Apollo and Hyacinthus Perfume Oil
Faces of the Lovers

APOLLO AND HYACINTHUS

You also, Hyacinthus, would have been
set in the sky! if Phoebus had been given
time which the cruel fates denied for you.
But in a way you are immortal too.
Though you have died. Always when warm spring
drives winter out, and Aries
succeeds to Pisces, you rise
and blossom on the green turf. And the love
my father had for you was deeper than he felt
for others. Delphi center of the world,
had no presiding guardian, while the God
frequented the Eurotas and the land
of Sparta, never fortified with walls.
His zither and his bow no longer fill
his eager mind and now without a thought
of dignity, he carried nets and held
the dogs in leash, and did not hesitate
to go with Hyacinthus on the rough,
steep mountain ridges; and by all of such
associations, his love was increased.

Now Titan was about midway, betwixt
the coming and the banished night, and stood
at equal distance from those two extremes.
Then, when the youth and Phoebus were well stripped,
and gleaming with rich olive oil, they tried
a friendly contest with the discus. First
Phoebus, well-poised, sent it awhirl through air,
and cleft the clouds beyond with its broad weight;
from which at length it fell down to the earth,
a certain evidence of strength and skill.
Heedless of danger Hyacinthus rushed
for eager glory of the game, resolved
to get the discus. But it bounded back
from off the hard earth, and struck full against
your face, O Hyacinthus! Deadly pale
the God’s face went — as pallid as the boy’s.
With care he lifted the sad huddled form.

The kind god tries to warm you back to life,
and next endeavors to attend your wound,
and stay your parting soul with healing herbs.
His skill is no advantage, for the wound
is past all art of cure. As if someone,
when in a garden, breaks off violets,
poppies, or lilies hung from golden stems,
then drooping they must hang their withered heads,
and gaze down towards the earth beneath them; so,
the dying boy’s face droops, and his bent neck,
a burden to itself, falls back upon
his shoulder: “You are fallen in your prime
defrauded of your youth, O Hyacinthus!”
Moaned Apollo. “I can see in your sad wound
my own guilt, and you are my cause of grief
and self-reproach. My own hand gave you death
unmerited — I only can be charged
with your destruction. — What have I done wrong?
Can it be called a fault to play with you?
Should loving you be called a fault? And oh,
that I might now give up my life for you!
Or die with you! But since our destinies
prevent us you shall always be with me,
and you shall dwell upon my care-filled lips.
The lyre struck by my hand, and my true songs
will always celebrate you. A new flower
you shall arise, with markings on your petals,
close imitation of my constant moans:
and there shall come another to be linked
with this new flower, a valiant hero shall
be known by the same marks upon its petals.”

And while Phoebus, Apollo, sang these words
with his truth-telling lips, behold the blood
of Hyacinthus, which had poured out on
the ground beside him and there stained the grass,
was changed from blood; and in its place a flower,
more beautiful than Tyrian dye, sprang up.
It almost seemed a lily, were it not
that one was purple and the other white.

But Phoebus was not satisfied with this.
For it was he who worked the miracle
of his sad words inscribed on flower leaves.
These letters AI, AI, are inscribed
on them. And Sparta certainly is proud
to honor Hyacinthus as her son;
and his loved fame endures; and every year
they celebrate his solemn festival.
– Ovid

Beloved of Apollo, the Spartan prince Hyacinthus was cherished above all companions. They raced beneath the open sky, hunted together, and Apollo trained his beloved in the art of prophecy, the lyre, and the discus. Some say Zephyrus, the West Wind, grew jealous and bent the arc of the throw one day and the shining disc, meant as sport, struck Hyacinthus down. Though he used all his skill in the art of healing, the god could not save Hyacinthus’ life.

… when he beheld thy agony Phoebus was dumb. He sought every remedy, he had recourse to cunning arts, he anointed all the wound, anointed it with ambrosia and with nectar; but all remedies are powerless to heal the wounds of Fate…
– Bion

Apollo gathered Hyacinthus in his arms as the light dimmed from mortal eyes and wished to join his lover in the realm of death, but it was not to be. Where the blood touched earth, Apollo pressed his grief into the soil and from that wound sprang the hyacinth, petals veined with lament, marked with the cry of immortal love and immortal mourning. The flower became a living testament, renewed each spring, a sign that love does not vanish.

The Lovers revealed in their most tender truth: that though love and devotion cannot provide a shield from the slings and arrows of the Fates, memory makes love eternal. It is love that refuses oblivion. Blood into blossom, rubedo unfolding in vegetal fire. Beauty bound to mortality, and through that binding made eternal.

Golden laurel and sun-warmed skin, cypress shadow and noontide amber, crushed violets, lilies, and poppy, gilded myrrh, date palm, and hyacinth petals.

5ml Perfume Oil
Price
Regular price $34.00
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The Fool's Journey: The Lovers

If one wants to form a picture of the symbolic process, the series of pictures found in alchemy are good examples, though the symbols they contain are for the most part traditional despite their often obscure origin and significance… It also seems as if the set of pictures in the Tarot cards were distantly descended from the archetypes of transformation…
“The symbolic process is an experience in images and of images. Its development usually shows an enantiodromian structure like the text of the I Ching, and so presents a rhythm of negative and positive, loss and gain, dark and light. Its beginning is almost invariably characterized by one’s getting stuck in a blind alley or in some impossible situation; and its goal is, broadly speaking, illumination or higher consciousness, by means of which the initial situation is overcome on a higher level. As regards the time factor, the process may be compressed into a single dream or into a short moment of experience, or it may extend over months and years, depending on the nature of the initial situation, the person involved in the process, and the goal to be reached. The wealth of symbols naturally varies enormously from case to case. Although everything is experienced in image form, i.e., symbolically, it is by no means a question of fictitious dangers but of very real risks upon which the fate of a whole life may depend.”

– Carl Jung, Archetypes of the Collective Unconscious

The Lovers card first appears in recognizable form in the 15th-century Italian tarot, such as the Visconti-Sforza Tarot. In its earliest versions, the image does not always depict a single romantic couple, but rather a scene of choice: a young man between two women, sometimes with Cupid above. This iconography aligns closely with medieval moral allegory. A particularly relevant source is Psychomachia, in which virtues and vices are personified as figures competing for the soul. Likewise, in De remediis utriusque fortunae, Francesco Petrarch stages dialogues between personified Reason and the Passions, framing love as a moral and philosophical test rather than mere sentiment. In this context, the Lovers card represents not only erotic attachment but the ethical tension between higher and lower forms of desire.

By the Renaissance, Neoplatonic currents shaped the interpretation of love as a ladder between earthly and divine realities. In De amore, Ficino describes love as a force that draws the soul upward toward divine beauty. This idea resonates strongly with later tarot imagery in which an angel presides above the couple, suggesting that true union is sanctioned or guided by celestial harmony. The Lovers thus becomes an emblem of concordia, or harmony between opposites: reason and desire, body and spirit.

Alchemical literature deepens this symbolism. In Rosarium Philosophorum, one of the most famous woodcuts depicts a crowned king and queen standing together beneath a descending dove, imagery strikingly parallel to later tarot depictions. The accompanying Latin text reads: “Hic est coniunctio maris et foeminae” (“Here is the conjunction of the male and the female”), describing the coniunctio, the sacred union of opposites necessary for the Philosopher’s Stone. Similarly, Theatrum Chemicum collects texts emphasizing that the opus begins with the reconciliation of dual principles: Sol and Luna, sulfur and mercury. The Lovers card, read through this lens, is not simply about romance but about integration; it is the alchemical marriage that produces wholeness.

Thus, grounded in medieval moral allegory and Renaissance alchemical symbolism, the Lovers card signifies choice, union, and transformation. It is the tension before synthesis and the blessing upon right alignment: the moment when opposites recognize each other as necessary halves of a greater unity.

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