that she can only make for him a home in which he may lawfully repose, in so far as she is
“True to the kindred points of Heaven and home.”
In gleams, in dim fancies, this thought visits the mind of common men. It is soon obscured by the mists of sensuality, the dust of routine, and he thinks it was only some meteor, or ignis fatuus that shone. But, as a Rosicrucian lamp, it burns unwearied, though condemned to the solitude of tombs; and to its permanent life, as to every truth, each age has in some form borne witness. For the truths, which visit the minds of careless men only in fitful gleams, shine with radiant clearness into those of the poet, the priest, and the artist.
Whatever may have been the domestic manners of the ancients, the idea of woman was nobly manifested in their mythologies and poems, where she appears as Sita in the Ramayana, a form of tender purity, as the Egyptian Isis,[1] of divine wisdom never yet surpassed. In Egypt, too, the Sphynx, walking the earth with lion tread, looked out upon its marvels in the calm, inscrutable beauty of a virgin's face, and the Greek could only add wings to the great emblem. In Greece, Ceres and Proserpine, significantly termed “the great goddesses,” were seen seated, side by side. They needed not to rise for any worshipper or any change; they were prepared for all things, as those initiated to their mysteries knew. More obvious is the meaning of these three forms, the Diana, Minerva,
- ↑ For an adequate description of the Isis, see Appendix A.
