CHAPTER XIV.
"What a fearful muddle, what a sea of ink is this menagerie of good and evil emblems!" exclaimed Durtal, laying down his pen.
He had harnessed himself that morning to the task of investigating the symbolical fauna of the Middle Ages.

At first sight the subject had struck him as newer and less arduous, and certainly as less lengthy, than the article he had thought of writing on the Primitive German Painters.

But he now sat dismayed before his books and notes, seeking a clue to guide him through the mass of contradictory evidence that lay before him.
"I must take things in their order," said he to himself, "if indeed any principle of selection is possible in such confusion." The Beast-books of Mediaeval times knew all the monsters of paganism--Satyrs, Fauns, Sphinxes, Harpies, Centaurs, Hydras, Pygmies, and Sirens; these were all regarded as various aspects of the Evil Spirit, so no research is needed as to their meaning; they are but a residuum of Antiquity.

The true source of mystic zoology is not in mythology, but in the Bible, which classifies beasts as clean and unclean, makes them symbolize virtues and vices, some species being allegorical of heavenly personages, and other embodying the Devil.
Starting from this base, it may be observed that the liturgical interpreters of the animal world distinguished beasts from animals, including under the former head wild and untamable creatures, and under the second gentle and timid creatures and domestic animals.
The ornithologists of the Church, furthermore, represent birds as being the righteous, while Boetius, on the other hand, often quoted by Mediaeval writers, credited them with inconstancy, and Melito compares them in turn to Christ, to the Devil, and to the Jewish nation.

It may be added that Richard of Saint Victor, disregarding these views, sees in winged fowl a symbol of the life of the soul, as in the four-footed beast he sees the life of the body--"And that gets us no further!" sighed Durtal.
"This is beside the mark.