Sometimes, for a moment, the curtain of the past is rolled up, the seven seals of its book are loosened, and we are allowed to know more of the history than the round number of soldiers with which a general crossed a river, or the succession that brought one crazy voluptuary to follow another upon the Imperial throne. We do not refuse gratitude for what we ordinarily receive. To the general it made all the difference whether he had a thousand soldiers more or less, and to us it makes some. To the Imperial maniac it was of consequence that his predecessor in the government of civilised mankind was slain before him, and for us the information counts for something, too; just as one meets travellers who satisfy an artistic craving by enumerating the columns of a ruined shrine, and seeing that they agree with the guidebook. But it is not often that historians tell us what we really want to know, or that artists will stoop to our questionings. We would willingly go wrong over a thousand or two of those soldiers, if we might catch the language of just one of them as he waded into the river; and how many a simpering Venus would we grind into face-powder if we could follow for just one day the thoughts of a single priest who once guarded her temple! But, occupied with grandeur and beauty, the artists and historians move upon their own elevated plane, and it is only by furtive glimpses that we catch sight of the common and unclean underworld of life, always lumbering along with much the same chaotic noise of hungry desires and incessant labour, of animalism and spiritual aspiration.

One such glimpse we are given in that book of The Golden Ass, now issued by the Clarendon Press, in Mr. H.E. Butler's English version, but hitherto best known through a chapter in Walter Pater's Marius, or by William Adlington's sixteenth century rendering, included among The Tudor Translations. It is a strange and incoherent picture that the book presents. Pater well compares it to a dream: "Story within story—stories with the sudden, unlooked-for changes of dreams." And, as though to suit this dream-like inconsequence, the scene is laid in Thessaly, the natural home of witchcraft—where, in fact, I was myself laid under a witch's incantation little more than ten years ago, and might have been transformed into heaven knows what, if a remembered passage from this same book of Apuleius had not caused an outburst of laughter that broke the spell only just in time. It is a savage country, running into deep glens of forest and precipitous defiles among the mountains, fit haunt for the robber bands with which the few roads were infested. The region where the Lucius of the book wandered, either as man, or after his own curiosity into mysterious things had converted him into an ass (whereas he had wished to become a beautiful bird)—the region recalls some wild picture of Salvator Rosa's. We are surrounded by gloomy shades, sepulchral caverns, and trees writhing in storm, nor are cut-throat bandits ever far away. Violence and murder threaten at every turn. Through the narrow and filthy streets young noblemen, flown with wine, storm at midnight. When a robber chief is nailed through the hand to a door, his devoted followers hew off his arm and set him free. They capture girls for ransom, and sell them to panders. When one is troublesome, they propose to sew her up in the paunch of the yet living ass, and expose her to the mid-day sun. One of the gang, disguised as a bear, slays all his keepers, and is himself torn in pieces by men and dogs. All the band are finally slaughtered or flung from precipices. Gladiatorial beasts are kept as sepulchres for criminals. A slave is smeared with honey and slowly devoured by ants till only his white skeleton remains tied to a tree. A dragon eats one of the party, quite cursorily. What with bears, wolves, wild boars, and savage dogs, each step in life would seem a peril, were not the cruelty of man more perilous still. Continued existence in that region was, indeed, so insecure, that men and women in large numbers ended the torments of anxiety by cutting life short.

And then there were the witches, perpetually adding to the uncertainty by rendering it dubious in what form one might awake, if one awoke at all. During sleep, a witch could draw the heart out through a hole in the neck, and, stopping up the orifice with a sponge, allow her victim to pine in wonder why he felt so incomplete. With ointments compounded of dead men's flesh she could transform a lover into a beaver, or an innkeeper into a frog swimming in his own vat of wine and with doleful croak inviting his former customers to drink; or herself, with the aid of a little shaking, she could convert into a feathered owl uttering a queasy note as it flitted out of the window. Indeed, the whole of nature was uncertain, especially if disaster impended, and sometimes a chicken would be born without the formality of an egg, or a bottomless abyss spurted with gore under the dining-room table, or the wine began to boil in the bottles, or a green frog leapt out of the sheepdog's mouth.

So life was a little trying, a little perplexing; but it afforded wide scope for curiosity, and Apuleius, an African, brought up in Athens, and living in Rome, was endlessly curious. In his attraction to horrors, to bloodshed, and the shudder of grisly phantoms there was, perhaps, something of the man of peace. It is only the unwarlike citizen who could delight in imagining a brigand nurtured from babyhood on human blood. He was, indeed, writing in the very period which the historian fixed upon as the happiest and most prosperous that the human race has ever enjoyed—those two or three benign generations when, under the Antonines, provincials combined with Romans in celebrating "the increasing splendours of the cities, the beautiful face of the country, cultivated and adorned like an immense garden, and the long festival of peace, which was enjoyed by so many nations, forgetful of their ancient animosities, and delivered from the apprehension of future danger." The slow and secret poison that Gibbon says was introduced by the long peace into the vitals of the Empire, was, perhaps, among the causes that turned the thoughts of Apuleius to scenes of violence and terror—to the "macabre," as Pater said—just as it touched his style with the preciosity of decadence, and prompted him to occupy a page with rapture over the "swift lightnings" flashed against the sunlight from women's hair. He was, in fact, writing for citizens much like the English of twenty years ago, when the interest of readers, protected from the harsh realities of danger and anxiety, was flattered equally by bloodthirsty slaughters, the shimmer of veiled radiance, and haunted byways for access to the unknown gods.

Those byways to unknown gods were much affected by Apuleius himself. The world was at the slack, waiting, as it were, for the next tide to flow, and seldom has religion been so powerless or religions so many. Of one abandoned woman it is told as the climax of her other wickednesses that she blasphemously proclaimed her belief in one god only. Apuleius seems to have been initiated into every cult of religious mystery, and in his story he exultingly shows us the dog-faced gods of Egypt triumphing on the soil that Apollo and Athene had blessed. Here was Anubis, their messenger, and unconquered Osiris, supreme father of gods, and another whose emblem no mortal tongue might expound. So it came that at the great procession of Isis through a Greek city the ass was at last able, after unutterable sufferings, to devour the chaplet of roses destined to restore him to human shape; and thereupon he took the vows of chastity and abstinence (so difficult for him to observe) until at length he was worthy to be initiated into the mysteries of the goddess, and, in his own words, "drew nigh to the confines of death, trod the threshold of Proserpine, was borne through all the elements, and returned to earth again, saw the sun gleaming with bright splendour at dead of night, approached the gods above and the gods below, and worshipped them face to face."

It was this redemption by roses, and the initiation into virtue's path, that caused Adlington in his introduction to call the book "a figure of man's life, egging mortal men forward from their asinal form to their human and perfect shape, that so they might take a pattern to regenerate their lives from brutish and beastly custom," And, indeed, the book is, in a wider sense, the figure of man's life, for almost alone among the writings of antiquity it reveals to us every phase of that dim underworld which persists, as we have supposed, almost unnoticed and unchanged from one generation of man to another, and takes little account either of government, the arts, or the other interests of intellectual classes. It is a world of incessant toil and primitive passion, yet laughter has place in it, and Apuleius shows us how two slave cooks could laugh as they peered through a chink at their ass carefully selecting the choicest dainties from the table; and how the whole populace of a country town roared with delight at the trial of a man who thought he had killed three thieves, but had really pierced three wine skins; and how the ass in his distress appealed unto Caesar for the rights of a Roman citizen, but could get no further with his best Greek than "O!" It is a world of violence and obscenity and laughter, but, above all, a world of pity. Virgil, too, was touched with the pity of mortal things, but towards the poor and the labouring man he rather affected a pastoral envy. Apuleius had looked poverty nearer in the eyes, and he knew the piteous terror on its face. To him we must turn if we would know how the poor lived in the happiest and most prosperous age that mankind has enjoyed. In the course of his adventures, the ass was sold to a mill—a great flour factory employing numerous hands—and, with his usual curiosity, he there observed, as he says, the way in which that loathsome workshop was conducted:

Even to animals the same pity for their sufferings is extended—a pity unusual among the ancients, and still hardly known around the Mediterranean. Yet Apuleius counted the sorrows of the ill-used ass, and, speaking of the same flour mill, he describes the old mules and pack-horses labouring there, with drooping heads, their necks swollen with gangrenes and putrid sores, their nostrils panting with the harsh cough that continually racked them, their chests ulcerated by the ceaseless rubbing of their hempen harness, their hoofs swollen to an enormous size as the result of their long journeys round the mill, their ribs laid bare even to the bone by their endless floggings, and all their hides rough with the scab of neglect and decay.

The first writer of the modern novel—first of romanticists—Apuleius has been called. Romance! If we must keep those rather futile distinctions, it is as the first of realists that we would remember him. For, as in a dream, he has shown us the actual life that mankind led in the temple, the workshop, the market-place, and the forest, during the century after the Apostles died. And we find it much the same as the actual life of toiling mankind in all ages—full of unwelcome labour and suffering and continual apprehension, haunted by ghostly fears and self-imagined horrors, but illuminated by sudden laughter, and continually goaded on by an inexplicable desire to submit itself to that hard service of perfection under which, as the priest of the goddess informed Lucius in the story, man may perceive most fully the greatness of his liberty.