreign sands, and the hair besprinkled with the oozing blood. At last Phœbus comes to its aid, and drives it away as it tries to inflict its sting, and hardens the open jaws of the serpent into stone, and makes solid its gaping mouth just as it is. His ghost descends under the earth, and he recognizes all the spots which he has formerly seen; and seeking Eurydice through the fields of the blessed, he finds her, and enfolds her in his eager arms. Here, one while, they walk together side by side,6 and at another time he follows her as she goes before, and again at another time, walking in front, precedes her; and now, in safety, Orpheus looks back upon his own Eurydice. Yet Lyæus did not suffer this wickedness to go unpunished; and grieving for the loss of the bard of his sacred rites, he immediately fastened down in the woods, by a twisting root, all the Edonian matrons who had committed this crime. For he drew out the toes of her feet, just as each one had pursued him, and thrust them by their sharp points into the solid earth. And, as when a bird has entangled its leg in a snare, which the cunning fowler has concealed, and perceives that it is held fast, it beats its wings, and, fluttering, tightens the noose with its struggles; so, as each one of these had stuck fast, fixed in the ground, in her alarm, she attempted flight in vain; but the pliant root held her fast, and confined her, springing forward7 to escape. And while she is looking where her toes are, where, too, are her feet and her nails, she sees wood growing up upon her well-turned legs. Endeavouring, too, to smite her thigh, with grieving right hand, she strikes solid oak; her breast, too, becomes oak; her shoulders are oak. You would suppose that her extended arms are real boughs, and you would not be deceived in so supposing. Footnotes: 1. Berecynthian pipe.]—Ver. 16. This pipe, made of box-wood, was much used in the rites of Cybele, or Berecynthia. 2. Doomed to die.]—Ver. 26. The Romans were won't to exhibit shows of hunting in the amphitheatre in the morning; and at mid-day the gladiatorial spectacles commenced. The ‘arena' was the name given to the central open space, which derived its name from the sand with which it was covered, chiefly for the purpose of absorbing the blood of the wild beasts and of the combatants. Caligula, Nero, and Carus showed their extravagant disposition by using cinnabar and borax instead of sand. In the earlier amphitheatres there were ditches, called ‘Euripi,' between the open space, or arena, and the seats, to defend the spectators from the animals. They were introduced by Julius Cæsar, but were filled up by Nero, to gain space for the spectators. Those who fought with the beasts (as it will be remembered St. Paul did at Ephesus) were either condemned criminals or captives, or persons who did so for pay, being trained for the purpose. Lucius Metellus was the first that we read of who introduced wild beasts in the theatre for the amusement of the public. He exhibited in the Circus one hundred and forty-two elephants, which he brought from Sicily, after his victory over the Carthaginians, and which are said to have been slain, more because the Romans did not know what to do with them, than for the amusement of the public. Lions and panthers were first exhibited by M. Fulvius, after the Ætolian war. In the Circensian games, exhibited by the Curule Ædiles, P. Cornelius Scipio Nasica, and P. Lentulus, b.c. 168, there were sixty-three African panthers and forty bears and elephants. These latter animals were sometimes introduced to fight with bulls. Sylla, when Prætor, exhibited one hundred lions, which were pierced with javelins. We also read of hippopotami and crocodiles being introduced for the same purpose, while cameleopards were also hunted in the games given by Julius Caesar in his third consulship. He also introduced bull fights, and Augustus first exhibited the rhinoceros, and a serpent, fifty cubits in length. When Titus constructed his great amphitheatre, five thousand wild beasts and four thousand tame animals were slain; while in the games celebrated by Trajan, after his victories over the Dacians, eleven thousand animals are said to have been k**ed. For further information on this subject, the reader is referred to the article ‘Venatio,' in Smith's Dictionary of Greek and Roman Antiquities, which valuable work contains a large quantity of interesting matter on this barbarous practice of the Romans. 3. Into the breezes.]—Ver. 43. ‘In ventos anima exhalata recessit' is rendered by Clarke— ‘his life breathed out, marches off into the wind.' 4. Limbs lie scattered.]—Ver. 50. The limbs of Orpheus were collected by the Muses, and, according to Pausanias, were buried by them in Dium in Macedonia, while his head was carried to Lesbos. 5. Methymnæan Lesbos.]—Ver. 55. Methymna was a town in the isle of Lesbos, famed for its wines. 6. Side by side.]—Ver. 64. ‘Conjunctis pa**ibus' means ‘at an equal pace, and side by side.'