Mostrando entradas con la etiqueta apollo. Mostrar todas las entradas
Mostrando entradas con la etiqueta apollo. Mostrar todas las entradas

jueves, 30 de marzo de 2023

E.R. EDDISON ON CLASSICAL GODS

 Like a lily, or like a moonbeam strayed through the leafy roof into a silent wood, she stood there, her face uplifted to the starry night where all the air was drenched with the silver radiance of the moon. And now in a soft voice she began supplication to the Gods which are from everlasting, calling upon them in turn by their holy names, upon gray-eyed Pallas, and Apollo, and Artemis the fleet Huntress, upon Aphrodite, and Hera, Queen of Heaven, and Ares, and Hermes, and the dark-tressed Earthshaker. Nor was she afraid to address her holy prayers to him who from his veiled porch beside Acheron and Lethe Lake binds to his will the devils of the under-gloom, nor to the great Father of All in Whose sight time from the beginning until to-day is but the dipping of a wand into the boundless ocean of eternity. So prayed she to the blessed Gods, most earnestly requiring them that under their countenance might be that ride, the like whereof earth had not known [...]

E.R. Eddison, The Worm Ouroboros.

sábado, 18 de marzo de 2017

APOLLO AND HYACINTH - AND ADÈLE BLANC-SEC

La historia de Febo y Jacinto constituye otro de los vínculos fraternales del mito órfico dentro del corpus de las Metamorfosis. La pareja enamorada que se halla en mitad de un deporte inocente, el lanzamiento de disco, hasta que dicho objeto es lanzado con demasiado ímpetu por Febo y provoca un golpe fatal en Jacinto. Al dios lo corroe el remordimiento, aunque la muerte haya sido azarosa, y transforma al joven en una flor después de que Ovidio ya haya acometido una primera metamorfosis describiendo el cadáver de Jacinto como una flor cortada y marchita. Lo que diferencia la reacción de Febo de la de Orfeo es que en la versión ovidiana él no tiene culpa de la muerte de Eurídice, y el mito se basa en el tema del reencuentro, no en la aceptación de la separación y la muerte, algo que Orfeo apenas consigue tras duras pruebas. El mito de Jacinto se interrumpe allí donde el órfico comienza, y suaviza las consecuencias morales de una muerte producida dentro de una pareja.



Esta escena fue vívidamente recreada en una producción francesa (Les aventures extraordinaires d'Adèle Blanc-Sec, Luc Besson, 2010), en la que la protagonista y su hermana gemela Agathe disputan un competitivo y violento partido de tenis que concluye cuando una bola lanzada con fuerza por Adèle golpea a su hermana, quien cae en coma. Se han visto duelos de implicaciones similares en las más variadas relaciones humanas, siempre que un hombre se culpe por el mal infligido sin intención a otro, como el Sean Thornton de El hombre tranquilo (The Quiet Man, John Ford, 1952). Amistades como la de Febo y Jacinto en X-Men: Primera generación, cuando un enfrentamiento entre Xavier y Magneto conduce a la parálisis física del primero y a la culpa eterna del segundo; un padre incapaz de aceptar la defunción de su hija en La duda de Darwin (Creation, Jon Amiel, 2009), o un chico la de su hermano en Hermano Oso (Brother Bear, Aaron Blaise y Robert Walker, 2003), mediante una metamorfosis total pero reversible. También los desconocidos entrelazados en Siete almas (Seven Pounds, Gabriele Muccino, 2008) por un hombre que abraza la muerte como manera de expiar su culpa con cada uno de ellos. Y, sin embargo, la culpa es un elefante invisible que ocupa toda la habitación, es la ballena blanca de Moby Dick que se persigue sin conciliarla en ningún instante, ya que quizá de partida esa cacería resulta infructuosa. O como se lamenta Febo, cuyas palabras podrían ser transferidas al discurso de Orfeo:
«Pero en realidad, ¿cuál ha sido mi culpa? A menos que se pueda llamar culpa a haber jugado, 
a menos que también amar pueda considerarse una culpa.»

viernes, 10 de febrero de 2017

LITERATURE - US LIBRARY OF CONGRESS

I should have done this commentary on this mural from the US Library of Congress as part of last year's fourth centennial events, but, alas, I was kept too busy with other things to do.
Anyway, better late than never, they say...


Literature depicts a varied group of male and female figures sitting or standing. Apollo, the God of Letters, sits in the foreground of a Greek temple surrounded by a company of maidens (the Muses) reading an ancient scroll. On the right, are the muses of Comedy and Tragedy, the former reclining against a printing press. In the foreground a woman instructs two children in the rudiments of learning. On the left a dreamy poet reclines and reads the Homeric epics beside a bust of Homer while his muse hovers above him. Next to him a standing figure of Fame holds out a crown of laurel above the head of a seated poet who is deep in thought. Below are the names of countries notable for their contributions to literature: Greece (furthest on the left, below the Homeric reader and the muse of epic, symbolizing Homeric/classical-era literature), Italy (in the middle, below Apollo and most of the muses, excluding those of epic and the performing arts, symbolizing Renaissance/late medieval literature), and England (furthest on the right, below the muses of the performing arts and the printing press, symbolizing Shakespearean/early modern literature).

The painting is by William de Leftwich Dodge.
Wall plaques, clockwise from the northwest corner, bear the names: LITERATURE, Greece, Italy, England. Their arrangement from left to right mirrors the subjects of the allegories above; a mise-en-scène not left at all to chance.

viernes, 4 de noviembre de 2016

APOLLO AND HYACINTH - DERMARK VERSION


Translated by Sandra Dermark
freely from Ovid's Metamorphoses
4th of November, MMXVI

You, sweet prince, would the Sun-God have enshrin'd
in the skies, if they'd given you 'nough time;
yet still, you last forever, and as long
as Springtime comes on warm Aries's fleece,
your first green shoots pierce the last winter snow.
In my own country, in the harshest North,
through dark and dire, dreary winter nights,
your potted flower graces every hall,
blooming while windows frost, 'tis cold outside,
as part of Sweden's Yuletide scent and grace.
He loved you more than any other lad
or maid, and left his oracle and choir
of nine, just to frequent that winding stream
where you refreshed yourself; arrows and bows,
lyre and violin, all lay pell-mell,
as he followed you through the craggy peaks
of your realm, and sang in your campfire's light.
You were allowed to ride his pegasi,
white stallions, and play his string instruments,
as he taught you so both could play duets,
staying entranced, so closely, chest to chest,
until the storm of music sank to sleep,
and sing with him of Zeus and Ganymede,
for history repeats itself indeed.
E'en the sun-car, the day's light, he left 
entrusted to the boldest, strongest Muse,
and it was mid-way in the cloudless sky
on that May day when tragedy would strike
amidst the pleasures of southron late spring,
even though both of you were unaware.
Two snow-white shirts the lovers cast aside,
for exercise and mid-day heat would sure
flush them up, and make cloth stick to their skin:
the raven-haired lad, aged sixteen, looked fair
as a maiden; no dark hair on his chest,
or limbs, or upper lip, a stripling lithe,
in conversation well-spoken and true,
so full of liveliness and loveliness,
his frame like a white lily, slender, fair,
flexible, and resistant, all at once;
a rarity of a young royal child
whose violet eyes and honest smile like stars
were always shining with the same true light,
and whose lily visage was slightly flushed
with young hot blood by his fair lover's sight;
while his golden young adult paramour,
-as dashing as the stripling prince was lithe-
with locks of sunlight and skin dark as bronze,
gray-eyed and crisp-haired, beautiful of limb,
fire in his eyes, and every muscle strong
just as if chiselled: taller, dashing, bold,
infatigable, svelte, flexible, bright,
and, in that noble chest, stalwart and fine,
now throbbed for the young prince a heart of gold...
Their eyes sparkled with confidence and joy,
as the lithe stripling leapt over the net
and seized his racket: often had he led
to his crowned parents' famous tennis court
the Sun-God, whom he loved with all his heart
(for their favourite pastime was that game),
as the blond Phoebus, right across the net,
got his racket and ball, each in one hand,
trading the warm-up for an earnest match.
He throws, he hits... the ball is in the air,
a speck of light in the cloudless May sky!
The boy prince saunters forth... he hits the ball...
and, like a shooting star careening forth,
it flies across the court, right back, once more!
Both deftly wield their rackets, quick and strong,
running now to the left, now to the right,
a backhand, forehand, a hop, skip, or jump,
developing new skills and strategies,
successful, deftly, unexpectedly;
both of them caring for nought but to win,
deftly commanding rackets, eyes, and feet,
sending the ball careening back and forth,
always a shooting star in daylight's blue:
they're equals, one another's Waterloo,
and tension rises as the scales of score
tilt, ever slightly, to balance once more.
'Tis like a fencing match without cold steel,
confrontation of equal skill and zeal,
war without tears; no better can they feel.
As it often occurs when things are thus,
hours turn to instants on the wings of joy,
and now's the match point that will break the tie!
The Leader of the Muses, you shall know,
is ambidextrous: as skilled with the left
as with the right hand. Hitherto, he'd played
right-handed, yet, at this decisive point,
to win by catching his partner off-guard,
he now changes his racket to the left:
how will the lad face a sinistral serve?
In the excitement of this match, one's eyes
follow the ball, and one's dominant arm
commands the racket: he's forgotten sure,
and thus, he'll be put to a harder test!
The golden blond's serve thrids the sky once more;
right then, the stripling, eyes fixed on the ball,
flushed rose-red, yet hell-bent to win the match,
leaps up, racket in hand, with eager haste...
too early! Ere the lad can strike the ball,
it strikes him in the left side of the head,
right where the life-blood throbs into the brain,
above the ear; he reels just as if drunk,
yet pale and ice-cold, shutting weary eyes,
as the Sun-God, equally cold and pale,
dropping the fatal racket at his feet,
leaps o'er the net and takes you in his arms,
as a bridegroom would carry his bride home,
yet this resembles more a Pietà:
as blood springs from your left ear on his hands,
no longer warm, yet branding liquid guilt
(once, this young hot blood throbbed, and boiled, and raised
youthful intense passions... instants ago...),
the Leader of the Muses tries to kiss
warm air into your lungs and you to life,
pouring a soothing cool drink down your throat,
yet, after feeling neither breath nor pulse
(the heart, the lungs, the arteries all still,
not throbbing e'en the faintest in response),
he realizes that his serve and ball
have breached your head as cannon-shot a wall:
he cannot save your life: your dainty hands'
ten lily-fingers suddenly relax,
the right one leaves, at last, the racket's grip;
all strength's receded from your sinking limbs;
the final kiss dies on those ice-cold lips
of wax or driven snow, so quietly;
as that breached keep of your young intellect,
your head, droops tilting softly to the right,
like wilted lily's calyx on its stem.
Extreme exhaustion plunges reason's light
into most painful weakness, darkest depths;
our spirits are bound to the throbbing blood,
whereof a lot, gushed out in a sore wound,
tears out, in surging stream, not only strength
and sense, but even reason, wit, and life.
It's still and cold within your noble chest,
that once had throbbed with heartbeats, breaths, and love
for the one who's just quenched spring-youth's hot blood
and made those fiery passions fade away.
Where's every youthful impulse, rêverie?
It faded as your spirit was set free.
Whither departed is the spark of life?
To fields of light, bereft of earthly strife.
"Farewell, sweet prince, fair bloom cut short in spring!
I see the wound I've wrought myself, my crime!
I kissed you, then I killed you, though by chance,
yet my sinister hand will always stain
that blood that clotted in your clever brain;
what my left-handed racket's wrought for pain!
But what's my guilt? 'Twas just a tennis match,
a pastime... neither is my guilt of love,
since there's no limit to its worldwide reach:
two of the same gender may become one.
Though it happened by chance, against my will,
'tis pitiful that I thus you should kill,
such dreadful consequence of my own skill!
Thus, more shameful today's affair appears,
turning my light to eternal dusk and tears.
And may I not have had eternity
to give my life, to die upon a kiss!
Yet 'tis th'unwritten law of destiny:
you will be in my heart and in my songs,
to whose lyrics this left hand'll strum the lyre,
accompanied by maiden Muses' choir,
and, as spring flower with the sweetest scent,
you will remind others of my lament."
As golden Phoebus sings this threnody,
the blood gushed from the ear of his sweetheart
has reached the ground, and purple lilies grow
in a cluster just like an ear of corn,
like that sceptre of lilies in the tale
by Oscar Wilde, though not whiter than pearls;
rather, the wistful violet of your eyes.
'Tis not enough: the Sun-God mournfully
graces each petal with your monogram,
that of you two: a painful signature.
Rack'd with a suffering he's never felt
before --ne'er such a deadly, searing pain
from which there's no escape, had struck his heart--,
more struck by this than any other love,
thus broken-hearted, shedding tears of light,
kindling the air with heat like ne'er before,
to leave the stage of such a tragic scene,
he summons back his sun-car, and picks up
the frozen reins, sits on the frosted seat,
and steers the pale, ice-laced wheels of the sun
westward again, into ominous clouds
that thus unleash springtime downpours and storms.
For seven years he'd neither smile nor sing;
ask the Muses themselves, they know, of course.
The tennis court a garden has become;
the net is gone, and wildflowers of spring
dot, jewel-like, the multicoloured lawn,
where, over your eternal resting place
--next to a marble sun-god, tall and fair,
with a racket in his sinister hand,
on whose pedestal they chiselled your name--
your clusters of lilac flowers still grow,
their sweet, entrancing scent still laced with woe.



COMMENTARIES
1. This poem is a completely Dermarkian web of intertextualities; one clearly sees beyond Ovid and early modern Italian translators to rococo art (the painting by Tiepolo, meant for a gay tennis-playing German count; in which the homoerotic Pietà is overlooked by a hefty marble satyr with an ironic grin, reminiscent of the Cheshire Cat and Jabba the Hutt), but also, first and foremost, by the untimely death of Pushkin's alter ego Vladimir Lensky (which somehow foretold the author's own demise in a duel to the death as a gunfight), also to a certain degree by the death of the pearl fisher in Oscar Wilde's A House of Pomegranates (when it comes to the ear bleeding and the cluster of lilies), as well as to the fate of Renly Baratheon and Loras Tyrell in a certain sense... and of course to Shakespeare, and not only in the pentameter form in which I have deftly retold this tale and plan to retell more Metamorphoses (one may spot references to Othello's regret and despair after killing Desdemona, to Hamlet's death in a tricked fencing match, and, more obliquely, to Henry V [breached fortifications, tennis balls turned to cannonballs]). But it all began with the Gustav Schwab retelling of this tragic tale when I was 7, 8, or 9.

2. Before Marino and dell'Anguillara, it was through Tiepolo I discovered the update of giving our violet-eyed pretty boy and his sun-god paramour rackets instead of discuses or shot put, turning Hyacinth into a jeu-de-paume-playing early modern royal child. The idea of a violinist Apollo popped up in the same historical time frame of the early modern belle infidèle translations of the classics. When I first saw the Tiepolo picture, something that moved me to the core, in Art class at 16 (I was the same age as the young deceased in the poem!), we also played tennis at Phys Ed classes.
3. In Ovid's Metamorphoses, Apollo is ambidextrous (like, for instance, Gunnar in Njál's Saga or Hector in the Trojan cycle), as seen in the tale of the donkey ears of Midas. This ambidexterity seems to correlate to the sexual orientation of all three characters ("ambidextrous" is also used across languages as a euphemism for "bisexual"). While Giambattista Marino (Adonis, Canto XIX) has him bring on the manslaughter of Hyacinth right-handed, I have opted for a sinistral serve as the killing blow, which would have been completely unexpected and meant to throw Hyacinth off guard. If the teenage prince had sauntered in a certain direction, the ball would have struck him on the left, on the heart side, as Marino and dell'Anguillara precise. The latter translator/reteller, furthermore, stresses the young man's too impulsive action of leaping ahead of the ball to strike it in time as a reason for his untimely death as well.
4. While Marino's Hyacinth, portrayed visually by Tiepolo one century later, is blond, I made him dark-haired, inspired by other retellings and illustrations, and to contrast with his tan-skinned golden blond lover. The image he conjures in the reader's mind's eye is reminiscent of CLAMP anime Byronic hero Lelouch Lamperouge.
5. The finale with the tragic tennis court turned flower garden is taken from Giambattista Marino, but it also has its parallels in the retelling by Francesc "Neilabbott" Gómez Guillamón, in which the stadium where the discus/shot put contest was held is turned by the sun-god into a sacred grove/shrine, something like a godswood.
6. Potted hyacinths on the table and/or inside the windowsill are a staple of the Swedish Christmas. In fact, the whole poem has the air of it being told to young Swedes on a winter evening before cups of a hot drink, while the flowering hyacinths fill the air in the room with their scent and the snow swirls outside, beyond the frosted windowpanes.

TALES OF ORION, OR MOUNTAIN-MAN

TALES OF ORION, OR MOUNTAIN-MAN 


Looking over any sea on a cloudless night, where water ends and sky begins can be difficult to tell, the waters of the ocean as dark as the heavens and seeming as mysteriously, unfathomably deep to land-dwellers.
 Some say the mother of burly Mountain Man, Orion, was the great earth herself, Gaia, and his father was the titan Atlas, whose feet are planted on the floor of the deepest ocean canyon, the highest heavens weighing upon his broad, muscle-knotted shoulders. Then others say Orion's mother was one of the three snake-haired Terrors, the Gorgon Euryale, the Wide-Ranging One of the wide threshing floor, or perhaps, again, Gaia, and his father the great ruling spirit of the ocean, Poseidon, Lord of the Goddess. Whoever Mountain Man's parents, their son was a giant so tall that when he waded in the ocean, even where the waters were at their deepest, his head could crest their surface in calm or storm, his thick, unruly mountain man beard floating like seaweed in the salty foam.
Mountain Man was born long ago. When it was cold, during a time of great glaciers when ice blanketed the northern lands, the era we mortals call the First Ice Age, he was already walking the earth. His chest, back, and shoulders were covered with thick hair, as were his arms and legs. The hair on his head was long and tangled. He was a brother to the wild animals, drinking water from the springs alongside them, eating alongside them. They had no fear of him. They never fled from him.


1



Mountain Man was so huge and hairy that when the earth began to warm, the ice melting and flowers and plants appearing where none had been before, some humans happened upon him and believing the hair on his chest was grain began to cut it. Then Orion, who had been napping, moved and the threshers fell in terror. "This is a giant," they said, and remembering the old tales of the Mountain Man, they went away to discuss the problem of the Mountain Man, for though wild animals had no fear of him, people did.
"His might demands our respect," they said. "But his size and wildness make him a dangerous threat when going amongst humans. He must be civilized. He will destroy us otherwise."
So, Mountain Man was married to Side, a mortal woman esteemed powerful enough, more than attractive enough to introduce Mountain Man to the world of human affairs. Side was versed in all the secret rites and prayers of men, and when Side was finished with him, Mountain Man was no longer Mountain Man, but Orion, and the meaning of his name and who he was became more distant to the civilized world with each passing year. When he attempted to return to the world of his wild animal brothers, they fled from him now, saying, "He is no longer one of us." Orion had the perfume of Side and the scent of civilization on him. He was of both realms now, yet did not fully belong to either. So, with his knowledge of the wild, Orion became a great hunter who would be praised by men. He wore about his waist a hunter's belt which had, at its middle and to either side, three fine decorative pieces of metalwork which shone like fire at night and distinguished Orion's belt from all others. On his belt was hung his hunting dagger, the metal of which now shines in the sky as the Orion Nebula. His favorite assistants in the hunt were his two dogs, the foremost called Sirius, who always followed him, his constant companions.
His two dogs following after him, Orion stepped into the ocean and waded the waters to Chios, that Greek island in the Aegean sea off the western coast of Turkey where dwelt a famous school of epic poets, home of Homer. The ruler at the time was Oinopoionas, the Wine-Maker, grandson of King Minos of Crete by his daughter Ariadne and Dionysus.



2



From the distance, Oinopoionas saw Orion coming, as did the eloquent Merope in her bee-mask, protector of the beehive, performing her bear dance. They watched from the palace at Hyria, the beehive, Orion arrive from his homeland of Hyria at Boeotia. And perhaps it was this dance that attracted Orion, the great hunter. For as a great hunter he walked in the spirit of the great huntress, Artemis, the she-bear. Others say that Orion came to Chios, promised Merope in marriage if he, the tamed Mountain Man, would free the island of its wild beasts. Others say he came to Chios and it was then the promise of Merope in marriage was made, on the stipulation he would rid the island of its wild beasts, a delaying ruse. But I believe the dance of bears and bees attracted him. That he was called from Hyria to Hyria by the bees' dance.
Who best to free Chios of its beasts than Orion, once so intimate with their natures that he ate and drank with them. Who best to free Chios of its beasts than Orion, civilized, who retained knowledge of their natures, but from whom the beasts now fled even as he stepped ashore, his dogs following, rain at their heels. Ruthless, his eye on Merope, during the day he pursued the beasts one after another, felling them, heaping mounds of pelts at the feet of Oinopoionas. At night, Oinopoionas plied Orion with the thick intoxicating honey-wine of Chios. Seeming unwilling to permit Orion the promised Merope, the wine-maker said, "There are yet more beasts in the hills, Orion. You say you have exterminated them all, but either you lie or you are unaware of the wolves, the lions, the bears who still lurk there."
Drunk, Orion forced himself into Merope's chamber. In the morning, drunk, he sank into a deep stupor, a sleep so deep he was a breath away from death.
 When Orion awoke, the world was still dark. He heard the sound of the sea, felt the waves lapping at the soles of his feet, the sand a gritty bed. He was on the seashore, not in the palace. He felt the sun's radiance but when he opened his eyes he was unable to see it. Putting his hands to his eyes, he found his eye sockets were empty.



3



 Head buzzing with the hangover of the honey-wine with which he'd been intoxicated, Orion heard Merope whisper, "Mountain Man, the wine-maker has done this to you, which is your price for exacting the skins of all the wild beasts of Chios and daring to enter my chamber. If you wish your sight to be restored, travel to the east, towards the sun at the point where he first rises from the ocean. When his first rays bathe your empty eye-sockets, you will see once again."
Orion reached out to seize Merope, but where his hand fell she wasn't. Ill, he lay a long while. Finally, he slowly raised himself from the seashore, where he'd been cast from the palace. He stepped into the ocean. It was spring, the safe season of sailing, and the mariners marveled at the Mountain Man striding sightless through the ocean.

Orion followed what he could hear, and what he could hear was the compelling hammer of Hephaestus, clang, clang, clang clang, the blacksmith striking the instrument against his anvil. Arriving at Lemnos, where Hephaestus had landed when cast out of Olympus, he went down into the underground chamber where the blacksmith labored around the clock, his hammer evolving ingenious works out of the metals of the earth.
Orion was dripping wet with the ocean, then bathed in sweat from the exhertions of the cavern in its extreme heat.
What do you seek," Hephaestus asked.
The Sun, at the world's end where his light rises from the ocean," Orion replied.
What guided you here?" Hephaestus inquired.
The ringing of your hammer guided me here," Orion answered.

Hephaestus called his assistant Cedalion and placed him on Orion's shoulders. The little man riding atop the great one, together they climbed out of Hephaestus' forge where they shivered terribly in the cool air. "This way," Cedalion said, urging Orion on with his knees as one would a horse, and Orion obeyed, wading back out into the deep ocean.

4



On they went, ever eastward, to Colchis, which Herodotus believed a colony founded in ancient times by the Egyptians. And Orion never doubted for an instant his sight would be returned to him once he reached the world's end.
At Colchis slept the Sun-God nightly in the house of Aietes, until in the morning awakened by his sister Eos. She was lifting her head from her pillow when she was greeted by a strange sight, a giant head wading through the waters, and above this a man. "Look, Apollo," she said, rousing her brother. As the Sun-God raised his eyes, his notice falling upon Orion, under that primal light, sight was restored to Orion's empty eye sockets. Exhausted from his journey, wooed by Eos who had fallen in love with him, Orion remained in the athlete's house all summer with the plan of regaining his strength. But waking each morning under Eos's care, in the peculiar light of the dawn his new eyes observed his skin becoming more and more transparent.
It was time. Orion returned to Chios. He sought vengeance for the journey exacted on him by Oinopoionas, that's what most say. However, if Mountain Man had been able to find Helios, he hadn't the fortune to discover the hiding place of the Wine-Maker, who had secreted himself with his mead vats deep in an underground chamber made for him by Hephaestus. Orion reasoned wrongly that Oinopoionas, if he couldn't be found at Chios, must be at Crete, in the palace of his grandfather. Again, he stepped into the water.
Winter was ending when the Mountain Man arrived at Crete, where also dwelt Artemis, the Full Moon incarnate, the divine mistress of wild animals, the Many-Breasted One. Still believing himself protected by Eos, though every morning he saw with her his skin became more transparent, Orion had traveled with her to Crete. The Mountain Man who had gathered for Oinopoionas the skins of the beasts of Chios, was growing faint, but he felt revived in the presence of Artemis, who said to him, "Come, let us hunt together, you and I, the Mistress of Wild Animals and Orion, the Mountain Man, their Master."
They would hunt at Delos, the place where things will be made clear, seat of the great oracle of Apollo, who was also Artemis' brother.


5


 A last time, Mountain Man entered the waters, still with Eos. They were not alone. A beast, unlike any the Mountain Man had before confronted, pursued him, conjured by Gaia at Apollo's urging, lest Artemis become enthralled with Orion as had Eos, lest the Sun's other sister, still a maiden, be seduced by the titan. High into the sky its tail rose and curled, a death-dealing sting at its tip. A scorpion. Orion tried his arrows, his club, every means at his disposal, but the creature defied him, its thick armor impervious to assault.
I am master of the beasts," Orion shouted.
The scorpion behaved as though it had never heard of the great hunter from whom all wild things fled. It pursued, and Orion fled before it toward Delos.
On the beach at Delos, Apollo, the driver of the Sun-Car, the destroyer of the Python, by which act he gained his oracular powers, stood beside Artemis, waiting. "Do you see that object on the sea's horizon?" he asked his sister. "Over there by Ortygia, the island of Calypso, the Concealer?"
"I do," replied Artemis.
"That is the head of Candaon, who has just seduced one of your sacred Northern priestesses, your mountain dedicant, Opos. I wonder if you can meet the challenge of striking it from here."
Now, Artemis should have known that Candaon was the Boeotian name of Orion. But this is how the story goes, that she didn't recognize the name as belonging to the Mountain Man, and raising her bow, took aim and fired three arrows.
Orion dead, his shade descended, and Artemis placed his image in the sky so that he may be remembered, forever following the hare and the bull in hunt, forever followed by his faithful dogs, and Scorpio.