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SOME LITTLE PEOPLE

GEORGE KRINGLE

Illustrated

SOME LITTLE PEOPLE.

'Lisbeth Lillibun lived a hundred miles from London. If she had not lived a hundred miles from London, it is likely you would never have heard of her. She would have liked it better had somebody else lived where she did instead of herself. 'Lisbeth was a very little girl when she found out that she lived a hundred miles from London. So was Dickon, her brother, very little when he found it out, but he did not care so much about it; indeed I think he did not care at all.

'Lisbeth always remembered the day upon which she found it out. She could not quite count a hundred herself at the time; she could count ten, but had not learned to count a hundred. She had heard Gorham count a hundred, and knew that it was a great many more than ten. She thought that ten was a great many. She knew that ten miles must be a great way; she had several times walked a mile. She had walked a mile the day she discovered that it was a hundred miles to London. A hundred miles, she knew, was a very great way.

'Lisbeth had concluded that she would like to live in London; that she would live in London; that London was the only proper place for any body to live. This was why she did not like to discover that London was a hundred miles away. But how she came to know anything about London, or to think it was the only proper place to live, I shall not pretend to say.

She had gone a long way from home, that day, with Dickon; as I said, she had gone a mile. It was a pleasant mile, straight across the fields, but they should not have gone so far. Mother was at the mill; Gorham had gone to school; Trotty was asleep. Dickon and 'Lisbeth wanted to do something, or see something, so they wandered over the fields for a mile. If they had not gone so far, 'Lisbeth would not have heard about the distance to London; she would have been more happy had she not gone so far; she would not have heard the men, with the packs on their backs, reading the mile-stone. She should not have gone so far from home; we generally come to some grief when we do something which is not quite right. 'Lisbeth did.

Dickon wished to show her the flowers blooming by the way; he wished to show her the bees buzzing in the flowers; he wished to show her the bird warbling on the post, but she was looking at the two men with the packs on their backs; she was looking at them plodding along the way. They grew smaller and smaller to her eyes. They became but specks. They disappeared.

She thought she would see them again in London. She would ask them how they got there, and how they liked it. So Dickon watched the bees, a long while, by himself, and looked at the pretty flower-hearts; and the bird warbled on the post, but 'Lisbeth knew not a thing about it.

Everything looked more happy than 'Lisbeth; the grass that grew under foot, and the contented little weeds that nodded and dozed in the sun, and the flowers that hung just where they grew, with the most comfortable little faces, and the bird that warbled on the post.

Indeed, as to the bird, it might have been thought that he did not admire 'Lisbeth's serious face, that he was too happy himself to be looking at any one who was not as happy as he was, for, though at first, with head turned toward her, he ruffled his throat, and swayed from side to side as he sung and sung, he suddenly grew mute, eyed 'Lisbeth with one eye and then with the other, and like a bird who had made up his mind, turned his back upon her, still standing on the post, and lifted his head, and ruffled his throat, and filled the air with his sweet notes, without so much as turning an eye toward 'Lisbeth as she stood.

Everything looked more comfortable than 'Lisbeth. Do you know why 'Lisbeth did not look comfortable? If you cannot think why it was to-day, perhaps you may be able to do so to-morrow. If you cannot think why it was this morning, perhaps you may be able to do so by this evening. Indeed, I think you will know without waiting to think a minute.

Dickon filled her hands with flowers--they were such sweet flowers, with such pretty tender faces; every one had something on its lips to say as it looked up. Did you ever guess what the flowers were trying to say loud enough for you to hear? I think they all say something to us; some of us cannot hear what they say, some of us cannot guess what they say. The flowers looked brightly up at 'Lisbeth; they did not look discontented, even though they were broken; they did not complain as she carried them away; they did not even turn to look reproachfully at Dickon who had broken them from their stems. They were very bright flowers.

'Lisbeth wished many times to know if Dickon thought the men with the packs had reached London. She asked him so many times, that at length he laughed quite aloud, and yet she knew well enough that the men had to walk a hundred miles; she and Dickon had walked but one. So she laughed too, when Dickon laughed, and they both began chasing the butterflies that waved their beautiful wings over the field, their wings beautiful as the faces of the flowers; the wings which changed colors as they fanned them in the sun; the pretty wings which changed color every moment and which shone like flower petals sprinkled with gold.

When they were tired of chasing butterflies they remembered that Trotty might be awake; that Gorham might have come home; that mother might have come from the mill, and have been looking for them; so they began chasing each other instead of chasing the butterflies, and it seemed to be much the best thing to do, for as they chased each other they came nearer to the door at home. Indeed they should have thought of this before, for as they came bounding around the house, startling the swallows under the eaves, Trotty was tumbling from the cradle, and mother was hastening toward the door.

'Lisbeth did not forget that it was a hundred miles to London; she never forgot it. She did not forget the two men with the packs on their backs. At the same time she could not forget that a hundred was a great many. 'Lisbeth told her mother that they could all put packs on their backs and go to London, that she wanted to live in London; but her mother only laughed, she did not want to go to London to live at that time; she did not want to walk a hundred miles with a pack on her back.

After this 'Lisbeth felt very much discouraged; she had believed that everybody would like to live in London; she did not know how to manage. If 'Lisbeth had been more like the flowers she would have been contented to grow just where she found herself; but she was not like the flowers; she was not like them at all. She thought a great deal about getting to London. I am not sure that 'Lisbeth thought enough about it to find out how she would like getting to London if mother did not go along; that is a part which I am almost sure that 'Lisbeth did not think about, but she was very determined about getting there.

She invited Gorham to go with her, but Gorham knew better than to try to do that; he knew that London was a great way off; that he could not go unless mother went too; he knew that 'Lisbeth was very silly indeed. But 'Lisbeth did not believe Gorham when he told her all this; she had an opinion of her own. She and Dickon used to play "going to London" every day, but this did not suit 'Lisbeth.

There were five mothers who went to the mill every day. 'Lisbeth concluded to ask the little boys and girls belonging to these mothers to go to London with her. Then she concluded she would only ask the boys; boys would not get frightened and run away; they would not let anybody pick her up and put her in a bag; Dickon was a boy; she knew all about boys; she was afraid the girls would get put in bags. She told the girls they should not go. She stamped her foot at them; they should not go. Indeed I do not believe they wanted to go, but the boys did; they liked it. They all concluded to start at once.

There were seven of them beside Dickon. Dickon carried a basket, as well as a stick with a rag upon it which they called a flag. 'Lisbeth carried a flag too and walked in front. Nobody was ever so proud in starting for London; nobody was ever so well pleased, or so little afraid of what might happen on the way, nor at the end of the way, nor at the end of the whole affair. Nobody who thought so much of going to London, ever forgot so entirely to think about what was to be done when they got there; what was to be done for a supper, for a penny, for a roof, for a bed, for a second dress or pair of trousers, for a mother! Nobody remembered anything but that they were on the way to London.

They went a mile. They went across the fields, between clover tops and sweet grasses, and flowers with pleasant faces; they marched, and then forgot to march. 'Lisbeth knew the way to the mile-stone, she knew which way the men had turned when they came to the forked road beyond. She remembered watching them out of sight. 'Lisbeth was sure she knew the way to London. They went beyond the forks of the road; they went a great way. The little boys began to find out that they had gone a great way. They began to look back for the church steeple, but it was gone; they began to look back for the mill; but there was none. They began to be afraid. 'Lisbeth was not afraid. She did not expect to see the church steeple. She did not expect to see the mill; she did not want to see them. She did want to see London.

'Lisbeth looked so happy that the little boys forgot to march, and all drew up closer, and closer to 'Lisbeth; they were sure she must have something to be happy about. Nobody liked to say he did not feel happy, yet nobody was happy but 'Lisbeth. All these boys usually were very happy, can you tell me why they did not feel happy now? Dickon was the first to find out that everybody was keeping very close to 'Lisbeth; that nobody looked pleased but 'Lisbeth.

"It's a dreadful way to London," said Dickon.

"I s'pose it is, Dickon; but don't be 'scouraged," said 'Lisbeth, striding on faster and faster. If she had seen a church spire ahead she would have believed she saw a London spire.

"S'pose we don't go to London," said Dickon, coming to a halt.

"Well, s'pose we don't!" said almost all the voices, some high and some low; but 'Lisbeth almost gasped, "We will! we must! We've gone a dreadful way, we cannot go back any more."

But the little boys were bigger than 'Lisbeth; they knew now that she had made a mistake; they thought she might make a mistake about getting to London; they began to think they had made a mistake themselves.

'Lisbeth stood stamping in the road; she stood stamping and crying as hard as she could, but even Dickon began running toward the mile-stone, and what could she do but turn around and run too? She could do nothing else. She ran as fast as her feet would take her, but her feet were tired. The boys' feet were not as tired; the most of them were bigger than hers; they were bigger and not so tired, so they ran faster.

'Lisbeth was left somewhere, I do not know where; left away off on the road carrying her flag, and trotting along at a great rate by herself. This was what she got by taking the boys. She sighed over her mistake, and she concluded that even Dickon would not have cared had she been packed in a bag, and, indeed, it seemed he did not.

To be sure Dickon remembered her after a while, and ran as fast as he could to find her, and see that she was all safe and give her a kiss under her funny little hat to make it all right. But 'Lisbeth felt herself hurt beyond measure, as well she might; only, if people will make mistakes they must take the consequences. If people will choose the boys when they should choose the girls, what can they expect; and if they will want to grow in London instead of wanting to grow where God put them, what can they expect? If we want to be very comfortable we must be contented where we find ourselves.

The boys did not run very, very long before they saw the mill, and the steeple; they chased along the path in high glee after that, and did a great many things beside chasing along the path. Buja -- edess?mme on ilmiel?v?n? entisess? ihmismuodossaan Lucius.

Kiitollisena t?m? vihitytt?? itsens? Isiksen ja sitten Osiriksen salaismenoihin ja matkustaa sittemmin Roomaan, miss? aikaa my?ten kohoaa yh? pyhempiin arvonasteisiin.

Romaanin p??t?s on tekij?n itsens? sepitt?m?. Siin? tavataan selvi? viittauksia h?nen omaan el?m??ns?. On senvuoksi kenties syyst? v?itetty ett? Apuleius, kertoessaan aasin haahmossa kovia kokeneen Luciuksen vaiheita, samalla on ajatellut omaa itse?ns?; olihan h?n -- niin sanotaan -- tiedonhaluaan tyydytt??kseen kuluttanut varhaisimmat vuotensa joutaviin maallisiin tutkimuksiin ja vasta senj?lkeen kuin kokonaan oli heitt?ytynyt mysterioiden helmaan, h?n oli saavuttanut sis?llisen rauhan. Lopulla kuvatut Isis-palveluksen menot vaikuttavat hullunkurisen vallattomien, usein siveellisesti perin arveluttavien kertomuksien j?lest? juhlallisen virren tavoin; siin? on oltu huomaavinaan katuvaisen synnintunnustusta.

Kokoonpanoltaan "muunnos-romaani" on jonkun verran hajanainen, sen lomaan kun on punottu kirjava liuta sivukertomuksia traagillista, koomillista ja romantista laatua, jotka enimm?kseen eiv?t ole miss??n elimellisess? yhteydess? sen kanssa. Mutta j?nnitt?v? juoni, joka alinomaa tuo mukanaan uusia, odottamattomia k??nteit? ja aukoo ihme- ja seikkailumaailman ovet selkosel?lleen, vilkas esitys, hilpe? humori ja viittaukset ajan oloihin tekev?t sen mielt?kiinnitt?v?ksi.

Emme tunne tarkemmin kysymyksess? olevaa Apuleiuksen kreikkalaista esikuvaa. Mutta aivan varmasti jo siin? alkuper?inen kansansatu esiintyy hellenistiseen henkeen muunneltuna. Omasta puolestaan Apuleius on sit? monin tavoin muuttanut, lis?ellen ja poistaen yksityisi? piirteit?; niinp? h?n on siihen liitt?nyt viittauksia roomalaisiin oloihin sek? joukon abstraktis-allegorisia k?sitteit? ja antanut koko kertomukselleen humoristis-satirisen v?rityksen, mik? melkoisessa m??rin on muuntanut vanhan kansansadun naivisen leiman. Ett? siit? huolimatta siksi paljon todellista kansantarun ainesta on j?lell?, tekee kertomuksen kirjallisessa suhteessa t?rke?ksi: siin? on n?et ainoa laajempi meille s?ilynyt j??nn?s antiikista kansansatua. Ja t?ytyy my?nt??, ett? Apuleius sittenkin syvemm?lt? kuin useimmat vanhan ajan kirjailijat on tajunnut t?m?n sisimm?n olemuksen.

Oleellisimpia alkuper?iseen satuun tehtyj? muutoksia oli se, ett? rakastaville oli annettu nimeksi Amor ja Psyke. Siit? oli l?hin seuraus ett? kansantarun h?ijyst? ?idist?, joka, est??kseen lempivi? yhtym?st?, muuntaa poikansa hirvi?ksi, tuli Venus, mik? puolestaan aiheutti ett? koko kreikkalaisen mytologian yleisesti tunnettu koneisto ty?nnettiin n?ytt?m?lle. Nimet Amor ja Psyke saatiin yleisest?, n?ht?v?sti aleksandrialaisella ajalla syntyneest?, mutta luultavasti Platosta johtuvasta k?sityksest?. Kirjallisuudessa tapaamme sen aikaisimmin ensim?isell? vuosisadalla e.Kr. el?neell? kreikkalaisella epigrammintekij?ll? Meleagroksella, joka usein esitt?? Erosta ja Psyke? rakastavana parina. Mutta viel? yleisemp?n? t?m? k?sitys ilmenee taiteessa. Lukuisissa veistoteoksissa, korkokuvissa, kaiverretuissa kiviss?, sein?maalauksissa, sormuksissa y.m., kreikkalaisen ja roomalaisen taiteen my?hemmiss? tuotteissa n?emme tuon lapsellisen parin yhdess?, milloin toisiaan armastellen, milloin taas tapaamme Eroksen rakastettuansa kiduttamassa ja Psyken armoa anomassa. Usein on silloin Psykell? perhosensiivet, joskus h?n on kokonaan perhosenmuotoinen. V?list? taas n?emme p?invastoin Psyken perhosena vartioimassa sidottua Erosta. N?iss? esityksiss? on luultavasti taiteilijan mieless? v?ikkynyt allegorinen ajatus ihmissielun ikuisesta kaipiosta ihanteellisuuteen -- yleinen mielikuva, joka on antanut suhteellisesti suuren vapauden k?sittelyss? eik? ole sitonut h?nt? tarkoin m??r?ttyyn situatsioniin.

Syy siihen, mink? vuoksi k?sitys Amorista ja Psykest? oli omiaan liittym??n alkuper?iseen kansansatuun, oli ilmeisesti se, ett? kummassakin tapauksessa oli kaksi onnetonta rakastavaa.

Ne kielt?m?tt? allegoriset ainekset, jotka Apuleiuksen esikuvasta ovat tulleet h?nen teokseensa, ynn? ne, joita h?n itse puolestaan on siihen liitt?nyt, ovat osaltaan vaikuttaneet sen, ett? useimmat selitt?j?t, alkaen h?nen 6:lla vuosisadalla j.Kr. el?neest? maanmiehest??n Fulgentiuksesta aina meid?n aikojemme tutkijoihin saakka, ovat k?sitt?neet sit? t?ydelliseksi, moraliseeraavaksi allegoriaksi, jotkut viel?p? kristilliseen henkeen laadituksi; on v?itetty ett? Apuleius tarinallaan olisi tahtonut esitt?? ihmissielun suhdetta taivaalliseen rakkauteen, kuinka se lankeemuksensa johdosta t?m?n kadottaa, mutta k?rsimysten kautta puhdistuneena j?lleen saavuttaa sen; my?s on ylimalkaan ajateltu niit? tuskia ja vaivoja, mit? rakkaus ihmiselle tuottaa. Toiset ovat olettaneet Apuleiuksen tahtoneen viitata mysterioiden puhdistavaan vaikutukseen ja huomauttavat miten Psyken vastukset ja harhamatkat muistuttavat niit? koettelemuksia, joita salamenoihin vihitt?vien oli kestett?v?.

Perinpohjaisempi kertomuksen punnitseminen ja varsinkin laajentunut n?k?ala vertailevan satututkimuksen alalla ovat kuitenkin osoittaneet ett? t?ll? romaanilla kokonaisuudessaan ei ole voitu tarkoittaa nimenomaista allegoriaa.

Senj?lkeen kuin Apuleius oli istuttanut kansansadun mets?kukan retoriikan taimitarhaan, oli antiikin taide hyvin v?h?isess? m??r?ss? k?sitellyt Amorin ja Psyken suhdetta. Ei ole olemassa antiikista taideteosta, jonka varmasti voisi asettaa yhteyteen Apuleiuksen muodostelun kanssa. Ja itse asiassa oli t?m?n ilmestyess? antiikisen taiteen elinneste jo siihen m??r??n ehtym?ss?, ettei se en?? kyennyt luomaan mit??n sanottavasti uutta. Mutta sit? enemm?n se on vaikuttanut uuden ajan taiteeseen, renessansista alkaen. Maalauksista on ennen muita mainittava Rafaelin suunnitelman mukaan tehdyt kattomaalaukset Villa Farnesinassa Roomassa, miss? sarja mainitusta romaanista otettuja vieh?tt?vi? kohtauksia on n?ht?v?n?. Kuvanveistoksista taas ovat kuuluisimmat Canovan ihana ryhm? Villa Carlottassa Lago di Comon rannalla sek? Thorwaldsenin tunnetut mestariteokset. Ja onpa omankin maamme taiteilijoista yksi, Walter Runeberg, ottanut aiheita Amorin ja Psyken i?ti nuoresta tarinasta.

Lopuksi on mainittava ett? kertomus Amorista ja Psykest? on vaikuttanut hedelm?itt?v?sti uudempien aikojen kaunokirjallisuuteenkin, se kun on innostuttanut useita eri kielill? esiintyvi? kirjailijoita enemm?n tai v?hemm?n itsen?isiin runollisiin tuotteisiin.

AMOR JA PSYKE

ENSIM?INEN LUKU.

Oli kerran er??ss? valtiossa kuningas ja kuningatar, joilla oli kolme ylen kaunista tyt?rt?. Mutta kun molempia vanhempia, miten suloiset olivatkin, toki katsottiin voitavan inhimillisin kiitoksin t?ysin vastaavalla tavalla kehua, oli nuorimman tytt?ren ihanuus niin erikoinen ja erinomainen, ettei sit? puutteellinen ihmiskieli pystynyt ilmaisemaan eik? riitt?m??n asti ylist?m??n. Niinp? monet oman maan kansalaiset ja varakkaat tulokkaat, joita harvinaisen n?ytelm?n huhu taajoissa, hartaissa joukoissa ker?si kokoon, h?mm?styiv?t ihmeiss??n moista saavuttamatonta ihanuutta, painoivat sormenp??n ojennettua peukaloansa vasten ja veiv?t k?tens? suulleen, osoittaen siten h?nelle uskonnollista kunnioitusta juuri kuin itse Venus jumalattarelle.

Jo oli kautta l?hivaltioiden ja likiseutujen kulkeutunut huhu, ett? jumalatar, jonka synnytti sinisyvyys ulapan ja kasvatti vihma vaahtop??laineiden, kaikkialle jakaen jumaluutensa armoa jo liikuskeli keskell? v?kijoukkoja, tai ainakin ett? taasen, kuten kerran meri, niin nyt maa uudesta taivaallisten pisarain idusta oli toisen Venuksen t?ydess? impeyden kukassaan saattanut puhkeamaan.

Niin etenee ??rett?m?sti p?iv? p?iv?lt? se k?sitys, niin vaeltaa levi?v? maine jo kautta l?hisaarten, melkoisen osan maata ja useampain maakuntain. Jo tulvi joukottain kuolevaisia, pitkien taivalten takaa ja meren aallonharjoja kulkien vuosisadan kuulua kummaa n?kem??n. Ei Pafokseen, ei Knidokseen eik? edes Kyteraankaan kukaan purjehtinut Venus jumalatarta katsomaan. Jumalattaren uhreja sivuutetaan, h?nen temppelins? ovat tyhjin?, pyh?t sijansa hylj?ttyin?, h?nen menojaan laiminly?d??n, kuvapatsaansa ovat vailla seppeleit? ja autioita alttareita tahraa kylm? tuhka. Sensijaan rukoillaan tytt??, ja ihmisen muodossa lepytell??n mahtavan taivahisen jumaluutta; immen aamusin astellessa suostutellaan uhriteurain ja juhla-aterioin Venusta, joka kuitenkin oli kaukana, ja h?nen katuja pitkin k?velless??n ihmiset lukuisasti h?nt? palvoovat seppelin ja kukkasin.

T?m? taivaallisten kunnianosoitusten m??r?t?n siirt?minen kuolevaiseen tytt??n her?tti todellisen Venuksen suuttumuksen, ja n?rk?styksest? k?rsim?t?nn? h?n p??t??n pudistellen sek? syd?men pohjasta nuristen n?in puhuu itsekseen: "voi luonnon ikiemoa, voi alkuainetten perusjuurta, voi koko maanpiirin hallitsijatarta, voi minua, armas Venus, jonka t?ytyy kuolevaisen tyt?n kanssa jakaa valtiuteni ja jonka taivaassa pyhitetty? nime? h?p?isee maallinen tahra! Meille molemmille osoitetussa palveluksessa saan min? tietysti tyyty? viransijaisen ep?varmaan osaan, ja minun kuvaani kantaa ymp?ri maailmaa kuolevainen tytt?. Turhaan Paris paimen, jonka oikeamielisyyden ja luotettavuuden on my?nt?nyt suuri Jupiter, erinomaisen ulkomuotoni vuoksi asetti minut niin mahtavain jumalatarten edelle. Mutta eip? tuo, ken tahansa lieneek??n, niink??n suureksi ilokseen tule ry?st?neeksi kunniaani: kyll? min? pian laitan niin, ett? h?n saa katua juuri t?t? luvatonta ihanuuttaan".

Ja kohta h?n kutsuu luokseen poikansa, tuon siivekk??n veitikan, joka huonoine tapoineen kaikkea julkista kuria halveksii ja liekin, nuolin asestettuna ?isin liit?? vieraissa kodeissa sek? kaikkien avioliittoja turmellen rankaisematta tekee moisia kolttosiaan eik? ollenkaan toimita mit??n hyv??. Vaikka t?m? jo luontaisesta vallattomuudesta on julkea, ?iti viel? lis?ksi sanoillaan h?nt? yllytt?? ja saattaa h?net ennenmainittuun valtioon sek? osoittaa h?nelle Psyken -- se n?et oli tyt?n nimi. Ja kerrottuaan juurta jaksaen heid?n kauneudenkilpailunsa, h?n n?rk?styksest? uhkuen ja puhkuen virkkaa: "nimess? ?idinrakkauteni siteiden, nimess? nuolesi suloisten haavojen, nimess? tuon liekkisi medenmakean polton, hanki ?idillesi kosto, ja t?ydellinen! Rankaise ankarasti tuota uppiniskaista kaunotarta ja suorita suosiollisesti ennen kaikkea t?m? ainokainen asia: tuo neito rakastukoon mit? tulisimmin kaikkein halvimpaan mieheen, jolta Onnetar on riist?nyt arvon ja samalla perinn?n, viel?p? terveydenkin, mieheen, joka on niin halpa, ettei koko maanpiiriss? l?yd? vertaistaan kurjuudessa".

Noin julistettuaan ja hehkuvin suukkosin poikaansa kauvan ja kiihke?sti suudeltuaan, h?n pyrkii l?himm?lle rannikolle, mist? meri vet?ytyy taapp?in, ja tuskin h?n rusottavilla jalkapohjillaan on hipaissut v?reilev?n allokon p??llisint? vihmaa, niin h?n jo laskeutuu syv?n meren selke?lle pinnalle. Ja, niinkuin h?n juuri haluaakin, niin paikalla viivyttelem?tt? ilmestyy merellinen seurue, ik??nkuin jumalatar aikoja sitten olisi niin k?skenyt. Saapuvat Vellamon neidot kuorossa laulaen, saapuvat takkuinen siniparta Portunus ja Salacia, syli raskaana kaloista, sek? pieni delfiininajaja Palaemon. Ja Tritonein parvien hyppelehtiess? sinne t?nne pitkin meren pintaa, t?ss? yksi vienosti puhaltaa sointuvaa simpukkaa, tuossa toinen silkkiharsolla torjuu auringon ahdistavaa paahdetta, kolmas kantaa valtiattaren edess? kuvastinta ja vihdoin toiset uiskelevat parittain, vaunujen eteen valjastettuina. Sellainen joukkue se saattaa Venusta, kun h?n valtamerelle suorii.

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