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But Lambourne, who had taken upon him the part in the absence of Wayland, being chilled with remaining immersed in an element to which he was not friendly, having never got his speech by heart, and not having, like the porter, the advantage of a prompter, paid it off with impudence, tearing off his vizard, and swearing, "Cogs bones! he was none of Arion or Orion either, but honest Mike Lambourne, that had been drinking her Majesty's health from morning till midnight, and was come to bid her heartily welcome to Kenilworth Castle."
And lest any man should doubt the truth of the story in time to come, Arion erected at Tænarus a statue in bronze, representing a man riding on a dolphin's back. Adapted by Alfred J. Church Æneas of Troy, coming to the land of Italy, took to wife Lavinia, daughter of King Latinus, and built him a city, which he called Lavinium, after the name of his wife.
The god and the mortal sang a match: the daughter of the god was to be the mortal's prize if he proved victorious. Siati won, and he set off, riding on a shark, as Arion rode the dolphin, to seek the home of the defeated deity. At length he reached the shores divine, and thither strayed Puapae, daughter of the god, looking for her comb which she had lost.
ARION was a native of Methymna in Lesbos, and lived some time at the court of Periander, tyrant of Corinth, who began to reign B.C. 625. Nothing is known of his life beyond the beautiful story of his escape from the sailors with whom he sailed from Sicily to Corinth. On one occasion, thus runs the story, Arion went to Sicily to take part in a musical contest.
In the bow of one of the canoes sat the Arion of Tilly, Jean de La Marche; a flute or two accompanied his violin, and a guitar tinkled sweetly under the fingers of Heloise de Lotbiniere. They played an old air, while Jean led the chorus in splendid voice: "'Nous irons sur l'eau, Nous y prom-promener, Nous irons jouer dans l'isle."
This carried the audience into both supernal and infernal regions and its music, somber and imposing, called for an orchestra of viols, lutes, lyres of all forms, double harps, trombones and organ. The fifth intermezzo must have rivaled the glories of the ancient sacred plays in the public squares. Rinuccini arranged it from the story of Arion.
How trivial are those ancient myths about Arion and Orpheus compared with this modern fact the building of the Bayreuth Theatre with the million marks contributed by Wagner's admirers in all parts of the world! It is easy to see how Prof. Hanslick fell into the error of imagining that music exerts its greatest influence on savages.
Miss Bell asked him if that dolphin liked music. He thought not. "Dolphins," he said, "are very ordinary fish that sailors call sea-geese, because they have goose-shaped heads." But Miss Bell would not believe that the monster which had earned the poet Arion had a goose-shaped head.
By convention, all characters, regardless of their education or station in life, were considered capable of talking not only verse, but poetry. The untutored sea-captain in Twelfth Night spoke of "Arion on the dolphin's back," and in another play the sapheads Salanio and Salarino discoursed most eloquent music.
Gravely and with a dark glance he followed after Sophie and her guide. "In vain his beet endeavors were; Dull was the evening, and duller grew." "Seest thou how its little life The bird hides in the wood? Wilt thou be my little wife Then do it soon. Good! A bridegroom am I." Arion. Close beside St. After dinner they wandered up and down the garden, which extended to the Odense River.
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