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Updated: June 28, 2025
"The ship that is beside our shore may have come at a good time. Those on board are goodly heroes. Let them land in Lemnos, and stay if they will. Let them wed with the younger women so that there may be husbands and wives, helpers and helpmeets, again in Lemnos." Hypsipyle, the queen, let the shuttle fall from her hands and stayed for a while looking full into Polyxo's face.
But we may no longer wrap ourselves in an atmosphere of dreamy conjecture and show but a languid desire to solve the fascinating problem. The Three Philosophers he calls Aeneas, Evander, and Pallas, the Giovanelli Tempest with the Gipsy and the Soldier he explains anew as Admetus and Hypsipyle.
Hypsipyle spoke two languages one, the language of the mothers of the women of Lemnos, which was rough and harsh, a speech to be flung out to slaves, and the other the language of Greece, which their fathers had spoken, and which Hypsipyle spoke in a way that made it sound like strange music.
And when they had passed within the gates and the city, the women of the people surged behind them, delighting in the stranger, but he with his eyes fixed on the ground fared straight on, till he reached the glorious palace of Hypsipyle; and when he appeared the maids opened the folding doors, fitted with well-fashioned panels.
For the artist, it must be noted, does not attempt to illustrate a passage of an ancient writer; very probably, nay, almost certainly, he had never read the Thebaid of Statius, whence comes the story of Adrastus and Hypsipyle; the subject would have been suggested to him by some friend, a student of the Classics, and Giorgione thereupon dressed the old Greek myth in Venetian garb, just as Statius had done in the Latin.
The actual group of figures forms but an episode in a landscape of the most entrancing beauty, lighted by the rising sun, and wrapped in a soft atmospheric haze. The landscapes in the two little Uffizi pictures are immediately suggested, yet the quality of painting is here far superior, and is much closer in its rendering of atmospheric effects to the "Adrastus and Hypsipyle."
Giorgione embodies in such a picture as the Adrastus and Hypsipyle, or the Aeneas and Evander, not so much what has been related to him of those ancient legends as his own mood when he is brought into contact with them; he transposes his motive from a dramatic into a lyrical atmosphere, and gives it forth anew, transformed into something "rich and strange," coloured for ever with his own inspired yet so warmly human fantasy.
Certainly here it is awkwardly introduced, obviously to bring the figure into direct relation with the others; but Giorgione is by no means always supreme master of natural expression, as the hands in the "Adrastus and Hypsipyle" and Vienna pictures clearly show.
Here Iphinoe leading him quickly through a fair porch set him upon a shining seat opposite her mistress, but Hypsipyle turned her eyes aside and a blush covered her maiden cheeks, yet for all her modesty she addressed him with crafty words: "Stranger, why stay ye so long outside our towers? for the city is not inhabited by the men, but they, as sojourners, plough the wheat-bearing fields of the Thracian mainland.
Not their husbands alone with the captives did they slay on account of the marriage-bed, but all the males at the same time, that they might thereafter pay no retribution for the grim murder. And of all the women, Hypsipyle alone spared her aged father Thoas, who was king over the people; and she sent him in a hollow chest to drift over the sea, if haply he should escape.
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