Bacon's Essays, and Wisdom of the Ancients
The poets tell us, that the inhabitants of the old world being totally
destroyed by the universal deluge, excepting Deucalion and Pyrrha,
these two, desiring with zealous and fervent devotion to restore
mankind, received this oracle for answer, that “they should succeed by
throwing their mother’s bones behind them.” This at first cast them
into great sorrow and despair, because, as all things were levelled by
the deluge, it was in vain to seek their mother’s tomb; but at length
they understood the expression of the oracle to signify the stones of
the earth, which is esteemed the mother of all things.
EXPLANATION.—This fable seems to reveal a secret of nature, and correct
an error familiar to the mind; for men’s ignorance leads them to
expect the renovation or restoration of things from their corruption
and remains, as the phœnix is said to be restored out of its ashes;
which is a very improper procedure, because such kind of materials
have finished their course, and are become absolutely unfit to supply
the first rudiments of the same things again; whence, in cases of
renovation, recourse should be had to more common principles.
XXII.—NEMESIS, OR THE VICISSITUDE OF THINGS.
EXPLAINED OF THE REVERSES OF FORTUNE.
Nemesis is represented as a goddess venerated by all, but feared by the
powerful and the fortunate. She is said to be the daughter of Nox and
Oceanus.
She is drawn with wings, and a crown; a javelin of ash in her right
hand; a glass containing Ethiopians in her left; and riding upon a stag.
EXPLANATION.—The fable receives this explanation. The word Nemesis
manifestly signifies revenge, or retribution; for the office of this
goddess consisted in interposing, like the Roman tribunes, with an “I
forbid it,” in all courses of constant and perpetual felicity, so as
not only to chastise haughtiness, but also to repay even innocent and
moderate happiness with adversity; as if it were decreed, that none
of human race should be admitted to the banquet of the gods, but for
sport. And, indeed, to read over that chapter of Pliny wherein he has
collected the miseries and misfortunes of Augustus Cæsar, whom, of
all mankind, one would judge most fortunate,—as he had a certain art
of using and enjoying prosperity, with a mind no way tumid, light,
effeminate, confused, or melancholic,—one cannot but think this a
very great and powerful goddess, who could bring such a victim to her
altar.[633]
The parents of this goddess were Oceanus and Nox; that is, the
fluctuating change of things, and the obscure and secret divine
decrees. The changes of things are aptly represented by the Ocean, on
account of its perpetual ebbing and flowing; and secret providence
is justly expressed by Night. Even the heathens have observed this
secret Nemesis of the night, or the difference betwixt divine and human
judgment.[634]
Wings are given to Nemesis, because of the sudden and unforeseen
changes of things; for, from the earliest account of time, it has been
common for great and prudent men to fall by the dangers they most
despised. Thus Cicero, when admonished by Brutus of the infidelity
and rancor of Octavius, coolly wrote back: “I cannot, however, but be
obliged to you, Brutus, as I ought, for informing me, though of such a
trifle.”[635]
Nemesis also has her crown, by reason of the invidious and malignant
nature of the vulgar, who generally rejoice, triumph, and crown her,
at the fall of the fortunate and the powerful. And for the javelin in
her right hand, it has regard to those whom she has actually struck
and transfixed. But whoever escapes her stroke, or feels not actual
calamity or misfortune, she affrights with a black and dismal sight
in her left hand; for doubtless, mortals on the highest pinnacle of
felicity have a prospect of death, diseases, calamities, perfidious
friends, undermining enemies, reverses of fortune, &c., represented
by the Ethiopians in her glass. Thus Virgil, with great elegance,
describing the battle of Actium, says of Cleopatra, that “she did not
yet perceive the two asps behind her;”[636] but soon after, which way
soever she turned, she saw whole troops of Ethiopians still before her.
Lastly, it is significantly added, that Nemesis rides upon a stag,
which is a very long-lived creature; for though perhaps some, by an
untimely death in youth, may prevent or escape this goddess, yet they
who enjoy a long flow of happiness and power, doubtless become subject
to her at length, and are brought to yield.
XXIII.—ACHELOUS, OR BATTLE.
EXPLAINED OF WAR BY INVASION.
The ancients relate, that Hercules and Achelous being rivals in the
courtship of Deianira, the matter was contested by single combat;
when Achelous having transformed himself, as he had power to do, into
various shapes, by way of trial; at length, in the form of a fierce
wild bull, prepares himself for the fight; but Hercules still retains
his human shape, engages sharply with him, and in the issue broke off
one of the bull’s horns; and now Achelous, in great pain and fright, to
redeem his horn, presents Hercules with the cornucopia.
EXPLANATION.—This fable relates to military expeditions and
preparations; for the preparation of war on the defensive side, here
denoted by Achelous, appears in various shapes, whilst the invading
side has but one simple form, consisting either in an army, or perhaps
a fleet. But the country that expects the invasion is employed infinite
ways, in fortifying towns, blockading passes, rivers, and ports,
raising soldiers, disposing garrisons, building and breaking down
bridges, procuring aids, securing provisions, arms, ammunition, &c. So
that there appears a new face of things every day; and at length, when
the country is sufficiently fortified and prepared, it represents to
the life the form and threats of a fierce fighting bull.
On the other side, the invader presses on to the fight, fearing to be
distressed in an enemy’s country. And if after the battle he remains
master of the field, and has now broke, as it were, the horn of his
enemy, the besieged, of course, retire inglorious, affrighted, and
dismayed, to their stronghold, there endeavoring to secure themselves,
and repair their strength; leaving, at the same time, their country a
prey to the conqueror, which is well expressed by the Amalthean horn,
or cornucopia.
XXIV.—DIONYSUS, OR BACCHUS.[637]
EXPLAINED OF THE PASSIONS.
The fable runs, that Semele, Jupiter’s mistress, having bound him
by an inviolable oath to grant her an unknown request, desired he
would embrace her in the same form and manner he used to embrace
Juno; and the promise being irrevocable, she was burnt to death with
lightning in the performance. The embryo, however, was sewed up, and
carried in Jupiter’s thigh till the complete time of its birth; but
the burden thus rendering the father lame, and causing him pain, the
child was thence called Dionysus. When born, he was committed, for
some years, to be nursed by Proserpina; and when grown up, appeared
with so effeminate a face, that his sex seemed somewhat doubtful. He
also died, and was buried for a time, but afterwards revived. When a
youth, he first introduced the cultivation and dressing of vines, the
method of preparing wine, and taught the use thereof; whence becoming
famous, he subdued the world, even to the utmost bounds of the Indies.
He rode in a chariot drawn by tigers. There danced about him certain
deformed demons called Cobali, &c. The Muses also joined in his train.
He married Ariadne, who was deserted by Theseus. The ivy was sacred to
him. He was also held the inventor and institutor of religious rites
and ceremonies, but such as were wild, frantic, and full of corruption
and cruelty. He had also the power of striking men with frenzies.
Pentheus and Orpheus were torn to pieces by the frantic women at his
orgies; the first for climbing a tree to behold their outrageous
ceremonies, and the other for the music of his harp. But the acts of
this god are much entangled and confounded with those of Jupiter.
EXPLANATION.—This fable seems to contain a little system of morality,
so that there is scarce any better invention in all ethics. Under
the history of Bacchus, is drawn the nature of unlawful desire or
affection, and disorder; for the appetite and thirst of apparent good
is the mother of all unlawful desire, though ever so destructive, and
all unlawful desires are conceived in unlawful wishes or requests,
rashly indulged or granted before they are well understood or
considered, and when the affection begins to grow warm, the mother
of it (the nature of good) is destroyed and burnt up by the heat.
And whilst an unlawful desire lies in the embryo, or unripened in
the mind, which is its father, and here represented by Jupiter, it
is cherished and concealed, especially in the inferior part of the
mind, corresponding to the thigh of the body, where pain twitches and
depresses the mind so far as to render its resolutions and actions
imperfect and lame. And even after this child of the mind is confirmed,
and gains strength by consent and habit, and comes forth into action,
it must still be nursed by Proserpina for a time; that is, it skulks
and hides its head in a clandestine manner, as it were under ground,
till at length, when the checks of shame and fear are removed, and
the requisite boldness acquired, it either assumes the pretext of
some virtue, or openly despises infamy. And it is justly observed,
that every vehement passion appears of a doubtful sex, as having the
strength of a man at first, but at last the impotence of a woman.
It is also excellently added, that Bacchus died and rose again; for
the affections sometimes seem to die and be no more; but there is no
trusting them, even though they were buried, being always apt and ready
to rise again whenever the occasion or object offers.
That Bacchus should be the inventor of wine, carries a fine allegory
with it; for every affection is cunning and subtle in discovering a
proper matter to nourish and feed it; and of all things known to
mortals, wine is the most powerful and effectual for exciting and
inflaming passions of all kinds, being, indeed, like a common fuel to
all.
It is again, with great elegance, observed of Bacchus, that he subdued
provinces, and undertook endless expeditions, for the affections never
rest satisfied with what they enjoy, but with an endless and insatiable
appetite thirst after something further. And tigers are prettily
feigned to draw the chariot; for as soon as any affection shall, from
going on foot, be advanced to ride, it triumphs over reason, and exerts
its cruelty, fierceness, and strength against all that oppose it.
It is also humorously imagined, that ridiculous demons dance and frisk
about this chariot; for every passion produces indecent, disorderly,
interchangeable and deformed motions in the eyes, countenance, and
gesture, so that the person under the impulse, whether of anger,
insult, love, &c., though to himself he may seem grand, lofty, or
obliging, yet in the eyes of others appears mean, contemptible, or
ridiculous.
The Muses also are found in the train of Bacchus, for there is scarce
any passion without its art, science, or doctrine to court and flatter
it; but in this respect the indulgence of men of genius has greatly
detracted from the majesty of the Muses, who ought to be the leaders
and conductors of human life, and not the handmaids of the passions.
The allegory of Bacchus falling in love with a cast mistress, is
extremely noble; for it is certain that the affections always court
and covet what has been rejected upon experience. And all those who
by serving and indulging their passions immensely raise the value of