The two stanzas which follow tell what
was done after the goddess had depicted her creation of the olive
tree:
"Amongst these leaves she made a Butterfly,
With excellent device and wondrous slight,
Fluttering among the olives wantonly,
That seemed to live, so like it was in sight;
The velvet nap which on his wings doth lie,
The silken down with which his back is dight,
His broad outstretched horns, his hairy thighs,
His glorious colors, and his glistening eyes."
"Which when Arachne saw, as overlaid
And mastered with workmanship so rare,
She stood astonied long, ne aught gainsaid;
And with fast-fixed eyes on her did stare,
And by her silence, sign of one dismayed,
The victory did yield her as her share;
Yet did she inly fret and felly burn,
And all her blood to poisonous rancor turn."
[Footnote: Sir James Mackintosh says of this, "Do you think that
even a Chinese could paint the gay colors of a butterfly with more
mmute exactness than the following lines: 'The velvet nap,'
etc.?"--Life, Vol. II, 246.]
And so the metamorphosis is caused by Arachne's own mortification
and vexation, and not by any direct act of the goddess.
The following specimen of old-fashioned gallantry is by Garrick:
"UPON A LADY'S EMBROIDERY
"Arachne once, as poets tell,
A goddess at her art defied,
And soon the daring mortal fell
The hapless victim of her pride.
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