Charles Godfrey Leland

Charles Godfrey Leland

Summary

Portrait of Charles Godfrey Leland Charles Godfrey Leland Aradia, or the Gospel of the Witches… (1899)

The quivering, mysteriously beautiful light of the moon, which seems to cast a spirit of intelligence or emotion over silent Nature, and dimly half awaken it--raising shadows into thoughts and causing every tree and rock to assume the semblance of a living form, but one which, while shimmering and breathing, still sleeps in a dream--could not escape the Greeks, and they expressed it as Diana embracing Endymion.
Source: Wikisource

Portrait of Charles Godfrey Leland Charles Godfrey Leland Aradia, or the Gospel of the Witches… (1899)

Sheds beauty and deep softness o'er the whole,
Breathes also to the heart, and o'er it throws
A loving languor which is not repose."
This is what is meant by the myth of Diana and Endymion. It is the making divine or æsthetic (which to the Greeks was one and the same) that which is impassioned, secret, and forbidden. It was the charm of the stolen waters which are sweet, intensified to poetry. And it is remarkable that it has been so strangely preserved in Italian witch traditions.
Source: Wikisource

Portrait of Charles Godfrey Leland Charles Godfrey Leland Aradia, or the Gospel of the Witches… (1899)

I have never seen it observed, but it is true, that Keats in his exquisite poem of Endymion completely departs from or ignores the whole spirit and meaning of the ancient myth, while in this rude witch-song it is minutely developed. The conception is that of a beautiful youth furtively kissed in his slumber by Dian of reputed chastity. The ancient myth is, to begin with, one of darkness and light, or day and night, from which are born the fifty-one (now fifty-two) weeks of the year. This is Diana, the night, and Apollo, the sun, or light in another form.
Source: Wikisource

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