{"collection":"myth-cosmogony","full_text_available":true,"graph_url":"https://unchartedknowledge.5gfusion.net/v2/api/page/gutenberg_46063/graph","html_url":"https://unchartedknowledge.5gfusion.net/v2/page/gutenberg_46063","id":"gutenberg_46063","license":"Public Domain (US)","rights_basis":"gutenberg_metadata_copyright_false","source":"gutenberg","source_url":"https://www.gutenberg.org/ebooks/46063","summary":null,"tags":["Category: Art","Category: British Literature","Category: Mythology, Legends & Folklore","English poetry","Mythology, Classical","Mythology, Norse"],"text":"[Illustration: LEMNIAN ATHENA]\n\n\n\n\n THE CLASSIC MYTHS\n\n IN ENGLISH LITERATURE\n AND IN ART\n\n BASED ORIGINALLY ON BULFINCH'S \"AGE OF FABLE\" (1855)\n\n ACCOMPANIED BY AN INTERPRETATIVE AND\n ILLUSTRATIVE COMMENTARY\n\n\n BY\n\n CHARLES MILLS GAYLEY, LITT.D., LL.D.\n\n PROFESSOR OF THE ENGLISH LANGUAGE AND LITERATURE\n IN THE UNIVERSITY OF CALIFORNIA\n\n _NEW EDITION_\n _REVISED AND ENLARGED_\n\n GINN AND COMPANY\n\n BOSTON \u00b7 NEW YORK \u00b7 CHICAGO \u00b7 LONDON\n ATLANTA \u00b7 DALLAS \u00b7 COLUMBUS \u00b7 SAN FRANCISCO\n\n COPYRIGHT, 1893, 1911, BY CHARLES MILLS GAYLEY\n ENTERED AT STATIONERS' HALL\n ALL RIGHTS RESERVED\n 817.6\n\n +The Athen\u00e6um Press+\n GINN AND COMPANY \u00b7 PROPRIETORS \u00b7 BOSTON \u00b7 U.S.A.\n\n\n\n\nTO THE MUSES\n\n\n Whether on Ida's shady brow,\n Or in the chambers of the East,\n The chambers of the sun, that now\n From ancient melody have ceas'd;\n\n Whether in Heav'n ye wander fair,\n Or the green corners of the earth,\n Or the blue regions of the air,\n Where the melodious winds have birth;\n\n Whether on crystal rocks ye rove,\n Beneath the bosom of the sea,\n Wandering in many a coral grove,\n Fair Nine, forsaking Poetry;\n\n How have you left the ancient love\n That bards of old enjoyed in you!\n The languid strings do scarcely move,\n The sound is forc'd, the notes are few!\n\n WILLIAM BLAKE\n\n O antique fables! beautiful and bright\n And joyous with the joyous youth of yore;\n O antique fables! for a little light\n Of that which shineth in you evermore,\n To cleanse the dimness from our weary eyes,\n And bathe our old world with a new surprise\n Of golden dawn entrancing sea and shore.\n\n JAMES THOMSON\n\n\n\n\nPREFACE\n\n\nIn this new edition of \"The Classic Myths in English Literature\" the\nformer order of materials has been altered in accordance with the\nadvice of the teachers who have had longest experience with the use of\nthe book; the old material has been thoroughly revised; and much new\nmaterial has been added. Since most people prefer to begin a story at\nits beginning, and not with the career of its author and his genealogy,\nI have reserved the history of the myths for the conclusion of the\ntext. Some of the myths have been restated in more careful form. Some\nshort narratives, before omitted, have been included. The sketches\nof the Iliad and the Odyssey have been considerably expanded; and an\noutline--which, I hope, will be deemed adequate--of Wagner's version of\nthe Ring of the Nibelung has been appended to the account of Norse and\nGerman mythology. That version is, of course, not English literature;\nbut it has come to be received as the classic modern version of the\nstory; and the story is needed, at some time or other, by every lover\nof music. Fresh examples of the employment of myth in English verse\nhave, where practicable, been incorporated in the text; and some new\nreferences will be found in the Commentary.\n\nI have thoroughly revised the list of illustrative cuts, have\ninterpreted the more difficult of the ancient figures, and indicated\nthe sources. The pictures themselves are a decided improvement upon\nthose in the former edition. In the determination of sources for\nreproduction, I have had the valuable assistance of Dr. E. von Mach,\nthe author of more than one well-known work on ancient art; and to\nhim I am indebted, in addition, for the section on The Classic Myths\nin Art, which is included in my Introduction. With this new equipment\nthe book should prove more useful to those who here make their first\nacquaintance with art, especially the art of the ancients, as well as\nto those who have been in the habit of using it as a guide to paintings\nand sculptures of mythological subjects in foreign galleries.\n\nMuch of our best English poetry lies beyond the imaginative reach of\nmany readers because of their unfamiliarity with the commonplaces of\nliterary allusion, reference, and tradition. Of such commonplaces few\nare more frequently recurrent than those furnished by the literature of\nmyth.\n\nIn view of this consideration, the Academic Council of the University\nof California, some twenty years ago, introduced into its requirements\nfor entrance in English the subject of Classical Mythology in its\nrelation to English Literature, and recommended, as a textbook for\npreparation, Bulfinch's \"Age of Fable.\" The experience of English and\nclassical teachers in the schools of the state attested the wisdom of\nthe requirement; but the demand for some textbook adapted to the needs\nof the classroom made necessary the preparation of this volume. For\nwhile \"The Age of Fable\" offered a tempting collection of Greek, Norse,\nand Oriental narratives, it was designed neither as a schoolbook nor as\na systematized presentation and interpretation of the myths that have\nmost influenced English literature.\n\nAt the request of my publishers I undertook at that time such a\nrevision and rearrangement of the materials of \"The Age of Fable\" as\nmight adapt it to the purposes of teacher and pupil, and to the taste\nof readers somewhat more advanced in years than those addressed by the\noriginal work or by the edition which bore the name of the Reverend\nEdward Everett Hale. But after a year's work I found that half my\nmaterial for copy was new, and that the remainder differed in many\nimportant respects from the book upon which it was based. Consequently,\nwhile the obligation to \"The Age of Fable\" was acknowledged in full,\na different title was selected for the resulting volume. For neither\nmy publishers nor I desired that the scholarship or the taste of Mr.\nBulfinch should be held accountable for liberties that were taken with\nhis work.\n\nIn \"The Classic Myths in English Literature and in Art,\" Chapters\nXXIII-XXVII, containing sketches of the Fall of Troy, the Odyssey,\nthe \u00c6neid, and of certain Norse lays, are a revision of corresponding\nchapters in \"The Age of Fable.\" Chapters VII-XX, and XXII, comprising\nMyths of the Greater Divinities of Heaven, Earth, the Underworld, and\nthe Waters, Myths of the Lesser Divinities of the same regions, Myths\nof the Older Heroes and Myths of the Younger Heroes, and the outline of\nthe Trojan War, represent a total rearrangement and recomposition of\nthe original material, section by section, and frequently paragraph by\nparagraph,--such portions of \"The Age of Fable\" as have been retained\nbeing abridged or rewritten, and, in places too frequent to enumerate,\nsupplemented by new and necessary sentences, paragraphs, and sections.\nThe Introduction, the first six chapters (on the Greek Myths of the\nCreation, and the attributes of Greek and Roman divinities), Chapters\nXXI and XXVIII-XXXII (on the Houses concerned in the Trojan War, the\nSaga of the Volsungs, the Lay of the Nibelungs, Wagner's Ring of the\nNibelung, and on the origin, elements, distribution, and preservation\nof myth), the choice of poetic and artistic illustration, the footnotes\nreferring to sources, and the Commentary are wholly, or essentially, my\nown. In fact, there is little but the scaffolding of \"The Age of Fable\"\nnow remaining in the book.\n\nAlthough in the Index of Mythological Subjects and their Sources the\nmore common myths of some other nations are briefly stated, no myths\nsave those known to the Greeks, Romans, Norsemen, or Germans have\nbeen included in the body of the text. The scope of selection has\nbeen thus confined for three reasons: first, the regard for necessary\nlimits; second, the desirability of emphasizing only such myths as\nhave actually acclimated themselves in English-speaking lands and have\ninfluenced the spirit, form, and habit of English imaginative thought;\nthird, the necessity of excluding all but the unquestionably classic.\nThe term _classic_, however, is, of course, not restricted to the\nproducts of Greece and Rome; nor is it employed as synonymous with\nClassical or as antithetical to Romantic. From the extreme Classical to\nthe extreme Romantic is a far cry; but as human life knows no divorce\nof necessity from freedom, so genuine art knows neither an unrelieved\nClassical nor an unrestrained Romantic. Classical and Romantic are\nrelative terms. The Classical and the Romantic of one generation\nmay merit equally to be the classics of the next. Therefore certain\nHellenic myths of romantic spirit or construction have been included in\nthis work, and certain Norse and German myths have not been excluded.\nWhatever is admitted, is admitted as first-class: first-class, because\nsimple, spontaneous, and beautiful; because fulfilling the requirements\nof perennial freshness, of \u00e6sthetic potency, and of ideal worth.\n\nIn the matter of illustrative English and American poems the principle\nof selection has been that the verses shall translate a myth from\nthe classic original, or exemplify the poetic idealization and\nembellishment of the subject, or suggest the spirit and mien of ancient\nart. But in each case regard has been had to the \u00e6sthetic value of\nthe poem or the citation. In the search for suitable examples I have\nderived valuable assistance from Mr. E.C. Guild's \"Bibliography of\nGreek Mythology in English Poetry of the Nineteenth Century\" (Bowdoin\nCollege, _Library Bulletin No. 1_). The student is also referred to\nA.E. Sawtelle's \"Sources of Spenser's Mythology,\" C.G. Osgood's'\n\"Classical Mythology of Milton,\" and R.K. Root's \"Classical Mythology\nin Shakespeare\" (Holt, 1896, 1900, and 1903, respectively).\n\nIn the Commentary four things have been attempted: first, an\nexplanation, under each section, of ordinary textual difficulties;\nsecond, an unpretentious exposition of the myth or a brief statement\nof the more evident interpretations advanced by philologists or\nethnologists; third, an indication of certain additional poems or\nverses that illustrate the myth; fourth, special mention of such\nmasterpieces of ancient and modern sculpture and painting as may serve\nto introduce the student or the general reader to a field of \u00e6sthetic\nprofit neglected by the great mass of our people. For the poetic\nconception of most of the myths contained in Chapters I-XXIV, we are\nindebted to the Greek imagination; but since this book is intended\nfor students of English poetry, and since in English poetry Latin\nnames of mythological characters are much more frequently employed\nthan Greek, the Latin designations or Latinized forms of Greek names\nhave been, so far as possible, retained; and such variations as\nJupiter, Jove--Proserpina, Proserpine, freely used. In the chapters,\nhowever, on the attributes of the Greek gods, names exclusively Greek\nhave been placed in parentheses after the usual Roman equivalents,\nLatin appellations, or designations common to both Greek and Roman\nusage. In the transliteration of Greek names I have followed, also,\nthe prevalent practice of our poets, which is, generally speaking,\nthe practice of the Romans. The diphthong #ei#, for instance, is\ntransliterated according to the accepted English pronunciation,\nwhich in individual words perpetuates the preference of the Latins\nfor the _e_ sound or the _i_ sound respectively. So #Atreid\u00eas#\nbecomes Atr[=i]des; #Iphimedeia#, Iphimed[=i]a. But, on the other\nhand, #Kythereia# becomes Cyther[=e]a; #P\u00eaneios#, Pen[=e]us; and\n#M\u00eadeia#, Med[=e]a; while owing to purely popular English custom, such\na name as #Pheidias# has become, not Pheidias nor even Ph[=i]dias,\nbut--_Ph[)i]dias_. A few names of islands, towns, persons, etc., that\neven in Latin retain their Greek forms,--such as Delos, Naxos, Argos,\nAglauros, Pandrosos,--have been transferred without modification.\nSo also has Poseidon, because that is the common English spelling.\nIn short, the practice aimed at has been not that of scientific\nuniformity, but of acknowledged poetic usage. In the titles of the\nillustrative cuts, Greek names have been used for works of Greek\norigin, Latin for the Roman.\n\nFor the benefit of readers who do not know the fundamental rules for\nthe pronunciation of Greek and Latin proper names in English, a brief\nstatement of rules is prefixed to the Index; and in the Index of\nMythological Subjects and their Sources names are not only accented,\nbut, when necessary, diacritically marked.\n\nIn the preparation of the Text and Commentary more or less use has\nbeen made of: Roscher's Ausf\u00fchrliches Lexikon der griechischen und\nr\u00f6mischen Mythologie (Lieferungen 1-21, Teubner, Leipzig); Preller's\nGriechische Mythologie (2 Bde., Berlin, 1861); Max M\u00fcller's Chips from\na German Workshop, Science of Religion (London, 1873), Science of\nLanguage (7th ed., 2 vols., London, 1873), Oxford Essays (1856); Sir\nG. W. Cox's Mythology of the Aryan Nations (2 vols., London, 1878);\nFrazer's Golden Bough; W. Warde Fowler's Roman Festivals (London,\n1899); Welcker's Griechische G\u00f6tterlehre; Baumeister's Denkm\u00e4ler des\nklassischen Alterthums; Murray's Manual of Mythology (New York, 1880);\nSmith's Dictionary of Greek and Roman Biography and Mythology; Duruy's\nHistories of Rome and Greece; Keightley's Greek and Roman Mythology;\nKelsey's Outline of Greek and Roman Mythology (Boston, 1889); Horn's\nGeschichte der Literatur des skandinavischen Nordens (Leipzig, 1880);\nCleasby and Vigfusson's Icelandic Dictionary; L\u00fcning's Die Edda\n(Z\u00fcrich, 1859); Vigfusson and Powell's Corpus Poeticum Boreale (2\nvols., Oxford, 1883); Paul's Grundriss der germanischen Philologie,\n1 Bd., 5 Lfg. (article _Mythologie_, by E. Mogk); Grimm's Teutonic\nMythology (translated by Stallybrass, 3 vols.); Werner Hahn's Das\nNibelungenlied; Lang's Myth, Ritual, and Religion (2 vols., London,\n1887), and _Mythology_ (Encyc. Brit., Vol. 9); Tylor's Anthropology\n(New York, 1881) and Primitive Culture (2 vols.); J. W. Powell's Annual\nReports of the Bureau of Ethnology (7 vols., beginning 1879-1880,\nWashington, D.C.); Keary's Outlines of Primitive Belief; Fiske's Myths\nand Myth-makers (Boston); Whitney's Oriental and Linguistic Studies;\nW. P. Johnston's The Origin of Myth; and of other works to which due\nreference is made in the footnotes and Commentary. The student is also\nreferred to F. B. Jevons' edition of Plutarch's Romane Questions,\ntranslated by Philemon Holland (London, 1892) (introduction on Roman\nMythology); and to C.G. Leland's Etruscan-Roman Remains in Popular\nTradition (London, 1892). The Maps, furnished by Messrs. Ginn and\nCompany from other of their publications, have, with the kind consent\nof the authors of those works, in some instances been adapted by me to\nsuit the present purpose.\n\nThe principal authorities used in the selection of the illustrations of\nthis new edition are: Baumeister, Denkm\u00e4ler des klassischen Alterthums\n(3 vols., Munich, 1888); Furtw\u00e4ngler, Masterpieces of Greek Sculpture\n(London, 1905); Ernest Gardner, Ancient Athens (New York and London,\n1902); Percy Gardner, A Grammar of Greek Art (New York and London,\n1905); and Sculptured Tombs of Hellas (London, 1896); Percy Gardner\nand Jevons, A Manual of Greek Antiquities (London, 1895); Gerhard,\nAuserlesene griechische Vasenbilder (1840-1858); Gusman, Pompeii\n(London, 1900); Harrison and Maccoll, Greek Vase Paintings (London,\n1894); E. von Mach, Handbook of Greek and Roman Sculpture (Boston,\n1905); and Greek Sculpture, Its Spirit and Principles (Boston, 1903);\nA. S. Murray, Handbook of Greek Arch\u00e6ology (London, 1892); History\nof Greek Sculpture (2 vols., London, 1883); and Sculptures of the\nParthenon (London, 1903); A. S. Murray and C. A. Hutton, Greek\nBronzes and Terra Cotta Statuettes (London, 1898); C. O. M\u00fcller,\nDenkm\u00e4ler der alten Kunst (G\u00f6ttingen, 1832); Overbeck, Griechische\nKunstmythologie (1871 ----); Emil Presuhn, Pompeii, 1874-1881 (Leipzig,\n1882); Salomon Reinach, Peintures de vases antiques (including the\ncollections of Millin, 1808, and Millingen, 1813 (Paris, 1891)), and\nApollo (Paris, 1907); H. Roux Ain\u00e9, Herculaneum and Pompeii; Roscher,\nAusf\u00fchrliches Lexikon der griechischen und r\u00f6mischen Mythologie\n(1884 ----) (Lieferungen 1-17 in Vol. I, 18 on in Vol. II); Anton\nSpringer, Handbuch der Kunstgeschichte (I _Alterthum_, Leipzig, 1904);\nCharles Waldstein, The Argive Her\u00e6um (2 vols.); and the arch\u00e6ological\nperiodicals as cited in the List of Illustrations.\n\nThe acknowledgment of assistance made in the former edition is here\nrenewed.\n\n CHARLES MILLS GAYLEY\n\n\n\n\nCONTENTS\n\n\n PAGE\n\n INTRODUCTION xxix\n\n PART I\n\n MYTHS OF DIVINITIES AND HEROES\n\n CHAPTER I. GREEK MYTHS OF THE CREATION 1\n\n Purpose of the Study. The Fable and the Myth. Origin of the World.\n Origin of the Gods. The Rule of Cronus. The War of the Titans.\n The Division of Empire. The Reign of Jupiter. The Origin of Man.\n Prometheus, a Creator. The Age of Gold. The Silver Age. Prometheus,\n Champion of Man. Pandora. Prometheus Bound. Longfellow's\n Prometheus. The Brazen Age. The Iron Age. The Flood. Deucalion and\n Pyrrha. The Demigods and Heroes.\n\n CHAPTER II. THE GODS OF HEAVEN 18\n\n Olympus. The Great Gods. Jupiter (Zeus). Conceptions of Jupiter.\n Juno (Hera). Minerva (Athene or Athena). Mars (Ares). Vulcan\n (Heph\u00e6stus). Apollo. Shelley's Hymn of Apollo. Diana (Artemis).\n Jonson's Hymn to Cynthia. Venus (Aphrodite). The \"Venus of Milo.\"\n Mercury (Hermes). Vesta (Hestia). The Lesser Divinities of Heaven.\n\n CHAPTER III. THE GODS OF EARTH 42\n\n Conception of the World. Ceres (Demeter). G\u00e6a (Ge). Bacchus\n (Dionysus). The Lesser Divinities of Earth.\n\n CHAPTER IV. THE GODS OF THE UNDERWORLD 47\n\n The Underworld. Tartarus and the Elysian Fields. The Islands of\n the Blest. Pluto (Hades). Proserpina (Persephone). The Lesser\n Divinities of the Underworld.\n\n CHAPTER V. THE GODS OF THE WATERS 55\n\n The Older Dynasty. The Younger Dynasty. The Lesser Divinities of\n the Waters.\n\n CHAPTER VI. THE ROMAN DIVINITIES 59\n\n Gods Common to Greece and Italy. Italian Gods.\n\n\n CHAPTER VII. MYTHS OF THE GREAT DIVINITIES OF HEAVEN 64\n\n Myths of Jupiter and Juno. Love Affairs of Jupiter. Io. Callisto.\n Europa. Semele. \u00c6gina. Antiope. Jupiter, a Friend of Man. Juno's\n Best Gift. Myths of Minerva. Arachne. Myths of Mars. Mars and\n Diomede. Mars and Minerva. The Fortunes of Cadmus. Myths of Vulcan.\n Myths of Apollo. The Wanderings of Latona. Apollo, the Light\n Triumphant. Hyacinthus. Pha\u00ebthon. The Plague sent upon the Greeks\n before Troy. The Punishment of Niobe. The Lamentation for Linus.\n \u00c6sculapius. Apollo in Exile. Lowell's Shepherd of King Admetus.\n Admetus and Alcestis. Apollo, the Musician. Apollo, Pan, and Midas.\n Shelley's Hymn of Pan. Marsyas. The Loves of Apollo. Daphne.\n Marpessa. Clytie. Myths of Diana. The Flight of Arethusa. Shelley's\n Arethusa. The Fate of Act\u00e6on. The Fortunes and Death of Orion. The\n Pleiads. Endymion. Myths of Venus. Adonis. Cupid and Psyche. Keats'\n Ode to Psyche. Atalanta's Race. Hero and Leander. Pygmalion and the\n Statue. Pyramus and Thisbe. Phaon. The Vengeance of Venus. Myths of\n Mercury.\n\n CHAPTER VIII. MYTHS OF THE GREAT DIVINITIES OF EARTH 152\n\n Myths of Bacchus. The Wanderings of Bacchus. The Story of Acetes.\n The Choice of King Midas.\n\n CHAPTER IX. FROM THE EARTH TO THE UNDERWORLD 159\n\n Myths of Ceres, Pluto, and Proserpine. The Rape of Proserpine. The\n Wanderings of Ceres. Triptolemus and the Eleusinian Mysteries.\n Orpheus and Eurydice.\n\n CHAPTER X. MYTHS OF NEPTUNE, RULER OF THE WATERS 169\n\n Lord of the Sea. Lord of Streams and Fountains. Pelops and\n Hippodamia.\n\n CHAPTER XI. MYTHS OF THE LESSER DIVINITIES OF HEAVEN 172\n\n Myths of Stars and Winds. Cephalus and Procris. Dobson's The Death\n of Procris. Ceyx and Halcyone. Aurora and Tithonus. Tennyson's\n Tithonus. Memnon.\n\n CHAPTER XII. MYTHS OF THE LESSER DIVINITIES OF EARTH, ETC. 181\n\n Pan, and the Personification of Nature. Stedman's Pan in Wall\n Street. Other Lesser Gods of Earth. Echo and Narcissus. Echo,\n Pan, Lyde, and the Satyr. The Naiads. The Dryads, or Hamadryads.\n Erysichthon. Dryope. Rh[oe]cus. Pomona and Vertumnus. The Cranes of\n Ibycus.\n\n CHAPTER XIII. MYTHS OF LESSER DIVINITIES OF THE WATERS 198\n\n Galatea and Polyphemus. Glaucus and Scylla. Nisus and Scylla.\n Leucothea. Proteus and Arist\u00e6us. Achelo\u00fcs and Hercules. Milton's\n Sabrina Fair.\n\n CHAPTER XIV. MYTHS OF THE OLDER HEROES: THE HOUSE OF DANA\u00dcS, AND\n ITS CONNECTIONS 206\n\n The Older and the Younger Heroes. The Genealogy of Dana\u00fcs. The\n Dana\u00efds. The Doom of King Acrisius. Perseus and Medusa. Perseus and\n Atlas. Perseus and Andromeda. Bellerophon and the Chim\u00e6ra. Hercules\n (Heracles): His Youth. His Labors. His Later Exploits. The Loss of\n Hylas. The Rescue of Daphnis. The Expedition against Laomedon. The\n Death of Hercules.\n\n CHAPTER XV. THE FAMILY OF \u00c6OLUS 229\n\n Descendants of Deucalion. The Quest of the Golden Fleece. The\n Return of the Argonauts. Medea and \u00c6son. Pelias.\n\n CHAPTER XVI. THE FAMILY OF \u00c6TOLUS AND ITS CONNECTIONS 237\n\n The Calydonian Hunt. Merope. Castor and Pollux. The Twin Brethren\n among the Romans.\n\n CHAPTER XVII. THE HOUSE OF MINOS 246\n\n Minos of Crete. D\u00e6dalus and Icarus.\n\n CHAPTER XVIII. THE HOUSE OF CECROPS AND ERICHTHONIUS 249\n\n From Cecrops to Philomela. Matthew Arnold's Philomela. Theseus.\n Theseus and Ariadne. Bacchus and Ariadne. The Amazons. Theseus and\n Piritho\u00fcs. Ph\u00e6dra and Hippolytus.\n\n CHAPTER XIX. THE HOUSE OF LABDACUS 261\n\n The Misfortunes of Thebes. [OE]dipus and the Sphinx. [OE]dipus, the\n King. [OE]dipus at Colonus.\n\n CHAPTER XX. MYTHS OF THE YOUNGER HEROES: THE SEVEN AGAINST THEBES\n 265\n\n Their Exploits. The Seven against Thebes. Antigone. The Epigoni.\n\n CHAPTER XXI. HOUSES CONCERNED IN THE TROJAN WAR 269\n\n Three Families. Peleus. Achilles, Son of Peleus. Atreus. Tyndareus.\n\n CHAPTER XXII. THE TROJAN WAR 277\n\n Its Origin. Iphigenia in Aulis. Protesila\u00fcs and Laodamia. Homer's\n Iliad. The Wrath of Achilles. The Enlistment of the Gods. Thetis\n intercedes for Achilles. Agamemnon calls a Council. Paris plays\n the Champion. Helen surveys the Grecian Host. Menela\u00fcs defeats\n Paris. The Two Days' Battle. Hector and Andromache. Neptune aids\n the Discouraged Greeks. Jupiter inspirits the Trojans. Achilles\n and Patroclus. Patroclus in the Armor of Achilles. The Deaths of\n Sarpedon and Patroclus. The Remorse of Achilles. The Reconciliation\n of Agamemnon and Achilles. The Death of Hector. Achilles drags the\n Body of Hector. Priam in the Tent of Achilles.\n\n CHAPTER XXIII. THE FALL OF TROY 307\n\n The Fall of Troy. The Death of Achilles. Contest for the Arms of\n Achilles. Paris and [OE]none. The Palladium. The Wooden Horse.\n Laoco\u00f6n and the Serpents. The Death of Priam. The Survivors. Helen,\n Menela\u00fcs, and Agamemnon. Electra and Orestes. Orestes pursued by\n the Furies. His Purification.\n\n CHAPTER XXIV. THE WANDERINGS OF ULYSSES 318\n\n From Troy to Ph\u00e6acia. The Lotos-eaters. The Cyclopes. The Bag of\n Winds. The L\u00e6strygonians. The Isle of \u00c6\u00e6a. Ulysses visits Hades.\n The Sirens. Scylla and Charybdis. The Cattle of the Sun. Calypso's\n Island. The Land of the Ph\u00e6acians. Fate of the Suitors. Tennyson's\n Ulysses.\n\n CHAPTER XXV. ADVENTURES OF \u00c6NEAS 346\n\n From Troy to Italy. The Departure from Troy. The Promised Empire.\n The Harpies. Epirus. The Cyclopes Again. The Resentment of Juno.\n The Sojourn at Carthage. Dido. Palinurus. Italy at Last. The Sibyl\n of Cum\u00e6. The Infernal Regions. The Elysian Fields. The Valley of\n Oblivion.\n\n CHAPTER XXVI. THE WAR BETWEEN TROJANS AND LATINS 362\n\n The Fulfillment of Prophecy. The Gates of Janus Opened. Camilla.\n Alliance with Evander. The Site of Future Rome. Turnus attacks the\n Trojan Camp. Nisus and Euryalus. The Death of Mezentius. The Deaths\n of Pallas and Camilla. The Final Conflict.\n\n CHAPTER XXVII. MYTHS OF THE NORSE GODS 373\n\n The Creation. Yggdrasil. Odin and his Valhalla. The Valkyries. Thor\n and the Other Gods. Loki and his Progeny. The Conflict with the\n Mountain Giants. The Recovery of Thor's Hammer. Thor's Visit to\n J\u00f6tunheim. The Sword of Freyr. The Death of Balder. The Funeral of\n Balder. The Elves. Ragnarok.\n\n CHAPTER XXVIII. MYTHS OF NORSE AND OLD GERMAN HEROES 398\n\n The Saga of the Volsungs. The Lay of the Nibelungs.\n\n CHAPTER XXIX. THE RING OF THE NIBELUNG 410\n\n Wagner's Tetralogy. The Rhine-gold. The Valkyrie. Siegfried. The\n Twilight of the Gods.\n\n PART II\n\n THE HISTORY OF MYTH\n\n CHAPTER XXX. THE ORIGIN AND ELEMENTS OF MYTH 431\n\n Kinds of Myth. Divisions of Inquiry. Elements of the Myth.\n Reasonable Myths. Unreasonable Myths. Theory of Deterioration.\n Theory of Progress.\n\n CHAPTER XXXI. THE DISTRIBUTION OF MYTHS 447\n\n Theories of Resemblance.\n\n CHAPTER XXXII. THE PRESERVATION OF MYTHS 450\n\n Traditional History. In Greece. Roman Poets of Mythology. Records\n of Norse Mythology. Records of German Mythology. Records of\n Oriental Mythology: Egyptian. Indian Records. Persian Records.\n\n COMMENTARY 465\n\n RULES FOR PRONUNCIATION 541\n\n INDEX OF MYTHOLOGICAL SUBJECTS AND SOURCES 543\n\n INDEX OF MODERN AUTHORS AND ARTISTS 582\n\n\n\n\nLIST OF ILLUSTRATIONS\n\n\n FIGURE PAGE\n\n 1. Jupiter surveying the World. Roman Wall Painting, Naples:\n _Herculaneum and Pompeii, by H. Roux Ain\u00e9_ 3\n\n 2. Athena and Giant. Greek Bronze, Mus. Kircherianum:\n _Journal of Hellenic Studies, 4, 90_ 7\n\n 3. Zeus and Giants. Ancient Gem: _Baumeister 3, 1791_ 8\n\n 4. Prometheus making Man. Roman Sarcophagus in the Capitoline:\n _Baumeister 3, 1568_ 9\n\n Upper row, from left to right: Oceanus, the Sun-god, Clotho,\n Lachesis, etc. Lower row: Cupid and Psyche, G\u00e6a (Tellus),\n Prometheus, the newly created Man to whom Minerva gives life\n (the butterfly). Death, Cupid with down-turned torch, the first\n man dead, Atropos, Mercury.\n\n 5. Poseidon (Neptune), Dionysus (Bacchus) and Goddess. East\n Frieze, Parthenon, in the British Museum: _Photograph_ 17\n\n 6. Two Hours. Greek Vase Painting, St. Petersburg:\n _Roscher 1, 2727_ 18\n\n 7. Zeus from Dodona. Greek Bronze: _Photograph_ 20\n\n 8. Zeus after Phidias. Coin of Elis: _A. S. Murray, Greek\n Bronzes, opp. p. 81_ 21\n\n 9. Hera of Argos. Greek Marble: _Argive Her\u00e6um, 1_ 22\n\n 10. Athena Velletri. Ancient Marble in the Louvre:\n _Photograph_ 23\n\n 11. Ares Ludovisi. Ancient Marble in Rome: _Photograph_ 24\n\n 12. Ares (Mars). Painting by Raphael: _Photograph_ 25\n\n 13. The Forge of Vulcan. Roman Relief: _Baumeister 3, 1640_ 25\n\n 14. Apollo (so-called Adonis). Ancient Marble in the Vatican:\n _Photograph_ 26\n\n 15. Apollo Belvedere. Ancient Marble in the Vatican:\n _Photograph_ 27\n\n 16. Apollo. Greek Bronze from Thessaly, British Museum:\n _Murray, Greek Bronzes, Fig. 28_ 28\n\n 17. Diana. Painting by Correggio: _Photograph_ 29\n\n 18. Diana (Artemis) of Versailles. Ancient Marble in the Louvre:\n _Photograph_ 30\n\n 19. Artemis Knagia. Ancient Silver Medallion from Herculaneum:\n _Roscher 1, 566_ 31\n\n 20. Hermes Psychopompos. Greek Stele of Myrrhina: _P. Gardner,\n Sculptured Tombs, Fig. 72_ 34\n\n Hermes (Mercury) leading to the underworld the spirit of a lady,\n Myrrhina, who has just died. From a relief on her tomb.\n\n 21. Eros (Cupid). Ancient Marble, Naples: _Photograph_ 36\n\n 22. Rape of Ganymede. Ancient Marble in the Vatican:\n _Baumeister 2, 891_ 37\n\n 23. Polyhymnia. Ancient Marble, Berlin:\n _Baumeister 2, 1185_ 37\n\n 24. The Three Fates. Painting attributed to Michelangelo, but\n recently conjectured to be by Rosso Fiorentino. Florence:\n _Photograph_ 38\n\n 25. Boreas. Greek Reliefs, Athens: _Baumeister 3, 2370_ 39\n\n 26. Zephyros. Greek Reliefs, Athens: _Baumeister 3, 2370_ 39\n\n 27. Boreas carrying off Orithyia. Greek Vase Painting, Munich:\n _Baumeister 1, 373_ 40\n\n 28. Iris carrying Child. Vase Painting: _Gerhard, Auserlesene\n Vasenbilder, 2, 83_ 41\n\n 29. Demeter of Knidos. Greek Marble in the British Museum: _E.\n von Mach, Handbook of Greek and Roman Sculpture,\n Plate 247_ 42\n\n 30. Ceres. Roman Wall Painting:\n _I. Weir, Greek Painting, p. 343_ 43\n\n 31. Dionysus and the Vine. Ancient Marble in the British Museum:\n _Roscher 1, 292_ 44\n\n 32. Pan the Hunter. Ancient Terra Cotta: _Murray and Hutton,\n Plate VI_ 45\n\n 33. A Satyr with Grafting Materials. Ancient Gem:\n _Pine's Virgil_ 46\n\n 34. The Greek Underworld. Ancient Vase Painting from Canusium:\n _Baumeister 3, 2042 B_ 48\n\n Center: Hades and Persephone. Above, left: Megara, wife of\n Heracles, and two of her children, slain by Heracles when mad.\n Above, right: a Fury guarding Piritho\u00fcs and Theseus. Middle,\n left: Orpheus playing and dancing, and an unknown family group.\n Middle, right: the three judges of the dead. Below: Sisyphus, a\n Fury, Hermes, Heracles with Cerberus, a Fury, Tantalus.\n\n 35. Hermes conducting a Soul to Charon. Ancient Terra Cotta:\n _Arch\u00e4ologische Zeitung, Berlin_ 49\n\n 36. Hypnos (_Somnus_, Sleep).\n _Murray, Greek Bronzes, opp. p. 72_ 50\n\n 37. A Fury. Ancient Vase Painting: _Roscher 1, 1334_ 51\n\n 38. Hades. Ancient Marble in the Villa Borghese, Rome:\n _Baumeister 1, 690_ 53\n\n 39. Death, Sleep, and Hermes laying a Body in the Tomb. Ancient\n Vase Painting: _P. Gardner, Sculptured Tombs, Fig. 5_ 54\n\n 40. Poseidon from Dodona. Greek Bronze in the British Museum:\n _Murray, Greek Bronzes, Fig. 32_ 55\n\n 41. Wedding of Poseidon and Amphitrite. Ancient Marble Frieze,\n Munich: _Baumeister 3, 1744 B_ 56\n\n 42. Triton carrying off a Nymph. Ancient Marble in the Vatican:\n _Baumeister 3, 1964_ 57\n\n 43. Bearded Janus. Roman Coin: _Baumeister 2, 1166 A_ 60\n\n 44. Genius Loci. Wall Painting from Herculaneum in the Naples\n Museum: _Gusman, Pompeii, p. 107_ 62\n\n 45. Ganymede feeding the Eagle. Ancient Relief:\n _Pietro Santi Bartoli, Gli. Antichi Sepolcri_ 64\n\n 46. Hermes (Mercury) kills Argus in presence of Zeus. Ancient\n Vase Painting: _Roscher 2, 279_ 65\n\n 47. Io, Argus, and Mercury. Wall Painting from Herculaneum in\n the Naples Museum: _Baumeister 1, 802_ 66\n\n 48. Europa on the Bull. Greek Vase Painting:\n _Harrison-Maccoll, Plate IV_ 69\n\n 49. Nere\u00efds on Sea Beasts. Ancient Marble Frieze in Munich:\n _Baumeister 3, 1744 A_ 70\n\n 50. Youthful Bacchus embracing Semele in presence of Apollo and\n a Satyr. Etruscan Mirror, Berlin: _Baumeister 1, 557_ 71\n\n 51. Amphion and Zethus. Ancient Relief in the Palazzo Spada,\n Rome: _Roscher 2, 311_ 76\n\n 52. Contest of Athena and Poseidon for the Supremacy of Athens.\n Ancient Vase Painting, St. Petersburg:\n _Baumeister 3, 1542_ 83\n\n 53. Athena. Ancient Marble in Hope Collection: _Furtw\u00e4ngler,\n Masterpieces, Fig. 27_ 85\n\n 54. Cadmus slaying the Dragon. Ancient Vase Painting, Naples:\n _Baumeister 2, 822_ 87\n\n Athena counseling. Above: river-god Ismenos, fountain-nymph\n Krene, and personification of Thebes.\n\n 55. Harmonia in Company of Deities. Greek Vase Painting:\n _Ephemeris, 1897-1898, Plate X_ 89\n\n Aphrodite, Eros, Harmonia standing, Peitho (Persuasion)\n sitting, and Kor\u00e9, Hebe, Himeros (Desire).\n\n 56. The Forge of Vulcan. Painting by Velasquez:\n _Photograph_ 90\n\n 57. A Sacrifice to Apollo. Greek Vase Painting:\n _Gardner-Jevons Manual, p. 249, Fig. 16_ 91\n\n 58. Apollo with Hyacinthus. Ancient Marble in Hope Collection:\n _Roscher 16-17, 2765_ 93\n\n 59. The Fall of Pha\u00ebthon. Roman Relief in the Louvre:\n _Baumeister 3, 1449_ 97\n\n Upper left-hand corner: Pha\u00ebthon making his request of Helios\n (Ph[oe]bus). Below: the Heliades turning into trees. Center:\n the maddened horses, one chariot wheel, and Pha\u00ebthon falling\n into the arms of Eridanus. The horsemen left and right of the\n four horses are Castor and Pollux. Earth-gods, sea-gods, and\n other figures.\n\n 60. A Son of Niobe. Ancient Marble in Florence:\n _Baumeister 3, 1751_ 100\n\n 61. The Children of Niobe. Ancient Relief, St. Petersburg:\n _Baumeister 3, 1759_ 101\n\n 62. Niobe and her Youngest Daughter. Ancient Marble, Florence:\n _Baumeister 3, 1746_ 102\n\n 63. \u00c6sculapius (Asklepios). Ancient Marble, Florence:\n _Furtw\u00e4ngler, Masterpieces, Fig. 87_ 104\n\n 64. Admetus must Die. Wall painting from Herculaneum in Naples:\n _Baumeister 1, 53_ 106\n\n 65. Heracles. Ancient Marble in Lansdowne House:\n _Photograph_ 108\n\n 66. The Palatine Apollo. Ancient Marble in Vatican:\n _Baumeister 1, 104_ 110\n\n 67. Daphne. Ancient Marble:\n _Springer, Kunstgeschichte, 1, 336_ 113\n\n 68. Artemis (Diana). Ancient Marble, Dresden:\n _Furtw\u00e4ngler, Masterpieces, p. 325_ 117\n\n 69. Arethusa. Ancient Coin: _Baumeister 2, 1140_ 118\n\n 70. A Young River-god. Ancient Bronze Head:\n _Roscher 9, 1489_ 119\n\n 71. Act\u00e6on. Ancient Marble Relief: _Baumeister 1, 41_ 121\n\n 72. The Pleiades. Painting by Elihu Vedder: _Photograph_ 123\n\n 73. Endymion. Ancient Relief in the Capitoline, Rome: _E. von\n Mach, Handbook of Greek and Roman Sculpture, Plate 306_ 124\n\n 74. The Death of Adonis. Ancient Marble in the Louvre:\n _Baumeister 1, 17_ 127\n\n Right: Adonis leaves Venus. Center: he is wounded. Left: he is\n cared for by Venus, Cupid, and attendants.\n\n 75. Psyche at the Couch of Cupid. Painting by Thumann:\n _Photograph_ 130\n\n 76. Psyche and Cupid on Mount Olympus. Painting by Thumann:\n _Photograph_ 136\n\n 77. Artemis of Gabii. Ancient Marble in the Louvre: _E. von\n Mach, Handbook of Greek and Roman Sculpture, Plate 207_ 139\n\n 78. Atalanta's Race. Painting by Poynter: _Photograph_ 140\n\n 79. Hero and Leander. Painting by Keller: _Photograph_ 144\n\n 80. Thisbe. Painting by Edward Burne-Jones: _Photograph_ 148\n\n 81. Hermes and Dog disguised as Pig. Ancient Vase Painting,\n Vienna: _Harrison-Maccoll, Plate XXXIIIa_ 151\n\n 82. Silenus taking Dionysus (Bacchus) to School. Ancient Terra\n Cotta: _Murray and Hutton, Fig. 36_ 152\n\n 83. Bearded Dionysus on Mule, attended by Satyr. Old Greek\n Terra Cotta Relief: _Baumeister 1, 481_ 153\n\n 84. Satyr and M\u00e6nad with Child Dionysus. Ancient Relief:\n _Baumeister 2, 932_ 154\n\n 85. Dionysus at Sea. Greek Vase Painting in the Pinakothek,\n Munich: _Harrison-Maccoll, Plate I_ 155\n\n 86. Bacchic Procession. Greek Vase Painting: _Arch. Zeit._ 156\n\n 87. Dionysus visiting a Poet. Ancient Relief, Naples:\n _Baumeister 3, 1849_ 157\n\n 88. Rape of Proserpina. Ancient Relief:\n _Baumeister 1, 461_ 159\n\n 89. Hades and Persephone. Ancient Terra Cotta:\n _P. Gardner, Sculptured Tombs, Fig. 29_ 161\n\n 90. Sacrifice to Demeter and Persephone. Greek Relief in Paris:\n _Baumeister 1, 457_ 162\n\n 91. Triptolemus and the Eleusinian Deities. Greek Vase Painting:\n _Baumeister 3, 1958_ 164\n\n Demeter behind the chariot and Persephone and the nymph Eleusis\n in front.\n\n 92. Demeter (Ceres), Triptolemus, and Proserpina. Greek Relief:\n _E. von Mach, Handbook of Greek and Roman Sculpture,\n Plate 178_ 165\n\n 93. Orpheus and Eurydice. Painting by Lord Leighton:\n _Photograph_ 166\n\n 94. Farewell of Orpheus and Eurydice (Mercury ready to lead her\n away). Ancient Marble Relief in Villa Albani, Rome:\n _Photograph_ 167\n\n 95. Isthmian Poseidon. Ancient Marble in Lateran:\n _Springer, Kunstgeschichte, 1, Fig. 495_ 169\n\n 96. Pelops winning the Race; Hippodamia looking on. Ancient Vase\n Painting: _Baumeister 2, 1395_ 171\n\n 97. Phosphor, Eos, and Helios (the Sun) rising from the Sea.\n Ancient Vase Painting:\n _Gerhard, Akademische Abhandlungen_ 172\n\n 98. Sun, rising, preceded by Dawn. Painting by Guido Reni:\n _Photograph_ 173\n\n 99. Sunrise; Eos (Dawn) pursuing Cephalus. Greek Vase Painting:\n _P. Gardner, Grammar of Greek Art, Fig. 71_ 174\n\n The young stars descending; to the left, the moon (Selene)\n riding over the hills.\n\n 100. The God of Sleep. Ancient Relief: _Baumeister 1, 770_ 176\n\n 101. The Death of Memnon (Aurora lifting his body). Greek Vase\n Painting in the Louvre: _Harrison-Maccoll, Plate XVIII_ 180\n\n 102. Pan blowing his Pipe, Echo answering. Ancient Earthenware\n Lamp: _Baumeister 1, 514_ 182\n\n 103. The Music Lesson (Pan teaching a Boy). Ancient Marble,\n Florence: _Baumeister 2, 1340_ 184\n\n 104. Bacchic Dance (Nymph and Satyrs). Ancient Relief:\n _Baumeister 3, 1931_ 184\n\n 105. Silenus. From an ancient candelabrum in Munich:\n _Baumeister 2, 895_ 185\n\n 106. Satyr (Marble Faun). Ancient Marble in the Capitoline, Rome:\n _Photograph_ 186\n\n 107. Satyr swinging Maiden. Greek Vase Painting in Berlin:\n _Harrison-Maccoll, Plate XXXII_ 186\n\n 108. Satyr drinking from Amphora. Ancient Vase Painting in\n Baltimore: _Harrison-Maccoll, Plate IX_ 187\n\n 109. Narcissus gazing at his Reflection. Wall Painting from\n Pompeii, Naples: _Baumeister 2, 1213_ 188\n\n 110. A Rustic. Wall Painting from Herculaneum 195\n\n 111. A Rustic. Wall Painting from Herculaneum 196\n\n 112. Galatea and Polyphemus. Wall Painting in House of\n Germanicus, Rome: _Roscher 9, 1587_ 199\n\n 113. A Sea-god, perhaps Glaucus. Ancient Marble in Vatican:\n _Baumeister 2, 987_ 200\n\n 114. Nere\u00efds and Sea Monsters. Ancient Relief:\n _Baumeister 2, 1216_ 204\n\n 115. The Dana\u00efds. Ancient Marble Relief in Vatican:\n _Roscher 6, 951_ 207\n\n 116. Dana\u00eb and Perseus and the Chest. Greek Vase Painting in St.\n Petersburg: _Harrison-Maccoll, Plate XXXIV_ 208\n\n 117. Medusa Rondanini (Front View). Ancient Marble in Munich:\n _Furtw\u00e4ngler, Masterpieces, Fig. 63_ 209\n\n 118. Medusa Rondanini (Profile). Ancient Marble in Munich:\n _Furtw\u00e4ngler, Masterpieces, Fig. 63_ 209\n\n 119. Perseus. Marble by Cellini in Florence: _Photograph_ 210\n\n 120. Perseus with the Head of Medusa. Ancient Vase Painting:\n _Gerhard_ 211\n\n 121. Perseus finds Andromeda. Ancient Vase Painting in Museum,\n Berlin: _Jahrbuch des D. Arch. Instituts XI (1896),\n Plate II_ 212\n\n Right: Aphrodite holding wreath over Perseus' head. Left:\n Cepheus seated, Hermes with his wand, and an \u00c6thiopian\n inhabitant.\n\n 122. Bellerophon and Pegasus. Ancient Relief:\n _Baumeister 1, 317_ 215\n\n 123. Heracles strangling the Nemean Lion. Greek Vase Painting in\n British Museum: _Baumeister 1, 722_ 217\n\n Left: Iolaiis and the local nymph Nemea. Right: Athena and\n Hermes.\n\n 124. Heracles killing the Hydra (behind him Athena and Iolaiis).\n Greek Vase Painting: _Baumeister 1, 724_ 217\n\n 125. Heracles bringing Home the Boar (Eurystheus hiding in a\n wine jar). Greek Vase Painting: _Harrison-Maccoll,\n Plate XII_ 218\n\n 126. Heracles with the Bull: Metope of the Temple of Zeus at\n Olympia: _Baumeister 2, 1285_ 219\n\n 127. Heracles and Cerberus. Greek Vase Painting:\n _Baumeister 1, 730_ 220\n\n Left: Athena and Hermes. Right: Goddess of the Underworld.\n\n 128. Heracles and Ant\u00e6us. Greek Vase Painting in Athens:\n _Harrison-Maccoll, Plate XXIV_ 221\n\n 129. Hercules and Nessus (Dejanira in Chariot). Wall Painting\n from Pompeii: _Baumeister 1, 733_ 226\n\n 130. The Building of the Argo, Athene directing. Ancient Terra\n Cotta Relief in the British Museum: _Baumeister 1, 127_ 229\n\n 131. Jason conquers the Bulls and steals the Fleece. Ancient\n Relief in Vienna: _Baumeister 2, 981_ 231\n\n Center: \u00c6etes seated. Right: Medea assists her lover.\n\n 132. Medea deliberating upon the Murder of her Children. Wall\n Painting from Herculaneum: _Baumeister 2, 948_ 234\n\n 133. Medea and Daughters of Pelias preparing the Caldron. Ancient\n Marble Relief, Berlin: _Photograph_ 235\n\n 134. Meleager on the Boar Hunt. Roman Relief:\n _Baumeister 2, 990_ 238\n\n Atalanta appears twice,--as before the hunt to the left of the\n central figures, as during the hunt in front of Meleager, and\n shooting an arrow into the boar.\n\n 135. The Death of Meleager. Roman Sarcophagus in the Louvre:\n _Baumeister 2, 991_ 241\n\n Right: the contest between Meleager and his uncles. Left:\n Alth\u00e6a putting the fateful brand into the fire; behind her\n a Fury whose torch has lighted the fire. Center: the dying\n Meleager, and Atalanta seated mourning.\n\n 136, 137. Castor and Pollux capturing the Giant Talus. Ancient\n Vase Painting: _Baumeister 3, 1804_ 244, 245\n\n Pollux on foot in front of Medea. Seated Deities on right,\n Poseidon and Amphitrite.\n\n 138. D\u00e6dalus and Icarus. Ancient Relief in the Villa Albani,\n Rome: _Roscher 6, 934_ 247\n\n 139. So-called Theseus. Greek Marble in the Parthenon:\n _Baumeister 2, 1370_ 249\n\n 140. \u00c6thra caresses Theseus and sends him forth with his\n Father's Sword. Greek Vase Painting, St. Petersburg:\n _Harrison-Maccoll, Plate XXII_ 251\n\n 141. Theseus receiving Thanks from the Rescued after killing the\n Minotaur. Campanian Wall Painting in Naples:\n _Baumeister 3, 1876_ 252\n\n 142. The Sleeping Ariadne. Ancient Marble in Vatican:\n _Baumeister 1, 130_ 254\n\n 143. Head of Dionysus. Ancient Marble, Leyden:\n _Roscher 7, 1128_ 256\n\n 144. The Revels of Bacchus and Ariadne. Roman Sarcophagus:\n _Baumeister 1, 492_ 257\n\n Large figures from left to right: Priest, Satyr, M\u00e6nad,\n Mercury, Bacchus and Ariadne seated, Satyr, M\u00e6nad, priest.\n Small figures: Desire (Himeros) and Love leading Pan captive,\n followed by Silenus.\n\n 145. Lapith and Centaur fighting. Greek Metope from the\n Parthenon, British Museum: _Photograph_ 259\n\n 146. [OE]dipus and the Sphinx. Greek Vase Painting:\n _P. Gardner, Grammar of Greek Art, Fig. 70_ 261\n\n 147. Eteocles and Polynices kill each other. Etruscan Relief,\n Florence: _Baumeister 3, 1841_ 266\n\n 148. The Gods bring Wedding Gifts. Ancient Relief from the Villa\n Albani, Rome: _Baumeister 1, 759_ 271\n\n From right to left, married couple, Vulcan, Minerva, the four\n seasons (Winter, Spring, Summer, Autumn) Hymen with torch, Comus,\n Amor pushing jealous deity away.\n\n 149. Map of the Troad and the Hellespont 273\n\n 150. Helen persuaded by Aphrodite; Paris (Alexander) held by\n Love. Ancient Relief in Naples:\n _E. von Mach, Handbook, Plate 312_ 277\n\n 151. Achilles taken from Scyros by Ulysses (to the right) and\n Diomedes (to the left). Pompeian Wall Painting, Naples:\n _Roscher 1, 27_ 279\n\n 152. The Sacrifice of Iphigenia. Pompeian Wall Painting, Naples:\n _Baumeister 1, 807_ 281\n\n 153. The Surrender of Brise\u00efs. Relief by Thorwaldsen:\n _Photograph_ 284\n\n 154. Hector's Farewell. Relief by Thorwaldsen: _Photograph_ 291\n\n 155, 156. The Embassy to Achilles. Greek Vase Painting:\n _P. Gardner, Grammar of Greek Art, Fig. 72_ 294, 295\n\n Left section: Brise\u00efs is led away. Right section: Ajax and\n Ulysses, leaning on staff, plead with Achilles; at the right,\n Ph[oe]nix.\n\n 157. The Battle by the Ships. Greek Vase Painting:\n _Baumeister 1, 783_ 296\n\n Perhaps the moment when Ajax retreats. Hector presses upon him\n followed by a youth with a torch. At the extreme right, Paris\n drawing a bow.\n\n 158. Supposed Menela\u00fcs with the Body of Patroclus. Ancient\n Marble, Florence: _Baumeister 1, 785_ 298\n\n 159. Contest of Achilles and Hector. Ancient Vase Painting:\n _Baumeister 1, 788_ 302\n\n Left: Athene. Right: Apollo.\n\n 160. Achilles over the Body of Hector at the Tomb of Patroclus\n (whose shade is running above the tomb). Greek Vase\n Painting: _P. Gardner, Sculptured Tombs, Fig. 40_ 303\n\n 161. Priam's Visit to Achilles (under whose couch lies the body\n of Hector). Greek Vase Painting: _Baumeister 1, 791_ 304\n\n Achilles has been taking his dinner. Servants bear gifts behind\n Priam.\n\n 162. Achilles and the Amazon Penthesilea. Greek Vase Painting:\n _Baumeister 3, 2123_ 307\n\n 163. [OE]none warning Paris not to sail for Greece. Ancient\n Relief, in the Villa Ludovisi, Rome:\n _Baumeister 2, 1360_ 309\n\n 164. The Wooden Horse. Ancient Gem: _Baumeister 1, 794_ 310\n\n 165, 166. The Sack of Troy. Greek Vase Painting, Naples:\n _Baumeister 1, 795_ 312, 313\n\n Priam on altar, Astyanax on his lap, and Polites, whom Pyrrhus\n has just killed, at his feet. Pyrrhus is about to strike Priam.\n Behind him rushes Andromache to strike a kneeling soldier.\n Below, under the palm tree, sits Hecuba facing the statue of\n Minerva (a Palladium) behind which Helen is seen to cower. In\n front Cassandra clings to the statue, while Ajax, striding\n over the body of her dead lover, tries to drag her away by the\n hair. To the left, \u00c6neas, with Anchises in his arms, and little\n Ascanius are hastening away.\n\n 167. Orestes and Electra at the Tomb of Agamemnon. Greek Vase\n Painting: _Baumeister 3, 1939_ 315\n\n 168. Orestes pursued by Furies. Greek Vase Painting:\n _Baumeister 2, 1313_ 316\n\n 169. Orestes and Pylades before the King of the Tauri (Iphigenia\n as a priestess on the steps of the temple). Wall Painting\n from Pompeii, Naples: _Springer,\n Kunstgeschichte, 1, 529_ 316\n\n 170. Ulysses offering the Cyclops Wine. Ancient Statuette in the\n Vatican: _Baumeister 2, 1251_ 318\n\n 171. Boring out the Cyclops' Eye. From an Attic Vase:\n _P. Gardner, Grammar of Greek Art, p. 225_ 322\n\n 172. Ulysses and Two Companions under the Rams. Greek Vase\n Painting: _Harrison-Maccoll, Plate XXIX_ 323\n\n 173. The Castle of Circe. Sicilian Vase Painting:\n _Baumeister 2, 839_ 325\n\n 174. Ulysses and the Sirens. Greek Vase Painting in the British\n Museum: _P. Gardner, Grammar of Greek Art, p. 227,\n Fig. 78_ 329\n\n 175. Ulysses and Scylla. Etruscan Relief:\n _Baumeister 3, 1762_ 330\n\n 176. Penelope at the Loom, and Telemachus. Greek Vase Painting in\n Museum, Chiusi: _Harrison-Maccoll, Plate XLI_ 339\n\n 177. Ulysses recognized by Euryclea (behind him Eum\u00e6us). Ancient\n Terra Cotta Relief: _Baumeister 2, 1257_ 341\n\n 178, 179. Ulysses kills the Suitors. Greek Vase Painting, Berlin:\n _Baumeister 3, 2139_ 342, 343\n\n It will be seen that the suitors are defending themselves.\n\n 180. The Nike (Victory) of Samothrace. Greek Statue in the\n Louvre: _Von Mach, Greek Sculpture, Plate facing p. 30_ 345\n\n 181. \u00c6neas, Anchises, and Iulus. Ancient Gem, Uffizi, Florence 347\n\n 182. Scylla (carved end of ancient table). _Chefs d'[OE]uvres\n de l'Art Antique_, Paris, 1867 349\n\n 183. The Cum\u00e6an Sibyl. Painting by Michelangelo in the Vatican:\n _Photograph_ 353\n\n 184. Ixion on the wheel. Ancient Vase Painting, Berlin:\n _Baumeister 1, Fig. 821_ 358\n\n Below, right: Vulcan looking at his handiwork; a Fury and\n Hermes. Above: winged forms, perhaps the Hours, to see that the\n motion is perpetual. One is even now shoving the wheel; the\n other has just taken off her hand to point \"your turn.\"\n\n 185. Amazon. Ancient Marble Statue: _Guhl and Koner_ 364\n\n 186. Valkyrie bearing a Hero to Valhalla. Painting by Dielitz:\n _Photograph_ 375\n\n 187. Loki and Siguna. Painting by Gebhardt: _Photograph_ 393\n\n 188. Gunther and Brunhild. Fresco by Julius Schnorr von\n Carolsfeld: _Photograph_ 406\n\n 189. Siegfried and Kriemhild. Fresco by Julius Schnorr von\n Carolsfeld: _Photograph_ 407\n\n\n\n\nFULL-PAGE ILLUSTRATIONS AND MAPS\n\n\n PAGE\n\n Lemnian Athena Frontispiece\n\n Statue, possibly after Phidias, reconstructed by Furtw\u00e4ngler\n from torso in Dresden and head in Bologna: _Photograph_.\n\n Hera of the Vatican 22\n\n Ancient Marble in the Vatican: _Photograph_.\n\n Venus (Aphrodite) of Melos 32\n\n Greek Marble in the Louvre: _Photograph_.\n\n Greece in the Fifth Century B.C. 64\n\n The Farnese Bull Group: Amphion, Zethus, Dirce, and Antiope 74\n\n Ancient Marble in Naples: _E. von Mach, Handbook, Fig. 44_.\n\n Apollo and Daphne 112\n\n Marble Group by Bernini, Villa Borghese, Rome: _Photograph_.\n\n Aphrodite (Petworth Head) 126\n\n Ancient Marble in London: _Furtw\u00e4ngler, Masterpieces, Plate\n XVII_.\n\n Eros with Bow 136\n\n Ancient Marble in the Capitoline Museum: _Baumeister 1, 539_.\n\n Hermes of Praxiteles 150\n\n Greek Marble in Olympia: _Photograph_.\n\n Perseus freeing Andromeda 212\n\n Ancient Relief in the Capitoline Museum: _Roscher 2, 346_.\n\n The Wedding of Hercules and Hebe 226\n\n Ancient Apulian Vase Painting in Berlin: _Baumeister 1, 700_.\n\n Amazon 306\n\n Ancient Marble in Lansdowne House: _Photograph_.\n\n Laoco\u00f6n 310\n\n Greek Marble in the Vatican: _Photograph_.\n\n The Outer Geography of the Odyssey 318\n\n Flying Mercury 330\n\n Statue by Giovanni di Bologna in Florence: _Photograph_.\n\n Italy before the Growth of the Roman Empire 346\n\n The Victory (Nike) of Brescia 372\n\n Ancient Bronze Statue: _E. von Mach, Greek Sculpture, Plate\n XXXV, No. 4_.\n\n\n\n\nINTRODUCTION\n\nTHE STUDY OF MYTHOLOGY IN CONNECTION WITH ENGLISH POETRY AND WITH ART\n\n\nOur American educational methods too frequently seek to produce the\neffect of polish upon a kind of sandstone information that will\nnot stand polishing. With such fatuity many of our teachers in the\nsecondary schools exercise their pupils in the study of English\nmasterpieces and in the critical estimate of \u00e6sthetic qualities\nbefore acquainting them with the commonplace facts and fables that,\ntransmitted through generations, are the material of much of our poetry\nbecause the material of daily converse, imagination, and thought. These\ncommonplaces of tradition are to be found largely in the literature\nof mythology. Of course the evil would be neither so widespread nor\nso dangerous if more of the guardians and instructors of our youth\nwere at home even among the Greek and Latin classics. But for various\nreasons,--some valid, as, for instance, the importance of increased\nattention to the modern languages and the natural sciences; others\nworthless, as the so-called utilitarian protest against the cultivation\nof \"dead\" languages,--for various reasons the study of the classics\nis at present considerably impaired. It is, therefore, incumbent upon\nour universities and schools, recognizing this fact and deploring it,\nto abate so far as possible the unfortunate consequences that proceed\ntherefrom, until, by a readjustment of subjects of instruction and\nof the periods allotted them, the Greek and Latin classics shall be\nreinstated in their proper place as a means of discipline, a humanizing\ninfluence, the historic background against which our present appears.\nFor, cut off from the intellectual and imaginative sources of Greece\nand Rome, the state and statesmanship, legislation and law, society\nand manners, philosophy, religion, literature, art, and even artistic\nappreciation, run readily shallow and soon dry.\n\nNow, one evident means of tempering the consequence of this neglect\nof the classics is the study of them through translations and\nsummaries. Such secondhand study must indeed be ever a makeshift; for\nthe literature of a people inheres in its language, and loses its\nseeming and often its characteristic when caparisoned in the trappings\nof another speech,--an utterance totally dissimilar, the outcome\nof diverse conditions of physical environment, history, social and\nintellectual tradition. But in dealing with the purely imaginative\nproducts of antiquity, the inefficacy of translation may be somewhat\noffset if those products be reproduced, so far as possible, not in the\nprosaic but in the poetic atmosphere and in the imaginative garb of\nart. For though the phenomena of plastic art are not the same in one\ncontinent as in another, or from one century to the next, and though\nthe fashion of poetry itself varies from age to age and from clime\nto clime, the genesis of imagination is universal, its products are\nakin, and its process is continuous. For this reason the study of the\nimaginative thought of the ancients through the artistic creations\nof the moderns is commended to students and readers as feasible and\nprofitable.\n\nThe study of the classic myths stimulates to creative production,\nprepares for the appreciation of poetry and other kinds of art, and\nfurnishes a clew to the spiritual development of the race.\n\n1. Classic mythology has been for succeeding poetry, sculpture, and\npainting, a treasure house replete with golden tales and glimmering\nthoughts, passions in the rough and smooth, and fancies rich bejeweled.\nLike Virgil's Shadows that flit by the Lethean stream until at beck\nof Fate they revisit upper day and the ever-tranquil stars, these\nghosts of \"far-off things and battles long ago,\" peopling the murmurous\nglades of myth, await the artist who shall bestow on each his new and\npredetermined form and restore them, purified and breathing of Elysian\nair, to the world of life and ever-young mankind.\n\n2. For the reader the study of mythology does, in this respect, as\nmuch as for poet, sculptor, or painter. It assists him to thrid the\nlabyrinth of art, not merely with the clew of tradition, but with a\nthread of surer knowledge whose surest strand is sympathy.\n\nThe knowledge of mythic lore has led men in the past broadly to\nappreciate the motives and conditions of ancient art and literature,\nand the uniform and ordered evolution of the \u00e6sthetic sense. And,\nbeside enriching us with heirlooms of fiction and pointing us to the\nsources of imaginative joy from which early poets of Hellenic verse,\nor Norse, or English, drank, the classic myths quicken the imaginative\nand emotional faculties to-day, just as of old. How many a man held\nby the sorrows of the Labdacid\u00e6 or the love of Alcestis, by some\ncurious wonder in Pausanias, or some woe in Hyginus, has waked to the\nconsciousness of artistic fancy and creative force within himself!\nHow many, indifferent to the well-known round, the trivial task, the\nnearest care of home, have read the Farewell to Andromache and lived a\nnew sympathy, an unselfish thrill, a purified delight! And not only as\nan impulse toward artistic output, or patriotic devotion, or domestic\naltruism, but as a restraining influence, a chastener of \u00e6sthetic\nexcess, a moderator of the \"unchartered freedom\" that knows no mean\nbetween idolatry and loathing, of the foolish frenzy that affects new\nthings, abnormal and sensational, in literature, music, and the plastic\narts,--as such a tutor and governor is the study of beautiful myths\ninvaluable. Long familiarity with the sweet simplicity, the orderly\nrestraint, the severe regard, the filial awe that pervade the myths\nof Greece and Rome,--or with the newness of life and fullness and\nwonder of it, the na\u00efvet\u00e9 and the romance, of Eddic lore,--cannot but\ngraciously temper our modern estimate of artistic worth.\n\nThe study, when illustrated by masterpieces of literature and art,\nshould lead to the appreciation of concrete artistic productions of\nboth these kinds.\n\nIt goes without saying that a rational series of somewhat consecutive\nstories is more serviceable to the reader than a congeries of data\nacquired by spasmodic consultation of the classical dictionary,--a\nmass of information bolted, as it were, but by no means digested. If,\nmoreover, these stories are narrated in genealogical and realistic\nsequence and are illustrated by lyric, narrative, and descriptive\npassages of modern literature, there is furnished not only that\nmaterial of allusion and reference for which the student nowadays\ntrusts to meager and disjointed textbook notes, but a potentiality\nthat should render the general reading of _belles-lettres_ more\nprofitable. For a previous acquaintance with the material of literary\ntradition heightens the appreciation of each allusive passage as it is\nencountered; it enables the reader to sympathize with the mood and to\nenter into the purpose of the poet, the essayist, the novelist, the\norator; it expands the intellectual lungs for the atmosphere breathed\nby the artist, at any rate for a literary and social atmosphere\nless asthmatic than that to which so many of us are unconsciously\nhabituated. Of course all this advantage would far better result\nfrom the first-hand nutriment and discipline of the Greek and Latin\nclassics; of course direct familiarity with the writers of Greece\nand Rome is the _sine qua non_ of level-headed criticism and broad\nevaluation of modern literature; and, of course, a sympathy with the\nimaginings of old is the best incentive to an \u00e6sthetic estimate not\nonly of art but of nature to-day; but if our American pupils and many\nof their teachers cannot quaff Massic and Falernian, they do well\nto scent the bouquet. In time a sense of flavor may perchance be\nstimulated, and ultimately a desire for nearer acquaintance with the\nliteratures that we inherit.\n\nThe study of these ancient tales serves, then, much more than the\npurpose of special information. It refines the \u00e6sthetic judgment in\ngeneral, and heightens the enjoyment of such works of literature\nas, not treating of mythical or classical subjects, still possess\nthe characteristics of the classic: the unconscious simplicity,\nthe inevitable charm, and the noble ideality. The Lycidas, the\nAdonais, the Thyrsis, the In Memoriam, the Ode to Duty, the Bothie of\nTober-na-Vuolich, the Hymn of Man, Love is Enough, Prospice, Festus,\nthe Ode of Life, the Dream of Gerontius, Lying in the Grass, and\nSimmenthal must mean little to one devoid of the spirit of classicism.\n\nIn respect of art a similar inspiration, aid, instruction, are afforded\nby the study. This volume is liberally supplied with cuts of famous\npaintings and sculptures of mythical subjects. Familiarity with\nspecimens of ancient art, even through the medium of photography and\nengraving, must not only cultivate the historic sense but stimulate\nthe \u00e6sthetic. The cruder efforts of the ancients, no less than the\nmore refined, are windows through which we view the ancient mind.\nThe frequent contemplation of their nobler efforts and of the modern\nmasterpieces here reproduced may avail to lift some from the level of\napathy or provinciality in matters of imagination; some it may spur to\na study of the originals, some to artistic creation. A public which,\nfrom year to year, displays a deeper interest in the art of foreign\nlands will despise no auxiliary to a more intelligent appreciation of\nthat art. A country whose future in artistic achievement cannot be\nprophesied in a paragraph will more and more truly recognize the value\nof a study that is an introduction to much that is best in art as it\nexists.\n\n3. Furthermore, it must be borne in mind that the myths of the\nancients, as the earliest literary crystallization of social order and\nreligious fear, record the incipient history of religious ideals and\nof moral conduct. For though ethnologists may insist that to search\nfor truth _in_ mythology is vain, the best of them will grant that to\nsearch for truth _through_ mythology is wise and profitable. If we\naccept the statement (often stretched beyond its proper limit) that\nmythology is primitive philosophy, and the other statement that an\nancient philosophy never dies, but by process of internal growth, of\nmodification, and of accretion acquires a purer spirit and a new and\nhigher form,--then, since truth was never yet conceived of error (_ex\nnihilo nihil fit_), the truth now recognized, while it did not exist\nin that fraction of myth which happens to be irrational, existed as an\narchetypal impulse,--set the myth in motion, and, as a process refining\nthe mind of man, tended steadily to eliminate from primitive philosophy\n(that is, from the myths that embodied primitive philosophy) the\nsavage, ephemeral, and irrational element. For all myths spring from\nthe universal and inalienable desire to know, to enjoy, to teach. These\nimpulses of knowledge, of imaginative relaxation, of conduct, are the\nthrobbing of the heart of reason; the first or the second is the primal\npulse of every myth, and to the life of every myth each impulse may be,\nat some period, contributory. This study has led men to trace soberly\nthe progress of their kind from the twilight of gray conjecture to the\ndawn of spiritual conviction and rational individuality; to discern a\ncontinuity of thought, an outward reach of imagination, an upward lift\nof moral and religious ideas; to confess the brotherhood of humanity\nand an inspiring purpose which holds good for every race and through\nall time.\n\n\nSUGGESTIONS TO TEACHERS\n\n1. _Of the Classic Myths in their Relation to Literature._ It is\nessential that the teacher of mythology, no matter what textbook\nor system he uses or what classic epic he proposes to present,\nshould first make himself acquainted with the meaning of myth, its\norigin and elements; the difference between myth and fable, between\nmyths explanatory and myths \u00e6sthetic, myths reasonable and myths\nunreasonable, the theories of myth-making as a process of deterioration\nor as a process of development. He should also inform himself\nconcerning the ways in which the leading myths have been disseminated,\nand how the survivors have been preserved. Materials for this\npreparation he will find in Chapters XXX-XXXII of this book as readily,\nperhaps, as elsewhere; but no matter where he obtains this information\nhe should in a simple and interesting talk pass on the cream of it\nto the pupils about to begin the study of the stories themselves. He\nwill in that way bring them to a reasonable appreciation of the value\nof myths and their relation to our civilization, and awaken in them\nanticipatory interest in the proposed reading. It is a great mistake to\nplunge students of high-school age, without preliminary orientation and\na justification of the study, into a world which may otherwise appear\nto them unreasonable in conception and unrelated in experience. Pupils\nmay, if time permits, read these concluding chapters, and so obtain\na systematic outlook upon the subject, during a brief review in the\nsenior year, but not earlier.\n\nThis book should be studied for its materials and the inspiration\nthat it affords,--not word by word for its style, or as a dictionary\nor scientific authority; nor paragraph by paragraph with a painful\ncommitting to memory of each myth and each episode in the myth.\nDiscrimination must be made. Some of these myths, and especially the\nepisodes from the epics (Chapters XXII-XXIX), are to be read rapidly\nand in large assignments, sometimes at home with reports in class,\nsometimes in class and at sight, but always for the enjoyment. Others\nare to be studied in detail, but solely when they are of special and\nvital significance, historically, morally, or \u00e6sthetically. Emphasis\nshould be laid only occasionally and sparingly upon interpretations of\nmythical materials. What both teacher and student should aim at is the\npicture--manners, morals, ideals, heroic figures, epic events, broad\nand vivid against the canvas of antiquity: that, and the reality of\nclassic order, grandeur, and restraint.\n\nThe myths are here presented in a logical and genealogical arrangement;\nand they should be studied in this order, so that the pupil may carry\naway, not a jumble of sporadic recollections, but some conception\nof the systems of creative imagination which obtained in earlier\ncivilizations. The knowledge of the myths and the proper perspective\nof their relation, one to another, may further be fixed by the study\nof the family ties that motivate many of the incidents of mythical\nadventure, and that must have been commonplaces of information to the\ninventors and narrators of these stories.\n\nThe myths may well be reproduced as exercises in narration, comparison,\ndescription; and they may be regarded as stimulus for imaginative\ninvention concerning local wonders and beauties of nature. Pupils\nmay also be encouraged to consider, and to comment upon, the moral\nqualities of the heroes and heroines of mythology. Thus they may be led\nto recognize the difference between ancient and modern standards of\nright and wrong. To this end, and for the supply of further nutriment,\nit is important that teachers collect from their reading of the\nclassic originals, or from translations of the Iliad, the Odyssey,\nthe Greek dramatists, the \u00c6neid, the Metamorphoses, etc., material\nsupplementary to the text, and give it freely to their classes. To\nfacilitate this practice the sources of the myths have been indicated\nin the footnotes of this volume, and a few of the best translations\nhave been mentioned in the Commentary. Instructors should also read to\nthe classes illustrative English poems, or portions of them based upon\nthe myths under consideration; and they should encourage the pupils to\ncollect from their English reading additional examples of the literary\nsurvival or adaptation of ancient story. For this purpose special\nsections of the Commentary have been prepared, indicating some of the\nbest known literary applications of each myth.\n\nThe Commentary is numbered in sections corresponding to those of the\ntext. The Textual Notes should be studied in connection with each\nlesson, the Interpretative more sparingly, as I have said. They should\nnot be suffered to spoil the interest in the stories as such. They\nare of interest in themselves only to maturer minds. Allusions and\ninterpretations which the younger pupil does not appreciate will, if\nthe book is used for purposes of reference in his further English,\nLatin, or Greek studies, be clear before the end of his course.\n\nFrom the outset care should be taken that pupils give to the classical\nnames their proper accent, and that they anglicize both vowels and\nconsonants according to the recognized rules laid down in the Latin\ngrammars, the English dictionaries, and the pages preceding the Index\nof this book.\n\nMythological and classical geography should not be neglected. The maps\naccompanying this volume will be serviceable; but there should be\nin the classroom one of Kiepert's maps of the World as Known to the\nAncients (Orbis Veteribus Notus), or maps of Ancient Italy, Greece,\nand Asia Minor. The teacher will find the International Atlas (G.\nP. Putnam's Sons, New York), A. Keith Johnston's School and College\nAtlas of Ancient Geography, or the new edition of the same by James\nCranstoun, issued as Ginn and Company's Classical Atlas, indispensable\nin the prosecution of general reading.\n\nWhen it is the intention to study, in connection with the book,\nan Homeric epic or a portion of it, the teacher should first make\nsure that the class has an adequate preliminary training in general\nmythology (such, for instance, as may be provided by the first\ntwenty-one chapters); he should then outline rapidly and entertainingly\nthe epic as a whole, emphasizing its position in the literature of the\nworld and its relation to the world of its own times, before proceeding\nto read it in detail with the class. Excellent suggestions as to this\nmethod of study are offered in the Introduction to Maxwell & Chubb's\nPope's Homer's Iliad, Books I, VI, XXII, and XXIV (Longmans), and in\nthe Introduction to the Riverside Edition of the Odyssey: Ulysses among\nthe Ph\u00e6acians (Houghton Mifflin Company).\n\nThe more important myths and the best illustrative poems should provide\nnot only nutriment for thought, but material for memory. Our youth in\nthe push for hasty achievement bolt their meals; they masticate little,\nswallow everything, digest nothing,--and having agonized, forget. If\nfewer things were dispatched, especially in the study of literature,\nand if more were intrusted to the memory, there would be something to\nassimilate and time to assimilate it; there would be less dyspepsia and\nmore muscle. Teachers and parents are over-considerate, nowadays, of\nthe memory in children: they approach it gingerly; they have feared so\nmuch to wring its withers that in most children the memory has grown\ntoo soft for saddling. In our apprehension lest pupils may turn out\nparrots, we have too often turned them out loons. It is better that a\nfew of the facts in their heads be wrong than that no facts be there\nat all. With all our study of children and our gabble about methods\nof teaching them, while we insist, properly enough, that youth is the\nseedtime of observation, we seem to have forgotten that it is also the\nharvest-time of memory. It is easy for children to remember what they\nlearn, it is a delight for them to commit to memory; we act criminally\nwhen we send them forth with hardly a fact or a date or a glorious\nverse in the memory of one out of ten of them. Such, unfortunately,\nis the case in many of our schools; and such was not the case in the\nday of our fathers. Pupils should be encouraged to recite _memoriter_\nthe best poems and verses that accompany the myths here given; and\nthey should not be allowed to pass allusions already explained without\nrecalling verses that contain them.\n\nBut above all things should be cultivated, by means of this study, the\nspiritual capabilities of our youth. _Pabulum_ for thought, accurate\nhabits of memory, critical judgment, simplicity and directness of oral\nand written expression, may all be furnished or developed by other\neducative agencies; but what stimulus to fancy, to poetic sensitiveness\nand reflection, to a near kinship with the spirit of nature humanized,\ncan be found more cogent than the contemplation of the poetic\ntraditions that abide in verse? Mythology, fraught with the fire of\nimagination, kindles the present from the past.\n\nIn this new world of ours, shall slopes and mountains, gorges, ca\u00f1ons,\nflowery fields and forests, rivers, bays, Titanic lakes, and shoreless\nreach of ocean be seen of eyes that lack insight, be known of men for\nwhom nature does not live? Surely the age of myth is not wholly past;\nsurely the beauties and the wonders of nature are a fable of things\nnever fully revealed; surely this new republic of ours, no less than\nher prototypes by Tyrrhenian and \u00c6gean seas, utters, in her queenly\nform and flowing robes, a spirit, a truth, a potential poetry, and a\nbeauty of art, the grace of which we Americans, with deeper imaginative\ntraining and sympathy and awe, may yet more highly value and more\nclearly comprehend.\n\n2. _Of the Classic Myths in their Relation to Art._[1] The illustration\nof a book on ancient mythology offers great difficulties, because\nthe modern reader expects one thing and the ancient artist, on whose\nworks one must rely, intentionally offers a very different thing. We\nhave grown to be a reading people, forming our ideas largely on the\nwritten word, while in antiquity the spoken word opened the door to\nunderstanding. A story which has been committed to writing is fixed\nfor all time, having lost its power of growth; whereas a tale that\npasses from mouth to mouth, with no record by which to check its\naccuracy in particulars, is free to expand. It changes with the moods\nof those who tell it, and the intellectual and moral standards of those\nwho listen. People to-day are unimaginative and literal. They also\nexpect that the pictures which illustrate their books shall follow\nthe individual conceptions of the author closely. When the story is\ndramatized a certain latitude is granted to the actor; the artist,\nhowever, who illustrates the book has no such freedom. He is expected\nto take precisely the author's view of a fictitious character, and,\nconsequently, his individuality may show itself only in the technique.\nIn antiquity there were no standard books of fiction or of myths.\nWhen writing came into use with the sixth century before Christ, the\nindividual versions of this or that great epic poem or drama were\npreserved; but the great mass of the people knew them, not because they\nhad read the manuscripts, but because they had heard them acted or\nrecited. Book illustrations, therefore, were unknown. Yet so powerful\nwas the impression which the myths made on the people that most of\nthe artists drew their inspiration from them. Artists and poets alike\nwished to make real the powerful characters of Greek tradition. To make\na literally true illustration of any one version of a great myth was\nnot the aim of a classic artist.\n\nAnother difficulty is found in the fact that few ancient myths\ncontinued to be equally interesting to the people all the time. It is\ntherefore necessary for us, in choosing illustrations, to draw on all\nperiods of ancient art, the crude beginning and the decline as well as\nthe brief span of fine art. The comparatively meager store of genuinely\nclassic works of art acts as one of the greatest obstacles to the\ncompilation of a continuous record of classic myths in classic art.\nTo give such a record, however, rather than to _illustrate_ his book,\nmust be the aim of the author who publishes to-day a version of ancient\nmythology together with such pictures or reliefs or statues as are\npreserved. The modern reader of such a book should therefore appreciate\nthis fact: he must make allowance for the gradual development of\nancient art. The picture is not there for the sake of strengthening\nthe written work, but for its own sake. It often offers an independent\nversion of the myth which he reads, and at all times may give him an\ninsight into the mental make-up of the classic people.\n\nSculpture was the finest art of the Greeks, if one may judge by the\nremains. In this province the artists worked according to the best\nprinciples of art, making their appeal directly to the nobler side\nof man. Before an ancient statue one feels the power of an idea\nimmediately, and not by the circuitous route of remembering a sequence\nof words which may have aimed to suggest a similar idea. The Greeks\nwere the least literal in their sculpture. Their marbles, therefore,\ncannot yield _illustrations_ which the modern editor can use, except\nwhen they embody, like the Demeter of Knidos (Fig. 29) or the Athena\nof Velletri (Fig. 10), a well-defined character-conception. The modern\nreader, on the other hand, cannot fail to notice that this conception\nnever does justice to the character of the goddess as it appears in\nall the myths, and very rarely even to that characteristic which may\ndominate the particular version of any one myth. If such pictures,\nhowever, were entirely omitted from the book, the best means of\nappreciating the essential nobility of the Greek mind would be lost.\n\nNone of the Greek masterpieces of painting are extant. Their attenuated\ninfluence, however, may be traced in the Italian wall paintings from\nPompeii and elsewhere. Painting permits greater literalness than\nsculpture. The picture from Herculaneum, for instance,--Io, Argus,\nand Mercury (Fig. 47),--tells a definite story and one which is also\ntold by the poets. But the painter has considered the making of a\npleasing picture first, and given only a secondary thought to accuracy\nof tradition. This must be so; for while we may without displeasure\nlisten to the description of a monster, we cannot see his actual\nrepresentation without discomfort. When we hear how the companions\nof Ulysses were turned into swine, the tragic note is never lost. To\npaint this scene, however, and not to border on the ridiculous or\nthe burlesque is given only to the greatest artist--if it is at all\npossible.\n\nFortunately for our purposes of illustration, there was a class of\nsecondary artists in Greece which did not always shrink from selecting\nsubjects ill adapted for art, and from rendering them with slight\nvariations so that they are neither bad to look at nor altogether\nuntrue. These were the painters of vases. Some of them were masters of\ntheir craft (cf. Fig. 116), others were of only mediocre skill. All,\nhowever, like their nobler brethren, were primarily concerned with the\ndecorative and technical side of their art and but secondarily with\ntheir subject. If the story, for instance, called for four persons and\ntheir space for five, they unhesitatingly added the fifth person, and,\nvice versa, removed one without compunction if they had place for fewer\nfigures than the story demanded. Being, moreover, commercial people,\nthey painted according to fashion. Whatever version of a myth happened\nto be popular, that they selected, so that it has been possible to\ntrace by their vases the changes which several myths underwent from the\nsixth century onward.\n\nA careful student notices the similarity of types in many of these\npictures and realizes that the ancient painter of vases started out\nwith a certain stock-in-trade which he altered as little as possible,\nadding something new only where it was absolutely necessary.\n\nFrom these observations it is clear that the works of men who were\nleast gifted artistically are the best adapted for the purposes of book\nillustrations; for a painter is literal in the inverse ratio of his\nworth as artist. Nothing, therefore, could be less fair than to judge\nGreek vase painting by the collection of pictures here offered. Only\npaintings like Figures 85 and 101, for instance, can give a hint of the\nbest that these men produced.\n\nGoing gradually down the scale of artists one finally comes to the\nlevel of the makers of Roman sarcophagi, in whose honor it can only be\nsaid that to descend lower is impossible. Several myths, however,--the\nstory of the fall of Pha\u00ebthon (Fig. 59), for instance,--are not\nillustrated in art before the decadent period of imperial Roman\nsculpture. It is therefore necessary to draw also upon this source.\n\nOf course unity of art or school or excellence cannot be preserved in\na set of pictures which groups the Demeter of Knidos (Fig. 29), the\nblinding of Polyphemus (Fig. 171), and the fall of Pha\u00ebthon (Fig. 59).\nBut individually the pictures help to fix in memory the particular\nstories that they are chosen to illustrate; and collectively they\nshow how strongly the myths here retold influenced the noblest fancy\nof the great artists as well as the receptive minds of mediocre\nartisans. The suggestive power of classic myths, moreover, was not\nconfined to antiquity. When learning and culture returned to the world\nin the Renaissance, this power also returned. Raphael (see Fig. 12)\nand Michelangelo (see Fig. 183) were under its sway, and so are many\nmodern artists (see Figs. 72 and 154). They did not all understand the\nclassic spirit equally, therefore some of their pictures are modern\nin everything save the title, while others have caught the truth with\nsingular accuracy and are modern only in technique. Adding these\nItalian and more recent pictures to the collection further destroys\nmere unity, but it insures, on the other hand, a full appreciation of\nthe abiding and ennobling power of ancient mythology.\n\nFOOTNOTES:\n\n[1] See Preface.\n\nTHE CLASSIC MYTHS\n\n\n\n\nPART I\n\nMYTHS OF DIVINITIES AND HEROES\n\n\n\n\nCHAPTER I\n\nGREEK MYTHS OF THE CREATION\n\n\n=1. Purpose of the Study.= Interwoven with the fabric of our English\nliterature, of our epics, dramas, lyrics, and novels, of our essays\nand orations, like a golden warp where the woof is only too often of\nsilver, are the myths of certain ancient nations. It is the purpose of\nthis work to relate some of these myths, and to illustrate the uses to\nwhich they have been put in English literature, and, incidentally, in\nart.\n\n=2. The Fable and the Myth.= Careful discrimination must be made\nbetween the fable and the myth. A fable is a story, like that of\nKing Log, or the Fox and the Grapes, in which characters and plot,\nneither pretending to reality nor demanding credence, are fabricated\nconfessedly as the vehicle of moral or didactic instruction. Dr.\nJohnson narrows still further the scope of the fable: \"It seems to\nbe, in its genuine state, a narrative in which _beings_ _irrational,\nand sometimes inanimate_, are, for the purpose of moral instruction,\nfeigned to act and speak with human interests and passions.\" Myths,\non the other hand, are stories of anonymous origin, prevalent among\nprimitive peoples and by them accepted as true, concerning supernatural\nbeings and events, or natural beings and events influenced by\nsupernatural agencies. Fables are made by individuals; they may be told\nin any stage of a nation's history,--by a Jotham when the Israelites\nwere still under the Judges, 1200 years before Christ, or by Christ\nhimself in the days of the most critical Jewish scholarship; by a\nMenenius when Rome was still involved in petty squabbles of plebeians\nand patricians, or by Ph\u00e6drus and Horace in the Augustan age of Roman\nimperialism and Roman letters; by an \u00c6sop, well-nigh fabulous, to\nfabled fellow-slaves and Athenian tyrants, or by La Fontaine to the\nGrand Monarch and the most highly civilized race of seventeenth-century\nEurope.\n\nFables are vessels made to order into which a lesson may be poured.\nMyths are born, not made. They are born in the infancy of a people.\nThey owe their features not to any one historic individual, but to\nthe imaginative efforts of generations of story-tellers. The myth\nof Pandora, the first woman, endowed by the immortals with heavenly\ngraces, and of Prometheus, who stole fire from heaven for the use of\nman; the myth of the earthborn giants that in the beginning contested\nwith the gods the sovereignty of the universe; of the moon-goddess who,\nwith her buskined nymphs, pursues the chase across the azure of the\nheavens, or descending to earth cherishes the youth Endymion,--these\nmyths, germinating in some quaint and childish interpretation of\nnatural events or in some fireside fancy, have put forth unconsciously,\nunder the nurture of the simple folk that conceived and tended them,\nluxuriant branches and leaves of narrative, and blossoms of poetic\ncomeliness and form.\n\nThe myths that we shall relate present wonderful accounts of the\ncreation, histories of numerous divine beings, adventures of heroes\nin which magical and ghostly agencies play a part, and where animals\nand inanimate nature don the attributes of men and gods. Many of these\nmyths treat of divinities once worshiped by the Greeks and the Romans,\nand by our Norse and German forefathers in the dark ages. Myths, more\nor less like these, may be found in the literatures of nearly all\nnations; many are in the memories and mouths of savage races at this\ntime existent. But the stories here narrated are no longer believed by\nany one. The so-called divinities of Olympus and of Asgard have not a\nsingle worshiper among men. They dwell only in the realm of memory and\nimagination; they are enthroned in the palace of art.\n\nThe stories of Greek, Roman, Norse, and German mythology that have\nmost influenced our English literature will follow in the order\nnamed. The Romans, being by nature a practical, not a poetic, people,\nincorporated in their literature the mythology of the Greeks. We shall,\nhowever, append to our description of the Greek gods a brief account\nof the native Latin divinities that retained an individuality in Roman\nliterature.\n\n[Illustration: FIG. 1. JUPITER SURVEYING THE WORLD]\n\n=3. Origin of the World.=[2] There were among the Greeks several\naccounts of the beginning of things. Homer tells us that River Ocean,\na deep and mighty flood, encircling land and sea like a serpent with\nits tail in its mouth, was the source of all. According to other myths\nNight and Darkness were the prime elements of Nature, and from them\nsprang Light. Still a third theory, attributed to Orpheus, asserts\nthat Time was in the beginning, but had himself no beginning; that\nfrom him proceeded Chaos, a yawning abyss wherein brooded Night and\nMist and fiery air, or \u00c6ther; that Time caused the mist to spin round\nthe central fiery air till the mass, assuming the form of a huge world\negg, flew, by reason of its rapid rotation, into halves. Of these, one\nwas Heaven, the other Earth. From the center of the egg proceeded Eros\n(Love) and other wondrous beings.\n\nBut the most consistent account of the origin of the world and of the\ngods is given by the poet Hesiod, who tells us that Chaos, the yawning\nabyss, composed of Void, Mass, and Darkness in confusion, preceded all\nthings else. Next came into being broad-bosomed Earth, and beautiful\nLove who should rule the hearts of gods and men. But from Chaos itself\nissued Erebus,[3] the mysterious darkness that is under Earth,--and\nNight, dwelling in the remote regions of sunset.\n\nFrom Mother Earth proceeded first the starry vault of Heaven, durable\nas brass or iron, where the gods were to take up their abode. Earth\nbrought forth next the mountains and fertile fields, the stony plains,\nthe sea, and the plants and animals that possess them.\n\n=4. Origin of the Gods.= So far we have a history of the throes and\nchanges of the physical world; now begins the history of gods and\nof men. For in the heart of creation Love begins to stir, making of\nmaterial things creatures male and female, and bringing them together\nby instinctive affinity. First Erebus and Night, the children of Chaos,\nare wedded, and from them spring Light and Day; then _Uranus_, the\npersonified Heaven, takes _G\u00e6a_, the Earth, to wife, and from their\nunion issue Titans and hundred-handed monsters and Cyclopes.\n\nThe _Titans_[4] appear to be the personification of mighty convulsions\nof the physical world, of volcanic eruptions and earthquakes. They\nplayed a quarrelsome part in mythical history; they were instigators of\nhatred and strife. Homer mentions specially two of them, Iapetus and\nCronus; but Hesiod enumerates thirteen. Of these, the more important\nare Oceanus and Tethys, Hyperion and Thea, Cronus and Rhea, Iapetus,\nThemis, and Mnemosyne. The three _Cyclopes_ represented the terrors\nof rolling thunder, of the lightning-flash, and of the thunderbolt;\nand, probably, for this reason, one fiery eye was deemed enough for\neach. The hundred-handed monsters, or _Hecatonchires_, were also three\nin number. In them, probably, the Greeks imaged the sea with its\nmultitudinous waves, its roar, and its breakers that seem to shake the\nearth. These lightning-eyed, these hundred-handed monsters, their\nfather Uranus feared, and attempted to destroy by thrusting them into\nTartarus, the profound abysm of the earth. Whereupon Mother Earth, or\nG\u00e6a, indignant, called for help upon her elder children, the Titans.\nNone dared espouse her cause save Cronus, the crafty. With an iron\nsickle he lay in wait for his sire, fell upon him, and drove him,\ngrievously wounded, from the encounter. From the blood of the mutilated\nUranus leaped into being the Furies, whose heads writhe with serpents;\nthe Giants, a novel race of monsters; and the Melic Nymphs, invidious\nmaidens of the ashen spear.\n\n=5. The Rule of Cronus.= Now follows the reign of Cronus, lord of\nHeaven and Earth. He is, from the beginning, of incalculable years. In\nworks of art his head is veiled, to typify his cunning and his reserve;\nhe bears the sickle not only as memento of the means by which he\nbrought his father's tyranny to end, but as symbol of the new period of\ngrowth and golden harvests that he ushered in.\n\nFor unknown ages Cronus and Rhea, his sister-queen, governed Heaven\nand Earth. To them were born three daughters, Vesta, Ceres, and Juno,\nand three sons, Pluto, Neptune, and Jupiter. Cronus, however, having\nlearned from his parents that he should be dethroned by one of his own\nchildren, conceived the well-intentioned but ill-considered device\nof swallowing each as it was born. His queen, naturally desirous of\ndiscouraging the practice,--when it came to the turn of her sixth\nchild, palmed off on the insatiable Cronus a stone carefully enveloped\nin swaddling clothes. Jupiter (or Zeus), the rescued infant, was\nconcealed in the island of Crete, where, nurtured by the nymphs\nAdrastea and Ida, and fed on the milk of the goat Amalthea, he in due\nseason attained maturity. Then, assisted by his grandmother G\u00e6a, he\nconstrained Cronus to disgorge the burden of his cannibal repasts.\nFirst came to light the memorable stone, which was placed in safe\nkeeping at Delphi; then the five brothers and sisters of Jupiter,\nardent to avenge themselves upon the unnatural author of their\nexistence and their captivity.\n\n=6. The War of the Titans.= In the war which ensued Iapetus and all\nthe Titans, except Oceanus, ranged themselves on the side of their\nbrother Cronus against Jupiter and his recently recovered kinsfolk.\nJupiter and his hosts held Mount Olympus. For ages victory wavered in\nthe balance. Finally Jupiter, acting again under the advice of G\u00e6a,\nreleased from Tartarus, where Uranus had confined them, the Cyclopes\nand the Hecatonchires. Instantly they hastened to the battle-field\nof Thessaly, the Cyclopes to support Jupiter with their thunders\nand lightnings, the hundred-handed monsters with the shock of the\nearthquake. Provided with such artillery, shaking earth and sea,\nJupiter issued to the onslaught. With the gleam of the lightning the\nTitans were blinded, by the earthquake they were laid low, with the\nflames they were well-nigh consumed: overpowered and fettered by the\nhands of the Hecatonchires, they were consigned to the yawning cave of\nTartarus. Atlas, the son of Iapetus, was doomed to bear the heavens on\nhis shoulders. But a more famous son of the same Titan, Prometheus, who\nhad espoused the cause of Jove, acquired dignity hereafter to be set\nforth.\n\n=7. The Division of Empire.= In the council of the gods that succeeded,\nJupiter was chosen Sovereign of the World. He delegated to his brother\nNeptune (or Poseidon) the kingdom of the sea and of all the waters; to\nhis brother Pluto (or Hades), the government of the underworld, dark,\nunseen, mysterious, where the spirits of the dead should dwell, and\nof Tartarus, wherein were held the fallen Titans. For himself Jupiter\nretained Earth and the Heaven, into whose broad and sunny regions\ntowered Olympus, the favored mountain of the greater gods.[5]\n\n=8. The Reign of Jupiter.= New conflicts, however, awaited this new\ndynasty of Heaven--conflicts, the subject of many a tale among the\nancients. G\u00e6a, though she had aided her grandson Jupiter in the war\nagainst Cronus, was soon seized with compunctions of conscience; and\ncontemplating the cruel fate of her sons the Titans, she conceived\nschemes of vengeance upon their conqueror. Another son was born to\nher--_Typhon_, a monster more awful than his predecessors--whose\ndestiny it was to dispute the sway of the almighty Zeus. From the neck\nof Typhon dispread themselves a hundred dragon-heads; his eyes shot\nfire, and from his black-tongued chaps proceeded the hissing of snakes,\nthe bellowing of bulls, the roaring of lions, the barking of dogs,\npipings and screams, and, at times, the voice and utterance of the gods\nthemselves. Against Heaven this horror lifted himself; but quailing\nbefore the thunderbolt of Jove, he too descended to Tartarus, his own\nplace and the abode of his brethren. To this day, however, he grumbles\nand hisses, thrusts upward a fiery tongue through the crater of a\nvolcano, or, breathing siroccos, scorches trees and men.\n\n[Illustration: FIG. 2. ATHENA AND GIANT]\n\nLater still, the _Giants_, offspring of the blood that fell from the\nwounded Uranus, renewed the revolt against the Olympian gods. They were\ncreatures nearer akin to men than were the Titans, or the Cyclopes,\nor Typhon. They clothed themselves in the skins of beasts, and armed\nthemselves with rocks and trunks of trees. Their bodies and lower\nlimbs were of snakes. They were awful to encounter or to look upon.\nThey were named, like men, the _earthborn_; and their characteristics\nwould suggest some prehistoric brutish race, hotheaded, not amenable\nto reason.[6] Of the Giants, the more mighty were Alcyoneus of the\nwinter storms and icebergs, Pallas, and Enceladus, and Porphyrion\nthe fire-king,--leader of the crew. In the war against them, Juno\nand Minerva, divinities of the new dynasty of Heaven, took active\npart,--and Hercules, an earthly son of Jupiter, whose arrows aided\nin their defeat. It was from the overthrow of Pallas that Athena (or\nMinerva) derived, according to certain records, her proud designation\nof Pallas-Athena.[7] In due course, like the Titans and Typhon, the\nGiants were buried in the abyss of eternal darkness. What other outcome\ncan be expected when mere physical or brute force joins issue with the\nenlightened and embattled hosts of heaven?\n\n[Illustration: FIG. 3. ZEUS AND GIANTS]\n\n=9. The Origin of Man= was a question which the Greeks did not settle\nso easily as the Hebrews. Greek traditions do not trace all mankind\nto an original pair. On the contrary, the generally received opinion\nwas that men grew out of trees and stones, or were produced by the\nrivers or the sea. Some said that men and gods were both derived from\nMother Earth, hence both _autochthonous_; and some, indeed, claimed\nan antiquity for the human race equal to that of the divinities. All\nnarratives, however, agree in one statement,--that the gods maintained\nintimate relations with men until, because of the growing sinfulness\nand arrogance of mankind, it became necessary for the immortals to\nwithdraw their favor.\n\n=10. Prometheus, a Creator.= There is a story which attributes the\nmaking of man to Prometheus, whose father Iapetus had, with Cronus,\nopposed the sovereignty of Jupiter. In that conflict, Prometheus,\ngifted with prophetic wisdom, had adopted the cause of the Olympian\ndeities. To him and his brother Epimetheus was now committed the\noffice of making man and providing him and all other animals with the\nfaculties necessary for their preservation. Prometheus was to overlook\nthe work of Epimetheus. Epimetheus proceeded to bestow upon the\ndifferent animals the various gifts of courage, strength, swiftness,\nsagacity; wings to one, claws to another, a shelly covering to a third.\nBut Prometheus himself made a nobler animal than these. Taking some\nearth and kneading it with water, he made man in the image of the gods.\nHe gave him an upright stature, so that while other animals turn their\nfaces toward the earth, man gazes on the stars. Then since Epimetheus,\nalways rash, and thoughtful when too late, had been so prodigal of his\ngifts to other animals that no blessing was left worth conferring upon\nthe noblest of creatures, Prometheus ascended to heaven, lighted his\ntorch at the chariot of the sun, and brought down fire. With fire in\nhis possession man would be able to win her secrets and treasures from\nthe earth, to develop commerce, science, and the arts.\n\n[Illustration: FIG. 4. PROMETHEUS MAKING MAN]\n\n=11. The Age of Gold.= Whether in this or in other ways the world was\nfurnished with inhabitants, the first age was an age of innocence and\nhappiness. Truth and right prevailed, though not enforced by law, nor\nwas there any in authority to threaten or to punish. The forest had\nnot yet been robbed of its trees to yield timbers for vessels, nor\nhad men built fortifications round their towns. There were no such\nthings as swords, spears, or helmets. The earth brought forth all\nthings necessary for man, without his labor in plowing or sowing.\nPerpetual spring reigned, flowers sprang up without seed, the rivers\nflowed with milk and wine, and yellow honey distilled from the oaks.\nThis Golden Age had begun in the reign of Cronus.[8] And when these\nheroes fell asleep in death, they were translated in a pleasant dream\nto a spiritual existence, in which, unseen by mortal eyes, they still\nattended men as monitors and guardians.\n\n=12. The Silver Age= came next, inferior to the golden. Jupiter\nshortened the spring, and divided the year into seasons. Then,\nfirst, men suffered the extremes of heat and cold, and houses became\nnecessary. Caves were their dwellings,--and leafy coverts of the woods,\nand huts woven of twigs. Crops would no longer grow without planting.\nThe farmer was constrained to sow the seed, and the ox to draw the\nplow. This was a race of manly men, but insolent and impious. And when\nthey died, Jupiter made them ghosts of the underworld, but withheld the\nprivilege of immortal life.\n\n=13. Prometheus, Champion of Man.= During this age when, as Hesiod\nsays, the altars of the blessed were neglected, and the gods were\ndenied their due, Prometheus stood forth--the champion of man against\nthe Olympians.[9] For the son of Cronus had grudged mortals the use\nof fire, and was, in fact, contemplating their annihilation and the\ncreation of a new race. Therefore, once upon a time, when gods and\nmen were in dispute at Sicyon concerning the prerogatives of each,\nPrometheus, by an ingenious trick, attempted to settle the question\nin favor of man. Dividing into two portions a sacrificial bull, he\nwrapped all the eatable parts in the skin, cunningly surmounted with\nuninviting entrails; but the bones he garnished with a plausible\nmass of fat. He then offered Jupiter his choice. The king of Heaven,\nalthough he perceived the intended fraud, took the heap of bones and\nfat, and, forthwith availing himself of this insult as an excuse for\npunishing mankind, deprived the race of fire. But Prometheus regained\nthe treasure, stealing it from Heaven in a hollow tube.\n\n=14. Pandora.= Doubly enraged, Jupiter, in his turn, had recourse\nto stratagem. He is declared to have planned for man a curse in the\nshape of woman. How the race had persisted hitherto without woman is a\nmystery; but that it had done so, with no slight degree of happiness,\nthe experience of the Golden Age would seem to prove. However, the\nbewitching evil was fashioned,--in Heaven, properly enough,--and every\ngod and goddess contributed something to her perfection. One gave her\nbeauty, another persuasive charm, a third the faculty of music. And\nthey named her Pandora, \"the gift of all the gods.\" Thus equipped,\nshe was conveyed to earth and presented to Epimetheus, who, without\nhesitation, accepted the gift, though cautioned by his brother to\nbeware of Jupiter and all his ways. And the caution was not groundless.\nIn the hand of Pandora had been placed by the immortals a casket or\nvase which she was forbidden to open. Overcome by an unaccountable\ncuriosity to know what this vessel contained, she one day lifted the\ncover and looked in. Forthwith there escaped a multitude of plagues for\nhapless man--gout, rheumatism, and colic for his body; envy, spite, and\nrevenge for his mind--and scattered themselves far and wide. Pandora\nhastened to replace the lid; but one thing only remained in the casket,\nand that was _hope_.\n\n=15. Prometheus Bound.= Because of his unselfish devotion to the cause\nof humanity, Prometheus drew down on himself the anger of Olympian\nJove, by whose order he was chained to a rock on Mount Caucasus, and\nsubjected to the attack of an eagle (or a vulture) which, for ages,\npreyed upon his liver, yet succeeded not in consuming it. This state of\ntorment might have been brought to an end at any time by Prometheus,\nif he had been willing to submit to his oppressor; for he possessed\na secret which involved the stability of Jove's throne. This was\nthat by a certain woman Jove would beget a son who should displace\nhim and end the sway of the Olympians. The god naturally desired more\naccurate information of this decree of Fate. But to reveal the secret\nPrometheus disdained. In this steadfastness the Titan was supported by\nthe knowledge that in the thirteenth generation there should arrive a\nhero,--sprung from Jove himself,--to release him.[10] And in fullness\nof time the hero did arrive: none other than the mighty Hercules\ndesirous of rendering the highest service to mankind. No higher\nservice, thinks this radiant and masterful personage,--who, as we shall\nsee, had already cleared the world of many a monster,--remains to be\nperformed than to free the champion of mankind, suffering through the\nages because he had brought light into the world. \"The soul of man,\"\nsays Hercules to the Titan--\n\n The soul of man can never be enslaved\n Save by its own infirmities, nor freed\n Save by its very strength and own resolve\n And constant vision and supreme endeavor!\n You will be free? Then, courage, O my brother!\n O let the soul stand in the open door\n Of life and death and knowledge and desire\n And see the peaks of thought kindle with sunrise!\n Then shall the soul return to rest no more,\n Nor harvest dreams in the dark field of sleep--\n Rather the soul shall go with great resolve\n To dwell at last upon the shining mountains\n In liberal converse with the eternal stars.[11]\n\nAnd he kills the vulture; and sets Jove's victim free.\n\nBy his demeanor Prometheus has become the ensample of magnanimous\nendurance, and of resistance to oppression.\n\n Titan! to whose immortal eyes\n The sufferings of mortality,\n Seen in their sad reality,\n Were not as things that gods despise,\n What was thy pity's recompense?\n A silent suffering, and intense;\n The rock, the vulture, and the chain,\n All that the proud can feel of pain,\n The agony they do not show,\n The suffocating sense of woe,\n Which speaks but in its loneliness,\n And then is jealous lest the sky\n Should have a listener, nor will sigh\n Until its voice is echoless....\n\n Thy godlike crime was to be kind,\n To render with thy precepts less\n The sum of human wretchedness,\n And strengthen man with his own mind.\n But, baffled as thou wert from high,\n Still, in thy patient energy,\n In the endurance and repulse\n Of thine impenetrable spirit,\n Which earth and heaven could not convulse,\n A mighty lesson we inherit[12]....\n\n=16. Longfellow's Prometheus.= A happy application of the story of\nPrometheus is made by Longfellow in the following verses:[13]\n\n Of Prometheus, how undaunted\n On Olympus' shining bastions\n His audacious foot he planted,\n Myths are told, and songs are chanted,\n Full of promptings and suggestions.\n\n Beautiful is the tradition\n Of that flight through heavenly portals,\n The old classic superstition\n Of the theft and the transmission\n Of the fire of the Immortals!\n\n First the deed of noble daring,\n Born of heavenward aspiration,\n Then the fire with mortals sharing,\n Then the vulture,--the despairing\n Cry of pain on crags Caucasian.\n\n All is but a symbol painted\n Of the Poet, Prophet, Seer;\n Only those are crowned and sainted\n Who with grief have been acquainted,\n Making nations nobler, freer.\n\n In their feverish exultations,\n In their triumph and their yearning,\n In their passionate pulsations,\n In their words among the nations,\n The Promethean fire is burning.\n\n Shall it, then, be unavailing,\n All this toil for human culture?\n Through the cloud-rack, dark and trailing,\n Must they see above them sailing\n O'er life's barren crags the vulture?\n\n Such a fate as this was Dante's,\n By defeat and exile maddened;\n Thus were Milton and Cervantes,\n Nature's priests and Corybantes,\n By affliction touched and saddened.\n\n But the glories so transcendent\n That around their memories cluster,\n And, on all their steps attendant,\n Make their darkened lives resplendent\n With such gleams of inward lustre!\n\n All the melodies mysterious,\n Through the dreary darkness chanted;\n Thoughts in attitudes imperious,\n Voices soft, and deep, and serious,\n Words that whispered, songs that haunted!\n\n All the soul in rapt suspension,\n All the quivering, palpitating\n Chords of life in utmost tension,\n With the fervor of invention,\n With the rapture of creating!\n\n Ah, Prometheus! heaven-scaling!\n In such hours of exultation\n Even the faintest heart, unquailing,\n Might behold the vulture sailing\n Round the cloudy crags Caucasian!\n\n Though to all there is not given\n Strength for such sublime endeavor,\n Thus to scale the walls of heaven,\n And to leaven with fiery leaven\n All the hearts of men forever;\n\n Yet all bards, whose hearts unblighted\n Honor and believe the presage,\n Hold aloft their torches lighted,\n Gleaming through the realms benighted,\n As they onward bear the message!\n\n=17. The Brazen Age.= Next to the Age of Silver came that of brass,[14]\nmore savage of temper and readier for the strife of arms, yet not\naltogether wicked.\n\n=18. The Iron Age.= Last came the hardest age and worst,--of iron.\nCrime burst in like a flood; modesty, truth, and honor fled. The gifts\nof the earth were put only to nefarious uses. Fraud, violence, war at\nhome and abroad were rife. The world was wet with slaughter; and the\ngods, one by one, abandoned it, Astr\u00e6a, following last, goddess of\ninnocence and purity.\n\n=19. The Flood.= Jupiter, observing the condition of things, burned\nwith anger. He summoned the gods to council. Obeying the call, they\ntraveled the Milky Way to the palace of Heaven. There, Jupiter set\nforth to the assembly the frightful condition of the earth, and\nannounced his intention of destroying its inhabitants, and providing a\nnew race, unlike the present, which should be worthier of life and more\nreverent toward the gods. Fearing lest a conflagration might set Heaven\nitself on fire, he proceeded to drown the world. Not satisfied with his\nown waters, he called his brother Neptune to his aid. Speedily the race\nof men, and their possessions, were swept away by the deluge.\n\n=20. Deucalion and Pyrrha.= Parnassus alone, of the mountains,\novertopped the waves; and there Deucalion, son of Prometheus, and\nhis wife Pyrrha, daughter of Epimetheus, found refuge--he a just man\nand she a faithful worshiper of the gods. Jupiter, remembering the\nharmless lives and pious demeanor of this pair, caused the waters to\nrecede,--the sea to return to its shores, and the rivers to their\nchannels. Then Deucalion and Pyrrha, entering a temple defaced with\nslime, approached the unkindled altar and, falling prostrate, prayed\nfor guidance and aid. The oracle[15] answered, \"Depart from the temple\nwith head veiled and garments unbound, and cast behind you the bones\nof your mother.\" They heard the words with astonishment. Pyrrha first\nbroke silence: \"We cannot obey; we dare not profane the remains of\nour parents.\" They sought the woods, and revolved the oracle in their\nminds. At last Deucalion spoke: \"Either my wit fails me or the command\nis one we may obey without impiety. The earth is the great parent of\nall; the stones are her bones; these we may cast behind us; this, I\nthink, the oracle means. At least, to try will harm us not.\" They\nveiled their faces, unbound their garments, and, picking up stones,\ncast them behind them. The stones began to grow soft and to assume\nshape. By degrees they put on a rude resemblance to the human form.\nThose thrown by Deucalion became men; those by Pyrrha, women. It was a\nhard race that sprang up, and well adapted to labor.\n\n=21. The Demigods and Heroes.= As preceding the Age of Iron, Hesiod\nmentions an _Age of Demigods and Heroes_. Since, however, these\ndemigods and heroes were, many of them, reputed to have been directly\ndescended from Deucalion, their epoch must be regarded as subsequent\nto the deluge. The hero, Hellen, son of Deucalion and Pyrrha, became\nthe ancestor of the Hellenes, or Greeks. The \u00c6olians and Dorians were,\naccording to legend, descended from his sons \u00c6olus and Dorus; from his\nson Xuthus, the Ach\u00e6ans and Ionians derived their origin.\n\nAnother great division of the Greek people, the Pelasgic, resident in\nthe Peloponnesus or southern portion of the peninsula, was said to have\nsprung from a different stock of heroes, that of Pelasgus, son of\nPhoroneus of Argos and grandson of the river-god Inachus.\n\nThe demigods and heroes were of matchless worth and valor. Their\nadventures form the subject of many of the succeeding chapters. The\nOlder Heroes, especially, were endowed with godlike qualities, which\nthey devoted to the service of mankind in the destruction of monsters,\nthe founding of cities, or the introduction of civilization. Such were\nPerseus, the hero of Argos and his descendant Hercules, who came to be\nworshiped as the national hero of the Greeks. Such, too, Cadmus, the\nfounder of Thebes, and Cecrops of Athens, and one of his successors,\nTheseus, a \"second Hercules.\" Each city of Greece had its patron hero,\nto whom it accorded the honors of divinity. The Younger Heroes were\nchieftains in the Theban and the Trojan wars and in numerous other\nmilitary or predatory expeditions.\n\n[Illustration: FIG. 5. POSEIDON, DIONYSUS, AND GODDESS]\n\nFOOTNOTES:\n\n[2] Supplementary information concerning many of the myths may be found\nin the corresponding sections of the Commentary. For the pronunciation\nof names see Index, and Rules preceding the Index.\n\n[3] So far as possible, Latin designations, or Latinized forms of Greek\nnames, are used.\n\n[4] On the Titans, etc., Preller's Griech. Mythol. 1, 37.\n\n[5] On signification of Uranus, Cronus, Zeus, see Preller, 1, 37, 38,\nand Commentary, \u00a7\u00a7 4, 24.\n\n[6] Roscher, Ausf. Lex., Article _Giganten_ [J. Ilberg].\n\n[7] The name more probably signifies Brandisher [of the Lance].\n\n[8] Consequently the creation of these men could not be assigned to\nPrometheus,--unless they were made by him before the war of the Titans.\n\n[9] There is uncertainty as to the mythical period of these events. The\norder here given seems to me well grounded. Hes. Works and Days, 180;\nTheog. 790-910.\n\n[10] \u00a7\u00a7 156, 161, 191 and Commentary, \u00a7 10.\n\n[11] From Herakles, a drama by George Cabot Lodge.\n\n[12] From Byron's Prometheus. See also his translation from the\nPrometheus Vinctus of \u00c6schylus, and his Ode to Napoleon Buonaparte.\n\n[13] Prometheus, or The Poet's Forethought. See Commentary.\n\n[14] Compare Byron's political satire, The Age of Bronze.\n\n[15] Oracles, see \u00a7\u00a7 24, 30, and Commentary.\n\n\n\n\nCHAPTER II\n\nTHE GODS OF HEAVEN[16]\n\n\n[Illustration: FIG. 6. TWO HOURS]\n\n=22. Olympus.= The heaven of the Greek gods was the summit of an ideal\nmountain called Olympus.[17] A gate of clouds, kept by goddesses,\nthe Hours or Seasons, opened to permit the passage of the Celestials\nto earth, and to receive them on their return. The gods had their\nseparate dwellings; but all, when summoned, repaired to the palace\nof Jupiter,--even the deities whose usual abode was the earth, the\nwaters, or the underworld. In the great hall of the Olympian king the\ngods feasted each day on ambrosia and nectar. Here they conversed of\nthe affairs of heaven and earth; and as they quaffed the nectar that\nHebe poured, Apollo made melody with his lyre and the Muses sang in\nresponsive strain. When the sun was set, the gods withdrew to their\nrespective dwellings for the night.\n\nThe following lines from the Odyssey express the conception of Olympus\nentertained by Homer:\n\n So saying, Minerva, goddess, azure-eyed,\n Rose to Olympus, the reputed seat\n Eternal of the gods, which never storms\n Disturb, rains drench, or snow invades, but calm\n The expanse and cloudless shines with purest day.\n There the inhabitants divine rejoice\n Forever.[18]\n\n=23. The Great Gods.= The gods of Heaven were the following:[19]\n\n Jupiter (Zeus).[20]\n His daughter, Minerva (Athena), who sprang from his brain,\n full-grown and full-armed.\n His sister and wife, Juno (Hera).\n His children by Juno,--Mars (Ares), Vulcan (Heph\u00e6stus), and Hebe.\n His children by Latona,--Apollo, or Ph[oe]bus, and Diana (Artemis).\n His daughter by Dione,--Venus (Aphrodite).[21]\n His son by Maia,--Mercury (Hermes).\n His sister, Vesta (Hestia), the oldest born of Cronus and Rhea.\n\nOf these all were deities of the highest order save Hebe, who must\nbe ranked with the lesser gods. With the remaining ten \"Great Gods\"\nare sometimes reckoned the other sister of Jupiter, Ceres (Demeter),\nproperly a divinity of earth, and Neptune (Poseidon), ruler of the sea.\n\n=24. Jupiter[22] (Zeus).= The Greek name signifies the radiant light of\nheaven. Jupiter was the supreme ruler of the universe, wisest of the\ndivinities and most glorious. In the Iliad he informs the other gods\nthat their united strength would not budge him: that, on the contrary,\nhe could draw them and earth and the seas to himself, and suspend all\nfrom Olympus by a golden chain. Throned in the high, clear heavens,\nJupiter was the gatherer of clouds and snows, the dispenser of gentle\nrains and winds, the moderator of light and heat and the seasons, the\nthunderer, the wielder of the thunderbolt. Bodily strength and valor\nwere dear to him. He was worshiped with various rites in different\nlands, and to him were sacred everywhere the loftiest trees and the\ngrandest mountain peaks. He required of his worshipers cleanliness\nof surroundings and person and heart. Justice was his; his to repay\nviolation of duty in the family, in social relations, and in the state.\nProphecy was his; and his will was made known at the oracle of Dodona,\nwhere answers were given to those who inquired concerning the future.\nThis oracular shrine was the most ancient in Greece. According to one\naccount two black doves had taken wing from Thebes in Egypt. One flew\nto Dodona in Epirus, and, alighting in a grove of oaks, proclaimed to\nthe inhabitants of the district that they should establish there an\noracle of Jupiter. The other dove flew to the temple of Jupiter Ammon\nin the Libyan oasis, and delivered a similar command. According to\nanother account, these were not doves but priestesses who, carried off\nfrom Thebes by the Ph[oe]nicians, set up oracles at Oasis and Dodona.\nThe responses of the oracle were given by the rustling of the oak trees\nin the wind. The sounds were interpreted by priests.\n\n[Illustration: FIG. 7. ZEUS]\n\nThat Jupiter himself, though wedded to the goddess Juno, should be\ncharged with numerous other love affairs, not only in respect of\ngoddesses but of mortals, is, in part, explained by the fact that\nto the supreme divinity of the Greeks have been ascribed attributes\nand adventures of numerous local and foreign divinities that were\ngradually identified with him. It is, therefore, not wise to assume\nthat the love affairs of Jupiter and of other divinities always\nsymbolize combinations of natural or physical forces that have repeated\nthemselves in ever-varying guise. It is important to understand\nthat the more ideal Olympian religion absorbed features of inferior\nreligions, and that Jupiter, when represented as appropriating the\ncharacteristics of other gods, was sometimes, also, accredited with\ntheir wives.\n\nBeside the children of Jupiter already enumerated, there should here be\nmentioned, as of peculiar consequence, Bacchus (Dionysus), the god of\nwine, a deity of earth,--Proserpine, the wife of Pluto and queen of the\nunderworld,--and Hercules, the greatest of the heroes.\n\n[Illustration: FIG. 8. ZEUS AFTER PHIDIAS]\n\n=25. Conceptions of Jupiter.= The Greeks usually conceived the Jupiter\nof war as riding in his thunder-car, hurling the thunderbolt or\nlashing his enemies with a scourge of lightning. He wore a breastplate\nor shield of storm-cloud like the skin of a gray goat (the _\u00c6gis_),\nfearful to behold, and made by the god of fire. His special messenger\nwas the eagle. It was, however, only with the passage of generations\nthat the Greeks came to represent their greatest of the gods by\nthe works of men's hands. The statue of Olympian Jove by Phidias\nwas considered the highest achievement of Grecian sculpture. It\nwas of colossal dimensions and, like other statues of the period,\n\"chryselephantine,\" that is, composed of ivory and gold. For the parts\nrepresenting flesh were of ivory laid on a framework of wood, while the\ndrapery and ornaments were of gold. The height of the figure was forty\nfeet, of the pedestal twelve. The god was represented as seated on his\nthrone. His brows were crowned with a wreath of olive; he held in his\nright hand a scepter, and in his left a statue of Victory. The throne\nwas of cedar, adorned with gold and precious stones.\n\nThe idea which the artist essayed to embody was that of the supreme\ndeity of the Hellenic race, enthroned as a conqueror, in perfect\nmajesty and repose, and ruling with a nod the subject world. Phidias\ninforms us that the idea was suggested by Homer's lines in the first\nbook of the Iliad:\n\n Jove said, and nodded with his shadowy brows;\n Waved on th' immortal head th' ambrosial locks,--\n And all Olympus trembled at his nod.[23]\n\nUnfortunately, our knowledge of this famous statue is confined to\nliterary descriptions, and to copies on coins. Other representations\nof Jove have been obtained from Greek bronze statuettes, or the\nwall-paintings of Herculaneum and Pompeii.\n\n=26. Juno[24] (Hera)=, sister and wife of Jupiter. According to some,\nthe name _Hera_ means Splendor of Heaven, according to others, the\nLady. Some think it approves her goddess of earth; others, goddess\nof the air; still others, for reasons by no means final, say that it\nsignifies Protectress, and applies to Juno in her original function\nof moon-goddess, the chosen guardian of women, their aid in seasons\nof distress. Juno's union with Jupiter was the prototype of earthly\nmarriages. She is the type of matronly virtues and dignity.\n\n[Illustration: FIG. 9. HERA OF ARGOS]\n\nShe was the daughter of Cronus and Rhea, but was brought up by Oceanus\nand Tethys in their dwelling in the remote west beyond the sea. Without\nthe knowledge of her parents, she was wedded to Jupiter in this garden\nof the gods where ambrosial rivers flowed, and where Earth sent up in\nhonor of the rite a tree of life, heavy with apples golden like the\nsunset. Juno was the most worthy of the goddesses, the most queenly;\nox-eyed, says Homer; says Hesiod, golden-sandaled and golden-throned.\nGlorious beyond compare was her presence, when she had harnessed her\nhorses, and driven forth the golden-wheeled chariot that Hebe made\nready, and that the Hours set aside. Fearful, too, could be her wrath.\nFor she was of a jealous disposition, which was not happily affected by\nthe vagaries of her spouse; and she was, moreover, prone to quarrels,\nself-willed, vengeful, proud, even on occasion deceitful. Once, indeed,\nshe conspired with Minerva and Neptune to bind the cloud-compeller\nhimself. More than once she provoked him to blows; and once to worse\nthan blows,--for her lord and master swung her aloft in the clouds,\nsecuring her wrists in golden handcuffs and hanging anvils to her feet.\n\nThe cities that the ox-eyed goddess favored were Argos, Sparta, and\nMycen\u00e6. To her the peacock and the cow were dear, and many a grove and\npasture rejoiced her sacred herds.\n\n[Illustration: HERA OF THE VATICAN]\n\n[Illustration: FIG. 10. ATHENA VELLETRI]\n\n=27. Minerva= (=Athene= or =Athena=), the virgin goddess. She sprang\nfrom the brain of Jove, agleam with panoply of war, brandishing a\nspear and with her battle-cry awakening the echoes of heaven and\nearth. She is goddess of the lightning that leaps like a lance from\nthe cloud-heavy sky, and hence, probably, the name _Athene_.[25] She\nis goddess of the storms and of the rushing thunderbolt, and is,\ntherefore, styled Pallas. She is the goddess of the thundercloud,\nwhich is symbolized by her tasseled breastplate of goatskin, the\n_\u00e6gis_, whereon is fixed the head of Medusa, the Gorgon, that turns\nto stone all beholders. She is also the goddess of war, rejoicing\nin martial music and protecting the war horse and the warship. On\nthe other hand, she is of a gentle, fair, and thoughtful aspect. Her\nLatin name _Minerva_ is connected with the Sanskrit, Greek, and Latin\nwords for _mind_. She is eternally a virgin, the goddess of wisdom, of\nskill, of contemplation, of spinning and weaving, of horticulture and\nagriculture. She is protectress of cities, and was specially worshiped\nin her own Athens, in Argos, in Sparta, and in Troy. To her were\nsacrificed oxen and cows. The olive tree, created by her, was sacred to\nher, and also the owl, the cock, the serpent, and the crow.\n\n=28. Mars (Ares)=,[26] the war-god, son of Jupiter and Juno.\nThe meaning of the name _Ares_ is uncertain; the most probable\nsignifications are the _Slayer_, the _Avenger_, the _Curse_. The\nRoman god of war, Mars, is the _bright_ and _burning_ one. Homer, in\nthe Iliad, represents Ares as the insatiable warrior of the heroic\nage, who, impelled by rage and lust of violence, exults in the noise\nof battle, revels in the horror of carnage. Strife and slaughter\nare the condition of his existence. Where the fight is thickest,\nthere he rushes in without hesitation, without question as to which\nside is right. In battle array he is resplendent,--on his head the\ngleaming helmet and floating plume, on his arm the leathern shield,\nin his hand the redoubtable spear of bronze. Well-favored, stately,\nswift, unwearied, puissant, gigantic, he is still the foe of wisdom,\nthe scourge of mortals. Usually he fights on foot, sometimes from a\nchariot drawn by four horses,--the offspring of the North Wind and\na Fury. In the fray his sons attend him,--Terror, Trembling, Panic,\nand Fear,--also his sister Eris, or Discord (the mother of Strife),\nhis daughter Enyo, ruiner of cities, and a retinue of bloodthirsty\ndemons. As typifying the chances of war, Mars is, of course, not always\nsuccessful. In the battles before Troy, Minerva and Juno bring him more\nthan once to grief; and when he complains to Jupiter, he is snubbed as\na renegade most hateful of all the gods.[27] His loved one and mistress\nis the goddess of beauty herself. In her arms the warrior finds repose.\nTheir daughter Harmonia is the ancestress of the unquiet dynasty of\nThebes. The favorite land of Mars was, according to Homer, the rough,\nnortherly Thrace. His emblems are the spear and the burning torch; his\nchosen animals are haunters of the battle field,--the vulture and the\ndog.\n\n[Illustration: FIG. 11. ARES LUDOVISI]\n\n=29. Vulcan (Heph\u00e6stus)=, son of Jupiter and Juno, was the god of fire,\nespecially of terrestrial fire,--volcanic eruption, incendiary flame,\nthe glow of the forge or the hearth. But as the fires of earth are\nderived from that of heaven, perhaps the name _Heph\u00e6stus_ (burning,\nshining, flaming) referred originally to the marvelous brilliance\nof the lightning. Vulcan was the blacksmith of the gods, the finest\nartificer in metal among them. His forge in Olympus was furnished\nnot only with anvils and all other implements of the trade, but with\nautomatic handmaidens of silver and gold, fashioned by Vulcan himself.\nPoets later than Homer assign to Vulcan workshops under various\nvolcanic islands. From the crater of Mount \u00c6tna poured forth the fumes\nand flames of his smithy. He built the dwellings of the gods; he made\nthe scepter of Jove, the shields and spears of the Olympians, the\narrows of Apollo and Diana, the breastplate of Hercules, the shield of\nAchilles.\n\n[Illustration: FIG. 12. ARES (MARS)]\n\nHe was lame of gait,--a figurative suggestion, perhaps, of the\nflickering, unsteady nature of fire. According to his own story,[28]\nhe was born halt; and his mother, chagrined by his deformity, cast\nhim from Heaven out of the sight of the gods. Yet, again,[29] he says\nthat, attempting once to save his mother from Jupiter's wrath, he was\ncaught by the foot and hurled by the son of Cronus from the heavenly\nthreshold: \"All day I flew; and at the set of sun I fell in Lemnos, and\nlittle life was left in me.\" Had he not been lame before, he had good\nreason to limp after either of these catastrophes. He took part in the\nmaking of the human race, and in the special creation of Pandora. He\nassisted also at the birth of Minerva, to facilitate which he split\nJupiter's head open with an ax.\n\n[Illustration: FIG. 13. THE FORGE OF VULCAN]\n\nHis wife, according to the Iliad and Hesiod's Theogony, is Aglaia,\nthe youngest of the Graces; but in the Odyssey it is Venus. He is a\nglorious, good-natured god, loved and honored among men as the founder\nof wise customs and the patron of artificers; on occasion, as a god\nof healing and of prophecy. He seems to have been, when he chose, the\ncause of \"inextinguishable laughter\" to the gods, but he was by no\nmeans a fool. The famous god of the strong arms could be cunning, even\nvengeful, when the emergency demanded.\n\n[Illustration: FIG. 14. APOLLO IN THE VATICAN]\n\n=30. Apollo=, or Ph[oe]bus Apollo, the son of Jupiter and Latona, was\npre\u00ebminently the god of the sun. His name _Ph[oe]bus_ signifies the\nradiant nature of the sunlight; his name _Apollo_, perhaps, the cruel\nand destructive heat of noonday. Soon after his birth, Jupiter would\nhave sent him to Delphi to inculcate righteousness and justice among\nthe Greeks; but the golden god Apollo chose first to spend a year in\nthe land of the Hyperboreans, where for six continuous months of the\nyear there is sunshine and spring, soft climate, profusion of herbs\nand flowers, and the very ecstasy of life. During this delay the\nDelphians sang p\u00e6ans,--hymns of praise,--and danced in chorus about\nthe tripod (or three-legged stool), where the expectant priestess of\nApollo had taken her seat. At last, when the year was warm, came the\ngod in his chariot drawn by swans,--heralded by songs of springtide,\nof nightingales and swallows and crickets. Then the crystal fount\nof Castalia and the stream Cephissus overflowed their bounds, and\nmankind made grateful offerings to the god. But his advent was not\naltogether peaceful. An enormous serpent, Python, had crept forth from\nthe slime with which, after the flood, the Earth was covered; and in\nthe caves of Mount Parnassus this terror of the people lurked. Him\nApollo encountered and after fearful combat slew, with arrows, weapons\nwhich the god of the silver bow had not before used against any but\nfeeble animals,--hares, wild goats, and such game. In commemoration\nof this illustrious conquest, he instituted the Pythian games, in\nwhich the victor in feats of strength, swiftness of foot, or in the\nchariot race, should be crowned with a wreath of beech leaves. Apollo\nbrought not only the warm spring and summer, but also the blessings\nof the harvest. He warded off the dangers and diseases of summer and\nautumn; and he healed the sick. He was patron of music and of poetry.\nThrough his oracle at Delphi, on the slopes of Parnassus in Phocis, the\nPythian god made known the future to those who consulted him. He was a\nfounder of cities, a promoter of colonization, a giver of good laws,\nthe ideal of fair and manly youth,--a pure and just god, requiring\nclean hands and pure hearts of those that worshiped him. But though a\ngod of life and peace, the far-darter did not shun the weapons of war.\nWhen presumption was to be punished, or wrong righted, he could bend\nhis bow and slay with the arrows of his sunlight. As in the days of his\nyouth he slew the Python, so, also, he slew the froward Tityus, and so\nthe children of Niobe. While Ph[oe]bus Apollo is the Olympian divinity\nof the sun, fraught with light and healing, spiritual, creative, and\nprophetic, he must not be confounded with a god of the older dynasty,\nHelios (offspring of Hyperion, Titanic deity of light), who represented\nthe sun in its daily and yearly course, in its physical rather than\nspiritual manifestation. The bow of Apollo was bound with laurel in\nmemory of Daphne, whom he loved. To him were sacred, also, many\ncreatures,--the wolf, the roe, the mouse, the he-goat, the ram, the\ndolphin, and the swan.[30]\n\n[Illustration: FIG. 15. APOLLO BELVEDERE]\n\n=31. Shelley's Hymn of Apollo.=\n\n The sleepless Hours who watch me as I lie,\n Curtained with star-inwoven tapestries,\n From the broad moonlight of the sky,\n Fanning the busy dreams from my dim eyes,--\n Waken me when their mother, the gray Dawn,\n Tells them that dreams and that the moon is gone.\n\n[Illustration: FIG. 16. APOLLO]\n\n Then I arise, and climbing Heaven's blue dome,\n I walk over the mountains and the waves,\n Leaving my robe upon the ocean foam;\n My footsteps pave the clouds with fire; the caves\n Are filled with my bright presence, and the air\n Leaves the green earth to my embraces bare.\n\n The sunbeams are my shafts, with which I kill\n Deceit, that loves the night and fears the day;\n All men who do or even imagine ill\n Fly me, and from the glory of my ray\n Good minds and open actions take new might,\n Until diminished by the reign of night.\n\n I feed the clouds, the rainbows, and the flowers\n With their ethereal colors; the moon's globe\n And the pure stars in their eternal bowers\n Are cinctured with my power as with a robe;\n Whatever lamps on Earth or Heaven may shine,\n Are portions of one power, which is mine.\n\n I stand at noon upon the peak of Heaven,\n Then with unwilling steps I wander down\n Into the clouds of the Atlantic even;\n For grief that I depart they weep and frown:\n What look is more delightful than the smile\n With which I soothe them from the western isle?\n\n I am the eye with which the universe\n Beholds itself and knows itself divine;\n All harmony of instrument or verse,\n All prophecy, all medicine, are mine,\n All light of art or nature;--to my song,\n Victory and praise in their own right belong.\n\n[Illustration: FIG. 17. DIANA. After Correggio]\n\n=32. Diana (Artemis)=, twin sister of Apollo, was born on Mount\nCynthus in the island of Delos. Latona, the future mother of Diana\nand Apollo, flying from the wrath of Juno, had besought, one after\nanother, the islands of the \u00c6gean to afford her a place of rest; but\nthey feared too much the potent queen of heaven. Delos alone consented\nto become the birthplace of the future deities. This isle was then\nfloating and unstable; but on Latona's arrival, Jupiter fastened it\nwith adamantine chains to the bottom of the sea, that it might be a\nsecure resting-place for his beloved. The daughter of Latona is, as\nher name _Artemis_ indicates, a virgin goddess, the ideal of modesty,\ngrace, and maidenly vigor. She is associated with her brother, the\nprince of archery, in nearly all his adventures, and in attributes she\nis his feminine counterpart. As he is identified with sunlight, so is\nshe, his fair-tressed sister, with the chaste brilliance of the moon.\nIts slender arc is her bow; its beams are her arrows with which she\nsends upon womankind a speedy and painless death. In her prerogative\nof moon-goddess she is frequently identified with Selene, daughter\nof Hyperion, just as Apollo is with Helios. Despising the weakness\nof love, Diana imposed upon her nymphs vows of perpetual maidenhood,\nany violation of which she was swift and severe to punish. Graceful\nin form and free of movement, equipped for the chase, and surrounded\nby a bevy of fair companions, the swift-rushing goddess was wont to\nscour hill, valley, forest, and plain. She was, however, not only\nhuntress, but guardian, of wild beasts,--mistress withal of horses\nand kine and other domestic brutes. She ruled marsh and mountain; her\ngleaming arrows smote sea as well as land. Springs and woodland brooks\nshe favored, for in them she and her attendants were accustomed to\nbathe. She blessed with verdure the meadows and arable lands, and from\nthem obtained a meed of thanks. When weary of the chase she turned to\nmusic and dancing; for the lyre and flute and song were dear to her.\nMuses, Graces, nymphs, and the fair goddesses themselves thronged the\nrites of the chorus-leading queen. But ordinarily a woodland chapel\nor a rustic altar sufficed for her worship. There the hunter laid his\noffering--antlers, skin, or edible portions of the deer that Artemis of\nthe golden arrows had herself vouchsafed him. The holy maid, however,\nthough naturally gracious, gentle, and a healer of ills, was, like\nher brother, quick to resent injury to her sacred herds or insult\nto herself. To this stern temper Agamemnon, Orion, and Niobe bore\nregretful testimony. They found that the \"fair-crowned queen of the\nechoing chase,\" though blithe and gracious, was by no means a frivolous\npersonage.\n\n[Illustration: FIG. 18. DIANA (ARTEMIS) OF VERSAILLES]\n\nDiana was mistress of the brute creation, protectress of youth, patron\nof temperance in all things, guardian of civil right. The cypress tree\nwas sacred to her; and her favorites were the bear, the boar, the dog,\nthe goat, and specially the hind.\n\n[Illustration: FIG. 19. ARTEMIS]\n\n=33. Jonson's Hymn to Cynthia (Diana).=\n\n Queen and Huntress, chaste and fair,\n Now the sun is laid to sleep,\n Seated in thy silver chair\n State in wonted manner keep:\n Hesperus entreats thy light,\n Goddess excellently bright.\n\n Earth, let not thy envious shade\n Dare itself to interpose;\n Cynthia's shining orb was made\n Heaven to clear when day did close:\n Bless us then with wish\u00e8d sight,\n Goddess excellently bright.\n\n Lay thy bow of pearl apart,\n And thy crystal-shining quiver;\n Give unto the flying hart\n Space to breathe, how short soever:\n Thou that mak'st a day of night,\n Goddess excellently bright.[31]\n\n=34. Venus (Aphrodite)=, goddess of love and beauty, was, according to\nthe more ancient Greek conception, a daughter of Jupiter and Dione;[32]\nbut Hesiod says that she arose from the foam of the sea at the time\nof the wounding of Uranus, and therefore was called, by the Greeks,\nAphrodite, _the foam-born_.[33] Wafted by the west wind, and borne\nupon the surge, she won first the island of Cythera; thence, like a\ndream, she passed to Cyprus, where the grace and blossom of her beauty\nconquered every heart. Everywhere, at the touch of her feet the herbage\nquivered into flower. The Hours and Graces surrounded her, twining\nodorous garlands and weaving robes for her that reflected the hues and\nbreathed the perfume of crocus and hyacinth, violet, rose, lily, and\nnarcissus. To her influence is ascribed the fruitfulness of the animal\nand of the vegetable creation. She is goddess of gardens and flowers,\nof the rose, the myrtle, and the linden. The heaths and slumberous\nvales, pleasant with spring and vernal breezes, are hers. In her\nbroidered girdle lurk \"love and desire, and loving converse that steals\nthe wits even of the wise.\" For she is the mistress of feminine charm\nand beauty, the golden, sweetly smiling Aphrodite, who rules the hearts\nof men. She lends to mortals seductive form and fascination. To a few,\nindeed, her favor is a blessing; but to many her gifts are treacherous,\ndestructive of peace. Her various influence is exemplified in the\nstories of Pygmalion and Adonis, Paris and \u00c6neas, Helen, Ariadne,\nPsyche, Procris, Pasipha\u00eb, and Ph\u00e6dra. Her power extended over sea as\nwell as land, and her temples rose from many a shore. On the waters\nswan and dolphin were beloved of her; in air, the sparrow and the dove.\nShe was usually attended by her winged son Cupid, of whom much is to\nbe told. Especially dear to her were Cyprus, Cnidos, Paphos, Cythera,\nAbydos, Mount Eryx, and the city of Corinth.\n\n=35. The \"Venus of Milo.\"= Of artistic conceptions of Aphrodite, the\nmost famous are the statues called the Venus of Melos and the Venus of\nthe Medici.[34] A comparison of the two conceptions is instituted in\nthe following poem.[35] The worshiper apostrophizes the Venus of Melos,\nthat \"inner beauty of the world,\" whose tranquil smile he finds more\nfair than \"The Medicean's sly and servile grace\":\n\n[Illustration: VENUS OF MELOS]\n\n From our low world no gods have taken wing;\n Even now upon our hills the twain are wandering:[36]\n The Medicean's sly and servile grace,\n And the immortal beauty of thy face.\n One is the spirit of all short-lived love\n And outward, earthly loveliness:\n The tremulous rosy morn is her mouth's smile,\n The sky, her laughing azure eyes above;\n And, waiting for caress.\n Lie bare the soft hill-slopes, the while\n Her thrilling voice is heard\n In song of wind and wave, and every flitting bird.\n Not plainly, never quite herself she shows:\n Just a swift glance of her illumined smile\n Along the landscape goes;\n Just a soft hint of singing, to beguile\n A man from all his toil;\n Some vanished gleam of beckoning arm, to spoil\n A morning's task with longing, wild and vain.\n Then if across the parching plain\n He seek her, she with passion burns\n His heart to fever, and he hears\n The west wind's mocking laughter when he turns,\n Shivering in mist of ocean's sullen tears.\n It is the Medicean: well I know\n The arts her ancient subtlety will show,--\n The stubble field she turns to ruddy gold;\n The empty distance she will fold\n In purple gauze; the warm glow she has kissed\n Along the chilling mist:\n Cheating and cheated love that grows to hate\n And ever deeper loathing, soon or late.\n Thou, too, O fairer spirit, walkest here\n Upon the lifted hills:\n Wherever that still thought within the breast\n The inner beauty of the world hath moved;\n In starlight that the dome of evening fills;\n On endless waters rounding to the west:\n For them who thro' that beauty's veil have loved\n The soul of all things beautiful the best.\n For lying broad awake, long ere the dawn,\n Staring against the dark, the blank of space\n Opens immeasurably, and thy face\n Wavers and glimmers there and is withdrawn.\n And many days, when all one's work is vain,\n And life goes stretching on, a waste gray plain,\n With even the short mirage of morning gone,\n No cool breath anywhere, no shadow nigh\n Where a weary man might lay him down and die,\n Lo! thou art there before me suddenly,\n With shade as if a summer cloud did pass,\n And spray of fountains whispering to the grass.\n Oh, save me from the haste and noise and heat\n That spoil life's music sweet:\n And from that lesser Aphrodite there--\n Even now she stands\n Close as I turn, and O my soul, how fair!\n\n[Illustration: FIG. 20. HERMES PSYCHOPOMPOS]\n\n=36. Mercury (Hermes)=, born in a cave of Mount Cyllene in Arcadia,\nwas the son of Jupiter and Maia (the daughter of Atlas). According to\nconjecture, his name _Hermes_ means the _Hastener_. Mercury, swift as\nthe wind, was the servant and herald of Jupiter and the other gods.\nOn his ankles (in plastic art), and his low-crowned, broad-brimmed\n_petasus_, or hat, were wings. As messenger of Heaven, he bore a wand\n(_caduceus_) of wood or of gold, twined with snakes and surmounted\nby wings, and possessed of magical powers over sleeping, waking, and\ndreams. He was beautiful and ever in the prime of youthful vigor.\nTo a voice sweet-toned and powerful, he added the persuasiveness of\neloquence. But his skill was not confined to speech; he was also the\nfirst of inventors--to him are ascribed the lyre and the flute. He was\nthe forerunner, too, of mathematicians and astronomers. His agility\nand strength made him easily prince in athletic pursuits. His cunning\nrendered him a dangerous foe; he could well play the trickster and the\nthief, as Apollo found out to his vexation, and Argus, and many another\nunfortunate. His methods, however, were not always questionable;\nalthough the patron of gamblers and the god of chance, he, at the same\ntime, was the furtherer of lawful industry and of commerce by land and\nsea. The gravest function of the Messenger was to conduct the souls\nof the dead, \"that gibber like bats as they fare, down the dank ways,\npast the streams of Oceanus, past the gates of the sun and the land of\ndreams, to the mead of asphodel in the dark realm of Hades, where dwell\nthe souls, the phantoms of men outworn.\"[37]\n\n=37. Vesta (Hestia)=, goddess of the hearth, public and private, was\nthe first-born child of Cronus and Rhea and, accordingly, the elder\nsister of Jupiter, Juno, Neptune, Pluto, and Ceres. Vesta was an old\nmaid by choice. Averse to Venus and all her ways, she scorned the\nflattering advances of both Neptune and Apollo, and resolved to remain\nsingle. Whereupon Jupiter gave her to sit in the middle of his palace,\nto receive in Olympus the choicest morsels of the feast, and, in the\ntemples of the gods on earth, reverence as the oldest and worthiest of\nOlympian divinities. As goddess of the burning hearth, Vesta is the\ndivinity of the home: of settled, in opposition to nomadic, habits of\nlife. She was worshiped first of the gods at every feast. Before her\nshrine in city and state the holy flame was religiously cherished.\nFrom her altars those of the other gods obtained their fires. No new\ncolony, no new home, was duly consecrated till on its central hearth\nthere glowed coals from her ancestral hearth. In her temple at Rome a\nsacred fire, tended by six virgin priestesses called Vestals, was kept\nreligiously aflame. As the safety of the city was held to be connected\nwith its conservation, any negligence, by which it might go out, was\nseverely punished. Whenever the fire did die, it was rekindled from the\nrays of the sun.\n\n=38.= Of the =Lesser Divinities of Heaven= the most worthy of mention\nare:\n\n1. _Cupid (Eros)_, small but mighty god of love, the son of Venus and\nher constant companion. He was often represented with eyes covered\nbecause of the blindness of his actions. With his bow and arrows, he\nshot the darts of desire into the bosoms of gods and men. Another deity\nnamed _Anteros_, reputed the brother of Eros, was sometimes represented\nas the avenger of slighted love, and sometimes as the symbol of\nreciprocal affection. Venus was also attended at times by another\nbrother of Eros, _Himeros_, or Longing, and by _Hymen_, a beautiful\nyouth of divine descent, the personification of the wedding feast and\nleader of the nuptial chorus. Of Eros the poet Gosse writes:\n\n[Illustration: FIG. 21. EROS]\n\n Within a forest, as I strayed\n Far down a somber autumn glade,\n I found the god of love;\n His bow and arrows cast aside,\n His lovely arms extended wide,\n A depth of leaves above,\n Beneath o'erarching boughs he made\n A place for sleep in russet shade.\n\n His lips, more red than any rose,\n Were like a flower that overflows\n With honey pure and sweet;\n And clustering round that holy mouth,\n The golden bees in eager drouth\n Plied busy wings and feet;\n They knew, what every lover knows,\n There's no such honey-bloom that blows.[38]\n\n2. _Hebe_, daughter of Jupiter and Juno, goddess of youth and cupbearer\nto the gods. According to one story, she resigned that office on\nbecoming the wife of Hercules. According to another, Hebe was dismissed\nfrom her position in consequence of a fall which she met with one day\nwhen in attendance on the gods. Her successor was _Ganymede_, a Trojan\nboy whom Jupiter, in the disguise of an eagle, seized and carried off\nfrom the midst of his playfellows on Mount Ida, bore up to Heaven, and\ninstalled in the vacant place.\n\n3. _The Graces_, daughters of Jove by Eurynome, daughter of Oceanus.\nThey were goddesses presiding over the banquet, the dance, all\nsocial pleasures, and polite accomplishments. They were three in\nnumber,--Euphrosyne, Aglaia, and Thalia. Spenser describes the office\nof the Graces thus:\n\n These three on men all gracious gifts bestow\n Which deck the body or adorn the mind,\n To make them lovely or well-favored show;\n As comely carriage, entertainment kind,\n Sweet semblance, friendly offices that bind,\n And all the complements of courtesy;\n They teach us how to each degree and kind\n We should ourselves demean, to low, to high,\n To friends, to foes; which skill men call civility.\n\n[Illustration: FIG. 22. RAPE OF GANYMEDE]\n\n4. _The Muses_, daughters of Jupiter and Mnemosyne (Memory). They\npresided over song and prompted the memory. They are ordinarily cited\nas nine in number; and to each of them was assigned patronage in some\ndepartment of literature, art, or science. Calliope was the muse of\nepic poetry, Clio of history, Euterpe of lyric poetry, Melpomene of\ntragedy, Terpsichore of choral dance and song, Erato of love poetry,\nPolyhymnia of sacred poetry, Urania of astronomy, Thalia of comedy.\n\n[Illustration: FIG. 23. POLYHYMNIA]\n\n5. _Themis_, one of the Titans, a daughter of Uranus. She sat, as\ngoddess of justice, beside Jupiter on his throne. She was beloved of\nthe father of gods and men, and bore him the Hours, goddesses who\nregulated the seasons, and the Fates.\n\n[Illustration: FIG. 24. THE THREE FATES\n\nFrom the painting by Michelangelo(?)]\n\n6. _The Fates_, three in number,--Clotho, Lachesis, and Atropos. Their\noffice was to spin the thread of human destiny, and they were provided\nwith shears with which they cut it off when they pleased.[39] According\nto Hesiod, they were daughters of Night.\n\n7. _Nemesis_, daughter of Night. She represented the righteous anger\nand vengeance of the gods, particularly toward the proud, the insolent,\nand breakers of the law.\n\n8. _\u00c6sculapius_, son of Apollo. By his skill in medicine he restored\nthe dead to life. Being killed by the lightning of Jove, he was\ntranslated to the ranks of Heaven. His function was the art of healing.\n\n9. _The Winds_,--Boreas, or Aquilo, the north wind; Zephyrus, or\nFavonius, the west; Notus, or Auster, the south; and Eurus, the east.\nThe first two, chiefly, have been celebrated by the poets, the former\nas the type of rudeness, the latter of gentleness. It is said that\nBoreas loved the nymph Orithyia and tried to play the lover's part, but\nmet with poor success; for it was hard for him to breathe gently, and\nsighing was out of the question.\n\nWeary at last of fruitless endeavors, he acted out his true character,\nseized the maiden and bore her off. Their children were Zetes and\nCala\u00efs, winged warriors, who accompanied the Argonautic expedition\nand did good service in an encounter with those monstrous birds, the\nHarpies. Zephyrus was the lover of Flora (Chloris).\n\n[Illustration: FIG. 25. BOREAS]\n\nHere, too, may be mentioned \u00c6olus, the king of the winds, although he\nis not a lesser divinity of Heaven. His palace was on the precipitous\nisle of \u00c6olia, where, with his six sons and six daughters, he kept\neternal carouse. The winds, which he confined in a cavern, he let loose\nas he saw fit or as he was bidden by superior deities. He is sometimes\ncalled Hippotades.[40]\n\n[Illustration: FIG. 26. ZEPHYROS]\n\n10. _Helios_, _Selene_, and _Eos_, children of the Titan Hyperion.\nHelios and Selene were the more ancient Greek divinities of Sun and\nMoon respectively. Helios, the charioteer of the sun, is, as has been\nalready said, frequently identified with his successor, Apollo. The\nattributes and adventures of Selene were merged in those of the more\nmodern Diana. Eos, or, in Latin nomenclature, Aurora, the rosy-fingered\ngoddess of the Morn, was mother of the stars and of the morning and\nevening breezes. Saffron-robed she rises from the streams of Ocean, to\nbring light to gods and men.\n\n[Illustration: FIG. 27. BOREAS CARRYING OFF ORITHYIA]\n\n11. _Phosphor_, the morning-star, the star of Venus, son of Aurora\nand the hunter Cephalus. _Hesper_, the evening-star, was sometimes\nidentified with Phosphor. He was king of the Western Land, and, say\nsome, father of the Hesperides, who guarded the golden apples of the\nsunset.\n\nThe Spirit in Milton's Comus tells of\n\n ... the gardens fair\n Of Hesperus, and his daughters three\n That sing about the golden tree.\n Along the crisp\u00e8d shades and bowers\n Revels the spruce and jocund Spring;\n The Graces and the rosy-bosomed Hours\n Thither all their bounties bring.\n There eternal Summer dwells,\n And west winds with musky wing\n About the cedarn alleys fling\n Nard and cassia's balmy smells.\n Iris there with humid bow\n Waters the odorous banks, that blow\n Flowers of more mingled hue\n Than her purfled scarf can shew.\n\nAnd Tennyson taking the lines as a text has written the melodious and\nmystic song of the Hesperides, beginning--\n\n The golden apple, the golden apple, the hallowed fruit,\n Guard it well, guard it warily,\n Singing airily,\n Standing about the charm\u00e8d root.\n Round about all is mute,\n As the snowfield on the mountain-peaks,\n As the sandfield at the mountain-foot.\n Crocodiles in briny creeks\n Sleep and stir not: all is mute.\n If ye sing not, if ye make false measure,\n We shall lose eternal pleasure,\n Worth eternal want of rest.\n Laugh not loudly: watch the treasure\n Of the wisdom of the West.\n\nReaders of this poem will notice that Tennyson follows the tradition\nby which a sleepless dragon is introduced among the guardians of the\nHesperian fruit. Still other versions substitute for Hesperus, the\nTitan Atlas.\n\n12. _Various Other Personifications._ The constellation Orion, whose\nstory will be narrated; Victoria (Nike), the goddess of Victory;\nDiscors (Eris), the goddess of Strife; and Iris, goddess of the\nrainbow, who is represented frequently as a messenger of the gods.\n\n[Illustration: FIG. 28. IRIS CARRYING CHILD]\n\nFOOTNOTES:\n\n[16] Consult, in general, corresponding sections of the Commentary.\n\n[17] Symbolized on earth by Mount Olympus in Thessaly.\n\n[18] Cowper's translation.\n\n[19] See Commentary, \u00a7 23, for Gladstone's latest utterance on the\nnumber of the Olympians.\n\n[20] The names included in parentheses represent the Greek, the others\nbeing Roman equivalents, Latin names, or names common to both Greek and\nRoman usage.\n\n[21] See Commentary, \u00a7 34.\n\n[22] On the Latin name, see Commentary, \u00a7 24.\n\n[23] Iliad, I, 622-625, Earl of Derby's translation. See also the\npassage in Chapman's translation.\n\n[24] On the name _Juno_, see Commentary.\n\n[25] For the names _Athene_ and _Minerva_, see Commentary.\n\n[26] See Commentary.\n\n[27] Iliad, 5, 590. See also 21, 395.\n\n[28] Iliad, 18, 395.\n\n[29] Iliad, 1, 390.\n\n[30] On the birth of Apollo, his adventures, names, festivals, oracles,\nand his place in literature and art, see Commentary. For other\nparticulars, see sections on _Myths of Apollo_.\n\n[31] From Cynthia's Revels.\n\n[32] Iliad, 5, 370, etc.\n\n[33] A popular etymology.\n\n[34] For Venus in poetry and art, see Commentary.\n\n[35] From the Venus of Milo, by E. R. Sill, formerly professor of\nEnglish Literature in the University of California.\n\n[36] The references are to the Berkeley Hills, the Bay of San\nFrancisco, and the glimpses of the Pacific.\n\n[37] Lang, Odyssey, 24, 1; adapted.\n\n[38] Eros, by Edmund Gosse. For verses on the blindness of Cupid, see\nLyly's Cupid and Campaspe in Commentary.\n\n[39] For description of their spinning, see translation of Catullus,\nLXIV, in \u00a7 191.\n\n[40] See Commentary.\n\n\n\n\nCHAPTER III\n\nTHE GODS OF EARTH[41]\n\n\n[Illustration: FIG. 29. DEMETER OF KNIDOS]\n\n=39. Conception of the World.= The Greek poets believed the earth to\nbe flat and circular. In their opinion their own country occupied the\nmiddle of it, and the central point was either Mount Olympus, the abode\nof the gods, or Delphi, famous for its oracle. The circular disk of the\nearth was crossed from west to east and divided into two equal parts\nby the _Sea_, as they called the Mediterranean and its continuation\nthe Euxine, the only seas with which they were acquainted. Around the\nearth flowed _River_ _Ocean_, from south to north on the western side,\nin a contrary direction on the eastern. It flowed in a steady, equable\ncurrent, unvexed by storm or tempest. The sea and all the rivers on\nearth received their waters from it.\n\nThe northern portion of the earth was inhabited by the Hyperboreans,\ndwelling in bliss and everlasting spring beyond the mountains whose\ncaverns sent forth the piercing blasts of the north wind. Their country\nwas inaccessible by land or sea. They lived exempt from disease or old\nage, from toils and warfare. \"I come\" sings one of them,[42]--\n\n I come from a land in the sun-bright deep,\n Where golden gardens glow,\n Where the winds of the north, becalmed in sleep,\n Their conch-shells never blow.\n\n[Illustration: FIG. 30. CERES]\n\nOn the south side of the earth, close to the stream of Ocean, dwelt\nthe \u00c6thiopians, whom the gods held in such favor that they left at\ntimes the Olympian abodes to partake of the \u00c6thiopian sacrifices and\nbanquets. On the western margin of the earth, by the stream of Ocean,\nlay the Elysian Plain, where certain mortals enjoyed an immortality of\nbliss.\n\nThe Dawn, the Sun, and the Moon were supposed to rise out of Ocean on\nthe eastern side and to drive through the air, giving light to gods and\nmen. The stars, also, except those forming the Wain or Bear and others\nnear them, rose out of and sank into the stream of Ocean. There the\nsun-god embarked in a winged boat, which conveyed him by the northern\npart of the earth back to his place of rising in the east.\n\n=40. Ceres (Demeter)=, the goddess of sowing and reaping, of harvest\nfestivals, and of agriculture in general, was sister of Jupiter and\ndaughter of Cronus and Rhea. She is connected through her daughter\nProserpine, queen of Hades, with the holy ceremonies and rites of\ndeath and of the lower world. Of the institutions founded or favored\nby her the most important were the mysteries celebrated at Eleusis,\nconcerning which we know that, in the presence of individuals initiated\nin the secret ritual and perhaps with their co\u00f6peration, scenes were\nenacted which represented the alternation of death and life in nature\nand, apparently, forecast the resurrection and immortality of man.\nSacred to Ceres and to Proserpine were golden sheaves of corn and\nsoporific poppies; while, among animals, cows, sheep, and pigs were\nacceptable to them.\n\n[Illustration: FIG. 31. DIONYSUS AND THE VINE]\n\n=41. G\u00e6a (Ge)=, the Mother Earth, wife of Uranus, belongs to the older\norder of gods; so also, another goddess of the earth, _Rhea_, the wife\nof Cronus and mother of Jupiter. In Phrygia, Rhea became identified\nwith _Cybele_, whose worship, as mother of the gods, was at a later\nperiod introduced into Rome. The Greek mother, Rhea, was attended by\nthe Curetes; the Phrygian mother by the Corybantes, who celebrated her\norgies with enthusiastic din of trumpets, drums, and cymbals. Cybele\npresided over mountain fastnesses and fortified places.\n\n=42. Bacchus (Dionysus)=, the god of wine, was the son of Jupiter and\nSemele, daughter of Cadmus of Thebes. He was especially the god of\nanimal life and vegetation. He represented not only the intoxicating\npower of wine but its social and beneficent influences, and was\nlooked upon as a promoter of civilization, a lawgiver, and a lover\nof peace. His forehead was crowned with vine leaves or ivy. He rode\nupon the tiger, the panther, or the lynx, or was drawn by them in a\ncar. His worshipers were Bacchanals, or Bacchantes. He was attended by\nSatyrs and Sileni and by women called M\u00e6nads, who, as they danced and\nsang, waved in the air the _thyrsus_, a staff entwined with ivy and\nsurmounted by a pine cone. Ordinarily, as in the following verses by\nDryden, the convivial qualities of the god overshadow all the rest:\n\n The praise of Bacchus then the sweet musician sung,\n Of Bacchus ever fair, and ever young.\n The jolly god in triumph comes;\n Sound the trumpets, beat the drums;\n Flushed with a purple grace\n He shows his honest face:\n Now give the hautboys breath; he comes, he comes.\n Bacchus, ever fair and young,\n Drinking joys did first ordain;\n Bacchus' blessings are a treasure,\n Drinking is the soldier's pleasure;\n Rich the treasure,\n Sweet the pleasure,\n Sweet is pleasure after pain.[43]\n\n[Illustration: FIG. 32. PAN THE HUNTER]\n\n=43. The Lesser Divinities of Earth= were:\n\n1. _Pan_, son of Mercury and a wood-nymph or Dryad. He was the god\nof woods and fields, of flocks and shepherds. He dwelt in caves,\nwandered on the mountains and in valleys, amused himself with the\nchase, led the dances of the Dryads, and made love to them. But his\nsuit was frequently of no avail, for though good-natured he was not\nprepossessing; his hoofs and horns did not enhance his comeliness. He\nwas fond of music and was himself inventor of the syrinx, or shepherd's\npipe, which he played in a masterly manner. Like other gods who dwelt\nin forests, he was dreaded by those whose occupations caused them to\npass through the woods by night; for gloom and loneliness oppress and\nappall the mind. Hence sudden unreasonable fright was ascribed to Pan\nand called a Panic terror.\n\n2. _The Nymphs._ Pan's partners in the dance, the Dryads, were but one\nof several classes of nymphs. There were, beside them, the Oreads,\nnymphs of mountains and grottoes; and the Water-Nymphs, who are\nmentioned in later sections.\n\n3. _The Satyrs_, deities of the woods and fields. In early art they\nappear as bearded creatures with snub noses, goats' ears, and horses'\ntails. Later they resemble youths, sometimes with sprouting horns. The\ngoat-legged satyr is found in Roman poetry.\n\n[Illustration: FIG. 33. A SATYR]\n\nFOOTNOTES:\n\n[41] For references to poetry and works of art, see corresponding\nsections in Commentary.\n\n[42] According to Thomas Moore's Song of a Hyperborean.\n\n[43] From Alexander's Feast.\n\n\n\n\nCHAPTER IV\n\nTHE GODS OF THE UNDERWORLD[44]\n\n\n=44. The Underworld= was the region of darkness inhabited by the\nspirits of the dead and governed by Pluto (Hades) and Proserpina, his\nqueen. According to the Iliad, this realm lay \"beneath the secret\nplaces of the earth.\"[45] And from the Odyssey we gather that it is not\nin the bowels of the earth, but on the under side at the limits of the\nknown world, across the stream Oceanus, where is a waste shore, the\nland of the Cimmerians, shrouded in mist and cloud, never lighted by\nthe sun \"neither when he climbs up the starry heavens nor when again\nhe turns earthward from the firmament.\"[46] From that land one goes\nbeside the stream till he reaches the dank house of Hades. The realm\nof darkness is bounded by awful rivers: the Styx, sacred even among\nthe gods, for by it they sealed their oaths, and the Acheron, river of\nwoe,--with its tributaries, Phlegethon, river of fire, and Cocytus,\nriver of wailing. Hither past the White Rock, which perhaps symbolizes\nthe bleaching skeletons of the dead, and past the gates of the sun,\nit is the duty of Hermes (Mercury) to conduct the outworn ghosts of\nmortals. One of the Greek dramatists, Sophocles, tells us that this\nshore of death is \"down in the darkling west.\"[47] In later poems we\nread that Charon, a grim boatman, received the dead at the River of\nWoe, and ferried them across, if the money requisite for their passage\nhad been placed in their mouths and their bodies had been duly buried\nin the world above.[48] Otherwise he left them gibbering on the hither\nbank. The abode of Pluto is represented as wide-gated and thronged\nwith guests. At the gate Cerberus, a three-headed, serpent-tailed dog,\nlay on guard,--friendly to the spirits entering, but inimical to those\nwho would depart. The palace itself is dark and gloomy, set in the\nmidst of uncanny fields haunted by strange apparitions. The groves of\nsomber trees about the palace,--the meads of Asphodel, barren or, at\nbest, studded with futile bushes and pale-flowered weeds, where wander\nthe shades,--and the woods along the waste shore \"of tall poplars and\nwillows that shed their fruit before the season\" are, without any\nparticular discrimination, celebrated by the poets as the _Garden of\nProserpine_.\n\n[Illustration: FIG. 34. THE GREEK UNDERWORLD]\n\n[Illustration: FIG. 35. HERMES CONDUCTING A SOUL TO CHARON]\n\n Here life has death for neighbor,\n And far from eye or ear\n Wan waves and wet winds labor,\n Weak ships and spirits steer;\n They drive adrift, and whither\n They wot not who make thither;\n But no such winds blow hither,\n And no such things grow here.\n\n No growth of moor or coppice,\n No heather-flower or vine,\n But bloomless buds of poppies,\n Green grapes of Proserpine,\n Pale beds of blowing rushes,\n Where no leaf blooms or blushes\n Save this whereout she crushes\n For dead men deadly wine.\n * * * * *\n Pale, beyond porch and portal,\n Crowned with calm leaves, she stands\n Who gathers all things mortal\n With cold immortal hands;\n Her languid lips are sweeter\n Than love's, who fears to greet her,\n To men that mix and meet her\n From many times and lands.\n\n[Illustration: FIG. 36. HYPNOS]\n\n She waits for each and other,\n She waits for all men born;\n Forgets the earth her mother,\n The life of fruits and corn;\n And spring and seed and swallow\n Take wing for her and follow\n Where summer song rings hollow,\n And flowers are put to scorn.\n * * * * *\n We are not sure of sorrow,\n And joy was never sure;\n To-day will die to-morrow;\n Time stoops to no man's lure;\n And love, grown faint and fretful,\n With lips but half regretful\n Sighs, and with eyes forgetful\n Weeps that no loves endure.\n\n From too much love of living,\n From hope and fear set free,\n We thank with brief thanksgiving\n Whatever gods may be\n That no life lives forever;\n That dead men rise up never;\n That even the weariest river\n Winds somewhere safe to sea.\n\n Then star nor sun shall waken,\n Nor any change of light;\n Nor sound of waters shaken,\n Nor any sound or sight;\n Nor wintry leaves nor vernal,\n Nor days nor things diurnal:\n Only the sleep eternal\n In an eternal night.[49]\n\n[Illustration: FIG. 37. A FURY]\n\n=45. Tartarus and the Elysian Fields.= With the ghosts of Hades the\nliving might but rarely communicate, and only through certain oracles\nof the dead, situate by cavernous spots and sheer abysms, deep and\nmelancholy streams, and baleful marshes. These naturally seemed to\nafford access to the world below, which with the later poets, such as\nVirgil, comes to be regarded as under the ground. One of these descents\nto the Underworld was near T\u00e6narum in Laconia; another, near Cum\u00e6 in\nItaly, was Lake Avernus, so foul in its exhalations that, as its name\nportends, no bird could fly across it.[50] Before the judges of the\nlower world,--Minos, \u00c6acus, and Rhadamanthus,--the souls of the dead\nwere brought to trial. The condemned were assigned to regions where\nall manner of torment awaited them at the hands of monsters dire,--the\nfifty-headed Hydra and the avenging Furies. Some evildoers, such as\nthe Titans of old, were doomed to languish in the gulf of Tartarus\nimmeasurably below. But the souls of the guiltless passed to the\nElysian Fields, where each followed the chosen pursuit of his former\nlife in a land of spring, sunlight, happiness, and song. And by the\nFields there flowed the river Lethe, from which the souls of those that\nwere to return to the earth in other bodies drank oblivion of their\nformer lives.\n\n=46. The Islands of the Blest.= Homer mentions, elsewhere, an Elysium\nof the western seas, which is a happy land, \"where life is easiest\nfor men: no snow is there, nor yet great storm, nor any rain; but\nalways ocean sendeth forth the breeze of the shrill West to blow cool\non men.\"[51] Hither favored heroes pass without dying, and live under\nthe happy rule of Rhadamanthus. The Elysium of Hesiod and Pindar is\nlikewise in the Western Ocean, on the Islands of the Blessed, the\nFortunate Isles. From this dream of a western Elysium may have sprung\nthe legend of the island Atlantis. That blissful region may have been\nwholly imaginary. It is, however, not impossible that the myth had\nits origin in the reports of storm-driven mariners who had caught a\nglimpse of occidental lands. In these Islands of the Blest, the Titans,\nreleased from Tartarus after many years, dwelt under the golden sway of\nthe white-haired Cronus.[52]\n\n There was no heavy heat, no cold,\n The dwellers there wax never old,\n Nor wither with the waning time,\n But each man keeps that age he had\n When first he won the fairy clime.\n The night falls never from on high,\n Nor ever burns the heat of noon;\n But such soft light eternally\n Shines, as in silver dawns of June\n Before the sun hath climbed the sky!\n * * * * *\n All these their mirth and pleasure made\n Within the plain Elysian,\n The fairest meadow that may be,\n With all green fragrant trees for shade,\n And every scented wind to fan,\n And sweetest flowers to strew the lea;\n The soft winds are their servants fleet\n To fetch them every fruit at will\n And water from the river chill;\n And every bird that singeth sweet,\n Throstle, and merle, and nightingale,\n Brings blossoms from the dewy vale,--\n Lily, and rose, and asphodel,--\n With these doth each guest twine his crown\n And wreathe his cup, and lay him down\n Beside some friend he loveth well.[53]\n\n=47. Pluto (Hades)= was brother of Jupiter. To him fell the sovereignty\nof the lower world and the shades of the dead. In his character of\nHades, the viewless, he is hard and inexorable.\n\nBy virtue of the helmet or cap given him by the Cyclopes, he moved\nhither and yon, dark, unseen,--hated of mortals. He was, however,\nlord not only of all that descends to the bowels of the earth, but\nof all that proceeds from the earth; and in the latter aspect he was\nrevered as Pluto, or the giver of wealth. At his pleasure he visited\nthe realms of day,--as when he carried off Proserpina; occasionally he\njourneyed to Olympus; but otherwise he ignored occurrences in the upper\nworld, nor did he suffer his subjects, by returning, to find them out.\nMortals, when they called on his name, beat the ground with their hands\nand, averting their faces, sacrificed black sheep to him and to his\nqueen. Among the Romans he is known also as Dis, Orcus, and Tartarus.\nBut Orcus is rather Death, or the Underworld, than ruler of the shades.\n\n[Illustration: FIG. 38. HADES]\n\n=48. Proserpina (Persephone)= was the daughter of Ceres and Jupiter.\nShe was queen of Hades,--a name applied both to the ruler of the shades\nand to his realm. When she is goddess of spring, dear to mankind,\nProserpina bears a cornucopia overflowing with flowers, and revisits\nthe earth in duly recurring season. But when she is goddess of death,\nsitting beside Pluto, she directs the Furies, and, like her husband, is\ncruel, unyielding, inimical to youth and life and hope. In the story of\nher descent to Hades will be found a further account of her attributes\nand fortunes.\n\n=49. The Lesser Divinities of the Underworld= were:\n\n1. _\u00c6acus_, _Rhadamanthus_, and _Minos_, sons of Jupiter and judges of\nthe shades in the lower world. \u00c6acus had been during his earthly life a\nrighteous king of the island of \u00c6gina. Minos had been a famous lawgiver\nand king of Crete. The life of Rhadamanthus was not eventful.\n\n2. _The Furies_ (_Erinyes_ or _Eumenides_), Alecto, Tisiphone, and\nMeg\u00e6ra, born of the blood of the wounded Uranus. They were attendants\nof Proserpina. They punished with the frenzies of remorse the crimes of\nthose who had escaped from or defied public justice. The heads of the\nFuries were wreathed with serpents.\n\n3. _Hecate_, a mysterious divinity sometimes identified with Diana and\nsometimes with Proserpina. As Diana represents the moonlight splendor\nof night, so Hecate represents its darkness and terrors. She haunted\ncrossroads and graveyards, was the goddess of sorcery and witchcraft,\nand wandered by night, seen only by the dogs whose barking told of her\napproach.\n\n[Illustration: FIG. 39. DEATH, SLEEP, AND HERMES LAYING A BODY IN THE\nTOMB]\n\n4. _Sleep_, or _Somnus (Hypnos)_, and _Death (Thanatos)_, sons of\nNight.[54] They dwell in subterranean darkness. The former brings to\nmortals solace and fair dreams, and can lull the shining eyes of Jove\nhimself; the latter closes forever the eyes of men. _Dreams_, too, are\nsons of Night.[55] They dwell beside their brother Death, along the\nWestern Sea. Their abode has two gates,--one of ivory, whence issue\nfalse and flattering visions; the other of horn, through which true\ndreams and noble pass to men.[56]\n\nFOOTNOTES:\n\n[44] For interpretation and illustration, see corresponding sections of\nCommentary.\n\n[45] Iliad, 22, 482; 9, 568; 20, 61.\n\n[46] Odyssey, 10, 508; 11, 20; 24, 1.\n\n[47] Sophocles, [OE]dipus Rex, 177.\n\n[48] \u00c6neid, 6, 295.\n\n[49] From The Garden of Proserpine, by A. C. Swinburne.\n\n[50] \u00c6neid, 6.\n\n[51] Odyssey, 4, 561.\n\n[52] Hes. Works and Days, 169.\n\n[53] From The Fortunate Islands, by Andrew Lang.\n\n[54] Iliad, 14, 231; 16, 672.\n\n[55] Odyssey, 24, 12; 19, 560. \u00c6neid, 6, 893. Ovid, Metam. 11, 592.\n\n[56] For genealogical table, see Commentary.\n\n\n\n\nCHAPTER V\n\nTHE GODS OF THE WATERS[57]\n\n\n[Illustration: FIG. 40. POSEIDON]\n\n=50. The Older Dynasty.= There were two dynasties of the sea. The\nOlder, which flourished during the rule of Cronus, was founded by the\nTitans, _Oceanus_ and _Tethys_, from whom sprang three thousand rivers\nand ocean-nymphs unnumbered. The palace of Oceanus was beyond the\nlimits of the bountiful earth,[58] surrounded by gardens and all things\nfair. From ages immemorial another dweller in the glimmering caves of\nOcean was _Pontus_ (the _deep sea_ or the _waterway_), who became, by\nMother Earth, father of Nereus. This _Nereus_, a genial old man of the\nsea, was distinguished for his prophetic gifts, his knowledge, his love\nof truth and justice. Taking to wife one of the daughters of Oceanus,\nthe nymph Doris, he was blessed with a family of fifty fair daughters,\nthe _Nere\u00efds_.[59] Of these daughters the most famous are Panope,\nGalatea, Thetis, and Amphitrite; the last of whom gave her hand to\nNeptune (Poseidon), brother of Jove, and thus united the Older and the\nYounger dynasties of the sea.\n\n=51.= Of the =Younger Dynasty= of the waters _Neptune_ and _Amphitrite_\nwere the founders. Neptune's palace was in the depths of the sea,\nnear \u00c6g\u00e6 in Eub[oe]a; but he made his home on Olympus when he chose.\nThe symbol of his power was the trident, or three-pronged spear,\nwith which he could shatter rocks, call forth or subdue storms, and\nshake the shores of earth. He created the horse and was the patron of\nhorse races. His own steeds were brazen-hoofed and golden-maned. They\ndrew his chariot over the sea, which became smooth before him, while\ndolphins and other monsters of the deep gamboled about his path. In his\nhonor black and white bulls, white boars, and rams were sacrificed.\n\n[Illustration: FIG. 41. WEDDING OF POSEIDON AND AMPHITRITE]\n\n=52. The Lesser Divinities of= =the Waters=[60] were:\n\n1. _Triton_, the son of Neptune and Amphitrite, trumpeter of Ocean. By\nhis blast on the sea-shell he stirred or allayed the waves.\n\n2. _Proteus_, an attendant and, according to certain traditions, a\nson of Neptune. Like Nereus, he was a little old man of the sea. He\npossessed the prophetic gift and the power of changing his shape at\nwill.\n\n3. _The Harpies_, foul creatures, with heads of maidens, bodies, wings,\nand claws of birds, and faces pale with hunger. They are the offspring\nof Thaumas, a son of Pontus and G\u00e6a.\n\n4. The uncanny offspring of Phorcys and Ceto,--children of Pontus,--who\nrejoiced in the horrors of the sea:\n\n_a. The Gr\u00e6\u00e6_, three hoary witches, with one eye between them which\nthey used in turn.\n\n_b. The Gorgons_, whose glance was icy death.\n\n_c. The Sirens_, muses of the sea and of death, who by their sweet\nsinging enticed seafarers to destruction.\n\n_d. Scylla_, also destructive to mariners, a six-headed monster whose\nlower limbs were serpents and ever-barking dogs.\n\n[Illustration: FIG. 42. TRITON CARRYING OFF A NYMPH]\n\n5. _Atlas_, who stood in the far west, bearing on his shoulders the\nvault of heaven. He was once regarded as a divinity of the sea, but\nlater as a mountain. He was the son of Iapetus and the father of three\nclasses of nymphs,--the Pleiads, the Hyads, and, according to some\nstories, the Hesperids. The last-mentioned, assisted by their mother\nHesperis and a dragon, guarded the golden apples of the tree that had\nsprung up to grace the wedding of Jove and Juno. The daughters of Atlas\nwere not themselves divinities of the sea.\n\n6. _The Water-Nymphs._ Beside the _Oceanids_ and the _Nere\u00efds_, who\nhave already been mentioned, of most importance were the _Naiads_,\ndaughters of Jupiter. They presided over brooks and fountains. Other\nlesser powers of the Ocean were Glaucus, Leucothea, and Melicertes, of\nwhom more is said in another section.\n\nIn the following statement of the difference between ancient and modern\nconceptions of nature, the poet lends new charm to the fabled rulers of\nthe sea.\n\n The world is too much with us; late and soon,\n Getting and spending, we lay waste our powers:\n Little we see in Nature that is ours;\n We have given our hearts away, a sordid boon!\n This sea that bares her bosom to the moon;\n The winds that will be howling at all hours,\n And are upgathered now like sleeping flowers;\n For this, for everything, we are out of tune;\n It moves us not.--Great God! I'd rather be\n A Pagan suckled in a creed outworn;\n So might I, standing on this pleasant lea,\n Have glimpses that would make me less forlorn;\n Have sight of Proteus rising from the sea;\n Or hear old Triton blow his wreath\u00e8d horn.[61]\n\nFOOTNOTES:\n\n[57] For references to poetry and works of art, see corresponding\nsections of Commentary.\n\n[58] Iliad, 14, 303.\n\n[59] Iliad, 18, 30-50.\n\n[60] For genealogical table, see Commentary.\n\n[61] Wordsworth, Miscellaneous Sonnets.\n\n\n\n\nCHAPTER VI\n\nTHE ROMAN DIVINITIES\n\n\n=53. Gods Common to Greece and Italy.= Of the deities already\nmentioned, the following, although they were later identified with\ncertain Greek gods and goddesses[62] whose characteristics and\nadventures they assumed, had developed an independent worship in Italy:\nJupiter (Zeus); Juno (Hera); Minerva (Athene); Diana (Artemis); Mars\n(Ares); Venus (Aphrodite); Vulcanus, or Mulciber (Heph\u00e6stus); Vesta\n(Hestia); Mercurius (Hermes); Neptunus (Poseidon); Ceres (Demeter);\nLiber (Bacchus); Libera (Persephone); Magna Mater, the great mother of\nthe gods (Rhea, Cybele); Orcus (Pluto, Hades); Tellus, the Earth (G\u00e6a).\n\n=54. Italian Gods.= There were also divinities always peculiar to Roman\nmythology.[63] Of these the more important are:\n\n1. _Saturn_, an ancient Italian deity (as his name indicates) of seeds\nand sowing, the introducer of agriculture. Fanciful attempts were\nmade to identify him with the Grecian god Cronus; and it was fabled\nthat after his dethronement by Jupiter he fled to Italy, where he\nreigned during the Golden Age. In memory of his dominion, the feast of\nSaturnalia was held every year in the winter season. Then all public\nbusiness was suspended; declarations of war and criminal executions\nwere postponed; friends made presents to one another; and even slaves\nwere indulged with great liberties. A feast was given them at which\nthey sat at table while their masters served, to show the natural\nequality of men, and that all things belonged equally to all in the\nreign of Saturn. The wife of Saturn was _Ops_, goddess of sowing and\nharvest (later confounded with Rhea). Another Roman deity of earth was\n_Consus_, whose name means \"the keeper of the stores.\" He is the god\nof the stored-up harvest; and his altar is said to have been discovered\nunderground by Romulus. It was in the Circus Maximus and was uncovered\nonly on the days of his festivals, the harvest home of August and the\ngranary feast of December. The underground altar is a reminiscence\nof the ancient custom of storing corn underground or at any rate of\nburying the sacrifices offered to deities of the earth. The harvest\nfestival was celebrated with horse races, which, originating in a very\nsimple way with the primitive farmers, became in time the distinctive\nfeature of the Circus Maximus.\n\n[Illustration: FIG. 43. BEARDED JANUS]\n\n2. _Janus_, whose name is derived from the Latin root which means\n\"going\" and is connected with _janua_, a passage or door, is the most\ndistinctive and most important of the native Italic deities. He is\nnot only the god of doors, or material openings, but more truly of\nbeginnings,--especially of good beginnings which insure good endings.\nHence undoubtedly he is represented as facing both ways; for the Romans\nvery properly believed that beginning and ending were of the same\npiece, and that an undertaking ill begun could not achieve success.\nHis temple, or covered passage, in the Forum had doors facing east and\nwest for the beginning and ending of the day; and between stood his\ntwo-faced statue. In every home the morning prayer was addressed to\nhim; in every domestic enterprise his assistance was implored. He was\nthe god, also, of the opening year; hence his month, January, on the\nfirst day of which words only of good omen were uttered, and gifts were\ngiven (_strenae_, a name still preserved in the French word for New\nYear's presents, _\u00e9trennes_), and, for good luck, some stroke of work\nwas bestowed on every undertaking planned for the year. He was publicly\ninvoked not only on New Year's day, but on the first day of each\nmonth, by priests and people alike; and in these prayers his name was\nmentioned even before that of Jupiter. He is the god of civilization,\nand is sometimes called Consivius, or the Sower.[64] Of course he was\ninvoked when wars were commenced. And during their progress the doors\nof his temple stood always open. In peace they were closed; but they\nwere shut only once between the reign of Numa and that of Augustus.\nIt was natural that his worship should gradually absorb that of Sol,\nthe Sun, who opens the day and completes the year and blesses with his\nrays the seeds that are sown; and such was the case. But Janus and his\nwife Jana were not originally connected even in name with Dianus (Sol,\nApollo) and Diana (the moon).\n\n3. _Quirinus_, a war-god, said to be no other than Romulus, the founder\nof Rome, exalted after his death to a place among the immortals.\n\n4. _Bellona_, a war-goddess.\n\n5. _Lucina_, the goddess who brings to light, hence the goddess of\nchildbirth: a title bestowed upon both Juno and Diana.\n\n6. _Terminus_, the god of landmarks. His statue was a rude stone or\npost, set in the ground to mark the boundaries of fields.\n\n7. _Faunus_, the grandson of Saturn. He was worshiped as a god of\nfields and shepherds and also of prophecy. His name in the plural,\nFauni, expressed a class of gamesome deities, like the Satyrs of the\nGreeks. There was also a goddess called _Fauna_, or _Bona Dea_ (good\ngoddess). To Maia, wife of Vulcan, this designation, _Bona Dea_, was\nsometimes applied.\n\n8. _Sylvanus_, presiding over forest-glades and plowed fields.\n\n9. _Pales_, the goddess presiding over cattle and pastures. _Flora_,\nthe goddess of flowers. _Pomona_, presiding over fruit trees.\n_Vertumnus_, the husband of Pomona, was guardian of fruit trees,\ngardens, and vegetables.\n\n Pomona loves the orchard,\n And Liber loves the vine,\n And Pales loves the straw-built shed\n Warm with the breath of kine;\n And Venus loves the whisper\n Of plighted youth and maid\n In April's ivory moonlight,\n Beneath the chestnut shade.[65]\n\n10. _The Penates_, gods who were supposed to attend to the welfare\nand prosperity of the family. Their name is derived from Penus, the\nstorehouse or inner chamber, which was sacred to them. Every master of\na family was the priest to the Penates of his own house.\n\nThe _Lares_, or _Lars_, were also tutelary deities, but they differed\nfrom the Penates since they were regarded as the deified spirits of\nancestors, who watched over and protected their descendants. The\nLares were more particularly divinities presiding over the household\nor family; but there were also public Lares, or guardian spirits of\nthe city, Lares of the precincts, Lares of the fields, Lares of the\nhighways, and Lares of the sea. To the Penates, to the domestic Lares\n(whose images were preserved in a private shrine), and to the _Manes_\n(shades that hovered over the place of burial), the family prayers of\nthe Romans were addressed. Other spirits, the _Lemures_ and _Larv\u00e6_,\nmore nearly correspond to our ghosts.\n\n[Illustration: FIG. 44. GENIUS LOCI]\n\nThe Romans believed that every man had his _Genius_ and every woman her\n_Juno_; that is, a spirit who had given them being and was regarded\nas a protector through life. On birthdays men made offerings to their\nGenius, women to their Juno.\n\n11. Other Italian deities were the gods of the rivers, such as _Father\nTiber_, and the goddesses of the springs and brooks, such as _Juturna_,\nwhose pool in the Forum was sacred. This nymph was also a goddess of\nhealing and, according to later tradition, was beloved by Jupiter.\nEarlier stories, however, make her the wife of Janus and the mother of\n_Fontus_, the god of flowing waters, who had an altar on the Janiculan\nhill and was worshiped at an annual festival called the Fontinalia,\nwhen the wells were wreathed with garlands. Held in especial honor were\nthe _Camen\u00e6_, fountain-nymphs, goddesses of prophecy and healing (later\nidentified with the Muses). The leader of them was _Carmenta_, who sang\nboth the future and the past. With her is sometimes associated the\nnymph _Egeria_, from whom the Roman king Numa is said to have received\ninstruction concerning the forms of worship which he introduced.\n\n12. The Romans worshiped, also, _Sol_, the Sun; _Luna_, the Moon;\n_Mater Matuta_, the Dawn; _Juventus_, Youth; _Fides_, Honesty;\n_Feronia_, goddess of groves and freedmen; and a great number of\npersonified abstractions of conduct and experience, such as Fortune and\nHealth.\n\nMany of these Latin divinities were derived from the earlier cult and\nritual of the Etruscan inhabitants of Italy.\n\nFOOTNOTES:\n\n[62] Names of the corresponding Greek divinities are in parentheses.\n\n[63] For illustrative material, see Commentary.\n\n[64] Gellius, 5, 12. Ovid, Fasti, 1, 179. Macrobius, Sat. 1, 9-15.\n\n[65] From Macaulay's Prophecy of Capys.\n\n\n\n\nCHAPTER VII\n\nMYTHS OF THE GREAT DIVINITIES OF HEAVEN\n\n\n=55. Myths of Jupiter and Juno.= Not a few of the adventures of Jupiter\nturn upon his love affairs. Among the immortals his queen had rivals in\nhis affection; for instance, Latona, a goddess of darkness, daughter\nof the Titans C[oe]us and Ph[oe]be. This goddess became, as we have\nalready seen, the mother of Apollo and Diana. The ire of Juno against\nher was never appeased. In consequence of it, numerous trials were\nvisited upon Latona, some of which find a place among the adventures of\nher children.\n\n[Illustration: FIG. 45. GANYMEDE]\n\n=56. Love Affairs of Jupiter.= Not only with immortals but with mortals\nwere Jupiter's relations sometimes of a dubious character. His devotion\nto the beautiful daughters of men involved him in frequent altercations\nwith his justly jealous spouse. Of his fondness for Dana\u00eb, whom he\napproached in a shower of gold, particulars are given in the story of\nher son Perseus; of his love for Alcmene, the granddaughter of that\nPerseus, we are informed in the myths of her son Hercules; and of his\nattentions to Leda, whom he wooed in guise of a swan, we learn in the\naccounts of their children Pollux and Helen. Other love passages, upon\nwhich narratives depend, concern Io, Callisto, Europa, Semele, \u00c6gina,\nand Antiope.\n\n[Illustration: GREECE IN THE FIFTH CENTURY B.C.]\n\n=57. Io=[66] was of divine ancestry. Her father was the river-god\nInachus, son of Oceanus. It is said that Juno one day, perceiving the\nskies suddenly overcast, surmised that her husband had raised a cloud\nto hide some escapade. She brushed away the darkness and saw him on the\nbanks of a glassy river with a beautiful heifer standing near. Juno\nsuspected, with reason, that the heifer's form concealed some fair\nnymph of mortal mold. It was Io, whom Jupiter, when he became aware of\nthe approach of his wife, had changed into that form.\n\n[Illustration: FIG. 46. HERMES KILLS ARGUS]\n\nThe ox-eyed goddess joined her husband, noticed the heifer, praised\nits beauty, and asked whose it was and of what herd. Jupiter, to\nstop questions, replied that it was a fresh creation from the earth.\nJuno begged it as a gift. What could the king of gods and men do? He\nwas loath to surrender his sweetheart to his wife; yet how refuse\nso trifling a present as a heifer? He could not, without exciting\nsuspicion, and he therefore consented. The goddess delivered the heifer\nto Argus, to be strictly watched.\n\nNow Argus had a hundred eyes in his head, and never went to sleep with\nmore than two at a time, so that he kept watch of Io constantly. He\nsuffered her to graze through the day and at night tied a rope round\nher neck. She would have stretched out her arms to implore freedom of\nArgus, but that she had no arms to stretch out and her voice was a\nbellow. She yearned in vain to make herself known to her father. At\nlength she bethought herself of writing, and inscribed her name--it\nwas a short one--with her hoof on the sand. Inachus recognized it,\nand, discovering that his daughter whom he had long sought in vain was\nhidden under this disguise, mourned over her. While he thus lamented,\nArgus, observing, drove her away and took his seat on a bank from\nwhence he could see in every direction.\n\n[Illustration: FIG. 47. IO, ARGUS, AND MERCURY]\n\nJupiter, grieved by the sufferings of his mistress, sent Mercury to\ndispatch Argus. Mercury took his sleep-producing wand and presented\nhimself on earth as a shepherd driving his flock. As he strolled, he\nblew upon his syrinx or Pandean pipes. Argus listened with delight.\n\"Young man,\" said he, \"come and take a seat by me on this stone. There\nis no better place for your flock to graze in than hereabouts, and here\nis a pleasant shade such as shepherds love.\" Mercury sat down, talked,\ntold stories till it grew late, and played upon his pipes his most\nsoothing strains, hoping to lull the watchful eyes to sleep, but in\nvain; for Argus still contrived to keep some of his eyes open, though\nhe shut the rest.\n\nBut among other stories, Mercury told him how the instrument on which\nhe played was invented. \"There was a certain nymph,\" said he, \"whose\nname was Syrinx,--much beloved by the satyrs and spirits of the wood.\nShe would have none of them, but was a faithful worshiper of Diana\nand followed the chase. Pan, meeting her one day, wooed her with many\ncompliments, likening her to Diana of the silver bow. Without stopping\nto hear him she ran away. But on the bank of the river he overtook\nher. She called for help on her friends, the water-nymphs. They heard\nand consented. Pan threw his arms around what he supposed to be the\nform of the nymph and found he embraced only a tuft of reeds. As he\nbreathed a sigh, the air sounded through the reeds and produced a\nplaintive melody. Whereupon the god, charmed with the novelty and with\nthe sweetness of the music, said, 'Thus, then, at least, you shall be\nmine.' Taking some of the reeds of unequal lengths and placing them\ntogether, side by side, he made an instrument and called it Syrinx,\nin honor of the nymph.\" Before Mercury had finished his story he saw\nthe eyes of Argus all asleep. At once he slew him and set Io free. The\neyes of Argus Juno took and scattered as ornaments on the tail of her\npeacock, where they remain to this day.\n\nBut the vengeance of Juno was not yet satiated. She sent a gadfly to\ntorment Io, who, in her flight, swam through the sea, named after\nher, Ionian. Afterward, roaming over many lands, she reached at last\nthe banks of the Nile. Then Jupiter interceded for her; and upon his\nengaging not to pay her any further attention, Juno consented to\nrestore her to her form.\n\nIn a poem dedicated to Leigh Hunt, by Keats, the following allusion to\nthe story of Pan and Syrinx occurs:\n\n So did he feel who pulled the boughs aside,\n That we might look into a forest wide, ...\n Telling us how fair trembling Syrinx fled\n Arcadian Pan, with such a fearful dread.\n Poor nymph--poor Pan--how he did weep to find\n Nought but a lovely sighing of the wind\n Along the reedy stream; a half-heard strain,\n Full of sweet desolation, balmy pain.\n\n=58. Callisto= of Arcadia was another maiden who excited the jealousy\nof Juno. Her the goddess changed into a bear. Often, frightened by\nthe dogs, Callisto, though lately a huntress, fled in terror from the\nhunters. Often, too, she fled from the wild beasts, forgetting that\nshe was now a wild beast herself; and, bear as she was, she feared the\nbears.\n\nOne day a youth espied her as he was hunting. She saw him and\nrecognized him as her son Arcas, grown to manhood. She stopped and felt\ninclined to embrace him. He, alarmed, raised his hunting spear and was\non the point of transfixing her, but Jupiter arrested the crime and,\nsnatching away both of them, placed them in the heavens as the Great\nand Little Bear.\n\nJuno, enraged at seeing her rival so set in honor, hastened to ancient\nTethys and Oceanus and, complaining that she was supplanted in Heaven,\ncried, \"So do my punishments result--such is the extent of my power! I\nforbade her to wear human form,--she and her hateful son are placed\namong the stars. Better that she should have resumed her former shape,\nas I permitted Io to do. Perhaps my husband means to take her to\nwife, and put me away! But you, my foster parents, if you feel for\nme, and see with displeasure this unworthy treatment of me, show it,\nI beseech you, by forbidding this guilty couple from coming into your\nwaters.\" The powers of the Ocean assented, and consequently the two\nconstellations of the Great and Little Bear move round and round in\nthe neighborhood of the pole, but never sink, as do the other stars,\nbeneath the Ocean.[67]\n\n=59. Europa= was the daughter of Agenor, king of Ph[oe]nicia, son of\nthe god Neptune. The story of Jupiter's love for her is thus told by\nthe idyllic poet, Moschus:\n\n To Europa, princess of Asia, once on a time, a sweet dream was\n sent by Cypris.... Then she beheld two continents at strife for\n her sake, Asia and the further shore, both in the shape of women.\n Of these one had the guise of a stranger, the other of a lady of\n that land, and closer still she clung about her maiden, and kept\n saying how she was her mother, and herself had nursed Europa. But\n that other with mighty hands, and forcefully, kept haling the\n maiden, nothing loth; declaring that, by the will of \u00e6gis-bearing\n Jupiter, Europa was destined to be her prize.\n\n But Europa leaped forth from her strown bed in terror, with\n beating heart, in such clear vision had she beheld the dream....\n And she said, \"Ah! who was the alien woman that I beheld in my\n sleep? How strange a longing for her seized my heart, yea, and\n how graciously she herself did welcome me, and regard me as it\n had been her own child! Ye blessed gods, I pray you, prosper the\n fulfillment of the dream!\"\n\n Therewith she arose, and began to seek the dear maidens of her\n company, girls of like age with herself, born in the same year,\n beloved of her heart, the daughters of noble sires, with whom she\n was always wont to sport, when she was arrayed for the dance, or\n when she would bathe her bright body at the mouths of the rivers,\n or would gather fragrant lilies on the leas....\n\n Now the girls, so soon as they were come to the flowering\n meadows, took great delight in various sorts of flowers, whereof\n one would pluck sweet-breathed narcissus, another the hyacinth,\n another the violet, a fourth the creeping thyme; and on the\n ground there fell many petals of the meadows rich with spring.\n Others, again, were emulously gathering the fragrant tresses of\n the yellow crocus; but in the midst of them all the princess\n culled with her hand the splendor of the crimson rose, and shone\n pre\u00ebminent among them all like the foam-born goddess among the\n Graces. Verily, she was not for long to set her heart's delight\n upon the flowers.... For of a truth, the son of Cronus, so soon\n as he beheld her, was troubled, and his heart was subdued by the\n sudden shafts of Cypris, who alone can conquer even Jupiter.\n Therefore, both to avoid the wrath of jealous Juno, and being\n eager to beguile the maiden's tender heart, he concealed his\n godhead, and changed his shape, and became a bull....\n\n [Illustration: FIG. 48. EUROPA ON THE BULL]\n\n He came into the meadow, and his coming terrified not the\n maidens, nay, within them all wakened desire to draw nigh the\n lovely bull, and to touch him, and his heavenly fragrance was\n scattered afar, exceeding even the sweet perfume of the meadows.\n And he stood before the feet of fair Europa, and kept licking her\n neck, and cast his spell over the maiden. And she still caressed\n him, and gently with her hands she wiped away the deep foam from\n his lips, and kissed the bull. Then he lowed so gently, ye would\n think ye heard the Mygdonian flute uttering a dulcet sound.\n\n He bowed himself before her feet, and bending back his neck, he\n gazed on Europa, and showed her his broad back. Then she spake\n among her deep-tressed maidens, saying,--\n\n \"Come, dear playmates, maidens of like age with me, let us mount\n the bull here and take our pastime, for, truly, he will bear us\n on his back, and carry all of us! And how mild he is, and dear,\n and gentle to behold, and no whit like other bulls! A mind as\n honest as a man's possesses him, and he lacks nothing but speech.\"\n\n So she spake, and smiling, she sat down on the back of the bull,\n and the others were about to follow her. But the bull leaped up\n immediately, now he had gotten her that he desired, and swiftly\n he sped to the deep. The maiden turned, and called again and\n again to her dear playmates, stretching out her hands, but they\n could not reach her. The strand he gained, and forward he sped\n like a dolphin, faring with unwetted hooves over the wide waves.\n And the sea, as he came, grew smooth, and the sea monsters\n gamboled around, before the feet of Jupiter; and the dolphin\n rejoiced, and rising from the deeps, he tumbled on the swell of\n the sea. The Nere\u00efds arose out of the salt water, and all of them\n came on in orderly array, riding on the backs of sea beasts. And\n himself, the thunderous shaker of the world, appeared above the\n sea, and made smooth the wave, and guided his brother on the\n salt sea path, and round him were gathered the Tritons, these\n hoarse trumpeters of the deep, blowing from their long conchs a\n bridal melody.\n\n Meanwhile, Europa, riding on the back of the divine bull, with\n one hand clasped the beast's great horn, and with the other\n caught up the purple fold of her garment, lest it might trail and\n be wet in the hoar sea's infinite spray. And her deep robe was\n swelled out by the winds, like the sail of a ship, and lightly\n still did waft the maiden onward. But when she was now far off\n from her own country, and neither sea-beat headland nor steep\n hill could now be seen, but above, the air, and beneath, the\n limitless deep, timidly she looked around, and uttered her voice,\n saying,--\n\n [Illustration: FIG. 49. NERE\u00cfDS ON SEA BEASTS]\n\n \"Whither bearest thou me, bull god? What art thou? How dost thou\n fare on thy feet through the path of the sea beasts, nor fearest\n the sea? The sea is a path meet for swift ships that traverse the\n brine, but bulls dread the salt sea ways. What drink is sweet to\n thee, what food shalt thou find from the deep? Nay, art thou then\n some god, for godlike are these deeds of thine.\" ...\n\n So spake she, and the horned bull made answer to her again: \"Take\n courage, maiden, and dread not the swell of the deep. Behold,\n I am Jupiter, even I, though, closely beheld, I wear the form\n of a bull, for I can put on the semblance of what thing I will.\n But 'tis love of thee that has compelled me to measure out so\n great a space of the salt sea, in a bull's shape. So Crete shall\n presently receive thee, Crete that was mine own foster-mother,\n where thy bridal chamber shall be.\"[68]\n\nAccording to tradition, from this princess the continent of Europe\nacquired its name. Her three sons are famous in Greek myth: Minos, who\nbecame king of Crete, and after his death a judge in the lower world;\nRhadamanthus, who also was regarded as king and judge in the world of\nghosts; and Sarpedon, who was ancestor of the Lycians.\n\nThe adventures of Europa's brother Cadmus, who by the command of his\nfather went forth in quest of the lost maiden, fall under the myths of\nMars.[69]\n\n[Illustration: FIG. 50. BACCHUS EMBRACING SEMELE]\n\n=60. Semele= was the daughter of Cadmus, founder of Thebes. She was\ndescended, through both parents, from the gods; for her mother Harmonia\nwas daughter to Mars and the laughter-loving Venus. To Semele Jupiter\nhad appeared, and had paid court in unostentatious manner and simple\nguise. But Juno, to gratify her resentment against this new rival for\nher lord's affections, contrived a plan for her destruction. Assuming\nthe form of Bero\u00eb, the aged nurse of Semele, she insinuated doubts\nwhether it was indeed Jove himself who came as a lover. Heaving a sigh,\nshe said, \"I hope it will turn out so, but I can't help being afraid.\nPeople are not always what they pretend to be. If he is indeed Jove,\nmake him give some proof of it. Ask him to come arrayed in all his\nsplendors, such as he wears in Heaven. That will put the matter beyond\na doubt.\" Semele was persuaded to try the experiment. She asks a favor,\nwithout naming what it is. Jove gives his promise, and confirms it\nwith the irrevocable oath, attesting the river Styx, terrible to the\ngods themselves. Then she made known her request. The god would have\nstopped her as she spake, but she was too quick for him. The words\nescaped, and he could neither unsay his promise nor her request. In\ndeep distress he left her and returned to the upper regions. There he\nclothed himself in his splendors, not putting on all his terrors, as\nwhen he overthrew the giants, but what is known among the gods as his\nlesser panoply. With thunders and lightnings he entered the chamber\nof Semele. Her mortal frame could not endure the splendors of the\nimmortal radiance. She was consumed to ashes.[70] Her son was the god\nBacchus.[71] Semele, in the blissful seats of Heaven, whither she was\ntransported by the sorrowful Jove, has been represented as recounting\nthus the story of her doom:\n\n What were the garden-bowers of Thebes to me?\n What cared I for their dances and their feasts,\n Whose heart awaited an immortal doom?\n The Greek youths mocked me, since I shunned in scorn\n Them and their praises of my brows and hair.\n The light girls pointed after me, who turned\n Soul-sick from their unending fooleries....\n\n There came a change: a glory fell to me.\n No more 'twas Semele, the lonely girl,\n But Jupiter's Beloved, Semele.\n With human arms the god came clasping me:\n New life streamed from his presence; and a voice,\n That scarce could curb itself to the smooth Greek,\n Now and anon swept forth in those deep nights,\n Thrilling my flesh with awe; mysterious words--\n I knew not what; hints of unearthly things\n That I had felt on solemn summer noons,\n When sleeping Earth dreamed music, and the heart\n Went crooning a low song it could not learn,\n But wandered over it, as one who gropes\n For a forgotten chord upon a lyre.\n\n Yea, Jupiter! But why this mortal guise,\n Wooing as if he were a milk-faced boy?\n Did I lack lovers? Was my beauty dulled,\n The golden hair turned dross, the lithe limbs shrunk?\n The deathless longings tamed, that I should seethe\n My soul in love like any shepherd girl?\n One night he sware to grant whate'er I asked:\n And straight I cried, \"To know thee as thou art!\n To hold thee on my heart as Juno does!\n Come in thy thunder--kill me with one fierce\n Divine embrace!--Thine oath!--Now, Earth, at last!\"\n\n The Heavens shot one swift sheet of lurid flame;\n The world crashed: from a body scathed and torn\n The soul leapt through, and found his breast, and died.\n Died?--So the Theban maidens think, and laugh,\n Saying, \"She had her wish, that Semele!\"\n But sitting here upon Olympus' height,\n I look down, through that oval ring of stars,\n And see the far-off Earth, a twinkling speck--\n Dust-mote whirled up from the Sun's chariot wheel--\n And pity their small hearts that hold a man\n As if he were a god; or know the god--\n Or dare to know him--only as a man!\n O human love! art thou forever blind?[72]\n\n=61. \u00c6gina.= The extent to which those who were concerned only\nindirectly in Jupiter's love affairs might yet be involved in the\nconsequences of them is illustrated by the fortunes of \u00c6gina. This\nmaiden, the daughter of Asopus, a river-god, attracted the attention\nof Jupiter, who straightway ran off with her. Now, on the one hand,\nSisyphus, king of Corinth, having witnessed the intrigue, was\nindiscreet enough to disclose it. Forthwith the vengeance of the\nking of gods and men fell upon him. He was condemned to Hades and,\nattempting to escape thence, had resort to a series of deceptions\nthat resulted in his eternal punishment.[73] On the other hand, the\ninhabitants of the island that had the misfortune to bear \u00c6gina's name\nincurred the displeasure of Juno, who devastated their land with a\nplague. The following account of this calamity is placed in the mouth\nof \u00c6acus, king of the island:[74]\n\n\"At the beginning the sky seemed to settle down upon the earth and\nthick clouds shut in the heated air. For four months together a deadly\nsouth wind prevailed. The disorder affected the wells and springs.\nThousands of snakes crept over the land and shed their poison in\nthe fountains. The force of the disease was first spent on the lower\nanimals,--dogs, cattle, sheep, and birds. The oxen fell in the midst of\ntheir work. The wool dropped from the bleating sheep. The horse groaned\nat his stall and died an inglorious death. Everything languished;\ndead bodies lay in the roads, the fields, and the woods; the air was\npoisoned by them. Next the disease attacked the country people, and\nthen the dwellers in the city. At first the cheek was flushed and the\nbreath drawn with difficulty. The tongue grew rough and swelled, and\nthe dry mouth stood open, with its veins enlarged, and gasped for the\nair. Men could not bear the heat of their clothes or their beds, but\npreferred to lie on the bare ground. Nor could the physicians help, for\nthe disease attacked them also. At last men learned to look upon death\nas the only deliverer from disease. All restraint laid aside, they\ncrowded round the wells and fountains, and drank, without quenching\nthirst, till they died. On all sides lay my people strewn like\nover-ripened apples beneath the tree, or acorns under the storm-shaken\noak. You see yonder a temple on the height. It is sacred to Jupiter.\nOften, while the priest made ready for sacrifice, the victim fell,\nstruck down by disease without waiting for the blow. At length all\nreverence for sacred things was lost. Bodies were thrown out unburied,\nwood was wanting for funeral piles, men fought with one another for the\npossession of them. Finally there were none left to mourn; sons and\nhusbands, old men and youths, perished alike unlamented.\n\n[Illustration: FARNESE BULL]\n\n\"Standing before the altar, I raised my eyes to Heaven. 'O Jupiter,' I\nsaid, 'if thou art indeed my father, give me back my people, or take\nme also away!' At these words a clap of thunder was heard. 'I accept\nthe omen,' I cried. By chance there grew by the place where I stood\nan oak with wide-spreading branches, sacred to Jupiter. I observed\non it a troop of ants busy with their labor. Observing their numbers\nwith admiration, I said, 'Give me, O father, citizens as numerous as\nthese, and replenish my empty city.' The tree shook, and the branches\nrustled, though no wind agitated them. Night came on. The tree stood\nbefore me in my dreams, with its numerous branches all covered with\nliving, moving creatures, which, falling to the ground, appeared to\ngain in size, and by and by to stand erect, and finally to assume the\nhuman form. Then I awoke. My attention was caught by the sound of many\nvoices without. While I began to think I was yet dreaming, Telamon,\nmy son, throwing open the temple gates, exclaimed, 'Father, approach,\nand behold things surpassing even your hopes!' I went forth; I saw a\nmultitude of men, such as I had seen in my dream. While I gazed with\nwonder and delight, they approached and, kneeling, hailed me as their\nking. I paid my vows to Jove, and proceeded to allot the vacant city\nto the new-born race. I called them Myrmidons from the ant (_myrmex_),\nfrom which they sprang. They are a diligent and industrious race, eager\nto gain, and tenacious of their gains.\"\n\nThe Myrmidons were the soldiers of Achilles, the grandson of King\n\u00c6acus, in the Trojan War.\n\n=62. Antiope= was, according to the Odyssey, another daughter of\nAsopus, therefore a sister of \u00c6gina. But later poets make this darling\nof Jove daughter of Nycteus, king of Thebes. While she was engaged in\nthe M\u00e6nad dances, Jupiter as a satyr wooed and won her. She bore him\ntwo sons, Amphion and Zethus, who, being exposed at birth on Mount\nCith\u00e6ron, grew up among the shepherds, not knowing their parentage.\nAfter various adventures Antiope fell into the hands of her uncle\nLycus, the usurping king of Thebes, who, egged on by his wife Dirce,\ntreated her with extreme cruelty. Finally, when doomed by Dirce to\nbe dragged to death behind a bull, Antiope found means to inform her\nchildren of her kinship to them. As it happened, they had been ordered\nto execute the cruel sentence upon their mother. But with a band of\ntheir fellow herdsmen, they attacked and slew Lycus instead, and, tying\nDirce by the hair of her head to a bull, let her perish by her own\ndevice.[75]\n\nWhile among the herdsmen, _Amphion_ had been the special care of\nMercury, who gave him a lyre and taught him to play upon it. His\nbrother Zethus had occupied himself in hunting and tending the flocks.\nAmphion himself is one of the most famous of mythical musicians. Having\nbecome king of Thebes, it is said that when he played on his lyre,\nstones moved of their own accord and took their places in the wall with\nwhich he was fortifying the city.\n\n[Illustration: FIG. 51. AMPHION AND ZETHUS]\n\n ... 'Tis said he had a tuneful tongue,\n Such happy intonation,\n Wherever he sat down and sung\n He left a small plantation;\n Wherever in a lonely grove\n He set up his forlorn pipes,\n The gouty oak began to move,\n And flounder into hornpipes.\n\n The mountain stirred its bushy crown,\n And, as tradition teaches,\n Young ashes pirouetted down\n Coquetting with young beeches;\n And briony-vine and ivy-wreath\n Ran forward to his rhyming,\n And from the valleys underneath\n Came little copses climbing.\n\n The linden broke her ranks and rent\n The woodbine wreaths that bind her,\n And down the middle, buzz! she went\n With all her bees behind her:\n The poplars, in long order due,\n With cypress promenaded,\n The shock-head willows, two and two,\n By rivers gallopaded.\n\n Came wet-shot alder from the wave,\n Came yews, a dismal coterie;\n Each plucked his one foot from the grave,\n Poussetting with a sloe-tree:\n Old elms came breaking from the vine,\n The vine streamed out to follow,\n And, sweating rosin, plumped the pine\n From many a cloudy hollow.\n\n And wasn't it a sight to see,\n When, ere his song was ended,\n Like some great landslip, tree by tree,\n The country-side descended;\n And shepherds from the mountain-eaves\n Looked down, half-pleased, half-frightened,\n As dashed about the drunken leaves\n The random sunshine lightened.[76]\n\nThe musician's life was, however, not all harmony and happiness. Owing\nto the pride of his wife Niobe, daughter of King Tantalus, there befell\nhim and his house a crushing calamity, which is narrated among the\nexploits of Apollo and Diana.\n\n=63. Jupiter, a Friend of Man.= The kindly interest evinced by the\nThunderer toward mortals is displayed in the story of Baucis and\nPhilemon. Once on a time Jupiter, in human shape, visited the land of\nPhrygia, and with him Mercury, without his wings.\n\nThey presented themselves as weary travelers at many a door, seeking\nrest and shelter, but found all closed; for it was late, and the\ninhospitable inhabitants would not rouse themselves to open for their\nreception. At last a small thatched cottage received them, where\nBaucis, a pious old dame, and her husband Philemon had grown old\ntogether. Not ashamed of their poverty, they made it endurable by\nmoderate desires and kind dispositions. When the two guests crossed\nthe humble threshold and bowed their heads to pass under the low door,\nthe old man placed a seat, on which Baucis, bustling and attentive,\nspread a cloth, and begged them to sit down. Then she raked out the\ncoals from the ashes, kindled a fire, and prepared some pot-herbs and\nbacon for them. A beechen bowl was filled with warm water, that their\nguests might wash. While all was doing, they beguiled the time with\nconversation.\n\nThe old woman with trembling hand set the table. One leg was shorter\nthan the rest, but a piece of slate put under restored the level. When\nit was steady she rubbed the table down with sweet-smelling herbs.\nUpon it she set some of chaste Minerva's olives, some cornel berries\npreserved in vinegar, and added radishes and cheese, with eggs lightly\ncooked in the ashes. The meal was served in earthen dishes; and an\nearthenware pitcher, with wooden cups, stood beside them. When all was\nready the stew, smoking hot, was set on the table. Some wine, not of\nthe oldest, was added, and for dessert, apples and wild honey.\n\nNow while the repast proceeded, the old folks were astonished to see\nthat the wine, as fast as it was poured out, renewed itself in the\npitcher of its own accord. Struck with terror, Baucis and Philemon\nrecognized their heavenly guests, fell on their knees, and with clasped\nhands implored forgiveness for their poor entertainment. There was an\nold goose, which they kept as the guardian of their humble cottage, and\nthey bethought them to make this a sacrifice in honor of their guests.\nBut the goose, too nimble for the old folk, with the aid of feet and\nwings eluded their pursuit and at last took shelter between the gods\nthemselves. They forbade it to be slain, and spoke in these words:\n\"We are gods. This inhospitable village shall pay the penalty of its\nimpiety; you alone shall go free from the chastisement. Quit your house\nand come with us to the top of yonder hill.\" They hastened to obey.\nThe country behind them was speedily sunk in a lake, only their own\nhouse left standing. While they gazed with wonder at the sight, that\nold house of theirs was changed. Columns took the place of the corner\nposts, the thatch grew yellow and appeared a gilded roof, the floors\nbecame marble, the doors were enriched with carving and ornaments of\ngold. Then spoke Jupiter in benignant accents: \"Excellent old man,\nand woman worthy of such a husband, speak, tell us your wishes. What\nfavor have you to ask of us?\" Philemon took counsel with Baucis a few\nmoments, then declared to the gods their common wish. \"We ask to be\npriests and guardians of this thy temple, and that one and the same\nhour may take us both from life.\" Their prayer was granted. When they\nhad attained a great age, as they stood one day before the steps of\nthe sacred edifice and were telling the story of the place, Baucis saw\nPhilemon begin to put forth leaves, and Philemon saw Baucis changing in\nlike manner. While still they exchanged parting words, a leafy crown\ngrew over their heads. \"Farewell, dear spouse,\" they said together,\nand at the same moment the bark closed over their mouths. The Tyanean\nshepherd still shows the two trees,--an oak and a linden, standing side\nby side.[77]\n\nThe story of Baucis and Philemon has been imitated by Swift in a\nburlesque style, the actors in the change being two wandering saints,\nand the house being changed into a church, of which Philemon is made\nthe parson:\n\n ... They scarce had spoke, when, fair and soft,\n The roof began to mount aloft;\n Aloft rose every beam and rafter;\n The heavy wall climbed slowly after.\n The chimney widened and grew higher,\n Became a steeple with a spire.\n The kettle to the top was hoist,\n And there stood fastened to a joist,\n But with the upside down, to show\n Its inclination for below;\n In vain, for a superior force,\n Applied at bottom, stops its course;\n Doomed ever in suspense to dwell,\n 'Tis now no kettle, but a bell.\n A wooden jack, which had almost\n Lost by disuse the art to roast,\n A sudden alteration feels,\n Increased by new intestine wheels;\n And, what exalts the wonder more,\n The number made the motion slower;\n The flier, though 't had leaden feet,\n Turned round so quick you scarce could see 't;\n But slackened by some secret power,\n Now hardly moves an inch an hour.\n The jack and chimney, near allied,\n Had never left each other's side.\n The chimney to a steeple grown,\n The jack would not be left alone;\n But up against the steeple reared,\n Became a clock, and still adhered;\n And still its love to household cares\n By a shrill voice at noon declares,\n Warning the cook-maid not to burn\n That roast meat which it cannot turn.\n The groaning chair began to crawl,\n Like a huge snail, along the wall;\n There stuck aloft in public view,\n And with small change, a pulpit grew.\n A bedstead of the antique mode,\n Compact of timber many a load,\n Such as our ancestors did use,\n Was metamorphosed into pews,\n Which still their ancient nature keep\n By lodging folks disposed to sleep.\n\n=64. Juno's Best Gift.= What the queen of heaven deemed the greatest\nblessing reserved for mortals is narrated in the beautiful myth of\nBiton and Cleobis. One Cydippe, an ancient priestess of the white-armed\ngoddess, had desired to behold the famous new statue of Hera at\nArgos. Her sons testified their affection for their mother by yoking\nthemselves, since no oxen were at hand, to her chariot, and so dragging\nher through heat and dust many a weary league till they reached the\ntemple, where stood the gold and ivory masterwork of Polyclitus. With\nadmiration the devoted priestess and her pious sons were received by\nthe populace crowding round the statue. The priest officiating in the\nsolemn rites thought meet that so reverend a worshiper should herself\napproach the goddess,--ay, should ask of Hera some blessing on her\nfaithful sons:\n\n ... Slowly old Cydippe rose and cried:\n \"Hera, whose priestess I have been and am,\n Virgin and matron, at whose angry eyes\n Zeus trembles, and the windless plain of heaven\n With hyperborean echoes rings and roars,\n Remembering thy dread nuptials, a wise god,\n Golden and white in thy new-carven shape,\n Hear me! and grant for these my pious sons,\n Who saw my tears, and wound their tender arms\n Around me, and kissed me calm, and since no steer\n Stayed in the byre, dragged out the chariot old,\n And wore themselves the galling yoke, and brought\n Their mother to the feast of her desire,\n Grant them, O Hera, thy best gift of gifts!\"\n\n Whereat the statue from its jeweled eyes\n Lightened, and thunder ran from cloud to cloud\n In heaven, and the vast company was hushed.\n But when they sought for Cleobis, behold,\n He lay there still, and by his brother's side\n Lay Biton, smiling through ambrosial curls,\n And when the people touched them they were dead.[78]\n\n=65. Myths of Minerva.= Minerva, as we have seen,[79] presided over\nthe useful and ornamental arts, both those of men--such as agriculture\nand navigation--and those of women--spinning, weaving, and needlework.\nShe was also a warlike divinity, but favored only defensive warfare.\nWith Mars' savage love of violence and bloodshed she, therefore, had\nno sympathy. Athens, her chosen seat, her own city, was awarded to\nher as the prize of a peaceful contest with Neptune, who also aspired\nto it. In the reign of Cecrops, the first king of Athens, the two\ndeities had contended for the possession of the city. The gods decreed\nthat it should be awarded to the one who produced the gift most useful\nto mortals. Neptune gave the horse; Minerva produced the olive. The\ngods awarded the city to the goddess, and after her Greek appellation,\nAthena, it was named.\n\n=66. Arachne.= In another contest, a mortal dared to come into\ncompetition with the gray-eyed daughter of Jove. This was Arachne, a\nmaiden who had attained such skill in the arts of carding and spinning,\nof weaving and embroidery, that the Nymphs themselves would leave\ntheir groves and fountains to come and gaze upon her work. It was not\nonly beautiful when it was done, but beautiful also in the doing. To\nwatch her one would have said that Minerva herself had taught her. But\nthis she denied, and could not bear to be thought a pupil even of a\ngoddess. \"Let Minerva try her skill with mine,\" said she. \"If beaten, I\nwill pay the penalty.\" Minerva heard this and was displeased. Assuming\nthe form of an old woman, she appeared to Arachne and kindly advised\nher to challenge her fellow mortals if she would, but at once to ask\nforgiveness of the goddess. Arachne bade the old dame to keep her\ncounsel for others. \"I am not afraid of the goddess; let her try her\nskill, if she dare venture.\" \"She comes,\" said Minerva, and dropping\nher disguise, stood confessed. The Nymphs bent low in homage and all\nthe bystanders paid reverence. Arachne alone was unterrified. A sudden\ncolor dyed her cheek, and then she grew pale; but she stood to her\nresolve and rushed on her fate. They proceed to the contest. Each\ntakes her station and attaches the web to the beam. Then the slender\nshuttle is passed in and out among the threads. The reed with its fine\nteeth strikes up the woof into its place and compacts the web. Wool of\nTyrian dye is contrasted with that of other colors, shaded off into one\nanother so adroitly that the joining deceives the eye. And the effect\nis like the bow whose long arch tinges the heavens, formed by sunbeams\nreflected from the shower,[80] in which, where the colors meet they\nseem as one, but at a little distance from the point of contact are\nwholly different.\n\nMinerva wove the scene of her contest with Neptune (Poseidon). Twelve\nof the heavenly powers were represented, Jupiter, with august gravity,\nsitting in the midst. Neptune, the ruler of the sea, held his trident\nand appeared to have just smitten the earth, from which a horse had\nleaped forth. The bright-eyed goddess depicted herself with helmed\nhead, her \u00e6gis covering her breast, as when she had created the olive\ntree with its berries and its dark green leaves.\n\n[Illustration: FIG. 52. CONTEST OF ATHENA AND POSEIDON]\n\n Amongst these leaves she made a Butterfly,\n With excellent device and wondrous slight,\n Fluttering among the olives wantonly,\n That seemed to live, so like it was in sight;\n The velvet nap which on his wings doth lie,\n The silken down with which his back is dight,\n His broad outstretch\u00e8d horns, his hairy thighs,\n His glorious colors, and his glistering eyes.\n\n Which when Arachne saw, as overlaid\n And master\u00e8d with workmanship so rare,\n She stood astonished long, ne aught gainsaid;\n And with fast-fix\u00e8d eyes on her did stare.[81]\n\nSo wonderful was the central circle of Minerva's web; and in the four\ncorners were represented incidents illustrating the displeasure of the\ngods at such presumptuous mortals as had dared to contend with them.\nThese were meant as warnings from Minerva to her rival to give up the\ncontest before it was too late.\n\nBut Arachne did not yield. She filled her web with subjects designedly\nchosen to exhibit the failings and errors of the gods. One scene\nrepresented Leda caressing the swan; and another, Dana\u00eb and the golden\nshower. Still another depicted Europa deceived by Jupiter under\nthe disguise of a bull. Its appearance was that of a real bull, so\nnaturally was it wrought and so natural the water in which it swam.\n\nWith such subjects Arachne filled her canvas, wonderfully well done\nbut strongly marking her presumption and impiety. Minerva could not\nforbear to admire, yet was indignant at the insult. She struck the web\nwith her shuttle and rent it in pieces; then, touching the forehead\nof Arachne, she made her realize her guilt. It was more than mortal\ncould bear; and forthwith Arachne hanged herself. \"Live, guilty woman,\"\nsaid Minerva, \"but that thou mayest preserve the memory of this\nlesson continue to hang, both thou and thy descendants, to all future\ntimes.\" Then, sprinkling her with the juices of aconite, the goddess\ntransformed her into a spider, forever spinning the thread by which she\nis suspended.[82]\n\n=67. Myths of Mars.= The relations of Mars to other deities may be best\nillustrated by passages from the Iliad, which, generally speaking,\npresents him in no very favorable light.\n\n=68. Mars and Diomede.= In the war of the Greeks and the Trojans,[83]\nthe cause of the former was espoused by Minerva, of the latter by Mars.\nAmong the chieftains of the Greeks in a certain battle, Diomede, son of\nTydeus, was prominent. Now when Mars, scourge of mortals, beheld noble\nDiomede, he made straight at him.\n\n ... And when they were come nigh in onset on one another, first\n Mars thrust over the yoke and horses' reins with spear of bronze,\n eager to take away his life. But the bright-eyed goddess Minerva\n with her hand seized the spear and thrust it up over the car, to\n spend itself in vain. Next Diomede of the loud war cry attacked\n with spear of bronze; and Minerva drave it home against Mars'\n nethermost belly, where his taslets were girt about him. There\n smote he him and wounded him, rending through his fair skin,--and\n plucked forth the spear again. Then brazen Mars bellowed loud as\n nine thousand warriors or ten thousand cry in battle as they join\n in strife and fray. Thereat trembling gat hold of Ach\u00e6ans and\n Trojans for fear, so mightily bellowed Mars insatiate of battle.\n\n[Illustration: FIG. 53. ATHENA]\n\n Even as gloomy mist appeareth from the clouds when after heat a\n stormy wind ariseth, even so to Tydeus' son Diomede brazen Mars\n appeared amid clouds, faring to wide Heaven. Swiftly came he to\n the gods' dwelling, steep Olympus, and sat beside Jupiter, son\n of Cronus, with grief at heart, and showed the immortal blood\n flowing from the wound, and piteously spake to him winged words:\n \"Father Jupiter, hast thou no indignation to behold these violent\n deeds? For ever cruelly suffer we gods by one another's devices,\n in showing men grace. With thee are we all at variance, because\n thou didst beget that reckless maiden and baleful, whose thought\n is ever of iniquitous deeds. For all the other gods that are\n in Olympus hearken to thee, and we are subject every one; only\n her thou chaste-nest not, neither in deed nor word, but settest\n her on, because this pestilent one is thine own offspring. Now\n hath she urged on Tydeus' son, even overweening Diomede, to rage\n furiously against the immortal gods. The Cyprian first he wounded\n in close fight, in the wrist of her hand, and then assailed he\n me, even me, with the might of a god. Howbeit my swift feet bare\n me away; else had I long endured anguish there amid the grisly\n heaps of dead, or else had lived strengthless from the smitings\n of the spear.\"\n\n Then Jupiter the cloud-gatherer looked sternly at him, and said:\n \"Nay, thou renegade, sit not by me and whine. Most hateful to\n me art thou of all gods that dwell in Olympus; thou ever lovest\n strife and wars and battles. Truly thy mother's spirit is\n intolerable, unyielding, even Juno's; her can I scarce rule with\n words. Therefore I deem that by her prompting thou art in this\n plight. Yet will I no longer endure to see thee in anguish; mine\n offspring art thou, and to me thy mother bare thee. But wert thou\n born of any other god unto this violence, long ere this hadst\n thou been lower than the sons of Heaven.\"\n\n So spake he and bade P\u00e6an heal him. And P\u00e6an laid assuaging\n drugs upon the wound, and healed him, seeing he was in no wise\n of mortal mold. Even as fig juice maketh haste to thicken white\n milk, that is liquid but curdleth speedily as a man stirreth,\n even so swiftly healed he impetuous Mars. And Hebe bathed him and\n clothed him in gracious raiment, and he sate down by Jupiter, son\n of Cronus, glorying in his might.\n\n Then fared the twain back to the mansion of great Jupiter, even\n Juno and Minerva, having stayed Mars, scourge of mortals, from\n his man-slaying.[84]\n\n=69. Mars and Minerva.= It would seem that the insatiate son of Juno\nshould have learned by this sad experience to avoid measuring arms with\nthe \u00e6gis-bearing Minerva. But he renewed the contest at a later period\nin the fortunes of the Trojan War:\n\n ... Jupiter knew what was coming as he sat upon Olympus, and his\n heart within him laughed pleasantly when he beheld that strife\n of gods. Then no longer stood they asunder, for Mars, piercer of\n shields, began the battle and first made for Minerva with his\n bronze spear, and spake a taunting word: \"Wherefore, O dogfly,\n dost thou match gods with gods in strife, with stormy daring,\n as thy great spirit moveth thee? Rememberest thou not how thou\n movedst Diomede, Tydeus' son, to wound me, and thyself didst take\n a visible spear and thrust it straight at me and pierce through\n my fair skin? Therefore deem I now that thou shalt pay me for all\n that thou hast done.\"\n\n Thus saying, he smote on the dread tasseled \u00e6gis that not\n even the lightning of Jupiter can overcome--thereon smote\n blood-stained Mars with his long spear. But she, giving back,\n grasped with stout hand a stone that lay upon the plain, black,\n rugged, huge, which men of old time set to be the landmark of a\n field; this hurled she, and smote impetuous Mars on the neck,\n and unstrung his limbs. Seven roods he covered in his fall, and\n soiled his hair with dust, and his armor rang upon him. And\n Minerva laughed, and spake to him winged words exultingly: \"Fool,\n not even yet hast thou learnt how far better than thou I claim to\n be, that thus thou matchest thy might with mine. Thus shalt thou\n satisfy thy mother's curses, who deviseth mischief against thee\n in her wrath, for that thou hast left the Ach\u00e6ans and givest the\n proud Trojans aid.\"\n\n Thus having said, she turned from him her shining eyes. Him did\n Venus, daughter of Jupiter, take by the hand and lead away,\n groaning continually, for scarce gathered he his spirit back to\n him.[85]\n\n=70. The Fortunes of Cadmus.= Toward mortals Mars could show himself,\non occasion, as vindictive as his fair foe, the unwearied daughter of\nJove. This fact not only Cadmus, who slew a serpent sacred to Mars, but\nall the family of Cadmus found out to their cost.\n\n[Illustration: FIG. 54. CADMUS SLAYING THE DRAGON]\n\nWhen Europa was carried away by Jupiter in the guise of a bull, her\nfather Agenor commanded his son Cadmus to go in search of her and not\nto return without her. Cadmus sought long and far; then, not daring\nto return unsuccessful, consulted the oracle of Apollo to know what\ncountry he should settle in. The oracle informed him that he would find\na cow in the field, should follow her wherever she might wander, and\nwhere she stopped should build a city and call it Thebes. Cadmus had\nhardly left the Castalian cave, from which the oracle was delivered,\nwhen he saw a young cow slowly walking before him. He followed her\nclose, offering at the same time his prayers to Ph[oe]bus. The cow\nwent on till she passed the shallow channel of Cephissus and came\nout into the plain of Panope. There she stood still. Cadmus gave\nthanks, and stooping down kissed the foreign soil, then lifting his\neyes, greeted the surrounding mountains. Wishing to offer a sacrifice\nto his protecting deity, Minerva, he sent his servants to seek pure\nwater for a libation. Near by there stood an ancient grove which had\nnever been profaned by the ax, in the midst of which was a cave thick\ncovered with the growth of bushes, its roof forming a low arch from\nbeneath which burst forth a fountain of purest water. But in the cave\nlurked a serpent with crested head, and scales glittering like gold;\nhis eyes shone like fire; his body was swollen with venom; he vibrated\na triple tongue and showed a triple row of teeth. No sooner had the\nTyrians dipped their pitchers in the fountain and the in-gushing waters\nhad made a sound, than the monster, twisting his scaly body in a huge\ncoil, darted upon them and destroyed some with his fangs, others in his\nfolds, and others with his poisonous breath.\n\nCadmus, having waited for the return of his men till midday, went in\nsearch of them. When he entered the wood and saw their lifeless bodies\nand the dragon with his bloody jaws, not knowing that the serpent was\nsacred to Mars, scourge of mortals, he lifted a huge stone and threw\nit with all his force at the monster. The blow made no impression.\nMinerva, however, was present, unseen, to aid her worshiper. Cadmus\nnext threw his javelin, which penetrated the serpent's scales and\npierced through to his entrails. The monster attempted to draw out\nthe weapon with his mouth, but broke it off, leaving the iron point\nrankling in his flesh. His neck swelled with rage, bloody foam covered\nhis jaws, and the breath of his nostrils poisoned the air around. As he\nmoved onward, Cadmus retreated before him, holding his spear opposite\nto the serpent's opened jaws. At last, watching his chance, the hero\nthrust the spear at a moment when the animal's head thrown back came\nagainst the trunk of a tree, and so succeeded in pinning him to its\nside.\n\nWhile Cadmus stood over his conquered foe, contemplating its vast size,\na voice was heard (from whence he knew not, but it was Minerva's)\ncommanding him to take the dragon's teeth and sow them in the earth.\nScarce had he done so when the clods began to move and the points of\nspears to appear above the surface. Next, helmets with their nodding\nplumes came up; next, the shoulders and breasts and limbs of men with\nweapons, and in time a harvest of armed warriors. Cadmus prepared to\nencounter a new enemy, but one of them said to him, \"Meddle not with\nour civil war.\" With that he who had spoken smote one of his earthborn\nbrothers with a sword, and he himself fell pierced with an arrow from\nanother. The latter fell victim to a fourth, and in like manner the\nwhole crowd dealt with each other till all but five fell slain. These\nfive joined with Cadmus in building his city, to which they gave the\nname appointed.\n\n[Illustration: FIG. 55. HARMONIA IN COMPANY OF DEITIES]\n\nAs penance for the destruction of this sacred serpent, Cadmus served\nMars for a period of eight years. After he had been absolved of his\nimpiety, Minerva set him over the realm of Thebes, and Jove gave him to\nwife Harmonia, the daughter of Venus and Mars. The gods left Olympus to\nhonor the occasion with their presence; and Vulcan presented the bride\nwith a necklace of surpassing brilliancy, his own workmanship. Of this\nmarriage were born four daughters, Semele, Ino, Autono\u00eb, and Agave,\nand one son, Polydorus. But in spite of the atonement made by Cadmus,\na fatality hung over the family. The very necklace of Vulcan seemed to\ncatch the spirit of ill luck and convey a baleful influence to such\nas wore it. Semele, Ino, Act\u00e6on the son of Autono\u00eb, and Pentheus the\nson of Agave, all perished by violence. Cadmus and Harmonia quitted\nThebes, grown odious to them, and emigrated to the country of the\nEnchelians, who received them with honor and made Cadmus their king.\nBut the misfortunes of their children still weighing upon their minds,\nCadmus one day exclaimed, \"If a serpent's life is so dear to the gods,\nI would I were myself a serpent.\" No sooner had he uttered the words\nthan he began to change his form. Harmonia, beholding it, prayed the\ngods to let her share his fate. Both became serpents. It is said that,\nmindful of their origin, they neither avoid the presence of man nor\ndo they injure any one. But the curse appears not to have passed from\ntheir house until the sons of their great-great-grandson [OE]dipus had\nby fraternal strife ended themselves and the family.[86]\n\n[Illustration: FIG. 56. THE FORGE OF VULCAN\n\nFrom the painting by Velasquez]\n\n=71. Myths of Vulcan.= The stories of Vulcan are few, although\nincidents illustrating his character are sufficiently numerous.\nAccording to an account already given, Vulcan, because of his lameness,\nwas cast out of Heaven by his mother Juno. The sea-goddesses Eurynome\nand Thetis took him mercifully to themselves, and for nine years cared\nfor him, while he plied his trade and gained proficiency in it. In\norder to revenge himself upon the mother who had so despitefully used\nhim, he fashioned in the depths of the sea a throne of cunning device,\nwhich he sent to his mother. She, gladly accepting the glorious gift,\nsat down upon it, to find out that straightway all manner of invisible\nchains and fetters wound and clasped themselves about her so that she\ncould not rise. The assistance of the gods was of no avail to release\nher. Then Mars sought to bring Vulcan to Heaven by force that he might\nundo his trickery; but before the flames of the fire-god, the impetuous\nwarrior speedily retreated. One god, however, the jovial Bacchus, was\ndear to the blacksmith. He drenched Vulcan with wine, conducted him to\nOlympus, and by persuasion caused him to set the queen of gods and men\nat liberty.\n\n[Illustration: FIG. 57. A SACRIFICE TO APOLLO]\n\nThat Vulcan was not permanently hostile to Juno is shown by the\nservices that on various occasions he rendered her. He forged the\nshield of her favorite Achilles; and, at her instance, he undertook a\ncontest against the river Xanthus. Homer[87] describes the burning of\nelms and willow trees and tamarisks, the parching of the plains, the\nbubbling of the waters, that signalized the fight, and how the eels and\nother fish were afflicted by Vulcan till Xanthus in anguish cried for\nquarter.\n\n=72. Myths of Apollo.= The myths which cluster about the name of\nPh[oe]bus Apollo illustrate, first, his birth and the wanderings\nof his mother, Latona; secondly, his victory over darkness and\nwinter; thirdly, his gifts to man,--youth and vigor, the sunshine of\nspring, and the vegetation of early summer; fourthly, his baleful\ninfluence,--the sunstroke and drought of midsummer, the miasma of\nautumn; fifthly, his life on earth, as friend and counselor of\nmankind,--healer, soothsayer, and musician, prototype of manly beauty,\nand lover of beautiful women.\n\n=73. The Wanderings of Latona.= Persecuted by the jealousy of the\nwhite-armed Juno, Latona fled from land to land. At last, bearing in\nher arms the infant progeny of Jove, she reached Lycia, weary with her\nburden and parched with thirst. There the following adventure ensued.\nBy chance the persecuted goddess espied in the bottom of the valley a\npond of clear water, where the country people were at work gathering\nwillows and osiers. She approached and kneeling on the bank would have\nslaked her thirst in the cool stream, but the rustics forbade her. \"Why\ndo you refuse me water?\" said she. \"Water is free to all. Yet I ask\nit of you as a favor. I have no intention of washing my limbs in it,\nweary though they be, but only of quenching my thirst. A draft of water\nwould be nectar to me, and I would own myself indebted to you for life\nitself. Let these infants move your pity, who stretch out their little\narms as if to plead for me.\"\n\nBut the clowns persisted in their rudeness; they added jeers, and\nthreatened violence if she did not leave the place. They waded into the\npond and stirred up the mud with their feet, so as to make the water\nunfit to drink. Enraged, the goddess no longer supplicated the clowns,\nbut lifting her hands to Heaven exclaimed, \"May they never quit that\npool but pass their lives there!\" And it came to pass accordingly. They\nstill live in the water, sometimes totally submerged, then raising\ntheir heads above the surface or swimming upon it; sometimes coming\nout upon the bank, but soon leaping back again into the water. Their\nvoices are harsh, their throats bloated, their mouths distended by\nconstant railing; their necks have shrunk up and disappeared, and\ntheir heads are joined to their bodies. Their backs are green, their\ndisproportioned bellies white. They dwell as frogs in the slimy\npool.[88]\n\n=74. Apollo, the Light Triumphant.= Soon after his birth the sun-god\nspent a year among the Hyperboreans, whose shining land has been\nalready described.[89] On his return, slaying with his golden arrows\nthe Python that had infested the slopes near Delphi, he sang for the\nfirst time that song of victory which, as _the P\u00e6an_, is still among\nall nations synonymous with jubilation, praise, and thanksgiving. In\nhis conflict with another monster of darkness and winter, the god\nof the silver bow had the assistance of his sister Diana. By their\nunerring fiery darts they subdued the giant Tityus, who not only\nhad obstructed the peaceful ways to the oracle of Delphi, but had\nventured to insult the mother of the twin deities. They overthrew\nalso the Aload\u00e6, Otus and Ephialtes, sons of Iphimedia and Neptune.\nThese monsters, the reputed sons of Aloeus, represent, perhaps,\nthe unregulated forces of vegetation; they were renowned for their\nstrength, stature, and courage. They grew at the rate of three cubits\nin height and one in breadth every year; and, when nine years of age,\nthey attempted, by piling Mount Ossa upon Olympus, and Mount Pelion on\ntop, to scale the skies and dethrone the immortals. It is reported that\nnot Apollo and Diana, but Jupiter himself with his lightning slew them.\nThey atoned for their presumption in Hades, where, bound by serpents\nto a pillar, they were tormented by the perpetual hooting of a screech\nowl.[90]\n\n[Illustration: FIG. 58. APOLLO WITH HYACINTHUS]\n\n=75. Hyacinthus.= The fiery force of the Far-darter was not felt by\nthe monsters of darkness alone. His friendship for the young and the\nvigorous was frequently as dangerous as it was dear to the objects\nof it. He was, for instance, passionately fond of a youth named\nHyacinthus. The god of the silver bow accompanied the lad in his\nsports, carried the nets when he went fishing, led the dogs when he\nwent to hunt, followed him in his excursions in the mountains, and\nneglected for him both lyre and arrows. One day they played a game of\nquoits; Apollo, heaving aloft the discus with strength mingled with\nskill, sent it high and far. Hyacinthus, excited with the sport and\neager to make his throw, ran forward to seize the missile; but it\nbounded from the earth and struck him in the forehead. He fainted and\nfell. The god, as pale as himself, raised him and tried all his art to\nstanch the wound and retain the flitting life, but in vain. As when\none has broken the stem of a lily in the garden it hangs its head and\nturns its flowers to the earth, so the head of the dying boy, as if too\nheavy for his neck, fell over on his shoulder. \"Thou diest, Hyacinth,\"\nspake Ph[oe]bus, \"robbed of thy youth by me. Would that I could die\nfor thee! But since that may not be, my lyre shall celebrate thee, my\nsong shall tell thy fate, and thou shalt become a flower inscribed with\nmy regret.\" While the golden god spoke, the blood which had flowed on\nthe ground and stained the herbage ceased to be blood; and a flower of\nhue more beautiful than the Tyrian sprang up, resembling the lily, save\nthat this is purple and that silvery white. Ph[oe]bus then, to confer\nstill greater honor, marked the petals with his sorrow, inscribing\n\"Ai! ai!\" upon them. The flower bears the name of Hyacinthus, and with\nreturning spring revives the memory of his fate.[91]\n\nIt was said that Zephyrus (the west wind), who was also fond of\nHyacinthus and jealous of his preference of Apollo, blew the quoit out\nof its course to make it strike Hyacinthus.\n\nWhile this youth met his death by accident, another of Apollo's\nfavorites, his own son, brought death upon himself by presumption. The\nstory is as follows:\n\n=76. Pha\u00ebthon=[2] was the son of Apollo and the nymph Clymene. One\nday Epaphus, the son of Jupiter and Io,[92] scoffed at the idea of\nPha\u00ebthon's being the son of a god. Pha\u00ebthon complained of the insult\nto his mother Clymene. She sent him to Ph[oe]bus to ask for himself\nwhether he had not been truly informed concerning his parentage.\nGladly Pha\u00ebthon traveled toward the regions of sunrise and gained at\nlast the palace of the Sun. He approached his father's presence, but\nstopped at a distance, for the light was more than he could bear.\nPh[oe]bus Apollo, arrayed in purple, sat on a throne that glittered\nwith diamonds. Beside him stood the Day, the Month, the Year, the\nHours, and the Seasons. Surrounded by these attendants, the Sun beheld\nthe youth dazzled with the novelty and splendor of the scene, and\ninquired the purpose of his errand. The youth replied, \"Oh, light of\nthe boundless world, Ph[oe]bus, my father--if thou dost yield me that\nname--give me some proof, I beseech thee, by which I may be known as\nthine!\" He ceased. His father, laying aside the beams that shone around\nhis head, bade him approach, embraced him, owned him for his son, and\nswore by the river Styx[93] that whatever proof he might ask should\nbe granted. Pha\u00ebthon immediately asked to be permitted for one day to\ndrive the chariot of the sun. The father repented of his promise and\ntried to dissuade the boy by telling him the perils of the undertaking.\n\"None but myself,\" he said, \"may drive the flaming car of day. Not\neven Jupiter, whose terrible right arm hurls the thunderbolts. The\nfirst part of the way is steep and such as the horses when fresh in\nthe morning can hardly climb; the middle is high up in the heavens,\nwhence I myself can scarcely, without alarm, look down and behold the\nearth and sea stretched beneath me. The last part of the road descends\nrapidly and requires most careful driving. Tethys, who is waiting to\nreceive me, often trembles for me lest I should fall headlong. Add to\nthis that the heaven is all the time turning round and carrying the\nstars with it. Couldst thou keep thy course while the sphere revolved\nbeneath thee? The road, also, is through the midst of frightful\nmonsters. Thou must pass by the horns of the Bull, in front of the\nArcher, and near the Lion's jaws, and where the Scorpion stretches its\narms in one direction and the Crab in another. Nor wilt thou find it\neasy to guide those horses, with their breasts full of fire that they\nbreathe forth from their mouths and nostrils. Beware, my son, lest I be\nthe donor of a fatal gift; recall the request while yet thou canst.\" He\nended; but the youth rejected admonition and held to his demand. So,\nhaving resisted as long as he might, Ph[oe]bus at last led the way to\nwhere stood the lofty chariot.\n\nIt was of gold, the gift of Vulcan,--the axle of gold, the pole and\nwheels of gold, the spokes of silver. Along the seat were rows of\nchrysolites and diamonds, reflecting the brightness of the sun. While\nthe daring youth gazed in admiration, the early Dawn threw open the\npurple doors of the east and showed the pathway strewn with roses. The\nstars withdrew, marshaled by the Daystar, which last of all retired\nalso. The father, when he saw the earth beginning to glow and the Moon\npreparing to retire, ordered the Hours to harness up the horses. They\nled forth from the lofty stalls the steeds full fed with ambrosia, and\nattached the reins. Then the father, smearing the face of his son with\na powerful unguent, made him capable of enduring the brightness of the\nflame. He set the rays on the lad's head, and, with a foreboding sigh,\ntold him to spare the whip and hold tight the reins; not to take the\nstraight road between the five circles, but to turn off to the left;\nto keep within the limit of the middle zone and avoid the northern and\nthe southern alike; finally, to keep in the well-worn ruts and to drive\nneither too high nor too low, for the middle course was safest and\nbest.[94]\n\nForthwith the agile youth sprang into the chariot, stood erect, and\ngrasped the reins with delight, pouring out thanks to his reluctant\nparent. But the steeds soon perceived that the load they drew was\nlighter than usual; and as a ship without ballast is tossed hither\nand thither on the sea, the chariot, without its accustomed weight,\nwas dashed about as if empty. The horses rushed headlong and left the\ntraveled road. Then, for the first time, the Great and Little Bears\nwere scorched with heat, and would fain, if it were possible, have\nplunged into the water; and the Serpent which lies coiled round the\nnorth pole, torpid and harmless, grew warm, and with warmth felt its\nrage revive. Bo\u00f6tes, they say, fled away, though encumbered with his\nplow and unused to rapid motion.\n\nWhen hapless Pha\u00ebthon looked down upon the earth, now spreading in vast\nextent beneath him, he grew pale, and his knees shook with terror. He\nlost his self-command and knew not whether to draw tight the reins\nor throw them loose; he forgot the names of the horses. But when he\nbeheld the monstrous forms scattered over the surface of heaven,--the\nScorpion extending two great arms, his tail, and his crooked claws\nover the space of two signs of the zodiac,--when the boy beheld him,\nreeking with poison and menacing with fangs, his courage failed, and\nthe reins fell from his hands. The horses, unrestrained, went off into\nunknown regions of the sky in among the stars, hurling the chariot\nover pathless places, now up in high heaven, now down almost to the\nearth. The moon saw with astonishment her brother's chariot running\nbeneath her own. The clouds began to smoke. The forest-clad mountains\nburned,--Athos and Taurus and Tmolus and [OE]te; Ida, once celebrated\nfor fountains; the Muses' mountain Helicon, and H\u00e6mus; \u00c6tna, with fires\nwithin and without, and Parnassus, with his two peaks, and Rhodope,\nforced at last to part with his snowy crown. Her cold climate was no\nprotection to Scythia; Caucasus burned, and Ossa and Pindus, and,\ngreater than both, Olympus,--the Alps high in air, and the Apennines\ncrowned with clouds.\n\n[Illustration: FIG. 59. THE FALL OF PHA\u00cbTHON]\n\nPha\u00ebthon beheld the world on fire and felt the heat intolerable.\nThen, too, it is said, the people of \u00c6thiopia became black because\nthe blood was called by the heat so suddenly to the surface; and the\nLibyan desert was dried up to the condition in which it remains to this\nday. The Nymphs of the fountains, with disheveled hair, mourned their\nwaters, nor were the rivers safe beneath their banks; Tana\u00efs smoked,\nand Ca\u00efcus, Xanthus, and M\u00e6ander; Babylonian Euphrates and Ganges,\nTagus, with golden sands, and Ca[:y]ster, where the swans resort. Nile\nfled away and hid his head in the desert, and there it still remains\nconcealed. Where he used to discharge his waters through seven mouths\ninto the sea, seven dry channels alone remained. The earth cracked\nopen, and through the chinks light broke into Tartarus and frightened\nthe king of shadows and his queen. The sea shrank up. Even Nereus and\nhis wife Doris with the Nere\u00efds, their daughters, sought the deepest\ncaves for refuge. Thrice Neptune essayed to raise his head above the\nsurface and thrice was driven back by the heat. Earth, surrounded as\nshe was by waters, yet with head and shoulders bare, screening her\nface with her hand, looked up to heaven, and with husky voice prayed\nJupiter, if it were his will that she should perish by fire, to end her\nagony at once by his thunderbolts, or else to consider his own Heaven,\nhow both the poles were smoking that sustained his palace, and that all\nmust fall if they were destroyed.\n\nEarth, overcome with heat and thirst, could say no more. Then Jupiter,\ncalling the gods to witness that all was lost unless some speedy remedy\nwere applied, thundered, brandished a lightning bolt in his right hand,\nlaunched it against the charioteer, and struck him at the same moment\nfrom his seat and from existence. Pha\u00ebthon, with his hair on fire,\nfell headlong, like a shooting star which marks the heavens with its\nbrightness as it falls, and Eridanus, the great river, received him and\ncooled his burning frame. His sisters, the Heliades, as they lamented\nhis fate, were turned into poplar trees on the banks of the river; and\ntheir tears, which continued to flow, became amber as they dropped into\nthe stream. The Italian Naiads reared a tomb for him and inscribed\nthese words upon the stone:\n\n Driver of Ph[oe]bus' chariot, Pha\u00ebthon,\n Struck by Jove's thunder, rests beneath this stone.\n He could not rule his father's car of fire,\n Yet was it much so nobly to aspire.[95]\n\n=77. The Plague sent upon the Greeks before Troy.= It was not, however,\nonly by accident, or by the ill-advised action of those whom he loved,\nthat Apollo's gifts of light and heat were turned into misfortunes.\nMortals who offended him were leveled by the cruel sunstroke, by arrows\nof malarial venom, of manifold sickness and death.\n\nWhen the host of the Ach\u00e6ans was encamped before Troy, the king of men,\nAtrides, unjustly declined to restore his captive, Chryse\u00efs of the fair\ncheeks, to her father Chryses, the priest of far-darting Apollo. Then\nthe aged Chryses went apart and prayed aloud, \"Hear me, god of the\nsilver bow, ... let the Danaans pay by thine arrows for my tears!\"\n\n So spake he in prayer; and Ph[oe]bus Apollo heard him, and came\n down from the peaks of Olympus wroth at heart, bearing on his\n shoulders his bow and covered quiver. And the arrows clanged upon\n his shoulders in his wrath, as the god moved; and he descended\n like to night. Then he sate him aloof from the ships, and let an\n arrow fly; and there was heard a dread clanging of the silver\n bow. First did he assail the mules and fleet dogs, but afterward,\n aiming at the men his piercing dart, he smote; and the pyres of\n the dead burnt continually in multitude. Nor until Agamemnon had\n sent back his winsome captive to her father did Apollo remove\n from the Danaans the loathsome pestilence.[96]\n\n=78. The Punishment of Niobe= is another illustration of the swift and\nawful vengeance of Apollo, and also of his sister Diana. This Niobe\nwas the daughter of a certain Tantalus, king of Phrygia, who had been\nreceived at the table of the gods by his father Jupiter. But there was\na strain of ingratitude and conceit in both father and daughter. The\nfather not only betrayed the secrets of the gods, but, to ridicule\ntheir reputed omniscience, attempted at a banquet to deceive them into\neating the roasted flesh of his own son Pelops. The gods were not\ndeceived. Pelops was restored to life,--Tantalus consigned to Tartarus.\nThe daughter Niobe, although she owed her happy marriage with Jupiter's\nson Amphion, and her seven stalwart sons and seven blooming daughters,\nto the favor of the gods and of Latona in particular, boasted of her\nbirth, her marriage, and her offspring, bragged of her superiority to\nLatona, and, on one occasion, scoffed at the annual celebration in\nhonor of the goddess and her two children. Surveying the people of\nThebes with haughty glance, she said, \"What folly to prefer beings\nwhom you have never seen to those who stand before your eyes! Will you\nprefer to me this Latona, the Titan's daughter, with her two children?\nI have seven times as many. Were I to lose some of my children, I\nshould hardly be left as poor as Latona with her two only. Put off the\nlaurel from your brows,--have done with this worship!\" The people left\nthe sacred services uncompleted.\n\n[Illustration: FIG. 60. A SON OF NIOBE]\n\nThe goddess was indignant. On the Cynthian mountain top she thus\naddressed her son and daughter: \"My children, I who have been so proud\nof you both and have been used to hold myself second to none of the\ngoddesses except Juno alone, begin now to doubt whether I am indeed\na goddess. I shall be deprived of my worship altogether unless you\nprotect me.\" She was proceeding in this strain, but Apollo interrupted\nher. \"Say no more,\" said he; \"speech only delays punishment.\" So said\nDiana also. Darting through the air, veiled in clouds, they alighted on\nthe towers of the city. Spread out before the gates was a broad plain\nwhere the youth of the city pursued their warlike sports. The sons of\nNiobe were there with the rest,--some mounted on spirited horses richly\ncaparisoned, some driving gay chariots. Ismenos, the first-born, as\nhe guided his foaming steeds was struck by an arrow from above. \"Ah\nme!\" he cried,--dropped the reins and fell lifeless. Another, hearing\nthe sound of the bow, gave the rein to his horses and attempted to\nescape. The inevitable arrow overtook him as he fled. Two others,\nyounger, stood wrestling breast to breast: one arrow pierced them both.\nAlphenor, an elder brother, hastened to the spot to render assistance,\nbut fell in the act of brotherly duty. One only was left, Ilioneus.\n\"Spare me, ye gods!\" he cried, addressing all of them, in his ignorance\nthat all needed not his supplication; and Apollo would have spared him,\nbut the arrow had already left the string, and it was too late.\n\n[Illustration: FIG 61. THE CHILDREN OF NIOBE]\n\nWhen Niobe was acquainted with what had taken place, she was indignant\nthat the gods had dared, and amazed that they had been able to do it.\nHer husband Amphion, overwhelmed with the blow, destroyed himself. But\nthe mother knelt over the lifeless bodies and kissed them. Raising\nher pallid arms to heaven, \"Cruel Latona,\" said she, \"satiate thy hard\nheart while I follow to the grave my seven sons. Yet where is thy\ntriumph? Bereaved as I am, I am still richer than thou, my conqueror.\"\nScarce had she spoken, when the bow sounded and struck terror into all\nhearts except Niobe's alone. She was brave from excess of grief. Her\ndaughters stood in garments of mourning over the biers of their dead\nbrothers. One after another they fell, struck by arrows, beside the\ncorpses that they were bewailing. Only one remained, whom the mother\nheld clasped in her arms and covered, as it were, with her whole body.\n\"Spare me one and that the youngest! Oh, spare me one of so many!\" she\ncried; and while she spoke, that one fell dead. Desolate she sat among\nsons, daughters, husband, all dead, and seemed torpid with grief. The\nbreeze moved not her hair, no color was on her cheek, her eyes glared\nfixed and immovable, there was no sign of life about her. Her very\ntongue cleaved to the roof of her mouth and her veins ceased to convey\nthe tide of life. Her neck bent not, her arms made no gesture, her\nfoot no step. She was changed to stone, within and without. Yet tears\ncontinued to flow; and borne on a whirlwind to her native mountain,\nshe still remains, a mass of rock from which a trickling stream flows,\nthe tribute of her never-ending grief.[97]\n\n[Illustration: FIG. 62. NIOBE AND HER YOUNGEST DAUGHTER]\n\n Amid nine daughters slain by Artemis\n Stood Niobe; she rais'd her head above\n Those beauteous forms which had brought down the scath\n Whence all nine fell, rais'd it, and stood erect,\n And thus bespake the goddess enthroned on high:\n \"Thou heardest, Artemis, my daily prayer\n That thou wouldst guide these children in the pass\n Of virtue, through the tangling wilds of youth,\n And thou didst ever guide them: was it just\n To smite them for a beauty such as thine?\n Deserv'd they death because thy grace appear'd\n In ever modest motion? 'twas thy gift,\n The richest gift that youth from heaven receives.\n True, I did boldly say they might compare\n Even with thyself in virgin purity:\n May not a mother in her pride repeat\n What every mortal said?\n One prayer remains\n For me to offer yet.\n Thy quiver holds\n More than nine arrows: bend thy bow; aim here!\n I see, I see it glimmering through a cloud.\n Artemis, thou at length art merciful:\n My children will not hear the fatal twang.\"[98]\n\n=79. The Lamentation for Linus.= How the people of Argos fell under\nthe displeasure of Apollo is told in the story of Linus, a beautiful\nson of Apollo and Psamathe. In fear of her father the king, Psamathe\nexposed the child on the mountains where, brought up by shepherds among\nthe lambs, he was in tender youth torn to pieces by dogs. Meanwhile,\nPsamathe herself was driven from her father's home; wherefore Apollo\nsent against the land of the Argives a monster that for a season\ndestroyed the children, but at last was slain by a noble youth named\nCor[oe]bus. To appease the wrathful deity, a shrine was erected midway\nbetween Argos and Delphi; and every year Linus and his mother were\nbewailed in melancholy lays by the mothers and children of Argos,\nespecially by such as had lost by death their own beloved. The fate of\nLinus, like that of Hyacinthus and others who succumb in the springtime\nof life under the excessive love of some shining deity,[99] typifies\nthe sudden withering of herbs and flowers and of animal life,--the\ncalves and lambs, young children too, under the fierce shafts of\nsummer. The very name of Linus is taken from the refrain _ai-linon_,\nor \"woe is me,\" of the lament anciently sung by the country people\nwhen thus afflicted by the unhealthy heats, because of which the crops\nfail and the dogs go mad and tear the little lambs to pieces. In the\nIliad there is a beautiful picture which shows us that the song was\nnot reserved completely for the dog days. It is of a vineyard teeming\nplenteously with clusters:\n\n And there was a pathway through it by which the vintagers might\n go. And maidens and striplings in childish glee bare the sweet\n fruit in plaited baskets. And in the midst of them a boy made\n pleasant music on a clear-toned viol, and sang thereto a sweet\n Linos-song with delicate voice; while the rest with feet falling\n together kept time with the music and song.[100]\n\n[Illustration: FIG. 63. \u00c6SCULAPIUS]\n\n=80. \u00c6sculapius.= The Thessalian princess Coronis (or the Messenian,\nArsino\u00eb) bore to Apollo a child who was named \u00c6sculapius. On his\nmother's death the infant was intrusted to the charge of Chiron,\nmost famous of the Centaurs, himself instructed by Apollo and Diana\nin hunting, medicine, music, and the art of prophecy. When the sage\nreturned to his home bearing the infant, his daughter Ocyrrho\u00eb came\nforth to meet him, and at sight of the child burst into a prophetic\nstrain, foretelling, the glory that he should achieve. \u00c6sculapius,\nwhen grown up, became a renowned physician; in one instance he even\nsucceeded in restoring the dead to life. Pluto resented this, and,\nat his request, Jupiter struck the bold physician with lightning and\nkilled him, but after his death received him into the number of the\ngods.[101]\n\n=81. Apollo in Exile.= Apollo, indignant at the destruction of this\nson, wreaked his vengeance on the innocent workmen who had made the\nthunderbolt. These were the Cyclopes, who had their workshop under\nMount \u00c6tna, from which the smoke and flames of their furnaces are\nconstantly issuing. Apollo shot his arrows at the Cyclopes, a deed\nwhich so incensed Jupiter that he condemned him to serve a mortal\nfor the space of one year. Accordingly, Apollo went into the service\nof Admetus, king of Thessaly, and pastured his flocks for him on the\nverdant banks of the river Amphrysus. How the god lived among men, and\nwhat they thought of him, is well told in the following verses.\n\n=82. Lowell's Shepherd of King Admetus.=\n\n There came a youth upon the earth,\n Some thousand years ago,\n Whose slender hands were nothing worth,\n Whether to plow, or reap, or sow.\n\n Upon an empty tortoise-shell\n He stretched some chords, and drew\n Music that made men's bosoms swell\n Fearless, or brimmed their eyes with dew.\n\n Then King Admetus, one who had\n Pure taste by right divine,\n Decreed his singing not too bad\n To hear between the cups of wine:\n\n And so, well pleased with being soothed\n Into a sweet half-sleep,\n Three times his kingly beard he smoothed,\n And made him viceroy o'er his sheep.\n\n His words were simple words enough,\n And yet he used them so,\n That what in other mouths was rough\n In his seemed musical and low.\n\n Men called him but a shiftless youth,\n In whom no good they saw;\n And yet, unwittingly, in truth,\n They made his careless words their law.\n\n They knew not how he learned at all,\n For idly, hour by hour,\n He sat and watched the dead leaves fall,\n Or mused upon a common flower.\n\n It seemed the loveliness of things\n Did teach him all their use,\n For, in mere weeds, and stones, and springs\n He found a healing power profuse.\n\n Men granted that his speech was wise,\n But, when a glance they caught\n Of his slim grace and woman's eyes,\n They laughed, and called him good-for-naught.\n\n Yet after he was dead and gone\n And e'en his memory dim,\n Earth seemed more sweet to live upon,\n More full of love, because of him.\n\n And day by day more holy grew\n Each spot where he had trod,\n Till after-poets only knew\n Their first-born brother as a god.\n\n[Illustration: FIG. 64. ADMETUS MUST DIE]\n\n=83. Admetus and Alcestis.=[102] Admetus was a suitor, with others,\nfor the hand of Alcestis, the daughter of Pelias, who promised her to\nhim who should come for her in a chariot drawn by lions and boars.\nThis task Admetus performed by the assistance of his divine herdsman,\nand was made happy in the possession of Alcestis. But Admetus falling\nill and being near to death, Apollo prevailed on the Fates to spare\nhim on condition that some one should consent to die in his stead.\nAdmetus, in his joy at this reprieve, thought little of the ransom,\nand, perhaps remembering the declarations of attachment which he had\noften heard from his courtiers and dependents, fancied that it would be\neasy to find a substitute. But it was not so. Brave warriors, who would\nwillingly have periled their lives for their prince, shrunk from the\nthought of dying for him on the bed of sickness; and old servants who\nhad experienced his bounty and that of his house from their childhood\nup were not willing to lay down the scanty remnant of their days to\nshow their gratitude. Men asked, \"Why does not one of his parents do\nit? They cannot in the course of nature live much longer, and who can\nfeel like them the call to rescue the life they gave from an untimely\nend?\" But the parents, distressed though they were at the thought\nof losing him, shrunk from the call. Then Alcestis, with a generous\nself-devotion, proffered herself as the substitute. Admetus, fond as he\nwas of life, would not have submitted to receive it at such a cost; but\nthere was no remedy. The condition imposed by the Fates had been met,\nand the decree was irrevocable. As Admetus revived, Alcestis sickened,\nrapidly sank, and died.\n\nJust after the funeral procession had left the palace, Hercules, the\nson of Jupiter and Alcmena, arrived. He, to whom no labor was too\narduous, resolved to attempt her rescue. Said he:\n\n \"I will go lie in wait for Death, black-stoled\n King of the corpses![103] I shall find him, sure,\n Drinking, beside the tomb, o' the sacrifice:\n And if I lie in ambuscade, and leap\n Out of my lair, and seize--encircle him\n Till one hand join the other round about--\n There lives not who shall pull him out from me,\n Rib-mauled, before he let the woman go!\n But even say I miss the booty,--say,\n Death comes not to the boltered blood,--why, then,\n Down go I, to the unsunned dwelling-place\n Of Kor\u00e9[104] and the king there,--make demand,\n Confident I shall bring Alkestis back,\n So as to put her in the hands of him\n My host, that housed me, never drove me off:\n Though stricken with sore sorrow hid the stroke,\n Being a noble heart and honoring me!\n Who of Thessalians, more than this man, loves\n The stranger? Who that now inhabits Greece?\n Wherefore he shall not say the man was vile\n Whom he befriended,--native noble heart!\"\n So, one look upward, as if Zeus might laugh\n Approval of his human progeny,--\n One summons of the whole magnific frame,\n Each sinew to its service,--up he caught,\n And over shoulder cast the lion-shag,\n Let the club go,--for had he not those hands?\n And so went striding off, on that straight way\n Leads to Larissa and the suburb tomb.\n Gladness be with thee, Helper of our world!\n I think this is the authentic sign and seal\n Of Godship that it ever waxes glad,\n And more glad, until gladness blossoms, bursts\n Into a rage to suffer for mankind,\n And recommence at sorrow: drops like seed\n After the blossom, ultimate of all.\n Say, does the seed scorn earth and seek the sun?\n Surely it has no other end and aim\n Than to drop, once more die into the ground,\n Taste cold and darkness and oblivion there:\n And thence rise, tree-like grow through pain to joy,\n More joy and most joy,--do man good again.\n So to the struggle off strode Herakles.\n\n[Illustration: FIG. 65. HERACLES]\n\nLong time the Thessalians waited and mourned. As for Herakles, no doubt\nthey supposed him dead. When--but can it be?\n\n ... Ay, he it was advancing! In he strode,\n And took his stand before Admetos,--turned\n Now by despair to such a quietude,\n He neither raised his face nor spoke, this time,\n The while his friend surveyed him steadily.\n That friend looked rough with fighting: had he strained\n Worst brute to breast was ever strangled yet?\n Somehow, a victory--for there stood the strength,\n Happy, as always; something grave, perhaps;\n The great vein-cordage on the fret-worked front,\n Black-swollen, beaded yet with battle-dew\n The golden hair o' the hero!--his big frame\n A-quiver with each muscle sinking back\n Into the sleepy smooth it leaped from late.\n Under the great guard of one arm, there leant\n A shrouded something, live and woman-like,\n Propped by the heartbeats 'neath the lion-coat.\n When he had finished his survey, it seemed,\n The heavings of the heart began subside,\n The helpful breath returned, and last the smile\n Shone out, all Herakles was back again,\n As the words followed the saluting hand.\n\n\"Admetus,\" said he, \"take and keep this woman, my captive, till I come\nthy way again.\" But Admetus would admit no woman into the hall that\nAlcestis had left empty. Then cried Herakles, \"Take hold of her. See\nnow, my friend, if she look not somewhat like that wife thou hast lost.\"\n\n Ah, but the tears come, find the words at fault!\n There is no telling how the hero twitched\n The veil off; and there stood, with such fixed eyes\n And such slow smile, Alkestis' silent self!\n It was the crowning grace of that great heart,\n To keep back joy: procrastinate the truth\n Until the wife, who had made proof and found\n The husband wanting, might essay once more,\n Hear, see, and feel him renovated now--\n Able to do now all herself had done,\n Risen to the height of her: so, hand in hand,\n The two might go together, live and die.\n\n Beside, when he found speech, you guess the speech.\n He could not think he saw his wife again:\n It was some mocking God that used the bliss\n To make him mad! Till Herakles must help:\n Assure him that no specter mocked at all;\n He was embracing whom he buried once,\n Still,--did he touch, might he address the true,\n True eye, true body of the true live wife?\n ... And Herakles said little, but enough--\n How he engaged in combat with that king\n O' the d\u00e6mons: how the field of contest lay\n By the tomb's self: how he sprang from ambuscade,\n Captured Death, caught him in that pair of hands.\n\n But all the time, Alkestis moved not once\n Out of the set gaze and the silent smile;\n And a cold fear ran through Admetos' frame:\n \"Why does she stand and front me, silent thus?\"\n Herakles solemnly replied, \"Not yet\n Is it allowable thou hear the things\n She has to tell thee; let evanish quite\n That consecration to the lower Gods,\n And on our upper world the third day rise!\n Lead her in, meanwhile; good and true thou art,\n Good, true, remain thou! Practice piety\n To stranger-guests the old way! So, farewell!\n Since forth I fare, fulfill my urgent task\n Set by the king, the son of Sthenelos.\"[105]\n\n[Illustration: FIG. 66. THE PALATINE APOLLO]\n\n=84. Apollo, the Musician.= Not only in Arcadia, Laconia, and Thessaly\ndid Apollo care as a herdsman for the cattle of a mortal master; in\nMount Ida, too, by the order of Jupiter he herded for a year the\n\"shambling, crook-horned kine\" of King Laomedon, and, playing on the\nlyre, aided Neptune to build the walls of Troy, just as Amphion, in his\nturn, had aided in the building of Thebes. Apollo's life as herdsman\nwas spent in establishing wise laws and customs, in musical contests on\nthe flute and the lyre, or in passages of love with nymphs and maidens\nof mortal mold.\n\n=85. Apollo, Pan, and Midas.=[106] It is said that on a certain\noccasion Pan had the temerity to compare his music with that of Apollo\nand to challenge the god of the lyre to a trial of skill. The challenge\nwas accepted, and Tmolus, the mountain-god, was chosen umpire. The\nsenior took his seat and cleared away the trees from his ears to\nlisten. At a given signal Pan blew on his pipes, and with his rustic\nmelody gave great satisfaction to himself and his faithful follower\nMidas, who happened to be present. Then Tmolus turned his head toward\nthe sun-god, and all his trees turned with him. Apollo rose, his brow\nwreathed with Parnassian laurel, while his robe of Tyrian purple swept\nthe ground. In his left hand he held the lyre and with his right hand\nstruck the strings. Tmolus at once awarded the victory to the lyric\ngod, and all but Midas acquiesced in the judgment. He dissented and\nquestioned the justice of the award. Apollo promptly transformed his\ndepraved pair of ears into those of an ass.\n\nKing Midas tried to hide his misfortune under an ample turban. But\nhis hair-dresser found it too much for his discretion to keep such a\nsecret; he dug a hole in the ground and, stooping down, whispered the\nstory, and covered it up. But a thick bed of reeds springing up in the\nmeadow began whispering the story, and has continued to do so from that\nday to this, every time a breeze passes over the place.\n\n=86. Shelley's Hymn of Pan.= In the following verses Pan taunts Apollo\nas he might have done when Midas was sitting contentedly by:\n\n From the forests and highlands\n We come, we come;\n From the river-girt islands,\n Where loud waves are dumb,\n Listening to my sweet pipings.\n The wind in the reeds and the rushes,\n The bees on the bells of thyme,\n The birds on the myrtle bushes,\n The cicale above in the lime,\n And the lizards below in the grass,\n Were as silent as ever old Tmolus was\n Listening to my sweet pipings.\n\n Liquid Pene\u00fcs was flowing,\n And all dark Tempe lay,\n In Pelion's shadow, outgrowing\n The light of the dying day,\n Speeded by my sweet pipings.\n The Sileni, and Sylvans, and Fauns,\n And the Nymphs of the woods and waves,\n To the edge of the moist river-lawns,\n And the brink of the dewy caves,\n And all that did then attend and follow\n Were silent with love, as you now, Apollo,\n With envy of my sweet pipings.\n\n I sang of the dancing stars,\n I sang of the d\u00e6dal Earth,\n And of Heaven--and the giant wars,\n And Love, and Death, and Birth,--\n And then I changed my pipings,--\n Singing how down the vale of Menalus\n I pursued a maiden, and clasp'd a reed:\n Gods and men, we are all deluded thus!\n It breaks in our bosom and then we bleed:\n All wept, as I think both ye now would,\n If envy or age had not frozen your blood,\n At the sorrow of my sweet pipings.\n\n=87. Marsyas= also was unfortunate enough to underrate Apollo's musical\nability. It seems that the flute, an invention of Minerva's, had been\nthrown away by that goddess because Cupid laughed at the grimaces which\nshe made while playing it. Marsyas found the instrument, blew upon it,\nand elicited such ravishing sounds that he was tempted to challenge\nApollo himself to a musical contest. The god, of course, triumphed, and\nhe punished Marsyas by flaying him alive.\n\n=88. The Loves of Apollo.= Beside Psamathe of Argos, Coronis of\nThessaly, and the nymph Clymene, who have been already mentioned,\nApollo loved the muse Calliope, who bore him Orpheus,[107] and the\nnymph Cyrene, whose son was Arist\u00e6us.[108] Of his relations with other\nmaidens the following myths exist.\n\n=89. Daphne.=[109] The lord of the silver bow was not always prosperous\nin his wooing. His first love, which, by the way, owed its origin\nto the malice of Cupid, was specially unfortunate. It appears that\nApollo, seeing the boy playing with his bow and arrows, had tauntingly\nadvised him to leave warlike weapons for hands worthy of them and\ncontent himself with the torch of love. Whereupon the son of Venus had\nrejoined, \"Thine arrows may strike all things else, Apollo, but mine\nshall strike thee.\"\n\n[Illustration: APOLLO AND DAPHNE]\n\nSo saying, he took his stand on a rock of Parnassus, and drew from\nhis quiver two arrows of different workmanship,--one to excite love,\nthe other to repel it. The former was of gold and sharp pointed, the\nlatter blunt and tipped with lead. With the leaden shaft he struck\nthe nymph Daphne, the daughter of the river-god Pene\u00fcs, and with the\ngolden one Apollo, through the heart. Forthwith the god was seized with\nlove for the maiden, but she, more than ever, abhorred the thought of\nloving. Her delight was in woodland sports and in the spoils of the\nchase. Spurning all lovers, she prayed her father that she might remain\nalways unmarried, like Diana. He consented, but, at the same time,\nwarned her that her beauty would defeat her purpose. It was the face\nof this huntress maiden that Apollo saw. He saw the charming disorder\nof her hair, and would have arranged it; he saw her eyes bright as\nstars; he saw her lips, and was not satisfied with only seeing them.\nHe longed for Daphne. He followed her; she fled swifter than the wind,\nnor delayed a moment at his entreaties. \"Stay,\" said he, \"daughter of\nPene\u00fcs; I am not a foe. It is for love I pursue thee. I am no clown, no\nrude peasant. Jupiter is my father. I am lord of Delphi and Tenedos. I\nknow all things, present and future. I am the god of song and the lyre.\nMy arrows fly true to the mark; but alas! an arrow more fatal than mine\nhas pierced my heart! I am the god of medicine and know the virtues of\nall healing plants. Alas! I suffer a malady that no balm can cure.\"\n\n[Illustration: FIG. 67. DAPHNE]\n\nThe nymph continues her flight and leaves his plea half-uttered. But\neven as she flies she charms him. The wind catches her garments, and\nher unbound hair streams loose behind her. The god, sped by Cupid,\ngains upon her in the race. His panting breath blows upon her hair.\nHer strength begins to fail, and, ready to sink, she calls upon her\nfather, the river-god: \"Help me, Pene\u00fcs! open the earth to inclose me,\nor change my form, which has brought me into this danger!\" Scarcely had\nshe spoken when a stiffness seized her limbs; and little by little she\ntook on the appearance of a laurel tree. Apollo embraced the branches\nand lavished kisses on the wood. The branches shrank from his lips.\n\"Since thou canst not be my wife,\" said he, \"thou shalt assuredly be\nmy tree. I will wear thee for my crown. I will decorate with thee my\nharp and my quiver. When the Roman conquerors conduct the triumphal\npomp to the Capitol, thou shalt be woven into wreaths for their brows.\nAnd, as eternal youth is mine, thou also shalt be always green, and\nthy leaf know no decay.\" The laurel tree bowed its head in grateful\nacknowledgment.\n\nThe delicious humor of Lowell's extravaganza upon the story amply\njustifies the following citation:\n\n Ph[oe]bus, sitting one day in a laurel tree's shade,\n Was reminded of Daphne, of whom it was made,\n For the god being one day too warm in his wooing,\n She took to the tree to escape his pursuing;\n Be the cause what it might, from his offers she shrunk,\n And, Ginevra-like, shut herself up in a trunk;\n And, though 't was a step into which he had driven her,\n He somehow or other had never forgiven her;\n Her memory he nursed as a kind of a tonic,\n Something bitter to chew when he'd play the Byronic,\n And I can't count the obstinate nymphs that he brought over\n By a strange kind of smile he put on when he thought of her.\n \"My case is like Dido's,\" he sometimes remarked;\n \"When I last saw my love, she was fairly embarked\n In a laurel, as _she_ thought--but (ah, how Fate mocks!)\n She has found it by this time a very bad box;\n Let hunters from me take this saw when they need it,--\n You're not always sure of your game when you've treed it.\n Just conceive such a change taking place in one's mistress!\n What romance would be left?--who can flatter or kiss trees?\n And, for mercy's sake, how could one keep up a dialogue\n With a dull wooden thing that will live and will die a log,--\n Not to say that the thought would forever intrude\n That you've less chance to win her the more she is wood?\n Ah! it went to my heart, and the memory still grieves,\n To see those loved graces all taking their leaves;\n Those charms beyond speech, so enchanting but now,\n As they left me forever, each making its bough!\n If her tongue _had_ a tang sometimes more than was right,\n Her new bark is worse than ten times her old bite.\"[110]\n\n=90. Marpessa.= Another maiden who declined Apollo's love was\nMarpessa.[1] She is called by Homer \"the fair-ankled daughter of\nEvenus.\"\n\n The god Apollo from the heaven of heavens\n Her mortal sweetness through the air allured;[2]\n\nbut Idas, \"that was strongest of men that were then on earth,\"[111]\ncarried her off, assisted by Poseidon who gave him a winged chariot.\nHer father Evenus vainly tried to catch up with the fleeing lovers;\nbut Apollo found them in Messene, and wrested the maiden away. Then\nJupiter, while the lovers were engaged in combat, separated them,\nsaying, \"Let her decide.\"\n\n They three together met; on the one side,\n Fresh from diffusing light on all the world\n Apollo; on the other without sleep\n Idas, and in the midst Marpessa stood.\n Just as a flower after drenching rain,\n So from the falling of felicity\n Her human beauty glowed, and it was new;\n The bee too near her bosom drowsed and dropped.[2]\n\nAccording to the story as romantically told by the English poet\nPhillips, first spoke Apollo. The god told her that he dreaded that one\nso fair should ever taste of sorrow and death; how, if she lived with\nhim, she should bide\n\n In mere felicity above the world\n In peace alive and moving, where to stir\n Is ecstasy, and thrilling is repose,[112]\n\nimmortal, scattering joy without intermission, lighting the world,\nbringing bliss to struggling men and sorrowing women, dispelling\nshadows and shadowy fear.\n\nThen Idas, humbly,--\n\n \"After such argument what can I plead?\n Or what pale promise make? Yet since it is\n In women to pity rather than to aspire,\n A little will I speak.\"\n\nAnd he tells her simply that he _loves_ her,--loves her not only for\nher beauty, but\n\n \"Because Infinity upon thee broods;\n And thou art full of whispers and of shadows;--\"\n\nand because her voice is music, her face mystery beyond his power to\ncomprehend;\n\n \"O beauty lone and like a candle clear\n In this dark country of the world! Thou art\n My woe, my early light, my music dying.\"\n\nAnd Marpessa?--\n\n As he was speaking, she with lips apart\n Breathed, and with dimmer eyes leaned through the air\n As one in dream, and now his human hand\n Took in her own; and to Apollo spoke,--\n\nsaying that she knew how sweet it might be forever with a god to aid\nsuffering men and women and \"gild the face that from its dead looks\nup\"; but still she feared immortality, for, though dying not, she must\ngrow old, and her god lover would tire of her when once her youth was\nfaded. And as for that \"existence without tears for evermore\" which he\npromised,--\n\n \"Yet I being human, human sorrow miss.\n The half of music, I have heard men say,\n Is to have grieved.\"\n\nTo sorrow she was born. It is out of sadness that men have made this\nworld beautiful. If she chooses Idas, then they two will prosper\ntogether, grow old together, and last descend into the \"natural\nground,\" and \"leave behind a wholesome memory on the earth.\"\n\n When she had spoken, Idas with one cry\n Held her, and there was silence; while the god\n In anger disappeared. Then slowly they,\n He looking downward, and she gazing up,\n Into the evening green wandered away.\n\n=91. Clytie.=[113] In the story of Clytie the conditions are reversed.\nShe was a water-nymph and in love with Apollo, who made her no return.\nSo she pined away, sitting all day long upon the cold ground with her\nunbound tresses streaming over her shoulders. Nine days she sat, and\ntasted neither food nor drink,--her own tears and the chilly dew her\nonly sustenance. She gazed on the sun when he rose; and as he passed\nthrough his daily course to his setting, she saw no other object,--her\neyes fixed constantly on him. At last, they say, her limbs took root in\nthe ground and her face became a flower, turning on its stem to follow\nthe journeying sun.\n\nIn the following lines, Thomas Moore uses the flower as an emblem of\nconstancy:\n\n The heart that has truly loved never forgets,\n But as truly loves on to the close;\n As the sunflower turns on her god when he sets\n The same look that she turned when he rose.\n\n[Illustration: FIG. 68. ARTEMIS]\n\n=92. Myths of Diana.= In company with her radiant brother, we find\nDiana subduing Tityus and the Python and assisting in the punishment of\nNiobe. The speedy transformation of Daphne has been attributed to this\ngoddess, the champion of maidenhood. According to some, it was she,\ntoo, that changed Callisto into a bear, when for love of Jupiter that\nnymph deserted the huntress-band. Numerous are the myths that celebrate\nthe severity of the goddess of the unerring bow toward those who\noffended her. How she served Agamemnon for slaying one of her hinds is\ntold in the story of Troy;[114] how she punished [OE]neus for omitting\na sacrifice to her is narrated in the episode of the Calydonian\nhunt.[115] Similar attributes of the goddess are exemplified in the\nmyths of Arethusa, Act\u00e6on, and Orion. It is only when she is identified\nwith Selene, the peaceful moonlight, that we perceive a softer side of\ncharacter, such as that displayed in her relations with Endymion.\n\n=93. The Flight of Arethusa.=[116] A woodland nymph of Elis was this\nArethusa; she delighted not in her comeliness, but in the joys of\nthe chase. One day, returning from the wood heated with exercise, she\ndescended to a stream silently flowing, so clear that you might count\nthe pebbles on the bottom. She laid aside her garments; but while she\nsported in the water, she heard an indistinct murmur rising as out of\nthe depths of the stream. She made haste to reach the nearest bank. A\nvoice followed her, \"Why flyest thou, Arethusa? Alphe\u00fcs am I, the god\nof this stream.\" The nymph ran, the god pursued. Arethusa, at last\nexhausted, cried for help to Diana, who, hearing, wrapped her votary\nin a thick cloud. Perplexed, the river-god still sought the trembling\nmaiden. But a cold sweat came over her. In less time than it takes\nto tell, she had become a fountain. Alphe\u00fcs attempted then to mingle\nhis stream with hers. But the Cynthian queen cleft the ground, and\nArethusa, still endeavoring to escape, plunged into the abyss and,\npassing through the bowels of the earth, came out in Sicily, still\nfollowed by the passionate river-god.\n\n[Illustration: FIG 69. ARETHUSA]\n\n=94. Shelley's Arethusa.= In the following version of the pursuit,\nArethusa was already a river when Alphe\u00fcs espied her.\n\n Arethusa arose\n From her couch of snows\n In the Acroceraunian mountains,--\n From cloud and from crag,\n With many a jag,\n Shepherding her bright fountains,\n She leapt down the rocks,\n With her rainbow locks\n Streaming among the streams;--\n Her steps paved with green\n The downward ravine\n Which slopes to the western gleams:\n And gliding and springing\n She went, ever singing,\n In murmurs as soft as sleep;\n The Earth seemed to love her,\n And Heaven smiled above her,\n As she lingered towards the deep.\n Then Alphe\u00fcs bold\n On his glacier cold,\n With his trident the mountain strook\n And opened a chasm\n In the rocks;--with the spasm\n All Erymanthus shook.\n And the black south wind\n It concealed behind\n The urns of the silent snow,\n And earthquake and thunder\n Did rend in sunder\n The bars of the springs below;\n The beard and the hair\n Of the River-god were\n Seen through the torrent's sweep,\n As he followed the light\n Of the fleet nymph's flight\n To the brink of the Dorian deep.\n\n[Illustration: FIG. 70. A YOUNG RIVER-GOD]\n\n \"Oh, save me! Oh, guide me!\n And bid the deep hide me,\n For he grasps me now by the hair!\"\n The loud Ocean heard,\n To its blue depth stirred,\n And divided at her prayer;\n And under the water\n The Earth's white daughter\n Fled like a sunny beam;\n Behind her descended\n Her billows unblended\n With the brackish Dorian stream:--\n Like a gloomy stain\n On the emerald main,\n Alphe\u00fcs rushed behind,--\n As an eagle pursuing\n A dove to its ruin\n Down the streams of the cloudy wind.\n\n Under the bowers\n Where the Ocean Powers\n Sit on their pearl\u00e8d thrones,\n Through the coral woods\n Of the weltering floods,\n Over heaps of unvalued stones;\n Through the dim beams\n Which amid the streams\n Weave a network of colored light;\n And under the caves,\n Where the shadowy waves\n Are as green as the forest's night:\n Outspeeding the shark,\n And the swordfish dark,\n Under the ocean foam,\n And up through the rifts\n Of the mountain clifts\n They past to their Dorian home.\n\n And now from their fountains\n In Enna's mountains,\n Down one vale where the morning basks,\n Like friends once parted\n Grown single-hearted,\n They ply their watery tasks.\n At sunrise they leap\n From their cradles steep\n In the cave of the shelving hill;\n At noontide they flow\n Through the woods below\n And the meadows of Asphodel:\n And at night they sleep\n In the rocking deep\n Beneath the Ortygian shore;--\n Like spirits that lie\n In the azure sky\n When they love but live no more.\n\n=95. The Fate of Act\u00e6on.=[117] Diana's severity toward young Act\u00e6on,\ngrandson of Cadmus whose kindred fell under the curse of Mars, is thus\nnarrated.\n\n[Illustration: FIG. 71. ACT\u00c6ON]\n\nOne day, having repaired to a valley inclosed by cypresses and pines,\nwhere gushed a fountain of sparkling water, the chaste Diana handed her\njavelin, her quiver, and her bow to one nymph, her robe to another,\nwhile a third unbound the sandals from her feet. Then Crocale, the\nmost skillful of them, arranged her hair, and Nephele, Hyale, and\nthe rest drew water in capacious urns. While the huntress queen was\nthus employed in the labors of the toilet, Act\u00e6on, the son of Autono\u00eb\nand Arist\u00e6us, having quitted his companions of the chase and rambling\nwithout any especial object, came to the place, led thither by his\ndestiny. As he presented himself at the entrance of the cave, the\nnymphs, seeing a man, screamed and rushed towards the goddess to hide\nher with their bodies. But she was taller than the rest and overtopped\nthem all by a head. Such a color as tinges the clouds at sunset or\nat dawn came over the countenance of Diana, thus taken by surprise.\nSurrounded as she was by her nymphs, she yet turned half away and\nsought with a sudden impulse for her arrows. As they were not at hand,\nshe dashed the water into the face of the intruder, saying, \"Now go and\ntell, if you can, that you have seen Diana unappareled.\" Immediately\na pair of branching stag's horns grew out of the huntsman's head, his\nneck gained in length, his ears grew sharp-pointed, his hands became\nfeet, his arms, his long legs, and his body were covered with a hairy\nspotted hide. Fear took the place of his former boldness, and the hero\nfled. What should he do?--go home to the palace or lie hid in the\nwoods? While he hesitated his dogs saw him. Over rocks and cliffs,\nthrough mountain gorges that seemed impracticable, he fled, and they\nfollowed. The air resounded with the bark of the dogs. Presently one\nfastened on his back, another seized his shoulder; the rest of the\npack came up and buried their teeth in his flesh. His friends and\nfellow-huntsmen cheered on the dogs, and, looking everywhere for\nAct\u00e6on, called on him to join the sport. At the sound of his name,\nhe turned his head and heard them regret that he should be away. He\nearnestly wished he was. But Diana had no pity for him, nor was her\nanger appeased till the dogs had torn his life out.\n\n=96. The Fortunes and Death of Orion.= Orion, the son of Neptune, was a\ngiant and a mighty hunter, whose prowess and manly favor gained for him\nthe rare good will of Diana.\n\nIt is related that he loved Merope, the daughter of [OE]nopion, king\nof Chios, and sought her in marriage. He cleared the island of wild\nbeasts and brought the spoils of the chase as presents to his beloved;\nbut as [OE]nopion constantly deferred his consent, Orion attempted to\ngain possession of the maiden by violence. Her father, incensed at his\nconduct, made Orion drunk, deprived him of his sight, and cast him out\non the seashore. The blinded hero, instructed by an oracle to seek\nthe rays of morning, followed the sound of a Cyclops' hammer till he\nreached Lemnos, where Vulcan, taking pity on him, gave him Cedalion,\none of his men, to be his guide to the abode of the sun. Placing\nCedalion on his shoulders, Orion proceeded to the east, and there\nmeeting the sun-god, was restored to sight by his beam.[118]\n\nAfter this he dwelt as a hunter with the queen of the echoing chase;\nand it was even hinted that she loved him. Her brother, highly\ndispleased, often chid her, but to no purpose. One day, therefore,\nobserving Orion as he waded through the sea with his head just above\nthe water, Apollo pointed out the black object to his sister, and\nmaintained that she could not hit it. The archer goddess discharged a\nshaft with fatal aim: the waves rolled the dead body of Orion to the\nland. Then bewailing her fatal error with many tears, Diana placed him\namong the stars, where he appears as a giant, with a girdle, sword,\nlion's skin, and club.\n\nSirius, his dog, follows him, and the Pleiads fly before him.[119]\nIn the beginning of winter, all through the night, Orion follows the\nchase across the heavens; but with dawn he sinks toward the waters of\nhis father Neptune. In the beginning of summer, he may be seen with\ndaybreak in the eastern sky, where, beloved by Aurora, he remains\ngradually paling before the light of day till, finally, Diana, jealous\nof his happiness, draws her gentle darts and slays him.\n\n[Illustration: FIG. 72. THE PLEIADES\n\nFrom the painting by Vedder]\n\n=97. The Pleiads=,[120] who still fly before Orion in the heavens,\nwere daughters of Atlas, and nymphs of Diana's train. One day Orion\nsaw them in B[oe]otia, became enamored of them, and gave pursuit. In\ntheir distress they prayed to the gods to change their form. Jupiter,\naccordingly, turned them into pigeons, and made them a constellation.\nThough their number was seven, only six stars are visible; for Electra,\nit is said, left her place that she might not behold the ruin of Troy,\nwhich had been founded by her son Dardanus. The sight had such an\neffect on her sisters that they blanched, and have been pale ever\nsince. But Electra became a comet; her hair floating wildly behind her,\nshe still inconsolably ranges the expanse of heaven. According to some,\nthe lost Pleiad is Merope, who was vested with mortality in consequence\nof her marriage with the mortal Sisyphus, king of Corinth.\n\nTennyson's reference to the Pleiads, in \"Locksley Hall,\" is of course\nfamiliar to all readers.\n\n[Illustration: FIG. 73. ENDYMION]\n\n=98. Endymion.= The frequent absence of Diana from her duties in heaven\nis said to have awakened suspicion among the deities of Olympus, who\ndoubted whether she actually occupied these intervals with hunting.\nIt is easy to imagine the satisfaction with which Venus, who so often\nhad been reproached by Diana with her undue fondness of beautiful\nyouths, would welcome news of a corresponding weakness on the part of\nthe cold-hearted and apparently unyielding huntress queen. And such\nsatisfaction Venus once enjoyed, if we may trust the later classical\nand the modern poets who have identified Diana with Selene, the more\nancient goddess of the moon.\n\nFor, one calm, clear night Selene looked down upon the beautiful\nEndymion, who fed his flock on Mount Latmos, and saw him sleeping.\nThe heart of the goddess was unquestionably warmed by his surpassing\nbeauty. She came down to him; she kissed him; she watched over him\nwhile he slept. She visited him again and again. But her secret could\nnot long be hidden from the company of Olympus. For more and more\nfrequently she was absent from her station in the sky, and toward\nmorning she was ever paler and more weary with her watching. When,\nfinally, her love was discovered, Jupiter gave Endymion, who had been\nthus honored, a choice between death in any manner that was preferable,\nor perpetual youth united with perpetual sleep. Endymion chose the\nlatter. He still sleeps in his Carian cave, and still the mistress of\nthe moon slips from her nocturnal course to visit him. She takes care,\ntoo, that his fortunes shall not suffer by his inactive life: she\nyields his flock increase, and guards his sheep and lambs from beasts\nof prey.[121]\n\nKeats, whose Endymion journeys on a mission under sea, thus describes a\nmeeting of the goddess and her lover:\n\n On gold sand impearled\n With lily shells and pebbles milky white,\n Poor Cynthia greeted him, and soothed her light\n Against his pallid face: he felt the charm\n To breathlessness, and suddenly a warm\n Of his heart's blood: 'twas very sweet; he stayed\n His wandering steps, and half-entranc\u00e8d laid\n His head upon a tuft of straggling weeds,\n To taste the gentle moon, and freshening beads,\n Lashed from the crystal roof by fishes' tails.\n And so he kept, until the rosy veils,\n Mantling the east, by Aurora's peering hand\n Were lifted from the water's breast, and fanned\n Into sweet air; and sobered morning came\n Meekly through billows:--when like taper-flame\n Left sudden by a dallying breath of air,\n He rose in silence, and once more 'gan fare\n Along his fated way.[122]\n\n=99. Myths of Venus.= Round the goddess of love cluster romances of\nher own tender passion, of the affairs of the winged Cupid, and of the\nloves of the worshipers at her shrine. Of the affection of Venus for\nMars and of her relations with Anchises,[123] the father of \u00c6neas,\nmention is elsewhere made. The following is the myth of Venus and\nAdonis.\n\n=100. Adonis.=[124] The sweetly smiling goddess, playing one day with\nher boy Cupid, wounded her bosom with one of his arrows. Before the\nwound healed, she looked upon Adonis, the son of Cinyras and Myrrha,\nand was captivated by him. She no longer took any interest in her\nfavorite resorts,--Paphos, and Cnidos, and Amathus, rich in metals. She\nabsented herself even from Olympus, for Adonis was dearer to her than\nheaven. Him she followed and bore him company. She who loved to recline\nin the shade, with no care but to cultivate her charms, now rambled\nthrough the woods and over the hills, girt like the huntress Diana.\nShe chased game that is safe to hunt, but kept clear of the wolves and\nbears. She charged Adonis, too, to beware of dangerous animals. \"Be\nbrave toward the timid,\" she would say, \"courage against the courageous\nis not safe.\" Having thus, on one occasion, warned him, she mounted her\nchariot drawn by swans and drove away through the air. But Adonis was\ntoo noble to heed such counsels. The dogs had roused a wild boar from\nhis lair, and the youth threw his spear and wounded the animal with\na sidelong stroke. The beast drew out the weapon with his jaws, and,\nrushing after Adonis, buried his tusks in the lad's side, and stretched\nhim dying upon the plain. The rest of the story is thus recounted:\n\n\nTHE LAMENT FOR ADONIS[125]\n\n ... Low on the hills is lying the lovely Adonis, and his thigh\n with the boar's tusk, his white thigh with the boar's tusk, is\n wounded; and sorrow on Cypris he brings, as softly he breathes\n his life away.\n\n His dark blood drips down his skin of snow; beneath his brows\n his eyes wax heavy and dim; and the rose flees from his lip, and\n thereon the very kiss is dying, the kiss that Cypris will never\n forego.\n\n[Illustration: PETWORTH APHRODITE]\n\n ... She hath lost her lovely lord, with him she hath lost\n her sacred beauty. Fair was the form of Cypris while Adonis\n was living, but her beauty has died with Adonis! _Woe, woe\n for Cypris_, the mountains all are saying. And the oak trees\n answer, _Woe for Adonis!_ And the rivers bewail the sorrows of\n Aphrodite, and the wells are weeping Adonis on the mountains.\n The flowers flush red for anguish, and Cytherea through all the\n mountain-knees, through every dell, doth shrill the piteous dirge:\n\n _Woe, woe for Cytherea, he hath_ _perished, the lovely Adonis!_\n\n ... When she saw, when she marked the unstanched wound of Adonis,\n when she saw the bright red blood about his languid thigh, she\n cast her arms abroad, and moaned, \"Abide with me, Adonis, hapless\n Adonis, abide!... Awake, Adonis, for a little while, and kiss\n me yet again, the latest kiss!... This kiss will I treasure,\n even as thyself, Adonis, since, ah, ill-fated, thou art fleeing\n me, thou art fleeing far, Adonis, and art faring to Acheron, to\n that hateful king and cruel, while wretched I yet live, being\n a goddess, and may not follow thee! Persephone, take thou my\n lover, my lord, for thyself art stronger than I, and all lovely\n things drift down to thee. But I am ill-fated, inconsolable is my\n anguish; and I lament mine Adonis, dead to me, and I have no rest\n for sorrow.\n\n \"Thou diest, oh, thrice-desired, and my desire hath flown away\n as a dream! Nay, widowed is Cytherea, and idle are the Loves\n along the halls! With thee has the girdle of my beauty perished.\n For why, ah, overbold, didst thou follow the chase, and being so\n fair, why wert thou thus overhardy to fight with beasts?\"\n\n So Cypris bewailed her, the Loves join in the lament:\n\n _Woe, woe for Cytherea, he hath_ _perished, the lovely Adonis!_\n\n[Illustration: FIG. 74. THE DEATH OF ADONIS]\n\n A tear the Paphian sheds for each blood-drop of Adonis, and tears\n and blood on the earth are turned to flowers. The blood brings\n forth the rose; the tears, the wind-flower.\n\n _Woe, woe for Adonis, he hath perished, the lovely Adonis!_\n\n ... Cease, Cytherea, from thy lamentations, to-day refrain from\n thy dirges. Thou must again bewail him, again must weep for him\n another year.\n\n=101. Cupid and Psyche.=[126] A certain king and queen had three\ndaughters. The charms of the two elder were more than common, but the\nbeauty of the youngest was such that the poverty of language is unable\nto express its praise. In fact, Venus found her altars deserted, while\nmen paid their vows to this virgin. When Psyche passed, the people sang\nher praises and strewed her way with chaplets and flowers.\n\nThis perversion of homage gave great offense to Venus, who complained\nthat Paris might just as well not have yielded her the palm of beauty\nover Pallas and Juno, if a mortal were thus to usurp her honors.\nWherefore she called Cupid and, pointing out Psyche to him, bade him\ninfuse into the bosom of that haughty girl a passion for some low,\nunworthy being.\n\nThere were in Venus's garden two fountains,--one of sweet waters, the\nother of bitter. Cupid filled two amber vases, one from each fountain,\nand suspending them from the top of his quiver, hastened to the chamber\nof Psyche, whom he found asleep. He shed a few drops from the bitter\nfountain over her lips, though the sight of her almost moved him to\npity; and then he touched her side with the point of his arrow. She\nawoke, and opening her eyes upon Cupid (himself invisible), so startled\nhim that in his confusion he wounded himself with his arrow. Heedless\nof his wound, his thought now was to repair the mischief he had done.\nHe poured, at once, the waters of joy over her silken ringlets.\n\nBut Psyche, henceforth frowned upon by Venus, derived no benefit from\nher charms. Her two elder sisters had long been married to princes; but\nPsyche's beauty failed to awaken love. Consequently her parents, afraid\nthat they had unwittingly incurred the anger of the gods, consulted the\noracle of Apollo.\n\nThey received answer, \"The virgin is destined for the bride of no\nmortal lover. Her husband awaits her on the top of the mountain. He is\na monster whom neither gods nor men can resist.\"\n\nThis dreadful decree of the oracle filled the people with dismay; but,\nat Psyche's request, preparations for her fate were made. The royal\nmaid took her place in a procession, which more resembled a funeral\nthan a nuptial pomp, and with her parents, amid the lamentations of\ntheir subjects, ascended the mountain, where she was left alone.\n\nWhile Psyche stood there, panting with fear and with eyes full of\ntears, the gentle Zephyr lifted her and, with an easy motion, bore her\nto a flowery dale. By degrees her mind became composed, and she laid\nherself down on the grassy bank to sleep. When she awoke refreshed with\nsleep, she beheld near by a pleasant grove of tall and stately trees.\nEntering, she discovered in the midst a fountain, and fast by a palace\nwhose august front showed that it was not the work of mortal hands, but\nthe happy retreat of some god. She approached the building and entered.\nEvery object she met filled her with pleasure and amazement. Golden\npillars supported the vaulted roof, and the walls were enriched with\ncarvings and paintings that represented beasts of the chase and rural\nscenes. Other apartments were filled with still other beautiful and\nprecious productions of nature and art.\n\nWhile her eyes were thus occupied, the voice of an invisible being\naddressed her: \"Sovereign lady, all that thou beholdest is thine. We\nwhose voices thou dost hear are thy servants. Retire, we pray thee, to\nthy chamber, repose on thy bed of down, and when it may please thee\nrepair to the bath. Food awaits in the adjoining alcove.\"\n\nAfter repose and the refreshment of the bath, Psyche seated herself\nin the alcove, where, without any visible aid, a table immediately\npresented itself, covered with delicacies and nectareous wines. Her\nears, too, were delighted with music from invisible performers.\n\nFor a long time she did not see her husband. He came in the hours of\ndarkness and fled before the dawn of morning; but his accents were full\nof love and inspired a like passion in her. Often she begged him to\nstay and let her behold him, but he would not consent. \"Having looked\nupon me,\" he said, \"mayhap thou wouldst fear, mayhap adore, me; but\nall I ask of thee is love. I would rather thou shouldst love me as an\nequal than adore me as a god.\" This reasoning somewhat quieted Psyche\nfor a time. But the thought of her parents and of her sisters, left\nin ignorance of her fate, preyed on her mind to such a degree that at\nlast, telling her distress to her lord, she drew from him an unwilling\nconsent that her sisters should be brought to see her.\n\n[Illustration: FIG. 75. PSYCHE AT THE COUCH OF CUPID\n\nFrom the painting by Thumann]\n\nZephyr, promptly obedient, soon brought them across the mountain\ndown to their sister's valley. They embraced her. She returned their\ncaresses, and then committed them to the care of her attendant voices,\nwho should refresh them in her bath and at her table, and show them\nher treasures. The view of these delights caused envy to enter their\nbosoms. They plied their fortunate sister with questions about her\nhusband. Psyche replied that he was a beautiful youth, who generally\nspent the daytime in hunting upon the mountains. The sisters, not\nsatisfied with this reply, soon made her confess that she had never\nseen him. Then they proceeded to fill her bosom with dark suspicions.\nProbably her husband was a dreadful monster, such as the Pythian oracle\nhad prophesied. Probably he was a direful serpent, who nourished her\nnow to devour her by and by. They advised her to provide herself\nagainst the night with a lamp and a sharp knife, told her what to do if\nher husband turned out the monster that they surmised, and, so saying,\ndeparted.\n\nThese persuasions Psyche resisted as well as she could, but they did\nnot fail to have their effect on her mind. She prepared a lamp and a\nsharp knife, and hid them out of sight of her husband. That night, when\nhe had fallen into his first sleep, she silently rose and uncovering\nher lamp--\n\n Scarce kept back a cry\n At what she saw; for there before her lay\n The very Love brighter than dawn of day;\n And as he lay there smiling, her own name\n His gentle lips in sleep began to frame,\n And, as to touch her face, his hand did move;\n O then, indeed, her faint heart swelled for love,\n And she began to sob, and tears fell fast\n Upon the bed.--But as she turned at last\n To quench the lamp, there happed a little thing\n That quenched her new delight, for flickering\n The treacherous flame cast on his shoulder fair\n A burning drop; he woke, and seeing her there\n The meaning of that sad sight knew full well,\n Nor was there need the piteous tale to tell.[127]\n\nWithout a word, Cupid spread his white wings, and flew out of window.\nPsyche, in vain endeavoring to follow, fell to the earth. For but an\ninstant Cupid, staying, reproached her with distrust of him. \"No other\npunishment inflict I than to leave thee forever. Love cannot dwell with\nsuspicion.\" And so he flew away.\n\nWhen Psyche had recovered some degree of composure, she looked around\nher. The palace and gardens had vanished. She found herself not far\nfrom the city where her sisters dwelt. Thither she repaired, and told\nthem the story of her misfortunes, whereat they inwardly rejoiced.\n\"For now,\" thought they, \"he will perhaps choose one of us.\" With this\nidea, they rose early the next morning and, ascending the mountain,\neach called upon Zephyr to receive her and bear her to his lord; then,\nleaping up, failed of the support of Zephyr, fell down the precipice,\nand was dashed to pieces.\n\nPsyche, meanwhile, wandered day and night, without food or repose, in\nsearch of her husband. But he was lying heartsick in the chamber of\nhis mother; and that goddess was absent upon her own affairs. Then the\nwhite sea gull which floats over the waves dived into the middle deep,\n\n And rowing with his glistening wings arrived\n At Aphrodite's bower beneath the sea.\n\nShe, as yet unaware of her son's mischance, was joyously consorting\nwith her handmaidens; but he, the sea gull,\n\n But he with garrulous and laughing tongue\n Broke up his news; how Eros fallen sick\n Lay tossing on his bed, to frenzy stung\n By such a burn as did but barely prick:\n A little bleb, no bigger than a pease,\n Upon his shoulder 'twas, that killed his ease,\n Fevered his heart, and made his breathing thick.\n\n \"For which disaster hath he not been seen\n This many a day at all in any place:\n And thou, dear mistress,\" said he, \"hast not been\n Thyself among us now a dreary space:\n And pining mortals suffer from a dearth\n Of love; and for this sadness of the earth\n Thy family is darkened with disgrace....\n\n \"'Tis plain that, if thy pleasure longer pause,\n Thy mighty rule on earth hath seen its day:\n The race must come to perish, and no cause\n But that thou sittest with thy nymphs at play,\n While on the Cretan hills thy truant boy\n Has with his pretty mistress turned to toy,\n And, less for pain than love, now pines away.\"[128]\n\nAnd Venus cried angrily, \"My son, then, has a mistress! And it is\nPsyche, who witched away my beauty and was the rival of my godhead,\nwhom he loves!\"\n\nTherewith she issued from the sea, and, returning to her golden\nchamber, found there the lad sick, as she had heard, and cried from\nthe doorway, \"Well done, truly! to trample thy mother's precepts under\nfoot, to spare my enemy that cross of an unworthy love; nay, unite her\nto thyself, child as thou art, that I might have a daughter-in-law who\nhates me! I will make thee repent of thy sport, and the savor of thy\nmarriage bitter. There is one who shall chasten this body of thine, put\nout thy torch, and unstring thy bow. Not till she has plucked forth\nthat hair, into which so oft these hands have smoothed the golden\nlight, and sheared away thy wings, shall I feel the injury done me\navenged.\" And with this she hastened in anger from the doors.\n\nAnd Ceres and Juno met her, and sought to know the meaning of her\ntroubled countenance. \"Ye come in season,\" she cried; \"I pray you, find\nfor me Psyche. It must needs be that ye have heard the disgrace of my\nhouse.\" And they, ignorant of what was done, would have soothed her\nanger, saying, \"What fault, Mistress, hath thy son committed, that thou\nwouldst destroy the girl he loves? Knowest thou not that he is now of\nage? Because he wears his years so lightly must he seem to thee ever to\nbe a child? Wilt thou forever thus pry into the pastimes of thy son,\nalways accusing his wantonness, and blaming in him those delicate wiles\nwhich are all thine own?\" Thus, in secret fear of the boy's bow, did\nthey seek to please him with their gracious patronage. But Venus, angry\nat their light taking of her wrongs, turned her back upon them, and\nwith hasty steps made her way once more to the sea.[129]\n\nAnd soon after, Psyche herself reached the temple of Ceres, where she\nwon the favor of the goddess by arranging in due order the heaps of\nmingled grain and ears and the carelessly scattered harvest implements\nthat lay there. The holy Ceres then counseled her to submit to Venus,\nto try humbly to win her forgiveness, and, mayhap, through her favor\nregain the lover that was lost.\n\nObeying the commands of Ceres, Psyche took her way to the temple\nof the golden-crowned Cypris. That goddess received her with angry\ncountenance, called her an undutiful and faithless servant, taunted\nher with the wound given to her husband, and insisted that for so\nill-favored a girl there was no way of meriting a lover save by dint\nof industry. Thereupon she ordered Psyche to be led to the storehouse\nof the temple, where was laid up a great quantity of wheat, barley,\nmillet, vetches, beans, and lentils prepared for food for her pigeons,\nand gave order, \"Take and separate all these grains, putting all of the\nsame kind in a parcel by themselves,--and see that thou get it done\nbefore evening.\" This said, Venus departed and left the girl to her\ntask. But Psyche, in perfect consternation at the enormous task, sat\nstupid and silent; nor would the work have been accomplished had not\nCupid stirred up the ants to take compassion on her. They separated the\npile, sorting each kind to its parcel and vanishing out of sight in a\nmoment.\n\nAt the approach of twilight, Cytherea returned from the banquet of the\ngods, breathing odors and crowned with roses. Seeing the task done, she\npromptly exclaimed, \"This is no work of thine, wicked one, but his,\nwhom to thine own and his misfortune thou hast enticed,\"--threw the\ngirl a piece of black bread for her supper, and departed.\n\nNext morning, however, the goddess, ordering Psyche to be summoned,\ncommanded her to fetch a sample of wool gathered from each of the\ngolden-shining sheep that fed beyond a neighboring river. Obediently\nthe princess went to the riverside, prepared to do her best to execute\nthe command. But the god of that stream inspired the reeds with\nharmonious murmurs that dissuaded her from venturing among the golden\nrams while they raged under the influence of the rising sun. Psyche,\nobserving the directions of the compassionate river-god, crossed\nwhen the noontide sun had driven the cattle to the shade, gathered\nthe woolly gold from the bushes where it was clinging, and returned\nto Venus with her arms full of the shining fleece. But, far from\ncommending her, that implacable mistress said, \"I know very well that\nby the aid of another thou hast done this; not yet am I assured that\nthou hast skill to be of use. Here, now, take this box to Proserpine\nand say, 'My mistress Venus entreats thee to send her a little of thy\nbeauty, for in tending her sick son she hath lost some of her own.'\"\n\nPsyche, satisfied that her destruction was at hand, doomed as she\nwas to travel afoot to Erebus, thought to shorten the journey by\nprecipitating herself at once from the summit of a tower. But a voice\nfrom the tower, restraining her from this rash purpose, explained how\nby a certain cave she might reach the realm of Pluto; how she might\navoid the peril of the road, pass by Cerberus, and prevail on Charon to\ntake her across the black river and bring her back again. The voice,\nalso, especially cautioned her against prying into the box filled with\nthe beauty of Proserpine.\n\nSo, taking heed to her ways, the unfortunate girl traveled safely to\nthe kingdom of Pluto. She was admitted to the palace of Proserpine,\nwhere, contenting herself with plain fare instead of the delicious\nbanquet that was offered her, she delivered her message from Venus.\nPresently the box, filled with the precious commodity, was restored to\nher; and glad was she to come out once more into the light of day.\n\nBut having got so far successfully through her dangerous task, a desire\nseized her to examine the contents of the box, and to spread the least\nbit of the divine beauty on her cheeks that she might appear to more\nadvantage in the eyes of her beloved husband.\n\n Therewith down by the wayside did she sit\n And turned the box round, long regarding it;\n But at the last, with trembling hands, undid\n The clasp, and fearfully raised up the lid;\n But what was there she saw not, for her head\n Fell back, and nothing she remember\u00e8d\n Of all her life, yet nought of rest she had,\n The hope of which makes hapless mortals glad;\n For while her limbs were sunk in deadly sleep\n Most like to death, over her heart 'gan creep\n Ill dreams; so that for fear and great distress\n She would have cried, but in her helplessness\n Could open not her mouth, or frame a word.[130]\n\nBut Cupid, now recovered from his wound, slipped through a crack in the\nwindow of his chamber, flew to the spot where his beloved lay, gathered\nup the sleep from her body and inclosed it again in the box, then\nwaked Psyche with the touch of an arrow. \"Again,\" said he, \"hast thou\nalmost perished by thy curiosity. But now perform the task imposed upon\nthee by my mother, and I will care for the rest.\"\n\n[Illustration: FIG. 76. PSYCHE AND CUPID ON MOUNT OLYMPUS\n\nFrom the painting by Thumann]\n\nThen Cupid, swift as lightning penetrating the heights of heaven,\npresented himself before Jupiter with his supplication. Jupiter lent a\nfavoring ear and pleaded the cause of the lovers with Venus. Gaining\nher consent, he ordered Mercury to convey Psyche to the heavenly\nabodes. On her advent, the king of the immortals, handing her a cup of\nambrosia, said, \"Drink this, Psyche, and be immortal. Thy Cupid shall\nnever break from the knot in which he is tied; these nuptials shall\nindeed be perpetual.\"\n\nThus Psyche was at last united to Cupid; and in due season a daughter\nwas born to them whose name was Pleasure.\n\nThe allegory of Cupid and Psyche is well presented in the following\nlines:\n\n They wove bright fables in the days of old,\n When reason borrowed fancy's painted wings;\n When truth's clear river flowed o'er sands of gold,\n And told in song its high and mystic things!\n And such the sweet and solemn tale of her\n The pilgrim-heart, to whom a dream was given,\n That led her through the world,--Love's worshiper,--\n To seek on earth for him whose home was heaven!\n\n[Illustration: EROS WITH BOW]\n\n\n In the full city,--by the haunted fount,--\n Through the dim grotto's tracery of spars,--\n 'Mid the pine temples, on the moonlit mount,\n Where silence sits to listen to the stars;\n In the deep glade where dwells the brooding dove,\n The painted valley, and the scented air,\n She heard far echoes of the voice of Love,\n And found his footsteps' traces everywhere.\n\n But never more they met! since doubts and fears,\n Those phantom-shapes that haunt and blight the earth,\n Had come 'twixt her, a child of sin and tears,\n And that bright spirit of immortal birth;\n Until her pining soul and weeping eyes\n Had learned to seek him only in the skies;\n Till wings unto the weary heart were given,\n And she became Love's angel bride in heaven![131]\n\nThe story of Cupid and Psyche first appears in the works of Apuleius, a\nwriter of the second century of our era. It is therefore of much more\nrecent date than most of the classic myths.\n\n=102. Keats' Ode to Psyche.= To this fact allusion is made in the\nfollowing poem:\n\n O Goddess! hear these tuneless numbers, wrung\n By sweet enforcement and remembrance dear,\n And pardon that thy secrets should be sung\n Even into thine own soft-conch\u00e8d ear:\n Surely I dreamt to-day, or did I see\n The wing\u00e8d Psyche with awakened eyes?\n I wandered in a forest thoughtlessly,\n And, on the sudden, fainting with surprise,\n Saw two fair creatures, couch\u00e8d side by side\n In deepest grass, beneath the whispering roof\n Of leaves and tumbled blossoms, where there ran\n A brooklet, scarce espied!\n\n 'Mid hushed, cool-rooted flowers, fragrant-eyed,\n Blue, silver-white, and budded Tyrian,\n They lay calm-breathing on the bedded grass;\n Their arms embrac\u00e8d, and their pinions, too;\n Their lips touched not, but had not bade adieu,\n As if disjoin\u00e8d by soft-handed slumber,\n And ready still past kisses to outnumber\n At tender eye-dawn of Aurorean love:\n The wing\u00e8d boy I knew:\n But who wast thou, O happy, happy dove?\n His Psyche true!\n\n O latest born and loveliest vision far\n Of all Olympus' faded hierarchy!\n Fairer than Ph[oe]be's sapphire-regioned star,\n Or Vesper, amorous glowworm of the sky;\n Fairer than these, though temple thou hast none,\n Nor altar heaped with flowers;\n Nor virgin-choir to make delicious moan\n Upon the midnight hours;\n No voice, no lute, no pipe, no incense sweet\n From chain-swung censer teeming;\n No shrine, no grove, no oracle, no heat\n Of pale-mouthed prophet dreaming.\n\n O brightest! though too late for antique vows\n Too, too late for the fond believing lyre,\n When holy were the haunted forest boughs,\n Holy the air, the water, and the fire;\n Yet even in these days so far retired\n From happy pieties, thy lucent fans,\n Fluttering among the faint Olympians,\n I see, and sing, by my own eyes inspired.\n So let me be thy choir, and make a moan\n Upon the midnight hours;\n Thy voice, thy lute, thy pipe, thy incense sweet\n From swing\u00e8d censer teeming,\n Thy shrine, thy grove, thy oracle, thy heat\n Of pale-mouthed prophet dreaming.\n\n Yes, I will be thy priest, and build a fane\n In some untrodden region of my mind,\n Where branch\u00e8d thoughts, new grown with pleasant pain,\n Instead of pines shall murmur in the wind:\n Far, far around shall those dark clustered trees\n Fledge the wild-ridg\u00e8d mountains steep by steep;\n And there by zephyrs, streams, and birds and bees,\n The moss-lain Dryads shall be lulled to sleep;\n And in the midst of this wide quietness\n A rosy sanctuary will I dress\n With the wreath\u00e8d trellis of a working brain,\n With buds, and bells, and stars without a name,\n With all the gardener Fancy e'er could feign,\n Who breeding flowers, will never breed the same;\n And there shall be for thee all soft delight\n That shadowy thought can win,\n A bright torch, and a casement ope at night,\n To let the warm Love in!\n\nThe loves of the devotees of Venus are as the sands of the sea for\nnumber. Below are given the fortunes of a few: Hippomenes, Hero,\nPygmalion, Pyramus, and Phaon. The favor of the goddess toward Paris,\nwho awarded her the palm of beauty in preference to Juno and Minerva,\nwill occupy our attention in connection with the story of the Trojan\nWar.\n\n[Illustration: FIG. 77. ARTEMIS OF GABII]\n\n=103. Atalanta's Race.=[132] Atalanta, the daughter of Sch[oe]neus of\nB[oe]otia, had been warned by an oracle that marriage would be fatal\nto her happiness. Consequently she fled the society of men and devoted\nherself to the sports of the chase. Fair, fearless, swift, and free,\nin beauty and in desire she was a Cynthia,--of mortal form and with a\nwoman's heart. To all suitors (for she had many) she made answer: \"I\nwill be the prize of him only who shall conquer me in the race; but\ndeath must be the penalty of all who try and fail.\" In spite of this\nhard condition some would try. Of one such race Hippomenes was to be\njudge. It was his thought, at first, that these suitors risked too much\nfor a wife. But when he saw Atalanta lay aside her robe for the race\nwith one of them, he changed his mind and began to swell with envy of\nwhomsoever seemed likely to win.\n\nThe virgin darted forward. As she ran she looked more beautiful than\never. The breezes gave wings to her feet; her hair flew over her\nshoulders, and the gay fringe of her garment fluttered behind her. A\nruddy hue tinged the whiteness of her skin, such as a crimson curtain\ncasts on a marble wall. Her competitor was distanced and was put to\ndeath without mercy. Hippomenes, not daunted by this result, fixed his\neyes on the virgin and said, \"Why boast of beating those laggards? I\noffer myself for the contest.\" Atalanta looked at him with pity in\nher face and hardly knew whether she would rather conquer so goodly a\nyouth or not. While she hesitated, the spectators grew impatient for\nthe contest and her father prompted her to prepare. Then Hippomenes\naddressed a prayer to Cypris: \"Help me, Venus, for thou hast impelled\nme.\" Venus heard and was propitious.\n\n[Illustration: FIG. 78. ATALANTA'S RACE\n\nFrom the painting by Poynter]\n\nShe gathered three golden apples from the garden of her temple in her\nown island of Cyprus and, unseen by any, gave them to Hippomenes,\ntelling him how to use them. Atalanta and her lover were ready. The\nsignal was given.\n\n They both started; he, by one stride, first,\n For she half pitied him so beautiful,\n Running to meet his death, yet was resolved\n To conquer: soon she near'd him, and he felt\n The rapid and repeated gush of breath\n Behind his shoulder.\n From his hand now dropt\n A golden apple: she lookt down and saw\n A glitter on the grass, yet on she ran.\n He dropt a second; now she seem'd to stoop:\n He dropt a third; and now she stoopt indeed:\n Yet, swifter than a wren picks up a grain\n Of millet, rais'd her head: it was too late,\n Only one step, only one breath, too late.\n Hippomenes had toucht the maple goal\n With but two fingers, leaning pronely forth.\n She stood in mute despair; the prize was won.\n Now each walkt slowly forward, both so tired,\n And both alike breathed hard, and stopt at times.\n When he turn'd round to her, she lowered her face\n Cover'd with blushes, and held out her hand,\n The golden apple in it.\n \"Leave me now,\"\n Said she, \"I must walk homeward.\"\n He did take\n The apple and the hand.\n \"Both I detain,\"\n Said he, \"the other two I dedicate\n To the two Powers that soften virgin hearts,\n Eros and Aphrodite; and this one\n To her who ratifies the nuptial vow.\"\n She would have wept to see her father weep;\n But some God pitied her, and purple wings\n (What God's were they?) hovered and interposed.[133]\n\nBut the oracle was yet to be fulfilled. The lovers, full of their own\nhappiness, after all, forgot to pay due honor to Aphrodite, and the\ngoddess was provoked at their ingratitude. She caused them to give\noffense to Cybele. That powerful goddess took from them their human\nform: the huntress heroine, triumphing in the blood of her lovers, she\nmade a lioness; her lord and master a lion,--and yoked them to her car,\nwhere they are still to be seen in all representations in statuary or\npainting of the goddess Cybele.\n\n=104 Hero and Leander= were star-crossed lovers of later classical\nfiction.[134] Although their story is not of supernatural beings,\nor of events necessarily influenced by supernatural agencies, and\ntherefore not mythical in the strict sense of the word, it deserves\nto be included here both because of its pathetic beauty and its long\nliterary tradition. The poet Marlowe puts the story into English thus:\n\n On Hellespont, guilty of true love's blood,\n In view and opposite two cities stood,\n Sea-borderers, disjoin'd by Neptune's might\n The one Abydos, the other Sestos hight.\n At Sestos Hero dwelt; Hero the fair,\n Whom young Apollo courted for her hair,\n And offer'd as a dower his burning throne,\n Where she should sit, for men to gaze upon....\n Some say, for her the fairest Cupid pin'd,\n And, looking in her face, was strooken blind.\n But this is true: so like was one the other,\n As he imagined Hero was his mother;\n And oftentimes into her bosom flew,\n About her naked neck his bare arms threw,\n And laid his childish head upon her breast,\n And, with still panting rockt, there took his rest.\n\nIn Abydos dwelt the manly Leander, who, as luck would have it,\nbethought himself one day of the festival of Venus in Sestos, and\nthither fared to do obeisance to the goddess.\n\n On this feast-day,--O curs\u00e8d day and hour!--\n Went Hero through Sestos, from her tower\n To Venus' temple, where unhappily,\n As after chanc'd, they did each other spy.\n So fair a church as this had Venus none;\n The walls were of discolored jasper-stone, ...\n And in the midst a silver altar stood:\n There Hero, sacrificing turtle's blood,\n Vail'd to the ground, veiling her eyelids close;\n And modestly they opened as she rose:\n Thence flew Love's arrow with the golden head;\n And thus Leander was enamour\u00e8d.\n Stone-still he stood, and evermore he gaz'd,\n Till with the fire, that from his countenance blaz'd,\n Relenting Hero's gentle heart was strook:\n Such power and virtue hath an amorous look.\n\n It lies not in our power to love or hate,\n For will in us is overrul'd by fate.\n When two are stript long e'er the course begin,\n We wish that one should lose, the other win;\n And one especially do we affect\n Of two gold ingots, like in each respect:\n The reason no man knows; let it suffice,\n What we behold is censur'd by our eyes.\n Where both deliberate, the love is slight:\n Who ever lov'd, that lov'd not at first sight?\n\n He kneel'd; but unto _her_ devoutly prayed:\n Chaste Hero to herself thus softly said,\n \"Were I the saint he worships, I would hear him\";\n And, as she spake those words, came somewhat near him.\n He started up; she blush'd as one asham'd;\n Wherewith Leander much more was inflam'd.\n He touch'd her hand; in touching it she trembled:\n Love deeply grounded, hardly is dissembled....\n\nSo they conversed by touch of hands, till Leander, plucking up courage,\nbegan to plead with words, with sighs and tears.\n\n These arguments he us'd, and many more;\n Wherewith she yielded, that was won before.\n Hero's looks yielded, but her words made war:\n Women are won when they begin to jar.\n Thus having swallow'd Cupid's golden hook,\n The more she striv'd, the deeper was she strook:\n Yet, evilly feigning anger, strove she still,\n And would be thought to grant against her will.\n So having paus'd awhile, at last she said,\n \"Who taught thee rhetoric to deceive a maid?\n Ay me! such words as these should I abhor,\n And yet I like them for the orator.\"\n With that Leander stoop'd to have embrac'd her,\n But from his spreading arms away she cast her,\n And thus bespake him: \"Gentle youth, forbear\n To touch the sacred garments which I wear.\" ...\n\nThen she told him of the turret by the murmuring sea where all day long\nshe tended Venus' swans and sparrows:\n\n \"Come thither.\" As she spake this, her tongue tripp'd,\n For unawares, \"Come thither,\" from her slipp'd;\n And suddenly her former color chang'd,\n And here and there her eyes through anger rang'd;\n And, like a planet moving several ways\n At one self instant, she, poor soul, assays,\n Loving, not to love at all, and every part\n Strove to resist the motions of her heart:\n And hands so pure, so innocent, nay, such\n As might have made Heaven stoop to have a touch,\n Did she uphold to Venus, and again\n Vow'd spotless chastity; but all in vain;\n Cupid beats down her prayers with his wings....\n\n[Illustration: FIG. 79. HERO AND LEANDER\n\nFrom the painting by Keller]\n\nFor a season all went well. Guided by a torch which his mistress reared\nupon the tower, he was wont of nights to swim the strait that he might\nenjoy her company. But one night a tempest arose and the sea was rough;\nhis strength failed and he was drowned. The waves bore his body to\nthe European shore, where Hero became aware of his death, and in her\ndespair cast herself into the sea and perished.\n\nA picture of the drowning Leander is thus described by Keats:[135]\n\n Come hither all sweet maidens soberly,\n Down looking aye, and with a chasten'd light,\n Hid in the fringe of your eyelids white,\n And meekly let your fair hands join\u00e8d be,\n As if so gentle that ye could not see,\n Untouch'd, a victim of your beauty bright,\n Sinking away to his young spirit's night,\n Sinking bewilder'd 'mid the dreary sea:\n 'Tis young Leander toiling to his death;\n Nigh swooning he doth purse his weary lips\n For Hero's cheek, and smiles against her smile.\n O horrid dream! see how his body dips\n Dead-heavy; arms and shoulders gleam awhile;\n He's gone; up bubbles all his amorous breath!\n\n=105. Pygmalion and the Statue.=[136] Pygmalion saw so much to blame\nin women, that he came at last to abhor the sex and resolved to live\nunmarried. He was a sculptor, and had made with wonderful skill a\nstatue of ivory, so beautiful that no living woman was to compare with\nit. It was indeed the perfect semblance of a maiden that seemed to\nbe alive and that was prevented from moving only by modesty. His art\nwas so perfect that it concealed itself, and its product looked like\nthe workmanship of nature. Pygmalion at last fell in love with his\ncounterfeit creation. Oftentimes he laid his hand upon it as if to\nassure himself whether it were living or not, and could not even then\nbelieve that it was only ivory.\n\nThe festival of Venus was at hand,--a festival celebrated with great\npomp at Cyprus. Victims were offered, the altars smoked, and the odor\nof incense filled the air. When Pygmalion had performed his part in the\nsolemnities, he stood before the altar and, according to one of our\npoets, timidly said:\n\n O Aphrodite, kind and fair,\n That what thou wilt canst give,\n Oh, listen to a sculptor's prayer,\n And bid mine image live!\n For me the ivory and gold\n That clothe her cedar frame\n Are beautiful, indeed, but cold;\n Ah, touch them with thy flame!\n Oh, bid her move those lips of rose,\n Bid float that golden hair,\n And let her choose me, as I chose,\n This fairest of the fair!\n And then an altar in thy court\n I'll offer, decked with gold;\n And there thy servants shall resort,\n Thy doves be bought and sold![137]\n\nAccording to another version of the story, he said not, \"bid mine image\nlive,\" but \"one like my ivory virgin.\" At any rate, with such a prayer\nhe threw incense on the flame of the altar. Whereupon Venus, as an omen\nof her favor, caused the flame to shoot up thrice a fiery point into\nthe air.\n\nWhen Pygmalion reached his home, to his amazement he saw before him his\nstatue garlanded with flowers.\n\n Yet while he stood, and knew not what to do\n With yearning, a strange thrill of hope there came,\n A shaft of new desire now pierced him through,\n And therewithal a soft voice called his name,\n And when he turned, with eager eyes aflame,\n He saw betwixt him and the setting sun\n The lively image of his lov\u00e8d one.\n\n He trembled at the sight, for though her eyes,\n Her very lips, were such as he had made,\n And though her tresses fell but in such guise\n As he had wrought them, now was she arrayed\n In that fair garment that the priests had laid\n Upon the goddess on that very morn,\n Dyed like the setting sun upon the corn.\n\n Speechless he stood, but she now drew anear,\n Simple and sweet as she was wont to be,\n And once again her silver voice rang clear,\n Filling his soul with great felicity,\n And thus she spoke, \"Wilt thou not come to me,\n O dear companion of my new-found life,\n For I am called thy lover and thy wife?...\n\n \"My sweet,\" she said, \"as yet I am not wise,\n Or stored with words aright the tale to tell,\n But listen: when I opened first mine eyes\n I stood within the niche thou knowest well,\n And from my hand a heavy thing there fell\n Carved like these flowers, nor could I see things clear,\n But with a strange, confus\u00e8d noise could hear.\n\n \"At last mine eyes could see a woman fair,\n But awful as this round white moon o'erhead,\n So that I trembled when I saw her there,\n For with my life was born some touch of dread,\n And therewithal I heard her voice that said,\n 'Come down and learn to love and be alive,\n For thee, a well-prized gift, to-day I give.'\"[138]\n\nA fuller account of Venus' address to the statue is the following:\n\n O maiden, in mine image made!\n O grace that shouldst endure!\n While temples fall, and empires fade,\n Immaculately pure:\n Exchange this endless life of art\n For beauty that must die,\n And blossom with a beating heart\n Into mortality!\n Change, golden tresses of her hair,\n To gold that turns to gray;\n Change, silent lips, forever fair,\n To lips that have their day!\n Oh, perfect arms, grow soft with life,\n Wax warm, ere cold ye wane;\n Wake, woman's heart, from peace to strife,\n To love, to joy, to pain![139]\n\nThe maiden was called Galatea. Venus blessed the nuptials, and from\nthe union Paphos was born, by whose name the city, sacred to Venus, is\nknown.\n\n=106. Pyramus and Thisbe.=[140] Pyramus was the handsomest youth and\nThisbe the fairest maiden in Babylonia, where Semiramis reigned.\nTheir parents occupied adjoining houses. Propinquity brought the young\npeople together, and acquaintance ripened into love. They would gladly\nhave married, but their parents forbade. One thing, however, parents\ncould not forbid (for Venus and Cupid favored the match),--that love\nshould glow with equal ardor in the bosoms of both. They conversed by\nsigns and glances, and the fire burned the more intensely that it was\ncovered. In the wall between the two houses there was a crack, caused\nby some fault in the structure. It afforded a passage to the voice;\nand tender messages passed back and forth through the gap. When night\ncame and they must say farewell, the lovers pressed their lips upon the\nwall, she on her side, he on his.\n\n[Illustration: FIG. 80. THISBE\n\nFrom the painting by Edward Burne-Jones]\n\nOne morning, when Aurora had put out the stars and the sun had melted\nthe frost from the grass, they met at the accustomed spot and arranged\na meeting for that night at a well-known edifice, standing without the\ncity's bounds,--the Tomb of Ninus. The one who first arrived should\nawait the other at the foot of a white mulberry tree near a cool\nspring. Evening came. Thisbe, arriving first, sat alone by the monument\nin the dim light of the evening. Suddenly she descried a lioness, her\njaws reeking with recent slaughter, approaching the fountain to slake\nher thirst. The maiden fled at the sight, dropping her veil as she ran.\nThe lioness, after drinking at the spring, turned toward the woods,\nand, seeing the veil on the ground, tossed and rent it with her bloody\nmouth.\n\nNow Pyramus approached the place of meeting. He saw in the sand the\nfootsteps of the lion. He found the veil all rent and bloody. \"O,\nhapless girl,\" cried he, \"I have been the cause of thy death; but I\nfollow thee!\" So saying, he drew his sword and plunged it into his\nheart. The blood spurted from the wound and tinged the white mulberries\nof the tree all red, and, sinking into the earth, reached the roots, so\nthat the sanguine hue mounted through the trunk to the fruit.\n\nBy this time Thisbe, still trembling with fear, yet wishing not to\ndisappoint her lover, stepped cautiously forth, looking anxiously for\nthe youth, eager to tell him the danger she had escaped. When she came\nto the spot and saw the changed color of the mulberries, she doubted\nwhether it was the same place. While she hesitated, she saw the form of\nher lover struggling in the agonies of death. She screamed and beat her\nbreast, she embraced the lifeless body, poured tears into its wounds,\nand imprinted kisses on the cold lips. \"O, Pyramus,\" she cried, \"what\nhas done this? It is thine own Thisbe that speaks.\" At the name of\nThisbe Pyramus opened his eyes, then closed them again. She saw her\nveil stained with blood and the scabbard empty of its sword. \"Thine own\nhand has slain thee, and for my sake,\" she said. \"I, too, can be brave\nfor once, and my love is as strong as thine. But ye, unhappy parents\nof us both, deny us not our united request. As love and death have\njoined us, let one tomb contain us. And thou, tree, retain the marks\nof slaughter. Let thy berries still serve for memorials of our blood.\"\nSo saying, she plunged the sword into her breast. The two bodies were\nburied in one sepulcher, and the tree henceforth produced purple\nberries.\n\n=107. Phaon= ferried a boat between Lesbos and Chios. One day the queen\nof Paphos and Amathus,[141] in the guise of an ugly crone, begged a\npassage, which was so good-naturedly granted that in recompense she\nbestowed on the ferryman a salve possessing magical properties of youth\nand beauty. As a consequence of the use made of it by Phaon, the women\nof Lesbos went wild for love of him. None, however, admired him more\nthan the poetess Sappho, who addressed to him some of her warmest and\nrarest love-songs.\n\n=108. The Vengeance of Venus.= Venus did not fail to follow with her\nvengeance those who dishonored her rites or defied her power. The youth\nHippolytus who, eschewing love, preferred Diana to her, she brought\nmiserably to his ruin. Polyphonte she transformed into an owl, Arsino\u00eb\ninto a stone, and Myrrha into a myrtle tree.[142] Her influence in\nthe main was of mingled bane and blessing, as in the cases of Helen,\n[OE]none, Pasipha\u00eb, Ariadne, Procris, Eriphyle, Laodamia, and others\nwhose stories are elsewhere told.[143]\n\n=109. Myths of Mercury.= According to Homer,[144] Maia bore Mercury\nat the peep of day,--a schemer subtle beyond all belief. He began\nplaying on the lyre at noon; for, wandering out of the lofty cavern\nof Cyllene, he found a tortoise, picked it up, bored the life out of\nthe beast, fitted the shell with bridge and reeds, and accompanied\nhimself therewith as he sang a strain of unpremeditated sweetness. At\nevening of the same day he stole the oxen of his half brother Apollo\nfrom the Pierian mountains, where they were grazing. He covered their\nhoofs with tamarisk twigs, and, still further to deceive the pursuer,\ndrove them backward into a cave at Pylos. There rubbing laurel branches\ntogether, he made fire and sacrificed, as an example for men to follow,\ntwo heifers to the twelve gods (himself included). Then home he went\nand slept, innocent as a new-born child! To his mother's warning that\nApollo would catch and punish him, this innocent replied, in effect,\n\"I know a trick better than that!\" And when the puzzled Apollo, having\ntraced the knavery to this babe in swaddling clothes, accused him of\nit, the sweet boy swore a great oath by his father's head that he stole\nnot the cows, nor knew even what cows might be, for he had only that\nmoment heard the name of them. Apollo proceeded to trounce the baby,\nwith scant success, however, for Mercury persisted in his assumption of\nignorance. So the twain appeared before their sire, and Apollo entered\nhis complaint: he had not seen nor ever dreamed of so precocious a\ncattle-stealer, liar, and full-fledged knave as this young rascal.\nTo all of which Mercury responded that he was, on the contrary, a\nveracious person, but that his brother Apollo was a coward to bully\na helpless little new-born thing that slept, nor ever had thought of\n\"lifting\" cattle. The wink with which the lad of Cyllene accompanied\nthis asseveration threw Jupiter into uncontrollable roars of laughter.\nConsequently, the quarrel was patched up: Mercury gave Apollo the\nnew-made lyre; Apollo presented the prodigy with a glittering whiplash\nand installed him herdsman of his oxen. Nay even, when Mercury had\nsworn by sacred Styx no more to try his cunning in theft upon Apollo,\nthat god in gratitude invested him with the magic wand of wealth,\nhappiness, and dreams (the _caduceus_), it being understood, however,\nthat Mercury should indicate the future only by signs, not by speech\nor song as did Apollo. It is said that the god of gain avenged himself\nfor this enforced rectitude upon others: upon Venus, whose girdle he\npurloined; upon Neptune, whose trident he filched; upon Vulcan, whose\ntongs he borrowed; and upon Mars, whose sword he stole.\n\n[Illustration: HERMES OF PRAXITELES]\n\n[Illustration: FIG. 81. HERMES AND DOG]\n\nThe most famous exploit of the Messenger, the slaughter of Argus, has\nalready been narrated.\n\nFOOTNOTES:\n\n[66] Ovid, Metam. I, 700 _et seq._\n\n[67] Ovid, Metam. 2, 410 _et seq._\n\n[68] Translated by Andrew Lang: Theocritus, Bion, and Moschus, London,\n1880.\n\n[69] \u00a7 70.\n\n[70] Ovid, Metam. 3, 260 _et seq._\n\n[71] \u00a7\u00a7 42, 110-113.\n\n[72] From E. R. Sill's Semele.\n\n[73] Commentary, \u00a7\u00a7 118, 255.\n\n[74] Ovid, Metam. 7, 172 _et seq._\n\n[75] Roscher, Ausf. Lex. Lfg. 3, 379 [Schirmer]. Originals in\nPausanias, Apollodorus, and Hyginus.\n\n[76] From Tennyson's Amphion. See Horace, Ars Poet. 394.\n\n[77] Ovid, Metam. 8, 620-724.\n\n[78] From The Sons of Cydippe, by Edmund Gosse in his On Viol and Flute.\n\n[79] \u00a7 27, and Commentary.\n\n[80] From Ovid.\n\n[81] From Spenser's Muiopotmos.\n\n[82] Ovid, Metam. 6, 1-145.\n\n[83] \u00a7 200.\n\n[84] Iliad, 5, 850 _et seq._ (Lang, Leaf, and Myers' translation). In\naccordance with the system of nomenclature adopted in this work, Latin\nequivalents are given, wherever possible, for Greek names.\n\n[85] Iliad, 21, 390 (Lang, Leaf, and Myers' translation).\n\n[86] Ovid, Metam. 3, 1-137; 4, 563-614.\n\n[87] Iliad, 2, 1335.\n\n[88] Ovid, Metam. 6, 313-381.\n\n[89] \u00a7 30.\n\n[90] Roscher, Ausf. Lex. Lfg. 2, 254, Article _Aload\u00e6_ [Schultz].\n\n[91] Ovid, Metam. 10, 162-219.\n\n[92] Ovid, Metam. 2, 1-400.\n\n[93] \u00a7 44.\n\n[94] _Medio tutissimus ibis._--OVID.\n\n[95]\n\n _Hic situs est Pha\u00ebthon, currus auriga paterni,_\n _Quem si non tenuit, magnis tamen excidit ausis._--OVID.\n\n[96] Iliad, 1, 43-52 (Lang, Leaf, and Myers' translation).\n\n[97] Ovid, Metam. 6, 165-312.\n\n[98] From W. S. Landor's Niobe.\n\n[99] See Commentary, \u00a7\u00a7 64, 80.\n\n[100] Iliad, 18, 564 (Lang, Leaf, and Myers' translation).\n\n[101] Cicero, Natura Deorum, 3, 22.\n\n[102] See Commentary.\n\n[103] From Browning's Balaustion's Adventure. The Greek form of the\nproper names has been retained.\n\n[104] Proserpine.\n\n[105] For the originals, see Iliad, 2, 715, and the Alcestis of\nEuripides.\n\n[106] Ovid, Metam. 11, 146-193.\n\n[107] \u00a7 118.\n\n[108] \u00a7 145.\n\n[109] Ovid, Metam. 1, 452-567.\n\n[110] From the Fable for Critics.\n\n[111] Iliad, 9, 561; Apollodorus, 1, 7, \u00a7 8.\n\n[112] Stephen Phillips, Marpessa.\n\n[113] Ovid, Metam. 4, 256-270.\n\n[114] \u00a7 196.\n\n[115] \u00a7 168.\n\n[116] Ovid, Metam. 5, 585-641.\n\n[117] Ovid, Metam. 3, 138-252.\n\n[118] Apollodorus, 1, 4, \u00a7 3.\n\n[119] Ovid, Fasti, 5, 537; Iliad, 18, 486, and 22, 29; Odyssey, 5, 121,\n274.\n\n[120] The story is told by Hyginus in his Fables, and in his Poetical\nAstronomy.\n\n[121] Authorities are Pausanias, 5, 1, \u00a7\u00a7 2-4; Ovid, Ars. Am. 3, 83;\nTristia, 2, 299; Apollonius, and Apollodorus.\n\n[122] From the Endymion, Bk. 3.\n\n[123] \u00a7 194.\n\n[124] Ovid, Metam. 10, 503-559, 708-739.\n\n[125] From an elegy intended to be sung at one of the spring\ncelebrations in memory of Adonis. Translated from Bion by Andrew Lang.\n_Cypris_, _Cytherea_, and the _Paphian_ refer to Venus. See Commentary.\nThis elegy is also translated by Mrs. Browning and by Sir Edwin Arnold.\n\n[126] Apuleius, Metam. Golden Ass, 4, 28, etc.\n\n[127] William Morris, The Story of Cupid and Psyche, in The Earthly\nParadise.\n\n[128] Robert Bridges, Eros and Psyche.\n\n[129] The last three paragraphs are from Pater's version in Marius the\nEpicurean.\n\n[130] William Morris, The Earthly Paradise.\n\n[131] By T. K. Hervey.\n\n[132] Ovid, Metam. 10, 560-680.\n\n[133] From W. S. Landor's Hippomenes and Atalanta.\n\n[134] The poetical passages are from Marlowe's Hero and Leander, First\nSestiad. Marlowe's narrative was completed by Chapman. See Mus\u00e6us of\nAlexandria, De Amore Herois et Leandri; Virg. Georg. 3, 258; Ovid, Her.\n18, 19; Stat. Theb. 6, 770.\n\n[135] Sonnet, On a Picture of Leander.\n\n[136] Ovid, Metam. 10, 243-297.\n\n[137] Andrew Lang, The New Pygmalion.\n\n[138] From William Morris, Pygmalion and the Image, in The Earthly\nParadise.\n\n[139] Andrew Lang, The New Pygmalion, or The Statue's Choice. A witty\nand not unpoetic bit of burlesque.\n\n[140] Ovid, Metam. 4, 55-166.\n\n[141] \u00a7 100, and Commentary.\n\n[142] Murray, Manual of Mythology, p. 87; Ovid, Metam. 10, 298-502.\n\n[143] See Index for sections.\n\n[144] Hymn to Mercury (Hermes).\n\n\n\n\nCHAPTER VIII\n\nMYTHS OF THE GREAT DIVINITIES OF EARTH\n\n\n=110. Myths of Bacchus.= Since the adventures of Ceres, although she\nwas a goddess of earth, are intimately connected with the life of\nthe underworld, they will be related in the sections pertaining to\nProserpine and Pluto. The god of vernal sap and vegetation, of the\ngladness that comes of youth or of wine, the golden-curled, sleepy-eyed\nBacchus (Dionysus),--his wanderings, and the fortunes of mortals\nbrought under his influence (Pentheus, Acetes, Ariadne, and Midas),\nhere challenge our attention.\n\n[Illustration: FIG. 82. SILENUS TAKING DIONYSUS TO SCHOOL]\n\n=111. The Wanderings of Bacchus.= After the death of Semele,[145] Jove\ntook the infant Bacchus and gave him in charge to the Nys\u00e6an nymphs,\nwho nourished his infancy and childhood and for their care were placed\nby Jupiter, as the Hyades, among the stars. Another guardian and tutor\nof young Bacchus was the pot-bellied, jovial Silenus, son of Pan and\na nymph, and oldest of the Satyrs. Silenus was probably an indulgent\npreceptor. He was generally tipsy and would have broken his neck early\nin his career, had not the Satyrs held him on his ass's back as he\nreeled along in the train of his pupil. After Bacchus was of age, he\ndiscovered the culture of the vine and the mode of extracting its\nprecious juice; but Juno struck him with madness and drove him forth\na wanderer through various parts of the earth. In Phrygia the goddess\nRhea cured him and taught him her religious rites; and then he set\nout on a progress through Asia, teaching the people the cultivation\nof the vine. The most famous part of his wanderings is his expedition\nto India, which is said to have lasted several years. Returning in\ntriumph, he undertook to introduce his worship into Greece, but was\nopposed by certain princes who dreaded the disorders and madness it\nbrought with it. Finally, he approached his native city Thebes, where\nhis own cousin, Pentheus, son of Agave and grandson of Harmonia and\nCadmus, was king. Pentheus, however, had no respect for the new worship\nand forbade its rites to be performed.[146] But when it was known that\nBacchus was advancing, men and women, young and old, poured forth to\nmeet him and to join his triumphal march.\n\n[Illustration: FIG. 83. BEARDED DIONYSUS AND SATYR]\n\n Fauns with youthful Bacchus follow;\n Ivy crowns that brow, supernal\n As the forehead of Apollo,\n And possessing youth eternal.\n\n Round about him fair Bacchantes,\n Bearing cymbals, flutes, and thyrses,\n Wild from Naxian groves or Zante's\n Vineyards, sing delirious verses.[147]\n\nIt was in vain Pentheus remonstrated, commanded, and threatened. His\nnearest friends and wisest counselors begged him not to oppose the god.\nTheir remonstrances only made him the more violent.\n\n=112. The Story of Acetes.= Soon the attendants returned who had been\ndispatched to seize Bacchus. They had succeeded in taking one of the\nBacchanals prisoner, whom, with his hands tied behind him, they brought\nbefore the king. Pentheus, threatening him with death, commanded him\nto tell who he was and what these new rites were that he presumed to\ncelebrate.\n\n[Illustration: FIG. 84. SATYR AND M\u00c6NAD WITH CHILD DIONYSUS]\n\nThe prisoner, unterrified, replied that he was Acetes of M\u00e6onia; that\nhis parents, being poor, had left him their fisherman's trade, which\nhe had followed till he had acquired the pilot's art of steering his\ncourse by the stars. It once happened that he had touched at the island\nof Dia and had sent his men ashore for fresh water. They returned,\nbringing with them a lad of delicate appearance whom they had found\nasleep. Judging him to be a noble youth, they thought to detain him\nin the hope of liberal ransom. But Acetes suspected that some god was\nconcealed under the youth's exterior, and asked pardon for the violence\ndone. Whereupon the sailors, enraged by their lust of gain, exclaimed,\n\"Spare thy prayers for us!\" and, in spite of the resistance offered by\nAcetes, thrust the captive youth on board and set sail.\n\nThen Bacchus (for the youth was indeed he), as if shaking off his\ndrowsiness, asked what the trouble was and whither they were carrying\nhim. One of the mariners replied, \"Fear nothing; tell us where thou\nwouldst go, and we will convey thee thither.\" \"Naxos is my home,\" said\nBacchus; \"take me there, and ye shall be well rewarded.\" They promised\nso to do; but, preventing the pilot from steering toward Naxos, they\nbore away for Egypt, where they might sell the lad into slavery.\nSoon the god looked out over the sea and said in a voice of weeping,\n\"Sailors, these are not the shores ye promised me; yonder island is\nnot my home. It is small glory ye shall gain by cheating a poor boy.\"\nAcetes wept to hear him, but the crew laughed at both of them and sped\nthe vessel fast over the sea. All at once it stopped in mid-sea, as\nfast as if it were fixed on the ground. The men, astonished, pulled at\ntheir oars and spread more sail, but all in vain. Ivy twined round the\noars and clung to the sails, with heavy clusters of berries. A vine\nladen with grapes ran up the mast and along the sides of the vessel.\nThe sound of flutes was heard, and the odor of fragrant wine spread all\naround. The god himself had a chaplet of vine leaves and bore in his\nhand a spear wreathed with ivy. Tigers crouched at his feet, and forms\nof lynxes and spotted panthers played around him. The whole crew became\ndolphins and swam about the ship. Of twenty men Acetes alone was left.\n\"Fear not,\" said the god; \"steer towards Naxos.\" The pilot obeyed, and\nwhen they arrived there, kindled the altars and celebrated the sacred\nrites of Bacchus.\n\n[Illustration: FIG. 85. DIONYSUS AT SEA]\n\nSo far had Acetes advanced in his narrative, when Pentheus,\ninterrupting, ordered him off to his death. But from this fate the\npilot, rendered invisible by his patron deity, was straightway rescued.\n\nMeanwhile, the mountain Cith\u00e6ron seemed alive with worshipers, and the\ncries of the Bacchanals resounded on every side. Pentheus, angered by\nthe noise, penetrated through the wood and reached an open space where\nthe chief scene of the orgies met his eyes. At the same moment the\nwomen saw him, among them his mother Agave, and Autono\u00eb and Ino, her\nsisters. Taking him for a wild boar, they rushed upon him and tore him\nto pieces,--his mother shouting, \"Victory! Victory! the glory is ours!\"\n\nSo the worship of Bacchus was established in Greece.\n\nIt was on the island of Naxos that Bacchus afterward found Ariadne, the\ndaughter of Minos, king of Crete, who had been deserted by her lover,\nTheseus. How Bacchus comforted her is related in another section. How\nthe god himself is worshiped is told by Edmund Gosse in the poem from\nwhich the following extracts are taken:\n\n[Illustration: FIG. 86. BACCHIC PROCESSION]\n\n Behold, behold! the granite gates unclose,\n And down the vales a lyric people flows;\n Dancing to music, in their dance they fling\n Their frantic robes to every wind that blows,\n And deathless praises to the vine-god sing.\n\n Nearer they press, and nearer still in sight,\n Still dancing blithely in a seemly choir;\n Tossing on high the symbol of their rite,\n The cone-tipped thyrsus of a god's desire;\n Nearer they come, tall damsels flushed and fair,\n With ivy circling their abundant hair;\n Onward, with even pace, in stately rows,\n With eye that flashes, and with cheek that glows,\n And all the while their tribute-songs they bring,\n And newer glories of the past disclose,\n And deathless praises to the vine-god sing.\n ... But oh! within the heart of this great flight,\n Whose ivory arms hold up the golden lyre?\n What form is this of more than mortal height?\n What matchless beauty, what inspir\u00e8d ire!\n The brindled panthers know the prize they bear,\n And harmonize their steps with stately care;\n Bent to the morning, like a living rose,\n The immortal splendor of his face he shows,\n And where he glances, leaf and flower and wing\n Tremble with rapture, stirred in their repose,\n And deathless praises to the vine-god sing....[148]\n\n[Illustration: FIG. 87. DIONYSUS VISITING A POET]\n\n=113. The Choice of King Midas.=[149] Once Silenus, having wandered\nfrom the company of Bacchus in an intoxicated condition, was found by\nsome peasants, who carried him to their king, Midas. Midas entertained\nhim royally and on the eleventh day restored him in safety to his\ndivine pupil. Whereupon Bacchus offered Midas his choice of a reward.\nThe king asked that whatever he might touch should be changed into\ngold. Bacchus consented. Midas hastened to put his new-acquired power\nto the test. A twig of an oak, which he plucked from the branch, became\ngold in his hand. He took up a stone; it changed to gold. He touched\na sod with the same result. He took an apple from the tree; you would\nhave thought he had robbed the garden of the Hesperides. He ordered\nhis servants, then, to set an excellent meal on the table. But, to his\ndismay, when he touched bread, it hardened in his hand; when he put a\nmorsel to his lips, it defied his teeth. He took a glass of wine, but\nit flowed down his throat like melted gold.\n\nHe strove to divest himself of his power; he hated the gift he had\nlately coveted. He raised his arms, all shining with gold, in prayer\nto Bacchus, begging to be delivered from this glittering destruction.\nThe merciful deity heard and sent him to wash away his fault and its\npunishment in the fountainhead of the river Pactolus. Scarce had Midas\ntouched the waters, before the gold-creating power passed into them,\nand the river sands became golden, as they remain to this day.\n\nThenceforth Midas, hating wealth and splendor, dwelt in the country and\nbecame a worshiper of Pan, the god of the fields. But that he had not\ngained common sense is shown by the decision that he delivered somewhat\nlater in favor of Pan's superiority, as a musician, over Apollo.[150]\n\nFOOTNOTES:\n\n[145] \u00a7 60.\n\n[146] Ovid, Metam. 3, 511-733.\n\n[147] Longfellow, Drinking Song.\n\n[148] From The Praise of Dionysus.\n\n[149] Ovid, Metam. 11, 85-145.\n\n[150] See \u00a7 85.\n\n[Illustration: FIG. 88. RAPE OF PROSERPINA]\n\n\n\n\nCHAPTER IX\n\nFROM THE EARTH TO THE UNDERWORLD\n\n\n=114. Myths of Ceres, Pluto, and Proserpine.= The search of Ceres for\nProserpine, and of Orpheus for Eurydice, are stories pertaining both to\nEarth and Hades.\n\n=115. The Rape of Proserpine.=[151] When the giants were imprisoned\nby Jupiter under Mount \u00c6tna, Pluto (Hades) feared lest the shock of\ntheir fall might expose his kingdom to the light of day. Under this\napprehension, he mounted his chariot drawn by black horses, and made a\ncircuit of inspection to satisfy himself of the extent of the damage.\nWhile he was thus engaged, Venus, who was sitting on Mount Eryx playing\nwith her boy Cupid, espied him and said, \"My son, take thy darts which\nsubdue all, even Jove himself, and send one into the breast of yonder\ndark monarch, who rules the realm of Tartarus. Dost thou not see that\neven in heaven some despise our power? Minerva and Diana defy us; and\nthere is that daughter of Ceres, goddess of earth, who threatens to\nfollow their example. Now, if thou regardest thine own interest or\nmine, join these two in one.\" The boy selected his sharpest and truest\narrow, and sped it right to the heart of Pluto.\n\nIn the vale of Enna is a lake embowered in woods, where Spring\nreigns perpetual. Here Proserpine (Persephone) was playing with her\ncompanions, gathering lilies and violets, and singing, one may imagine,\nsuch words as our poet Shelley puts into her mouth:\n\n Sacred Goddess, Mother Earth,\n Thou from whose immortal bosom,\n Gods, and men, and beasts, have birth,\n Leaf and blade, and bud and blossom,\n Breathe thine influence most divine\n On thine own child, Proserpine.\n\n If with mists of evening dew\n Thou dost nourish these young flowers\n Till they grow, in scent and hue,\n Fairest children of the hours,\n Breathe thine influence most divine\n On thine own child, Proserpine.[152]\n\nPluto saw her, loved her, and carried her off. She screamed for help to\nher mother and her companions; but the ravisher urged on his steeds and\noutdistanced pursuit. When he reached the river Cyane, it opposed his\npassage, whereupon he struck the bank with his trident, and the earth\nopened and gave him a passage to Tartarus.\n\n=116. The Wanderings of Ceres.=[153] Ceres (Demeter) sought her\ndaughter all the world over. Bright-haired Aurora, when she came\nforth in the morning, and Hesperus, when he led out the stars in the\nevening, found her still busy in the search. At length, weary and\nsad, she sat down upon a stone, and remained nine days and nights in\nthe open air, under the sunlight and moonlight and falling showers.\nIt was where now stands the city of Eleusis, near the home of an old\nman named Celeus. His little girl, pitying the old woman, said to\nher, \"Mother,\"--and the name was sweet to the ears of Ceres,--\"why\nsittest thou here alone upon the rocks?\" The old man begged her to\ncome into his cottage. She declined. He urged her. \"Go in peace,\" she\nreplied, \"and be happy in thy daughter; I have lost mine.\" But their\ncompassion finally prevailed. Ceres rose from the stone and went with\nthem. As they walked, Celeus said that his only son lay sick of a\nfever. The goddess stooped and gathered some poppies. Then, entering\nthe cottage, where all was in distress,--for the boy Triptolemus\nseemed past recovery,--she restored the child to life and health with\na kiss. In grateful happiness the family spread the table and put upon\nit curds and cream, apples, and honey in the comb. While they ate,\nCeres mingled poppy juice in the milk of the boy. When night came, she\narose and, taking the sleeping boy, molded his limbs with her hands,\nand uttered over him three times a solemn charm, then went and laid\nhim in the ashes. His mother, who had been watching what her guest\nwas doing, sprang forward with a cry and snatched the child from the\nfire. Then Ceres assumed her own form, and a divine splendor shone\nall around. While they were overcome with astonishment, she said,\n\"Mother, thou hast been cruel in thy fondness; for I would have made\nthy son immortal. Nevertheless, he shall be great and useful. He shall\nteach men the use of the plow and the rewards which labor can win from\nthe soil.\" So saying, she wrapped a cloud about her and mounting her\nchariot rode away.\n\n[Illustration: FIG. 89. HADES AND PERSEPHONE]\n\nCeres continued her search for her daughter till at length she returned\nto Sicily, whence she first had set out, and stood by the banks of the\nriver Cyane. The river nymph would have told the goddess all she had\nwitnessed, but dared not, for fear of Pluto; so she ventured merely\nto take up the girdle which Proserpine had dropped in her flight, and\nfloat it to the feet of the mother. Ceres, seeing this, laid her curse\non the innocent earth in which her daughter had disappeared. Then\nsucceeded drought and famine, flood and plague, until, at last, the\nfountain Arethusa made intercession for the land. For she had seen that\nit opened only unwillingly to the might of Pluto; and she had also, in\nher flight from Alphe\u00fcs through the lower regions of the earth, beheld\nthe missing Proserpine. She said that the daughter of Ceres seemed sad,\nbut no longer showed alarm in her countenance. Her look was such as\nbecame a queen,--the queen of Erebus; the powerful bride of the monarch\nof the realms of the dead.\n\n[Illustration: FIG. 90. SACRIFICE TO DEMETER AND PERSEPHONE]\n\nWhen Ceres heard this, she stood awhile like one stupefied; then she\nimplored Jupiter to interfere to procure the restitution of her\ndaughter. Jupiter consented on condition that Proserpine should not\nduring her stay in the lower world have taken any food; otherwise, the\nFates forbade her release. Accordingly, Mercury was sent, accompanied\nby Spring, to demand Proserpine of Pluto. The wily monarch consented;\nbut alas! the maiden had taken a pomegranate which Pluto offered her,\nand had sucked the sweet pulp from a few of the seeds. A compromise,\nhowever, was effected by which she was to pass half the time with her\nmother, and the rest with the lord of Hades.\n\nOf modern poems upon the story of the maiden seized in the vale of\nEnna, none conveys a lesson more serene of the beauty of that dark\nlover of all fair life, Death, than the Proserpine of Woodberry, from\nwhich we quote the three following stanzas. \"I pick,\" says the poet\nwandering through the vale of Enna,\n\n I pick the flowers that Proserpine let fall,\n Sung through the world by every honeyed muse:\n Wild morning-glories, daisies waving tall,\n At every step is something new to choose;\n And oft I stop and gaze\n Upon the flowery maze;\n By yonder cypresses on that soft rise,\n Scarce seen through poppies and the knee-deep wheat,\n Juts the dark cleft where on her came the fleet\n Thunder-black horses and the cloud's surprise\n And he who filled the place.\n Did marigolds bright as these, gilding the mist,\n Drop from her maiden zone? Wert thou last kissed,\n Pale hyacinth, last seen, before his face?\n * * * * *\n Oh, whence has silence stolen on all things here,\n Where every sight makes music to the eye?\n Through all one unison is singing clear;\n All sounds, all colors in one rapture die.\n Breathe slow, O heart, breathe slow!\n A presence from below\n Moves toward the breathing world from that dark deep,\n Whereof men fabling tell what no man knows,\n By little fires amid the winter snows,\n When earth lies stark in her titanic sleep\n And doth with cold expire;\n He brings thee all, O Maiden flower of earth,\n Her child in whom all nature comes to birth,\n Thee, the fruition of all dark desire.\n * * * * *\n O Proserpine, dream not that thou art gone\n Far from our loves, half-human, half-divine;\n Thou hast a holier adoration won\n In many a heart that worships at no shrine.\n Where light and warmth behold me,\n And flower and wheat infold me,\n I lift a dearer prayer than all prayers past:\n He who so loved thee that the live earth clove\n Before his pathway unto light and love,\n And took thy flower-full bosom,--who at last\n Shall every blossom cull,--\n Lover the most of what is most our own,\n The mightiest lover that the world has known,\n Dark lover, Death,--was he not beautiful?[154]\n\n[Illustration: FIG. 91. TRIPTOLEMUS AND THE ELEUSINIAN DEITIES]\n\n=117. Triptolemus and the Eleusinian Mysteries.= Ceres, pacified with\nthis arrangement, restored the earth to her favor. Now she remembered,\nalso, Celeus and his family, and her promise to his infant son\nTriptolemus. She taught the boy the use of the plow and how to sow the\nseed. She took him in her chariot, drawn by winged dragons, through\nall the countries of the earth; and under her guidance he imparted to\nmankind valuable grains and the knowledge of agriculture. After his\nreturn Triptolemus built a temple to Ceres in Eleusis and established\nthe worship of the goddess under the name of the Eleusinian mysteries,\nwhich in the splendor and solemnity of their observance surpassed all\nother religious celebrations among the Greeks.\n\n[Illustration: FIG. 92. DEMETER, TRIPTOLEMUS, AND PROSERPINA]\n\n=118. Orpheus and= =Eurydice.=[155] Of mortals who have visited Hades\nand returned, none has a sweeter or sadder history than Orpheus, son of\nApollo and the Muse Calliope. Presented by his father with a lyre and\ntaught to play upon it, he became the most famous of musicians, and not\nonly his fellow mortals but even the wild beasts were softened by his\nstrains. The very trees and rocks were sensible to the charm. And so\nalso was Eurydice,--whom he loved and won.\n\n[Illustration: FIG. 93. ORPHEUS AND EURYDICE\n\nFrom the painting by Lord Leighton]\n\nHymen was called to bless with his presence the nuptials of Orpheus\nwith Eurydice, but he conveyed no happy omens with him. His torch\nsmoked and brought tears into the eyes. In keeping with such sad\nprognostics, Eurydice, shortly after her marriage, was seen by the\nshepherd Arist\u00e6us, who was struck with her beauty and made advances\nto her. As she fled she trod upon a snake in the grass, and was bitten\nin the foot. She died. Orpheus sang his grief to all who breathed the\nupper air, both gods and men, and finding his complaint of no avail,\nresolved to seek his wife in the regions of the dead. He descended by\na cave situated on the side of the promontory of T\u00e6narus, and arrived\nin the Stygian realm. He passed through crowds of ghosts and presented\nhimself before the throne of Pluto and Proserpine. Accompanying his\nwords with the lyre, he sang his petition for his wife. Without her\nhe would not return. In such tender strains he sang that the very\nghosts shed tears. Tantalus, in spite of his thirst, stopped for a\nmoment his efforts for water, Ixion's wheel stood still, the vulture\nceased to tear the giant's liver, the daughters of Dana\u00fcs rested\nfrom their task of drawing water in a sieve, and Sisyphus sat on his\nrock to listen.[156] Then for the first time, it is said, the cheeks\nof the Furies were wet with tears. Proserpine could not resist and\nPluto himself gave way. Eurydice was called. She came from among\nthe new-arrived ghosts, limping with her wounded foot. Orpheus was\npermitted to take her away with him on condition that he should not\nturn round to look at her till they should have reached the upper air.\nUnder this condition they proceeded on their way, he leading, she\nfollowing. Mindful of his promise, without let or hindrance the bard\npassed through the horrors of hell. All Hades held its breath.\n\n[Illustration: FIG. 94. FAREWELL OF ORPHEUS AND EURYDICE]\n\n ... On he slept,\n And Cerberus held agape his triple jaws;\n On stept the bard. Ixion's wheel stood still.\n Now, past all peril, free was his return,\n And now was hastening into upper air\n Eurydice, when sudden madness seized\n The incautious lover; pardonable fault,\n If they below could pardon: on the verge\n Of light he stood, and on Eurydice\n (Mindless of fate, alas! and soul-subdued)\n Lookt back.\n\n There, Orpheus! Orpheus! there was all\n Thy labor shed, there burst the Dynast's bond,\n And thrice arose that rumor from the lake.\n \"Ah, what!\" she cried, \"what madness hath undone\n Me! and, ah, wretched! thee, my Orpheus, too!\n For lo! the cruel Fates recall me now;\n Chill slumbers press my swimming eyes.... Farewell!\n Night rolls intense around me as I spread\n My helpless arms ... thine, thine no more ... to thee.\"\n She spake, and, like a vapor, into air\n Flew, nor beheld him as he claspt the void\n And sought to speak; in vain; the ferry-guard\n Now would not row him o'er the lake again,\n His wife twice lost, what could he? whither go?\n What chant, what wailing, move the Powers of Hell?\n Cold in the Stygian bark and lone was she.\n\n Beneath a rock o'er Strymon's flood on high,\n Seven months, seven long-continued months, 'tis said,\n He breath'd his sorrows in a desert cave,\n And sooth'd the tiger, moved the oak, with song.[157]\n\nThe Thracian maidens tried their best to captivate him, but he repulsed\ntheir advances. Finally, excited by the rites of Bacchus, one of them\nexclaimed, \"See yonder our despiser!\" and threw at him her javelin. The\nweapon, as soon as it came within the sound of his lyre, fell harmless\nat his feet; so also the stones that they threw at him. But the women,\nraising a scream, drowned the voice of the music, and overwhelmed him\nwith their missiles. Like maniacs they tore him limb from limb; then\ncast his head and lyre into the river Hebrus, down which they floated,\nmurmuring sad music to which the shores responded. The Muses buried the\nfragments of his body at Libethra, where the nightingale is said to\nsing over his grave more sweetly than in any other part of Greece. His\nlyre was placed by Jupiter among the stars; but the shade of the bard\npassed a second time to Tartarus and rejoined Eurydice.\n\nOther mortals who visited the Stygian realm and returned were Hercules,\nTheseus, Ulysses, and \u00c6neas.[158]\n\nFOOTNOTES:\n\n[151] Ovid, Metam. 5, 341-347.\n\n[152] Song of Proserpine, while gathering flowers on the plain of Enna.\n\n[153] Ovid, Metam. 5. 440, 642; Apollodorus, 1, 5, \u00a7 2; Hyginus, Fab.\n147.\n\n[154] From Proserpine, stanzas written by Lake Pergusa; by George E.\nWoodberry (_Century_ _Magazine_, July, 1909).\n\n[155] Ovid, Metam. 10, 1-77.\n\n[156] See Commentary\n\n[157] From W. S. Landor's Orpheus and Eurydice in Dry Sticks.\n\n[158] See Index.\n\n\n\n\nCHAPTER X\n\nMYTHS OF NEPTUNE, RULER OF THE WATERS\n\n\n[Illustration: FIG. 95. POSEIDON]\n\n=119. Lord of the Sea.= Neptune (Poseidon) was lord both of salt\nwaters and of fresh. The myths that turn on his life as lord of the\nsea illustrate his defiant invasions of lands belonging to other gods,\nor his character as earth shaker and earth protector. Of his contests\nwith other gods, that with Minerva for Athens has been related. He\ncontested Corinth with Helios, Argos with Juno, \u00c6gina with Jove, Naxos\nwith Bacchus, and Delphi with Apollo. That he did not always make\nencroachments in person upon the land that he desired to possess or\nto punish, but sent some monster instead, will be seen in the myth of\nAndromeda[159] and in the following story of Hesione,[160] the daughter\nof Laomedon of Troy.\n\nNeptune and Apollo had fallen under the displeasure of Jupiter after\nthe overthrow of the giants. They were compelled, it is said, to\nresign for a season their respective functions and to serve Laomedon,\nthen about to build the city of Troy. They aided the king in erecting\nthe walls of the city but were refused the wages agreed upon. Justly\noffended, Neptune ravaged the land by floods and sent against it a sea\nmonster, to satiate the appetite of which the desperate Laomedon was\ndriven to offer his daughter Hesione. But Hercules appeared upon the\nscene, killed the monster, and rescued the maiden. Neptune, however,\nnursed his wrath; and it was still warm when the Greeks marched against\nTroy.\n\nOf a like impetuous and ungovernable temper were the sons of Neptune\nby mortal mothers. From him were sprung the savage L\u00e6strygonians,\nOrion, the Cyclops Polyphemus, the giant Ant\u00e6us whom Hercules slew,\nProcrustes, and many another redoubtable being whose fortunes are\nelsewhere recounted.[161]\n\n=120. Lord of Streams and Fountains.= As earth shaker, the ruler of the\ndeep was known to effect convulsions of nature that made Pluto leap\nfrom his throne lest the firmament of the underworld might be falling\nabout his ears. But as god of the streams and fountains, Neptune\ndisplayed milder characteristics. When Amymone, sent by her father\nDana\u00fcs to draw water, was pursued by a satyr, Neptune gave ear to her\ncry for help, dispatched the satyr, made love to the maiden, and boring\nthe earth with his trident called forth the spring that still bears the\nDana\u00efd's name. He loved the goddess Ceres also, through whose pastures\nhis rivers strayed; and Arne the shepherdess, daughter of King \u00c6olus,\nby whom he became the forefather of the B[oe]otians. His children,\nPelias and Neleus, by the princess Tyro, whom he wooed in the form of\nher lover Enipeus, became keepers of horses--animals especially dear to\nNeptune. Perhaps it was the similarity of horse-taming to wave-taming\nthat attracted the god to these quadrupeds; perhaps it was because they\nincreased in beauty and speed on the pastures watered by his streams.\nIt is said, indeed, that the first and fleetest of horses, Arion, was\nthe offspring of Neptune and Ceres, or of Neptune and a Fury.\n\n=121. Pelops and Hippodamia.=[162] To Pelops, brother of Niobe, Neptune\nimparted skill in training and driving horses,--and with good effect.\nFor it happened that Pelops fell in love with Hippodamia, daughter\nof [OE]noma\u00fcs, king of Elis and son of Mars,--a girl of whom it was\nreported that none could win her save by worsting the father in a\nchariot race, and that none might fail in that race and come off\nalive. Since an oracle, too, had warned [OE]noma\u00fcs to beware of the\nfuture husband of his daughter, he had provided himself with horses\nwhose speed was like the cyclone. But Pelops, obtaining from Neptune\nwinged steeds, entered the race and won it,--whether by the speed of\nhis horses or by the aid of Hippodamia, who, it is said, bribed her\nfather's charioteer, Myrtilus, to take a bolt out of the chariot of\n[OE]noma\u00fcs, is uncertain. At any rate, Pelops married Hippodamia. He\nwas so injudicious, however, as to throw Myrtilus into the sea; and\nfrom that treachery sprang the misfortunes of the house of Pelops. For\nMyrtilus, dying, cursed the murderer and his race.\n\n[Illustration: FIG. 96. PELOPS WINNING THE RACE, HIPPODAMIA LOOKING ON]\n\nFOOTNOTES:\n\n[159] \u00a7 154.\n\n[160] Iliad, 5, 649; Apollodorus, 3, 12, \u00a7 7.\n\n[161] See Index.\n\n[162] Hyginus, Fab. 84, 253; Pindar, Olymp. 1, 114.\n\n\n\n\nCHAPTER XI\n\nMYTHS OF THE LESSER DIVINITIES OF HEAVEN\n\n\n=122. Myths of Stars and Winds.= The tales of Stars and Winds and the\nother lesser powers of the celestial regions are closely interwoven.\nThat the winds which sweep heaven should kiss the stars is easy to\nunderstand. The stories of Aurora (Eos) and of Aura, of Phosphor and of\nHalcyone, form, therefore, a ready sequence.\n\n[Illustration: FIG. 97. PHOSPHOR, EOS, AND HELIOS (THE SUN) RISING FROM\nTHE SEA]\n\n=123. Cephalus and Procris.=[163] Aurora, the goddess of the dawn, fell\nin love with Cephalus, a young huntsman. She stole him away, lavished\nher love upon him, tried to content him, but in vain. He cared for his\nyoung wife Procris more than for the goddess. Finally, Aurora dismissed\nhim in displeasure, saying, \"Go, ungrateful mortal, keep thy wife; but\nthou shalt one day be sorry that thou didst ever see her again.\"\n\nCephalus returned and was as happy as before in his wife. She, being\na favorite of Diana, had received from her for the chase a dog and a\njavelin, which she handed over to her husband. Of the dog it is told\nthat when about to catch the swiftest fox in the country, he was\nchanged with his victim into stone. For the heavenly powers, who had\nmade both and rejoiced in the speed of both, were not willing that\neither should conquer. The javelin was destined to a sad office. It\nappears that Cephalus, when weary of the chase, was wont to stretch\nhimself in a certain shady nook to enjoy the breeze. Sometimes he would\nsay aloud, \"Come, gentle Aura, sweet goddess of the breeze, come and\nallay the heat that burns me.\" Some one, foolishly believing that he\naddressed a maiden, told the secret to Procris. Hoping against hope,\nshe stole out after him the next morning and concealed herself in the\nplace which the informer had indicated. Cephalus, when tired with\nsport, stretched himself on the green bank and summoned fair Aura as\nusual. Suddenly he heard, or thought he heard, a sound as of a sob in\nthe bushes. Supposing it to proceed from some wild animal, he threw his\njavelin at the spot. A cry told him that the weapon had too surely met\nits mark. He rushed to the place and raised his wounded Procris from\nthe earth. She, at last, opened her feeble eyes and forced herself to\nutter these words: \"I implore thee, if thou hast ever loved me, if I\nhave ever deserved kindness at thy hands, my husband, grant me this\nlast request; marry not that odious Breeze!\" So saying, she expired in\nher lover's arms.\n\n[Illustration: FIG. 98. SUN, RISING, PRECEDED BY DAWN\n\nFrom the painting by Guido Reni]\n\n[Illustration: FIG. 99. SUNRISE; EOS PURSUING CEPHALUS]\n\n=124. Dobson's The Death of= =Procris.= A different version of the\nstory is given in the following:\n\n Procris, the nymph, had wedded Cephalus;--\n He, till the spring had warmed to slow-winged days\n Heavy with June, untired and amorous,\n Named her his love; but now, in unknown ways,\n His heart was gone; and evermore his gaze\n Turned from her own, and even farther ranged\n His woodland war; while she, in dull amaze,\n Beholding with the hours her husband changed,\n Sighed for his lost caress, by some hard god estranged.\n\n So, on a day, she rose and found him not.\n Alone, with wet, sad eye, she watched the shade\n Brighten below a soft-rayed sun that shot\n Arrows of light through all the deep-leaved glade;\n Then, with weak hands, she knotted up the braid\n Of her brown hair, and o'er her shoulders cast\n Her crimson weed; with faltering fingers made\n Her golden girdle's clasp to join, and past\n Down to the trackless wood, full pale and overcast.\n\n And all day long her slight spear devious flew,\n And harmless swerved her arrows from their aim,\n For ever, as the ivory bow she drew,\n Before her ran the still unwounded game.\n Then, at the last, a hunter's cry there came,\n And, lo! a hart that panted with the chase.\n Thereat her cheek was lightened as with flame,\n And swift she gat her to a leafy place,\n Thinking, \"I yet may chance unseen to see his face.\"\n\n Leaping he went, this hunter Cephalus,\n Bent in his hand his cornel bow he bare,\n Supple he was, round-limbed and vigorous,\n Fleet as his dogs, a lean Laconian pair.\n He, when he spied the brown of Procris' hair\n Move in the covert, deeming that apart\n Some fawn lay hidden, loosed an arrow there;\n Nor cared to turn and seek the speeded dart,\n Bounding above the fern, fast following up the hart.\n\n But Procris lay among the white wind-flowers,\n Shot in the throat. From out the little wound\n The slow blood drained, as drops in autumn showers\n Drip from the leaves upon the sodden ground.\n None saw her die but Lelaps, the swift hound,\n That watched her dumbly with a wistful fear,\n Till, at the dawn, the horn\u00e8d wood-men found\n And bore her gently on a sylvan bier,\n To lie beside the sea,--with many an uncouth tear.\n\n=125. Ceyx and Halcyone.= The son of Aurora and Cephalus was Phosphor,\nthe Star of Morning. His son Ceyx, king of Trachis in Thessaly, had\nmarried Halcyone, daughter of \u00c6olus.[164] Their reign was happy until\nthe brother of Ceyx met his death. The direful prodigies that followed\nthis event made Ceyx feel that the gods were hostile to him. He thought\nbest therefore to make a voyage to Claros in Ionia to consult the\noracle of Apollo. In spite of his wife's entreaties (for as daughter\nof the god of winds she knew how dreadful a thing a storm at sea was),\nCeyx set sail. He was shipwrecked and drowned. His last prayer was that\nthe waves might bear his body to the sight of Halcyone, and that it\nmight receive burial at her hands.\n\nIn the meanwhile, Halcyone counted the days till her husband's promised\nreturn. To all the gods she offered frequent incense, but more than all\nto Juno. The goddess, at last, could not bear to be further pleaded\nwith for one already dead. Calling Iris, she enjoined her to approach\nthe drowsy dwelling of Somnus and bid him send a vision to Halcyone in\nthe form of Ceyx, to reveal the sad event.\n\n[Illustration: FIG. 100. THE GOD OF SLEEP]\n\nIris puts on her robe of many colors, and tinging the sky with her\nbow, seeks the cave near the Cimmerian country, which is the abode of\nthe dull god, Somnus. Here Ph[oe]bus dare not come. Clouds and shadows\nare exhaled from the ground, and the light glimmers faintly. The cock\nnever there calls aloud to Aurora, nor watchdog nor goose disturbs the\nsilence. No wild beast, nor cattle, nor branch moved with the wind,\nnor sound of human conversation breaks the stillness. From the bottom\nof the rock the river Lethe flows, and by its murmur invites to sleep.\nPoppies grow before the door of the cave, from whose juices Night\ndistills slumbers which she scatters over the darkened earth. There\nis no gate to creak on its hinges, nor any watchman. In the midst, on\na couch of black ebony adorned with black plumes and black curtains\nthe god reclines, his limbs relaxed in sleep. Around him lie dreams,\nresembling all various forms, as many as the harvest bears stalks, or\nthe forest leaves, or the seashore sand grains.\n\nBrushing away the dreams that hovered around her, Iris lit up the cave\nand delivered her message to the god, who, scarce opening his eyes, had\ngreat difficulty in shaking himself free from himself.\n\nThen Iris hasted away from the drowsiness creeping over her, and\nreturned by her bow as she had come. But Somnus called one of his\nsons, Morpheus, the most expert in counterfeiting forms of men, to\nperform the command of Iris; then laid his head on his pillow and\nyielded himself again to grateful repose.\n\nMorpheus flew on silent wings to the H\u00e6monian city, where he assumed\nthe form of Ceyx. Pale like a dead man, naked and dripping, he stood\nbefore the couch of the wretched wife and told her that the winds of\nthe \u00c6gean had sunk his ship, that he was dead.\n\nWeeping and groaning, Halcyone sprang from sleep and, with the dawn,\nhastening to the seashore, descried an indistinct object washed to and\nfro by the waves. As it floated nearer she recognized the body of her\nhusband. In despair, leaping from the mole, she was changed instantly\nto a bird, and poured forth a song of grief as she flew. By the mercy\nof the gods Ceyx was likewise transformed. For seven days before and\nseven days after the winter solstice, Jove forbids the winds to blow.\nThen Halcyone broods over her nest; then the way is safe to seafarers.\n\u00c6olus confines the winds that his grandchildren may have peace.\n\n=126. Aurora and Tithonus.=[165] Aurora seems frequently to have been\ninspired with the love of mortals. Her greatest favorite, and almost\nher latest, was Tithonus, son of Laomedon, king of Troy. She stole him\naway and prevailed on Jupiter to grant him immortality; but forgetting\nto have youth joined in the gift, after some time she began to discern,\nto her great mortification, that he was growing old. When his hair was\nwhite she left his society; but he still had the range of her palace,\nlived on ambrosial food, and was clad in celestial raiment. In time\nhe lost the power of using his limbs; and then she shut him up in his\nchamber, whence his feeble voice might at times be heard. Finally, she\nturned him into a grasshopper.\n\n=127. Tennyson's Tithonus.= The following is, according to a fine\npoetic conception, the lament of the old man when but a white-haired\nshadow:\n\n The woods decay, the woods decay and fall,\n The vapors weep their burthen to the ground,\n Man comes and tills the field and lies beneath,\n And after many a summer dies the swan.\n Me only cruel immortality\n Consumes: I wither slowly in thine arms,\n Here at the quiet limit of the world,\n A white-haired shadow roaming like a dream\n The ever silent spaces of the East,\n Far-folded mists, and gleaming halls of morn.\n\n Alas! for this gray shadow, once a man--\n So glorious in his beauty and thy choice,\n Who madest him thy chosen, that he seem'd\n To his great heart none other than a God!\n I ask'd thee, \"Give me immortality.\"\n Then didst thou grant mine asking with a smile,\n Like wealthy men who care not how they give;\n But thy strong Hours indignant work'd their wills,\n And beat me down and marr'd and wasted me,\n And tho' they could not end me, left me maim'd\n To dwell in presence of immortal youth,\n Immortal age beside immortal youth,\n And all I was, in ashes. Can thy love,\n Thy beauty, make amends, tho' even now,\n Close over us, the silver star, thy guide,\n Shines in those tremulous eyes that fill with tears\n To hear me? Let me go: take back thy gift:\n Why should a man desire in any way\n To vary from the kindly race of men,\n Or pass beyond the goal of ordinance\n Where all should pause, as is most meet for all?\n\n A soft air fans the cloud apart; there comes\n A glimpse of that dark world where I was born.\n Once more the old mysterious glimmer steals\n From thy pure brows, and from thy shoulders pure,\n And bosom beating with a heart renew'd.\n Thy cheek begins to redden thro' the gloom,\n Thy sweet eyes brighten slowly close to mine,\n Ere yet they blind the stars, and the wild team\n Which love thee, yearning for thy yoke, arise,\n And shake the darkness from their loosen'd manes,\n And beat the twilight into flakes of fire.\n\n Lo! ever thus thou growest beautiful\n In silence, then before thine answer given\n Departest, and thy tears are on my cheek.\n Why wilt them ever scare me with thy tears,\n And make me tremble lest a saying learnt\n In days far-off, on that dark earth, be true?\n \"The gods themselves cannot recall their gifts.\"\n\n Ay me! ay me! with what another heart\n In days far-off, and with what other eyes\n I used to watch--if I be he that watched--\n The lucid outline forming round thee; saw\n The dim curls kindle into sunny rings;\n Changed with thy mystic change, and felt my blood\n Glow with the glow that slowly crimson'd all\n Thy presence and thy portals, while I lay,\n Mouth, forehead, eyelids, growing dewy-warm\n With kisses balmier than half-opening buds\n Of April, and could hear the lips that kiss'd\n Whispering I knew not what of wild and sweet,\n Like that strange song I heard Apollo sing,\n While Ilion like a mist rose into towers.\n\n Yet hold me not forever in thine East:\n How can my nature longer mix with thine?\n Coldly thy rosy shadows bathe me, cold\n Are all thy lights, and cold my wrinkled feet\n Upon thy glimmering thresholds, when the steam\n Floats up from those dim fields about the homes\n Of happy men that have the power to die,\n And grassy barrows of the happier dead.\n Release me, and restore me to the ground;\n Thou se\u00ebst all things, thou wilt see my grave:\n Thou wilt renew thy beauty morn by morn;\n I earth in earth forget these empty courts,\n And thee returning on thy silver wheels.\n\n=128. Memnon=, the son of Aurora and Tithonus, was king of the\n\u00c6thiopians. He went with warriors to assist his kindred in the Trojan\nWar, and was received by King Priam with honor. He fought bravely, slew\nAntilochus, the brave son of Nestor, and held the Greeks at bay until\nAchilles appeared. Before that hero he fell.\n\nThen Aurora, seeing her son's fate, directed his brothers, the Winds,\nto convey his body to the banks of the river \u00c6sepus in Mysia. In the\nevening Aurora, accompanied by the Hours and the Pleiads, bewept her\nson. Night spread the heaven with clouds; all nature mourned for the\noffspring of the Dawn. The \u00c6thiopians raised his tomb on the banks\nof the stream in the grove of the Nymphs, and Jupiter caused the\nsparks and cinders of his funeral pile to be turned into birds, which,\ndividing into two flocks, fought over the pile till they fell into the\nflame. Every year at the anniversary of his death they celebrated his\nobsequies in like manner. Aurora remained inconsolable. The dewdrops\nare her tears.[166]\n\n[Illustration: FIG. 101. THE DEATH OF MEMNON]\n\nThe kinship of Memnon to the Dawn is certified even after his death. On\nthe banks of the Nile are two colossal statues, one of which is called\nMemnon's; and it was said that when the first rays of morning fell\nupon this statue, a sound like the snapping of a harp-string issued\ntherefrom.[167]\n\n So to the sacred Sun in Memnon's fane\n Spontaneous concords choired the matin strain;\n Touched by his orient beam responsive rings\n The living lyre and vibrates all its strings;\n Accordant aisles the tender tones prolong,\n And holy echoes swell the adoring song.[168]\n\nFOOTNOTES:\n\n[163] Ovid, Metam. 7, 394 _et seq._\n\n[164] Ovid, Metam. 11, 583-748.\n\n[165] Homeric Hymn to Venus; Horace, Odes, 1, 22; 2, 16; Apollodorus,\n3, 12, \u00a7 4.\n\n[166] Ovid, Metam. 13, 622, etc. Odyssey, 4, 188; 11, 522. Pindar,\nPyth. 6, 30.\n\n[167] Pausanias, 1, 42, \u00a7 2.\n\n[168] Darwin, Botanic Garden.\n\n\n\n\nCHAPTER XII\n\nMYTHS OF THE LESSER DIVINITIES OF EARTH, ETC.\n\n\n=129. Pan, and the Personification of Nature.= It was a pleasing\ntrait in the old paganism that it loved to trace in every operation\nof nature the agency of deity. The imagination of the Greeks peopled\nthe regions of earth and sea with divinities, to whose agency it\nattributed the phenomena that our philosophy ascribes to the operation\nof natural law. So Pan, the god of woods and fields,[169] whose name\nseemed to signify _all_, came to be considered a symbol of the universe\nand a personification of Nature. \"Universal Pan,\" says Milton in his\ndescription of the creation:\n\n Universal Pan,\n Knit with the Graces and the Hours in dance,\n Led on the eternal Spring.\n\nLater, Pan came to be regarded as a representative of all the Greek\ngods and of paganism itself. Indeed, according to an early Christian\ntradition, when the heavenly host announced to the shepherds the birth\nof Christ, a deep groan, heard through the isles of Greece, told that\ngreat Pan was dead, that the dynasty of Olympus was dethroned, and the\nseveral deities sent wandering in cold and darkness.\n\n The lonely mountains o'er,\n And the resounding shore,\n A voice of weeping heard and loud lament;\n From haunted spring and dale,\n Edged with poplar pale,\n The parting Genius is with sighing sent;\n With flower-inwoven tresses torn,\n The nymphs in twilight shade of tangled thickets mourn.[170]\n\nMany a poet has lamented the change. For even if the head did profit\nfor a time by the revolt against the divine prerogative of nature, it\nis more than possible that the heart lost in due proportion.\n\nHis sorrow at this loss of imaginative sympathy among the moderns\nWordsworth expresses in the sonnet, already cited, beginning \"The world\nis too much with us.\" Schiller, also, by his poem, The Gods of Greece,\nhas immortalized his sorrow for the decadence of the ancient mythology.\n\n[Illustration: FIG. 102. PAN BLOWING HIS PIPE, ECHO ANSWERING]\n\n Ah, the beauteous world while yet ye ruled it,--\n Yet--by gladsome touches of the hand;\n Ah, the joyous hearts that still ye governed,\n Gods of Beauty, ye, of Fable-land!\n Then, ah, then, the mysteries resplendent\n Triumphed.--Other was it then, I ween,\n When thy shrines were odorous with garlands,\n Thou, of Amathus the queen.\n\n Then the gracious veil, of fancy woven,\n Fell in folds about the fact uncouth;\n Through the universe life flowed in fullness,\n What we feel not now was felt in sooth:\n Man ascribed nobility to Nature,\n Rendered love unto the earth he trod,\n Everywhere his eye, illuminated,\n Saw the footprints of a God.\n * * * * *\n Lovely world, where art thou? Turn, oh, turn thee,\n Fairest blossom-tide of Nature's spring!\n Only in the poet's realm of wonder\n Liv'st thou, still,--a fable vanishing.\n Reft of life the meadows lie deserted;\n Ne'er a godhead can my fancy see:\n Ah, if only of those living colors\n Lingered yet the ghost with me![171]\n * * * * *\n\nIt was the poem from which these stanzas are taken that provoked the\nwell-known reply of Elizabeth Barrett Browning, contained in The Dead\nPan. Her argument may be gathered from the following stanzas:\n\n By your beauty which confesses\n Some chief Beauty conquering you,\n By our grand heroic guesses\n Through your falsehood at the True,\n We will weep _not_! earth shall roll\n Heir to each god's aureole,\n And Pan is dead.\n\n Earth outgrows the mythic fancies\n Sung beside her in her youth;\n And those debonair romances\n Sound but dull beside the truth.\n Ph[oe]bus' chariot course is run!\n Look up, poets, to the sun!\n Pan, Pan is dead.\n\n=130. Stedman's Pan in Wall Street.=[172] That Pan, however, is not\nyet dead but alive even in the practical atmosphere of our western\nworld, the poem here appended, written by one of our recently deceased\nAmerican poets, would indicate.\n\n Just where the Treasury's marble front\n Looks over Wall Street's mingled nations;\n Where Jews and Gentiles most are wont\n To throng for trade and last quotations;\n Where, hour by hour, the rates of gold\n Outrival, in the ears of people,\n The quarter chimes, serenely tolled\n From Trinity's undaunted steeple,--\n\n Even there I heard a strange, wild strain\n Sound high above the modern clamor,\n Above the cries of greed and gain,\n The curbstone war, the auction's hammer;\n And swift, on Music's misty ways,\n It led, from all this strife for millions,\n To ancient, sweet-do-nothing days\n Among the kirtle-robed Sicilians.\n\n[Illustration: FIG. 103. THE MUSIC LESSON]\n\n And as it still'd the multitude,\n And yet more joyous rose, and shriller,\n I saw the minstrel where he stood\n At ease against a Doric pillar:\n One hand a droning organ play'd,\n The other held a Pan's pipe (fashioned\n Like those of old) to lips that made\n The reeds give out that strain impassioned.\n\n 'T was Pan himself had wandered here,\n A-strolling through the sordid city,\n And piping to the civic ear\n The prelude of some pastoral ditty!\n The demigod had cross'd the seas,--\n From haunts of shepherd, nymph, and satyr,\n And Syracusan times,--to these\n Far shores and twenty centuries later.\n\n A ragged cap was on his head:\n But--hidden thus--there was no doubting\n That, all with crispy locks o'erspread,\n His gnarl\u00e8d horns were somewhere sprouting;\n His club-feet, cased in rusty shoes,\n Were cross'd, as on some frieze you see them.\n And trousers, patched of divers hues,\n Conceal'd his crooked shanks beneath them.\n\n[Illustration: FIG. 104. BACCHIC DANCE]\n\n He filled the quivering reeds with sound,\n And o'er his mouth their changes shifted,\n And with his goat's-eyes looked around\n Where'er the passing current drifted;\n And soon, as on Trinacrian hills\n The nymphs and herdsmen ran to hear him,\n Even now the tradesmen from their tills,\n With clerks and porters, crowded near him.\n\n The bulls and bears together drew\n From Jauncey Court and New Street Alley,\n As erst, if pastorals be true,\n Came beasts from every wooded valley;\n The random passers stay'd to list,--\n A boxer \u00c6gon, rough and merry,--\n Broadway Daphnis, on his tryst\n With Na\u00efs at the Brooklyn Ferry.\n\n[Illustration: FIG. 105. SILENUS]\n\n A one-eyed Cyclops halted long\n In tatter'd cloak of army pattern,\n And Galatea joined the throng,--\n A blowsy, apple-vending slattern;\n While old Silenus stagger'd out\n From some new-fangled lunch-house handy\n And bade the piper, with a shout,\n To strike up \"Yankee Doodle Dandy!\"\n\n A newsboy and a peanut girl\n Like little Fauns began to caper:\n His hair was all in tangled curl,\n Her tawny legs were bare and taper.\n And still the gathering larger grew,\n And gave its pence and crowded nigher,\n While aye the shepherd-minstrel blew\n His pipe, and struck the gamut higher.\n\n O heart of Nature! beating still\n With throbs her vernal passion taught her,--\n Even here, as on the vine-clad hill,\n Or by the Arethusan water!\n New forms may fold the speech, new lands\n Arise within these ocean-portals,\n But Music waves eternal wands,--\n Enchantress of the souls of mortals!\n\n So thought I,--but among us trod\n A man in blue with legal baton;\n And scoff'd the vagrant demigod,\n And push'd him from the step I sat on.\n Doubting I mused upon the cry--\n \"Great Pan is dead!\"--and all the people\n Went on their ways:--and clear and high\n The quarter sounded from the steeple.\n\n[Illustration: FIG. 106. SATYR]\n\n=131. Other Lesser Gods of Earth.= Of the company of the lesser gods\nof earth, besides Pan, were the Sileni, the Sylvans, the Fauns, and\nthe Satyrs, all male; the Oreads and the Dryads or Hamadryads, female.\nTo these may be added the Naiads, for, although they dwelt in the\nstreams, their association with the deities of earth was intimate. Of\nthe nymphs, the Oreads and the Naiads were immortal. The love of Pan\nfor Syrinx has already been mentioned, and his musical contest with\nApollo. Of Silenus we have seen something in the adventures of Bacchus.\nWhat kind of existence the Satyr enjoyed is conveyed in the following\nsoliloquy:\n\n[Illustration: FIG. 107. SATYR SWINGING MAIDEN]\n\n The trunk of this tree,\n Dusky-leaved, shaggy-rooted,\n Is a pillow well suited\n To a hybrid like me,\n Goat-bearded, goat-footed;\n For the boughs of the glade\n Meet above me, and throw\n A cool, pleasant shade\n On the greenness below;\n Dusky and brown'd\n Close the leaves all around;\n And yet, all the while,\n Thro' the boughs I can see\n A star, with a smile,\n Looking at me....\n\n[Illustration: FIG. 108. SATYR DRINKING]\n\n Why, all day long,\n I run about\n With a madcap throng,\n And laugh and shout.\n Silenus grips\n My ears, and strides\n On my shaggy hips,\n And up and down\n In an ivy crown\n Tipsily rides;\n And when in doze\n His eyelids close,\n Off he tumbles, and I\n Can his wine-skin steal,\n I drink--and feel\n The grass roll--sea high;\n Then with shouts and yells,\n Down mossy dells,\n I stagger after\n The wood-nymphs fleet,\n Who with mocking laughter\n And smiles retreat;\n And just as I clasp\n A yielding waist,\n With a cry embraced,\n --Gush! it melts from my grasp\n Into water cool,\n And--bubble! trouble!\n Seeing double!\n I stumble and gasp\n In some icy pool![173]\n\n=132. Echo and Narcissus.=[174] Echo was a beautiful Oread, fond of\nthe woods and hills, a favorite of Diana, whom she attended in the\nchase. But by her chatter she came under the displeasure of Juno, who\ncondemned her to the loss of voice save for purposes of reply.\n\n[Illustration: FIG. 109. NARCISSUS]\n\nSubsequently having fallen in love with Narcissus, the beautiful son of\nthe river-god Cephissus, Echo found it impossible to express her regard\nfor him in any way but by mimicking what he said; and what he said,\nunfortunately, did not always convey her sentiments. When, however,\nhe once called across the hills to her, \"Let us join one another,\"\nthe maid, answering with all her heart, hastened to the spot, ready to\nthrow her arms about his neck. He started back, exclaiming, \"Hands off!\nI would rather die than thou shouldst have me!\" \"Have me,\" said she;\nbut in vain. From that time forth she lived in caves and among mountain\ncliffs, and faded away till there was nothing left of her but her\nvoice. But through his future fortunes she was constant to her cruel\nlover.\n\nThis Narcissus was the embodiment of self-conceit. He shunned the rest\nof the nymphs as he had shunned Echo. One maiden, however, uttered a\nprayer that he might some time or other feel what it was to love and\nmeet no return of affection. The avenging goddess heard. Narcissus,\nstooping over a river brink, fell in love with his own image in the\nwater. He talked to it, tried to embrace it, languished for it, and\npined until he died. Indeed, even after death, it is said that when his\nshade passed the Stygian river it leaned over the boat to catch a look\nof itself in the waters. The nymphs mourned for Narcissus, especially\nthe water-nymphs; and when they smote their breasts, Echo smote hers\nalso. They prepared a funeral pile and would have burned the body, but\nit was nowhere to be found. In its place had sprung up a flower, purple\nwithin and surrounded with white leaves, which bears the name and\npreserves the memory of the son of Cephissus.\n\n=133. Echo, Pan, Lyde, and the Satyr.= Another interesting episode in\nthe life of Echo is given by Moschus:[175]\n\n Pan loved his neighbor Echo; Echo loved\n A gamesome Satyr; he, by her unmoved,\n Loved only Lyde; thus through Echo, Pan,\n Lyde, and Satyr, Love his circle ran.\n Thus all, while their true lovers' hearts they grieved,\n Were scorned in turn, and what they gave received.\n O all Love's scorners, learn this lesson true:\n Be kind to love, that he be kind to you.\n\n=134. The Naiads.= These nymphs guarded streams and fountains of fresh\nwater and, like the Naiad who speaks in the following verses, kept them\nsacred for Diana or some other divinity.\n\n Dian white-arm'd has given me this cool shrine\n Deep in the bosom of a wood of pine:\n The silver-sparkling showers\n That hive me in, the flowers\n That prink my fountain's brim, are hers and mine;\n And when the days are mild and fair,\n And grass is springing, buds are blowing,\n Sweet it is, 'mid waters flowing,\n Here to sit and know no care,\n 'Mid the waters flowing, flowing, flowing,\n Combing my yellow, yellow hair.\n\n The ounce and panther down the mountain side\n Creep thro' dark greenness in the eventide;\n And at the fountain's brink\n Casting great shades, they drink,\n Gazing upon me, tame and sapphire-eyed;\n For, awed by my pale face, whose light\n Gleameth thro' sedge and lilies yellow\n They, lapping at my fountain mellow,\n Harm not the lamb that in affright\n Throws in the pool so mellow, mellow, mellow,\n Its shadow small and dusky-white.\n\n Oft do the fauns and satyrs, flusht with play,\n Come to my coolness in the hot noonday.\n Nay, once indeed, I vow\n By Dian's truthful brow,\n The great god Pan himself did pass this way,\n And, all in festal oak-leaves clad,\n His limbs among these lilies throwing,\n Watch'd the silver waters flowing,\n Listen'd to their music glad,\n Saw and heard them flowing, flowing, flowing,\n And ah! his face was worn and sad!\n\n Mild joys like silvery waters fall;\n But it is sweetest, sweetest far of all,\n In the calm summer night,\n When the tree-tops look white,\n To be exhaled in dew at Dian's call,\n Among my sister-clouds to move\n Over the darkness, earth bedimming,\n Milky-robed thro' heaven swimming,\n Floating round the stars above,\n Swimming proudly, swimming proudly, swimming,\n And waiting on the Moon I love.\n\n So tenderly I keep this cool, green shrine,\n Deep in the bosom of a wood of pine;\n Faithful thro' shade and sun,\n That service due and done\n May haply earn for me a place divine\n Among the white-robed deities\n That thread thro' starry paths, attending\n My sweet Lady, calmly wending\n Thro' the silence of the skies,\n Changing in hues of beauty never ending,\n Drinking the light of Dian's eyes.[176]\n\n=135. The Dryads=, or =Hamadryads=, assumed at times the forms of\npeasant girls, shepherdesses, or followers of the hunt. But they were\nbelieved to perish with certain trees which had been their abode and\nwith which they had come into existence. Wantonly to destroy a tree was\ntherefore an impious act, sometimes severely punished, as in the cases\nof Erysichthon and Dryope.\n\n=136. Erysichthon=,[177] a despiser of the gods, presumed to violate\nwith the ax a grove sacred to Ceres. A venerable oak, whereon votive\ntablets had often been hung inscribed with the gratitude of mortals\nto the nymph of the tree,--an oak round which the Dryads hand in hand\nhad often danced,--he ordered his servants to fell. When he saw them\nhesitate, he snatched an ax from one, and boasting that he cared not\nwhether it were a tree beloved of the goddess or not, addressed himself\nto the task. The oak seemed to shudder and utter a groan. When the\nfirst blow fell upon the trunk, blood flowed from the wound. Warned by\na bystander to desist, Erysichthon slew him; warned by a voice from the\nnymph of the tree, he redoubled his blows and brought down the oak. The\nDryads invoked punishment upon Erysichthon.\n\nThe goddess Ceres, whom they had supplicated, nodded her assent. She\ndispatched an Oread to ice-clad Scythia, where Cold abides, and Fear\nand Shuddering and Famine. At Mount Caucasus, the Oread stayed the\ndragons of Ceres that drew her chariot; for afar off she beheld Famine,\nforespent with hunger, pulling up with teeth and claws the scanty\nherbage from a stony field. To her the nymph delivered the commands of\nCeres, then returned in haste to Thessaly, for she herself began to be\nan hungered.\n\nThe orders of Ceres were executed by Famine, who, speeding through the\nair, entered the dwelling of Erysichthon and, as he slept, enfolded him\nwith her wings and breathed herself into him. In his dreams the caitiff\ncraved food; and when he awoke, his hunger raged. The more he ate, the\nmore he craved, till, in default of money, he sold his daughter into\nslavery for edibles. Neptune, however, rescued the girl by changing her\ninto a fisherman; and in that form she assured the slave-owner that\nshe had seen no woman or other person, except herself, thereabouts.\nThen, resuming her own appearance, she was again and again sold by\nher father; while by Neptune's favor she became on each occasion a\ndifferent animal, and so regained her home. Finally, increasing demands\nof hunger compelled the father to devour his own limbs; and in due time\nhe finished himself off.\n\n=137. Dryope=, the wife of Andr\u00e6mon, purposing with her sister Iole\nto gather flowers for the altars of the nymphs, plucked the purple\nblossoms of a lotus plant that grew near the water, and offered them to\nher child. Iole, about to do the same thing, perceived that the stem of\nthe plant was bleeding. Indeed, the plant was none other than a nymph,\nLotis, who, escaping from a base pursuer, had been thus transformed.\n\nDryope would have hastened from the spot, but the displeasure of the\nnymph had fallen upon her. While protesting her innocence, she began\nto put forth branches and leaves. Praying her husband to see that no\nviolence was done to her, to remind their child that every flower or\nbush might be a goddess in disguise, to bring him often to be nursed\nunder her branches, and to teach him to say \"My mother lies hid under\nthis bark,\"--the luckless woman assumed the shape of a lotus.\n\n=138. Rh[oe]cus.=[178] The Hamadryads could appreciate services as well\nas punish injuries.\n\n Hear now this fairy legend of old Greece,\n As full of freedom, youth, and beauty still,\n As the immortal freshness of that grace\n Carved for all ages on some Attic frieze.[179]\n\nRh[oe]cus, happening to see an oak just ready to fall, propped it\nup. The nymph, who had been on the point of perishing with the tree,\nexpressed her gratitude to him and bade him ask what reward he would.\nRh[oe]cus boldly asked her love, and the nymph yielded to his desire.\nAt the same time charging him to be mindful and constant, she promised\nto expect him an hour before sunset and, meanwhile, to communicate with\nhim by means of her messenger,--a bee:\n\n Now, in those days of simpleness and faith,\n Men did not think that happy things were dreams\n Because they overstepped the narrow bourn\n Of likelihood, but reverently deemed\n Nothing too wondrous or too beautiful\n To be the guerdon of a daring heart.\n So Rh[oe]cus made no doubt that he was blest,\n And all along unto the city's gate\n Earth seemed to spring beneath him as he walked,\n The clear, broad sky looked bluer than its wont,\n And he could scarce believe he had not wings,\n Such sunshine seemed to glitter through his veins\n Instead of blood, so light he felt and strange.\n\nBut the day was past its noon. Joining some comrades over the dice,\nRh[oe]cus forgot all else. A bee buzzed about his ear. Impatiently he\nbrushed it aside:\n\n Then through the window flew the wounded bee,\n And Rh[oe]cus, tracking him with angry eyes,\n Saw a sharp mountain peak of Thessaly\n Against the red disk of the setting sun,--\n And instantly the blood sank from his heart....\n\n ... Quite spent and out of breath he reached the tree,\n And, listening fearfully, he heard once more\n The low voice murmur, \"Rh[oe]cus!\" close at hand:\n Whereat he looked around him, but could see\n Naught but the deepening glooms beneath the oak.\n Then sighed the voice, \"O Rh[oe]cus! nevermore\n Shalt thou behold me or by day or night,\n Me, who would fain have blessed thee with a love\n More ripe and bounteous than ever yet\n Filled up with nectar any mortal heart:\n But thou didst scorn my humble messenger\n And sent'st him back to me with bruis\u00e8d wings.\n We spirits only show to gentle eyes,\n We ever ask an undivided love,\n And he who scorns the least of Nature's works\n Is thenceforth exiled and shut out from all.\n Farewell! for thou canst never see me more.\"\n\n Then Rh[oe]cus beat his breast, and groaned aloud,\n And cried, \"Be pitiful! forgive me yet\n This once, and I shall never need it more!\"\n \"Alas!\" the voice returned, \"'tis thou art blind,\n Not I unmerciful; I can forgive,\n But have no skill to heal thy spirit's eyes;\n Only the soul hath power o'er itself.\"\n With that again there murmured, \"Nevermore!\"\n And Rh[oe]cus after heard no other sound,\n Except the rattling of the oak's crisp leaves,\n Like the long surf upon a distant shore,\n Raking the sea-worn pebbles up and down.\n The night had gathered round him: o'er the plain\n The city sparkled with its thousand lights,\n And sounds of revel fell upon his ear\n Harshly and like a curse; above, the sky,\n With all its bright sublimity of stars,\n Deepened, and on his forehead smote the breeze:\n Beauty was all around him and delight,\n But from that eve he was alone on earth.\n\nAccording to the older tradition, the nymph deprived Rh[oe]cus of his\nphysical sight; but the superior insight of Lowell's interpretation is\nevident.\n\n=139. Pomona and Vertumnus.=[180] Pomona was a Hamadryad of Roman\nmythology, guardian especially of the apple orchards, but presiding\nalso over other fruits. \"Bear me, Pomona,\" sings one of our poets,--\n\n Bear me, Pomona, to thy citron groves,\n To where the lemon and the piercing lime,\n With the deep orange, glowing through the green,\n Their lighter glories blend. Lay me reclined\n Beneath the spreading tamarind that shakes,\n Fanned by the breeze, its fever-cooling fruit.[181]\n\n[Illustration: FIG. 110. A RUSTIC]\n\nThis nymph had scorned the offers of love made her by Pan, Sylvanus,\nand innumerable Fauns and Satyrs. Vertumnus, too, she had time and\nagain refused. But he, the deity of gardens and of the changing\nseasons, unwearied, wooed her in as many guises as his seasons\nthemselves could assume. Now as a reaper, now as haymaker, now as\nplowman, now as vinedresser, now as apple-picker, now as fisherman, now\nas soldier,--all to no avail. Finally, as an old woman, he came to her,\nadmired her fruit, admired especially the luxuriance of her grapes,\ndescanted on the dependence of the luxuriant vine, close by, upon the\nelm to which it was clinging; advised Pomona, likewise, to choose some\nyouth--say, for instance, the young Vertumnus--about whom to twine\n_her_ arms. Then he told how the worthy Iphis, spurned by Anaxarete,\nhad hanged himself to her gatepost; and how the gods had turned the\nhard-hearted virgin to stone even as she gazed on her lover's funeral.\n\"Consider these things, dearest child,\" said the seeming old woman,\n\"lay aside thy scorn and thy delays, and accept a lover. So may neither\nthe vernal frosts blight thy young fruits, nor furious winds scatter\nthy blossoms!\"\n\nWhen Vertumnus had thus spoken, he dropped his disguise and stood\nbefore Pomona in his proper person,--a comely youth. Such wooing, of\ncourse, could not but win its just reward.\n\n=140. The Cranes of Ibycus=.[182] The Furies, called also Dir\u00e6 (the\nterrible ones), Erinyes (the persecutors, or the angered ones), and\nfinally, by way of euphemism, Eumenides (the well-meaning), though\nthey were spirits of the underworld, visited earth to punish filial\ndisobedience, irreverence to old age, perjury, murder, treachery to\nguests, even unkindness toward beggars. They avenged the ghosts of\nsuch as, dying violent deaths, possessed on earth no representatives\neither by law or by kindred to avenge them. Therefore, as we shall see,\nthey persecuted Orestes, who had slain his mother. Therefore, like\nthe accusing voice of conscience, they marshaled to punishment the\nmurderers of Ibycus.\n\n[Illustration: FIG. 111. A RUSTIC]\n\nThis poet, beloved of Apollo, was, while journeying to the musical\ncontest of the Isthmus at Corinth, attacked by two robbers in the\nCorinthian grove of Neptune. Overcome by them, he commended his cause\nas he fell to a flock of cranes that happened to be screaming hoarsely\noverhead. But when his body was found, all Greece, then gathered at the\nfestival, demanded vengeance on the murderer.\n\nSoon afterward, the vast assemblage in the amphitheater sat listening\nto a play in which the Chorus personated the Furies. The Choristers,\nclad in black, bore in their fleshless hands torches blazing with a\npitchy flame. Advancing with measured step, they formed ranks in the\norchestra. Their cheeks were bloodless, and in place of hair writhing\nserpents curled around their brows. Forming a circle, these awful\nbeings sang their hymn. High it swelled, overpowering the sound of the\ninstruments:\n\n\"Happy the man whose heart is pure from guilt and crime! Him we\navengers touch not; he treads the path of life secure from us. But woe!\nwoe! to him who has done the deed of secret murder. We, the fearful\nbrood of Night, fasten ourselves upon him, soul and flesh. Thinks he by\nflight to escape us? Fly we still faster in pursuit, twine our snakes\naround his feet, and bring him to the ground. Unwearied we pursue; no\npity checks our course; still on, still on to the end of life, we give\nno peace, no rest.\"\n\nStillness like the stillness of death sat over the assembly. Suddenly\na cry burst from one of the uppermost benches,--\"Lo, comrade, the\navengers of Ibycus!\" A flock of cranes crossed the sky. \"The murderer\nhas informed against himself,\" shouted the assemblage. The inference\nwas correct. The criminals, straightway seized, confessed the crime and\nsuffered the penalty.\n\nFOOTNOTES:\n\n[169] His name is not derived from the Greek _p[=a]n_, all, but from\nthe root _p[)a]_, to feed, to pasture (i.e. the flocks and herds).\n\n[170] Milton, Hymn on the Nativity.\n\n[171] Translated by C. M. Gayley.\n\n[172] By Edmund Clarence Stedman.\n\n[173] From The Satyr, by Robert Buchanan.\n\n[174] Ovid, Metam. 3, 339-510.\n\n[175] Idyl VI (Lang's translation). For Moschus, see Commentary, \u00a7 298.\n\n[176] From The Naiad, by Robert Buchanan.\n\n[177] Ovid, Metam. 8, 738-884.\n\n[178] See note (Scholium) on the Argonautics of Apollonius, B 477.\nKeil's edition, p. 415, l. 32.\n\n[179] J. R. Lowell, Rh[oe]cus. The student should read the whole poem.\n\n[180] Ovid, Metam. 14, 623-771.\n\n[181] Thomson, Seasons.\n\n[182] Cf. Cicero, Tusculan Disputations, 4. 33, 71; and Statius, Silv\u00e6,\n5. 3, 152.\n\n\n\n\nCHAPTER XIII\n\nMYTHS OF LESSER DIVINITIES OF THE WATERS\n\n\n=141. Galatea and Polyphemus.= The water-gods may be roughly classed\nas dwellers in the sea and dwellers in the streams. Of the former,\ndaughters of Nereus and Doris, none was fairer than Galatea, sister\nof Amphitrite and Thetis. She loved Acis, the son of Faunus by a\nNaiad, and was loved in return; but her happiness was disturbed and\nfinally ruined by the persistent and jealous attentions of the Cyclops\nPolyphemus.\n\nFor the first time in his life the Cyclops began to care for his\nappearance; he harrowed his coarse locks with a currycomb, mowed his\nbeard with a sickle, and, looking into the sea when it was calm,\nsoliloquized, \"Beautiful seems my beard, beautiful my one eye,--as I\ncount beauty,--and the sea reflects the gleam of my teeth whiter than\nthe Parian stone.\"[183]\n\n ... He loved, not with apples, not roses, nor locks of hair,\n but with fatal frenzy; and all things else he held but trifles\n by the way. Many a time from the green pastures would his ewes\n stray back, self-shepherded, to the fold. But he was singing\n of Galatea; and pining in his place, he sat by the seaweed of\n the beach from the dawn of day with the direst hurt beneath his\n breast of mighty Cypris' sending,--the wound of her arrow in his\n heart!\n\n Yet this remedy he found, and sitting on the crest of the tall\n cliff and looking to the deep, 'twas thus he would sing:\n\n \"Oh, milk-white Galatea, why cast off him that loves thee? More\n white than is pressed milk to look upon, more delicate than the\n lamb art thou, than the young calf wantoner, more sleek than\n the unripened grape! Here dost thou resort, even so, when sweet\n sleep possesses me, and home straightway dost thou depart when\n sweet sleep lets me go, fleeing me like an ewe that has seen the\n gray wolf. I fell in love with thee, maiden, I, on the day when\n first thou camest, with my mother, and didst wish to pluck the\n hyacinths from the hill, and I was thy guide on the way. But to\n leave loving thee when once I had seen thee, neither afterward,\n nor now at all, have I the strength, even from that hour. But to\n thee all this is as nothing, by Zeus, nay, nothing at all!\n\n \"I know, thou gracious maiden, why it is that thou dost shun me.\n It is all for the shaggy brow that spans my forehead, from this\n to the other ear, one long, unbroken eyebrow. And but one eye is\n on my forehead, and broad is the nose that overhangs my lip. Yet\n I (even such as thou seest me) feed a thousand cattle, and from\n these I draw and drink the best milk in the world. And cheese I\n never lack, in summer time or autumn, nay, nor in the dead of\n winter, but my baskets are always overladen.\n\n[Illustration: FIG. 112. GALATEA AND POLYPHEMUS]\n\n \"Also I am skilled in piping, as none other of the Cyclopes here,\n and of thee, my love, my sweet apple, and of myself, too, I sing,\n many a time, deep in the night. And for thee I tend eleven fawns,\n all crescent browed, and four young whelps of the bear. Nay, come\n thou to me and thou shalt lack nothing that now thou hast....\n\n \"But if thou dost refuse because my body seems shaggy and rough,\n well, I have faggots of oak-wood, and beneath the ashes is fire\n unwearied, and I would endure to let thee burn my very soul, and\n this my one eye, the dearest thing that is mine.\n\n \"Ah me, that my mother bore me not a finny thing, so would I have\n gone down to thee, and kissed thy hand, if thy lips thou would\n not suffer me to kiss! And I would have brought thee either white\n lilies or the soft poppy with its scarlet petals. Nay, these are\n summer's flowers, and those are flowers of winter, so I could not\n have brought thee them all at one time.\n\n \"Now, verily, maiden, now and here will I learn to swim, if\n perchance some stranger come hither, sailing with his ship, that\n I may see why it is so dear to thee to have thy dwelling in the\n deep. Come forth, Galatea, and forget as thou comest, even as I\n that sit here have forgotten, the homeward way!...\n\n \"Oh, Cyclops, Cyclops, whither are thy wits wandering? Ah, that\n thou wouldst go and weave thy wickerwork and gather broken boughs\n to carry to thy lambs: in faith, if thou didst this, far wiser\n wouldst thou be!\n\n \"Milk the ewe that thou hast; why pursue the thing that shuns\n thee? Thou wilt find, perchance, another, and a fairer, Galatea.\n Many be the girls that bid me stay with them, and softly they all\n laugh, if perchance I answer them. On land it is plain that I,\n too, seem to be somebody!\"[184]\n\nHaving, one day, in such wise sung, Polyphemus wandered, beside\nhimself for passion, into the woods. On a sudden he came in sight of\nGalatea and Acis in the hollow of a rock, where they had hearkened to\nthe strains of the Cyclops. The monster, infuriate, crying that this\nshould be the last of their love-meetings, overwhelmed his rival with a\ntremendous rock. Purple blood spirted from under the stone, by degrees\ngrew paler, and finally became the stream that still bears the name of\nthe unfortunate youth. But Galatea remained inconsolable.[185]\n\n[Illustration: FIG. 113. A SEA-GOD]\n\n=142. Glaucus and Scylla.=[186] Another deity of the sea was Glaucus,\nthe son of that Sisyphus who was punished in Hades for his treachery\nto the gods. Glaucus had been a comely young fisherman; but having\nnoticed that a certain herb revived fishes after they were brought to\nland, he ate of it and suffered metamorphosis into something new and\nstrange, half man, half fish, and after the fashion of a sea-god. Of\nhis experience during this \"sea change\" the following is an account:\n\n I plunged for life or death. To interknit\n One's senses with so dense a breathing stuff\n Might seem a work of pain; so not enough\n Can I admire how crystal-smooth it felt,\n And buoyant round my limbs. At first I dwelt\n Whole days and days in sheer astonishment;\n Forgetful utterly of self-intent,\n Moving but with the mighty ebb and flow.\n Then like a new-fledged bird that first doth show\n His spreaded feathers to the morrow chill,\n I tried in fear the pinions of my will.\n 'Twas freedom! and at once I visited\n The ceaseless wonders of this ocean bed.[187]\n\nHe became guardian of fishes and divers and of those who go down to\nthe sea in ships. Later, being infatuated of the fair virgin Scylla\n(daughter of the sea-god Phorcys and granddaughter of Pontus), he\npaid his court to her, but the maiden rejected him. Whereupon, in\ndesperation, Glaucus sought the aid of Circe, an enchantress. She,\nbecause she coveted for herself the handsome sea-green god, transformed\nher rival into a monster hideously fashioned of serpents and barking\ndogs.[188] In this shape Scylla thereafter infested the shore of Sicily\nand worked evil to mariners,[189] till finally she was petrified as a\nreef, none the less perilous to all seafarers.\n\nA modern version of the fate of Glaucus and Scylla is given by Keats in\nthe Endymion. Glaucus consents to Circe's blandishments for a season,\nbut becoming disgusted with her treachery and cruelty, he endeavors\nto escape from her. The attempt proving unsuccessful, he is brought\nback and sentenced to pass a thousand years in decrepitude and pain.\nConsequently, returning to the sea, he there discovers the body of\nScylla, whom the goddess has not transformed, but drowned, and learns\nthat if he passes his thousand years in collecting the bodies of\ndrowned lovers, a youth beloved of the gods will, in time, appear and\nhelp him. This prophecy is fulfilled by Endymion, who aids in restoring\nGlaucus to youth, and Scylla and the drowned lovers to life.\n\n=143. Nisus and Scylla.=[190] The daughter of Phorcys is frequently\nconfounded with another Scylla, daughter of King Nisus of Megara.\nScylla of Megara betrayed her father to his enemy, Minos II of Crete,\nwith whom, although the kings were at war, she had fallen violently in\nlove. It seems that Nisus had on his head a purple lock of hair, upon\nwhich depended his fortune and his life. This lock his daughter clipped\nand conveyed to Minos. But recoiling from the treacherous gift, that\nking, after he had conquered Megara, bound Scylla to the rudder of\nhis ship and so dragged her through the waves toward Crete. The girl\nwas ultimately transformed into the monster of the barking dogs, or,\naccording to another authority, into a bird continually the prey of the\nsea eagle, whose form her father Nisus had assumed.\n\n=144. Leucothea.=[191] Another sea change was that of Ino, the daughter\nof Cadmus and wife of Athamas, who, flying from her frantic husband,\nsprang, with her child Melicertes in her arms, from a cliff into the\nsea. The gods, out of compassion, made her a goddess of the sea under\nthe name of Leucothea, and her son a god under that of Pal\u00e6mon. Both\nwere held powerful to save from shipwreck and were invoked by sailors.\nPal\u00e6mon was usually represented as riding on a dolphin. In his honor\nthe Isthmian games were celebrated. By the Romans he was called\nPortumnus, and had jurisdiction of ports and shores.\n\n=145. Proteus and Arist\u00e6us.=[192] Though Arist\u00e6us, the lover of\nEurydice, was son of Apollo and guardian himself of herds and flocks,\nprotector of vine and olive, and keeper of bees, still he was son of\nCyrene, a water-nymph, and his most interesting adventure brought him\ninto contact with another deity of the sea.\n\nHis bees having perished, Arist\u00e6us resorted for aid to his mother. She,\nsurrounded by her maidens in the crystalline abode under her river,\noverheard his complaints and ordered that he should be brought into her\npresence. The stream at her command opened itself and let him enter,\nwhile it stood heaped like a mountain on either side. Cyrene and her\nnymphs, having poured out libations to Neptune, gave the youth to eat\nand listened to his complaint, then informed him that an aged prophet\nnamed Proteus, who dwelt in the sea and pastured the sea calves of\nNeptune, could explain the cause of the mortality among the bees and\nhow to remedy it; but that the wizard would have to be chained and\ncompelled to answer, and that even when chained, he would try to escape\nby assuming a series of dreadful forms. \"Still, thou hast but to keep\nhim fast bound,\" concluded Cyrene, \"and at last, when he finds his\narts of no avail, he will obey thy behest.\" The nymph then sprinkled\nher son with nectar, whereupon an unusual vigor filled his frame and\ncourage his heart.\n\nCyrene led her son to the prophet's cave, which was in the island of\nPharos, or of Carpathos,[193] and concealed him. At noon issued Proteus\nfrom the water, followed by his herd of sea calves, which spread\nthemselves along the shore. He, too, stretched himself on the floor of\nthe cave and went to sleep. Arist\u00e6us immediately clapped fetters on him\nand shouted at the top of his voice. Proteus, finding himself captured,\nresorted to his craft, becoming first a fire, then a flood, then a\nhorrible wild beast, in rapid succession; nor did he succumb till all\nschemes had failed to set him free. Then he resumed his old form and,\nin response to the questioning of Arist\u00e6us, said: \"Thou receivest the\nmerited reward of thy deed, by which Eurydice met her death. To avenge\nher, the nymphs have sent this destruction on thy bees. Their anger\nthou must appease. Four bulls shalt thou select, of perfect form and\nsize, and four cows of equal beauty; and four altars shalt thou build\nto the nymphs, and shalt sacrifice the animals, leaving their carcasses\nin the leafy grove. To Orpheus and Eurydice thou shalt pay such funeral\nhonors as may allay their resentment. Returning after nine days,\nexamine the bodies of the cattle slain and see what has befallen.\"\nArist\u00e6us faithfully obeyed these directions. Returning to the grove on\nthe ninth day he found that a swarm of bees had taken possession of one\nof the carcasses and were pursuing their labors there as in a hive.[194]\n\n=146. Achelo\u00fcs and Hercules.=[195] A similar contest took place\nbetween Hercules and the river-god Achelo\u00fcs. The cause of the strife\nwas Dejanira of Calydon, whom both heroes loved. Hercules boasted his\ndivine descent. Achelo\u00fcs, not content with advancing his claim as\nlord of the mightiest and most ancient river of Greece, insinuated\nsuspicions with regard to the value of Hercules' pretensions. Then\nbegan a mighty struggle. Finding he was no match for Hercules in\nthe wrestler's art, Achelo\u00fcs glided away in the form of a serpent.\nHercules, remarking that it was the labor of his infancy to strangle\nsnakes,[196] clasped the neck of Achelo\u00fcs and choked him. Then\nAchelo\u00fcs assumed the seeming of a bull. Whereupon Hercules, seizing\nhim by the horns, dragged his head to the ground, overthrew him, and\nrent one horn away. This trophy the Naiads consecrated and filled with\nflowers for the goddess of Plenty, who, adopting it as her symbol,\nnamed it Cornucopia.\n\n[Illustration: FIG. 114. NERE\u00cfDS AND SEA MONSTERS]\n\n=147. Milton's Sabrina Fair.= No writer in modern times has made more\ngraceful poetic use of the divinities of the streams than has Milton.\nThe following song, chanted by a Spirit in invocation of \"the gentle\nnymph\" (of the poet's invention) \"that with moist curb sways the smooth\nSevern stream,\" is but one refrain of many caught by the poet from the\nfar-echoing chorus of classical verse:\n\n Sabrina fair,\n Listen where thou art sitting\n Under the glassy, cool, translucent wave,\n In twisted braids of lilies knitting\n The loose train of thy amber-dropping hair;\n Listen for dear honor's sake,\n Goddess of the silver lake,\n Listen and save.\n\n Listen and appear to us\n In name of great Oceanus.\n By th' earth-shaking Neptune's mace,\n And Tethys' grave, majestic pace,\n By hoary Nereus' wrinkled look,\n And the Carpathian wizard's hook,\n By scaly Triton's winding shell,\n And old soothsaying Glaucus' spell,\n By Leucothea's lovely hands,\n And her son that rules the strands,\n By Thetis' tinsel-slippered feet,\n And the songs of Sirens sweet,\n By dead Parthenope's[1] dear tomb\n And fair Ligea's[197] golden comb,\n Wherewith she sits on diamond rocks,\n Sleeking her soft, alluring locks,\n By all the nymphs that nightly dance\n Upon thy streams with wily glance;\n Rise, rise, and heave thy rosy head\n From thy coral-paven bed,\n And bridle in thy headlong wave,\n Till thou our summons answered have.\n Listen and save.[198]\n\nFOOTNOTES:\n\n[183] Theocritus, Idyl VI. See Andrew Lang's translation.\n\n[184] Theocritus, Idyl XI (Lang's translation).\n\n[185] Ovid, Metam. 13, 750-867.\n\n[186] Ovid, Metam. 13, 898; 14, 74; Tibullus, 3, 4-89.\n\n[187] From Keats' Endymion.\n\n[188] \u00a7\u00a7 50, 52, and Commentary.\n\n[189] See \u00a7\u00a7 239, 250, Adventures of Ulysses and \u00c6neas.\n\n[190] Apollodorus, 3, 15, \u00a7 8.\n\n[191] Ovid, Metam. 4, 432-542.\n\n[192] Cf. Odyssey, 4, 410; Ovid, Fasti, 1, 369; Virgil, Georgics, 4,\n317.\n\n[193] Cf. \u00a7 147, Milton's Carpathian Wizard.\n\n[194] See Commentary.\n\n[195] Ovid, Metam. 9, 1-100.\n\n[196] \u00a7 156.\n\n[197] See Commentary.\n\n[198] Milton, Comus, 859-889.\n\n\n\n\nCHAPTER XIV\n\nMYTHS OF THE OLDER HEROES: THE HOUSE OF DANA\u00dcS, AND ITS CONNECTIONS\n\n\n=148. The Older and the Younger Heroes.= We have already narrated\nthe adventures of certain demigods and heroes, such as Prometheus,\nDeucalion, Cadmus, Amphion, Orpheus. Others of importance were Perseus,\nHercules, Minos, [OE]dipus, Theseus, Jason, Meleager, Peleus, Pelops,\nCastor and Pollux. These and their contemporaries may be called the\n_Older Heroes_. They are renowned either for individual exploits or for\nthe part played by them in one or more of three great expeditions,--the\nWar against Laomedon of Troy, the Voyage for the Golden Fleece, and the\nHunt of the Calydonian Boar.\n\nThe _Younger Heroes_ were of a later generation, which was concerned in\nfour important enterprises,--the War of the Seven against Thebes, the\nTrojan War, the Wanderings of Ulysses, and the Adventures of \u00c6neas.\n\nThe exploits of the Older Heroes may be arranged in respect of their\nprobable sequence in time, and of their grouping according to families\nof heroes. If we observe the principle of genealogy, one race, that\nof Inachus of Argos, attracts our notice in the heroes descended\nfrom Pelasgus,[199] Belus, and Agenor. The family of Belus gives us\nthe famous House of Dana\u00fcs, the family of Agenor the Houses of Minos\nand Labdacus. Another race, that of Deucalion, gives us the heroes\nof the Hellenic branch, most notably those descended from \u00c6olus.\nWith these families most of the Older Heroes are, by blood or by\nadventure, to some extent connected. Bearing this fact in mind and at\nthe same time observing the chronological sequence of adventures, we\nobtain an arrangement of myths as illustrating the races, families,\nor houses--(1) of Dana\u00fcs of Argos, (2) of \u00c6olus of Thessaly, (3) of\n\u00c6tolus, (4) of Minos of Crete, (5) of Cecrops and of Erichthonius of\nAttica, (6) of Labdacus of Thebes.[200]\n\n=149. The Genealogy of Dana\u00fcs.= As the Hellenes, in the north, traced\ntheir descent from Deucalion and Pyrrha of Thessaly, so the Pelasgic\nraces of the south from the river-god Inachus, son of Oceanus. The\nson of Inachus, Phoroneus, lived in the Peloponnesus and founded the\ntown of Argos. This Phoroneus conferred upon the Argives the benefits\nattributed by other Greeks to Prometheus. He was succeeded by his son\nPelasgus, from whom a division of the Greek people derive their name.\nWith the love of Jupiter for the sister of Phoroneus, the fair Io, we\nare already acquainted. Her son was Epaphus, king of Egypt, from whom\nwere descended (1) Agenor of Ph[oe]nicia, father of Europa and Cadmus,\nand (2) Belus of Egypt, father of \u00c6gyptus and Dana\u00fcs. To the family of\nAgenor we shall return in the history of Minos, son of Europa, and of\n[OE]dipus, descendant of Cadmus.\n\n[Illustration: FIG. 115. THE DANA\u00cfDS]\n\n=150. The Dana\u00efds.=[201] \u00c6gyptus and his fifty sons drove Dana\u00fcs and\nhis fifty daughters back to Argos, the ancestral home of the race.\nFinally, a reconciliation was arranged by means of a fiftyfold marriage\nbetween the sons of \u00c6gyptus and the Dana\u00efds. But in accordance with\na treacherous command of Dana\u00fcs, all his daughters save Hypermnestra\nslew their husbands on the wedding night. For this crime the forty-nine\nDana\u00efds were condemned to spend eternity in Tartarus, trying to fill\nwith water a vessel full of holes. From Hypermnestra and her husband,\nLynceus, was sprung the royal house of Argos. Their son was Abas, their\ngrandson, Acrisius,--of whom the following narrative is told.\n\n[Illustration: FIG. 116. DANA\u00cb AND PERSEUS AND THE CHEST]\n\n=151. The Doom of King Acrisius.=[202] The daughter of Acrisius was\nDana\u00eb, of surpassing loveliness. In consequence of an oracle which\nhad prophesied that the son of Dana\u00eb would be the means of his\ngrandfather's death, the hapless girl was shut in an underground\nchamber, that no man might love or wed her. But Jupiter, distilling\nhimself into a shower of gold, flooded the girl's prison, wooed, and\nwon her. Their son was Perseus. King Acrisius, in dismay, ordered\nmother and child to be boxed up in a chest and set adrift on the sea.\nThe two unfortunates were, however, rescued at Seriphus by a fisherman,\nwho conveyed the mother and infant to Polydectes, king of the country,\nby whom they were treated at first with kindness, but afterwards with\ncruelty.\n\n=152. Perseus and Medusa.=[203] When Perseus was grown up, Polydectes\nsent him to attempt the conquest of the Gorgon Medusa,[204] a terrible\nmonster who had laid waste the country. She had once been a maiden\nwhose hair was her chief glory, but as she dared to vie in beauty\nwith Minerva, the goddess deprived her of her charms and changed her\nringlets into hissing serpents. She became a monster of so frightful an\naspect that no living thing could behold her without being turned into\nstone. All around the cavern where she dwelt might be seen the stony\nfigures of men and animals that had chanced to catch a glimpse of her\nand had been petrified at the sight. Perseus, favored by Minerva and\nMercury, set out against the Gorgon, and approached first the cave of\nthe three Gr\u00e6\u00e6:\n\n[Illustration: FIG. 117. MEDUSA]\n\n There sat the crones that had the single eye,\n Clad in blue sweeping cloak and snow-white gown;\n While o'er their backs their straight white hair hung down\n In long thin locks; dreadful their faces were,\n Carved all about with wrinkles of despair;\n And as they sat they crooned a dreary song,\n Complaining that their lives should last so long,\n In that sad place that no one came anear,\n In that wan place desert of hope and fear;\n And singing, _still they rocked_ their bodies bent,\n And ever each to each the eye they sent.[205]\n\n[Illustration: FIG. 118. MEDUSA]\n\nSnatching the eye, Perseus compelled the Gr\u00e6\u00e6, as the price of its\nrestoration, to tell him how he might obtain the helmet of Hades that\nrenders its wearer invisible, and the winged shoes and pouch that were\nnecessary. With this outfit, to which Minerva added her shield and\nMercury his knife, Perseus sped to the hall of the Gorgons. In silence\nsat two of the sisters,--\n\n But a third woman paced about the hall,\n And ever turned her head from wall to wall\n And moaned aloud, and shrieked in her despair;\n Because the golden tresses of her hair\n Were moved by writhing snakes from side to side,\n That in their writhing oftentimes would glide\n On to her breast, or shuddering shoulders white;\n Or, falling down, the hideous things would light\n Upon her feet, and crawling thence would twine\n Their slimy folds about her ankles fine.[206]\n\n[Illustration: FIG. 119. PERSEUS\n\nFrom the sculpture by Cellini]\n\nThis was Medusa. Her, while she was praying the gods to end her misery,\nor, as some say, while she was sleeping, Perseus approached, and,\nguided by her image reflected in the bright shield which he bore, cut\noff her head, and so ended her miserable existence. Thus are described\nthe horror and the grace of her features in death:\n\n It lieth, gazing on the midnight sky,\n Upon the cloudy mountain peak supine;\n Below, far lands are seen tremblingly;\n Its horror and its beauty are divine.\n Upon its lips and eyelids seems to lie\n Loveliness like a shadow, from which shine,\n Fiery and lurid, struggling underneath,\n The agonies of anguish and of death.\n\n Yet it is less the horror than the grace\n Which turns the gazer's spirit into stone;\n Whereon the lineaments of that dead face\n Are graven, till the characters be grown\n Into itself, and thought no more can trace;\n 'Tis the melodious hue of beauty thrown\n Athwart the darkness and the glare of pain,\n Which humanize and harmonize the strain.[207]...\n\n=153. Perseus and Atlas.= From the body of Medusa sprang the winged\nhorse Pegasus, of whose rider, Bellerophon, we shall presently be\ninformed.\n\n[Illustration: FIG. 120. PERSEUS WITH HEAD OF MEDUSA]\n\nAfter the slaughter of Medusa, Perseus, bearing with him the head of\nthe Gorgon, flew far and wide, over land and sea. As night came on, he\nreached the western limit of the earth, and would gladly have rested\ntill morning. Here was the realm of Atlas, whose bulk surpassed that\nof all other men. He was rich in flocks and herds, but his chief pride\nwas his garden of the Hesperides, whose fruit was of gold, hanging from\ngolden branches, half hid with golden leaves. Perseus said to him,\n\"I come as a guest. If thou holdest in honor illustrious descent, I\nclaim Jupiter for my father; if mighty deeds, I plead the conquest of\nthe Gorgon. I seek rest and food.\" But Atlas, remembering an ancient\nprophecy that had warned him against a son of Jove who should one\nday rob him of his golden apples, attempted to thrust the youth out.\nWhereupon Perseus, finding the giant too strong for him, held up the\nGorgon's head. Atlas, with all his bulk, was changed into stone. His\nbeard and hair became forests, his arms and shoulders cliffs, his head\na summit, and his bones rocks. Each part increased in mass till the\ngiant became the mountain upon whose shoulders rests heaven with all\nits stars.\n\n=154. Perseus and Andromeda.= On his way back to Seriphus, the\nGorgon-slayer arrived at the country of the \u00c6thiopians, over whom\nCepheus was king. His wife was Cassiopea--\n\n That starred \u00c6thiope queen that strove\n To set her beauty's praise above\n The sea-nymphs, and their powers offended.[208]\n\nThese nymphs had consequently sent a sea monster to ravage the coast.\nTo appease the deities, Cepheus was directed by the oracle to devote\nhis daughter Andromeda to the ravening maw of the prodigy. As Perseus\nlooked down from his a\u00ebrial height, he beheld the virgin chained to\na rock. Drawing nearer he pitied, then comforted her, and sought the\nreason of her disgrace. At first from modesty she was silent; but when\nhe repeated his questions, for fear she might be thought guilty of\nsome offense which she dared not tell, she disclosed her name and that\nof her country, and her mother's pride of beauty. Before she had done\nspeaking, a sound was heard upon the water, and the monster appeared.\nThe virgin shrieked; the father and mother, who had now arrived, poured\nforth lamentations and threw their arms about the victim. But the\nhero himself undertook to slay the monster, on condition that, if the\nmaiden were rescued by his valor, she should be his reward. The parents\nconsented. Perseus embraced his promised bride; then--\n\n Loosing his arms from her waist he flew upward, awaiting the sea beast.\n Onward it came from the southward, as bulky and black as a galley,\n Lazily coasting along, as the fish fled leaping before it;\n Lazily breasting the ripple, and watching by sand bar and headland,\n Listening for laughter of maidens at bleaching, or song of the fisher,\n Children at play on the pebbles, or cattle that passed on the\n sand hills.\n Rolling and dripping it came, where bedded in glistening purple\n Cold on the cold seaweeds lay the long white sides of the maiden,\n Trembling, her face in her hands, and her tresses afloat on the\n water.[209]\n\n[Illustration: FIG. 121. PERSEUS FINDS ANDROMEDA]\n\n[Illustration: PERSEUS FREEING ANDROMEDA]\n\nThe youth darted down upon the back of the monster and plunged his\nsword into its shoulder, then eluded its furious attack by means of\nhis wings. Wherever he could find a passage for his sword, he plunged\nit between the scales of flank and side. The wings of the hero were\nfinally drenched and unmanageable with the blood and water that the\nbrute spouted. Then alighting on a rock and holding by a projection, he\ngave the monster his deathblow.\n\nThe joyful parents, with Perseus and Andromeda, repaired to the\npalace, where a banquet was opened for them. But in the midst of the\nfestivities a noise was heard of warlike clamor, and Phineus, who had\nformerly been betrothed to the bride, burst in, demanding her for his\nown. In vain, Cepheus remonstrated that all such engagements had been\ndissolved by the sentence of death passed upon Andromeda, and that if\nPhineus had actually loved the girl, he would have tried to rescue her.\nPhineus and his adherents, persisting in their intent, attacked the\nwedding party and would have broken it up with most admired disorder,\nbut\n\n Mid the fabled Libyan bridal stood\n Perseus in stern tranquillity of wrath,\n Half stood, half floated on his ankle plumes\n Out-swelling, while the bright face on his shield\n Looked into stone the raging fray.[210]\n\nLeaving Phineus and his fellows in merited petrifaction, and conveying\nAndromeda to Seriphus, the hero there turned into stone Polydectes and\nhis court, because the tyrant had rendered Dana\u00eb's life intolerable\nwith his attentions. Perseus then restored to their owners the charmed\nhelmet, the winged shoes, and the pouch in which he had conveyed the\nGorgon's head. The head itself he bestowed upon Minerva, who bore it\nafterward upon her \u00e6gis or shield. Of that Gorgon shield no simpler\nmoral interpretation can be framed than the following:\n\n What was that snaky-headed Gorgon shield\n That wise Minerva wore, unconquered virgin,\n Wherewith she freezed her foes to congealed stone,\n But rigid looks of chaste austerity,\n And noble grace that dashed brute violence\n With sudden adoration and blank awe![211]\n\nWith his mother and his wife Perseus returned to Argos to seek his\ngrandfather. But Acrisius, still fearing his doom, had retired to\nLarissa in Thessaly. Thither Perseus followed him, and found him\npresiding over certain funeral games. As luck would have it, the hero\ntook part in the quoit throwing, and hurled a quoit far beyond the\nmark. The disk, falling upon his grandfather's foot, brought about the\nold man's death, and in that way the prophecy was fulfilled. Of Perseus\nand Andromeda three sons were born, through one of whom, Electryon,\nthey became grandparents of the famous Alcmene, sweetheart of Jove and\nmother of Hercules.\n\n=155. Bellerophon and the Chim\u00e6ra.=[212] The horse Pegasus, which\nsprang from the Gorgon's blood, found a master in Bellerophon of\nCorinth. This youth was of the Hellenic branch of the Greek nation,\nbeing descended from Sisyphus and through him from \u00c6olus, the son of\nHellen.[213] His adventures should therefore be recited with those of\nJason and other descendants of \u00c6olus in the next chapter, but that\nthey follow so closely on those of Perseus. His father, Glaucus, king\nof Corinth, is frequently identified with Glaucus the fisherman. This\nGlaucus of Corinth was noted for his love of horse racing, his fashion\nof feeding his mares on human flesh, and his destruction by the fury\nof his horses; for having upset his chariot, they tore their master to\npieces. As to his son, Bellerophon, the following is related:\n\nIn Lycia a monster, breathing fire, made great havoc. The fore part\nof his body was a compound of the lion and the goat; the hind part\nwas a dragon's. The king, Iobates, sought a hero to destroy this\nChim\u00e6ra, as it was called. At that time Bellerophon arrived at his\ncourt. The gallant youth brought letters from Pr[oe]tus, the son-in-law\nof Iobates, recommending Bellerophon in the warmest terms as an\nunconquerable hero, but adding a request to his father-in-law to put\nhim to death. For Pr[oe]tus, suspecting that his wife Antea looked with\ntoo great favor on the young warrior, schemed thus to destroy him.\n\nIobates accordingly determined to send Bellerophon against the\nChim\u00e6ra. Bellerophon accepted the proposal, but before proceeding to\nthe combat, consulted the soothsayer Polyidus, who counseled him to\nprocure, if possible, the horse Pegasus for the conflict. Now this\nhorse had been caught and tamed by Minerva and by her presented to the\nMuses. Polyidus, therefore, directed Bellerophon to pass the night in\nthe temple of Minerva. While he slept, Minerva brought him a golden\nbridle. When he awoke, she showed him Pegasus drinking at the well of\nPirene. At sight of the bridle, the winged steed came willingly and\nsuffered himself to be taken. Bellerophon mounted him, sped through the\nair, found the Chim\u00e6ra, and gained an easy victory.\n\n[Illustration: FIG. 122. BELLEROPHON AND PEGASUS]\n\nAfter the conquest of this monster, Bellerophon was subjected to\nfurther trials and labors by his unfriendly host, but by the aid of\nPegasus he triumphed over all. At length Iobates, seeing that the hero\nwas beloved of the gods, gave him his daughter in marriage and made\nhim his successor on the throne. It is said that Bellerophon, by his\npride and presumption, drew upon himself the anger of the Olympians;\nthat he even attempted to fly to heaven on his winged steed; but the\nking of gods and men sent a gadfly, which, stinging Pegasus, caused him\nto throw his rider, who wandered ever after lame, blind, and lonely\nthrough the Aleian field, and perished miserably.\n\n=156. Hercules (Heracles): His Youth.=[214] Alcmene, daughter of\nElectryon and granddaughter of Perseus and Andromeda, was beloved\nof Jupiter. Their son, the mighty Hercules, born in Thebes, became\nthe national hero of Greece. Juno, always hostile to the offspring of\nher husband by mortal mothers, declared war against Hercules from his\nbirth. She sent two serpents to destroy him as he lay in his cradle,\nbut the precocious infant strangled them with his hands. In his youth\nhe passed for the son of his stepfather Amphitryon, king of Thebes,\ngrandson of Perseus and Andromeda, and son of Alc\u00e6us. Hence his\npatronymic, Alcides. Rhadamanthus trained him in wisdom and virtue,\nLinus in music. Unfortunately the latter attempted one day to chastise\nHercules; whereupon the pupil killed the master with a lute. After this\nmelancholy breach of discipline, the youth was rusticated,--sent off\nto the mountains, where among the herdsmen and the cattle he grew to\nmighty stature, slew the Thespian lion, and performed various deeds\nof valor. To him, while still a youth, appeared, according to one\nstory, two women at a meeting of the ways,--Pleasure and Duty. The\ngifts offered by Duty were the \"Choice of Hercules.\" Soon afterward\nhe contended with none other than Apollo for the tripod of Delphi;\nbut reconciliation was effected between the combatants by the gods\nof Olympus, and from that day forth Apollo and Hercules remained\ntrue friends, each respecting the prowess of the other. Returning to\nThebes, the hero aided his half brother Iphicles and his reputed father\nAmphitryon in throwing off the yoke of the city of Orchomenus, and\nwas rewarded with the hand of the princess Megara. A few years later,\nwhile in the very pride of his manhood, he was driven insane by the\nimplacable Juno. In his madness he slew his children, and would have\nslain Amphitryon, also, had not Minerva knocked him over with a stone\nand plunged him into a deep sleep, from which he awoke in his right\nmind. Next, for expiation of the bloodshed, he was rendered subject\nto his cousin Eurystheus and compelled to perform his commands. This\nhumiliation, Juno, of course, had decreed.\n\n=157. His Labors.= Eurystheus enjoined upon the hero a succession\nof desperate undertakings, which are called the twelve \"Labors of\nHercules.\" The first was the combat with the lion that infested the\nvalley of Nemea, the skin of which Hercules was ordered to bring to\nMycen\u00e6. After using in vain his club and arrows against the lion,\nHercules strangled the animal with his hands and returned, carrying its\ncarcass on his shoulders; but Eurystheus, frightened at the sight and\nat this proof of the prodigious strength of the hero, ordered him to\ndeliver the account of his exploits, in future, outside the town.\n\n[Illustration: FIG. 123. HERACLES AND THE NEMEAN LION]\n\nHis second labor was the slaughter of the Hydra, a water serpent that\nravaged the country of Argos and dwelt in a swamp near the well of\nAmymone. It had nine heads, of which the middle one was immortal.\nHercules struck off the heads with his club; but in the place of each\ndispatched, two new ones appeared. At last, with the assistance of his\nfaithful nephew Iola\u00fcs, he burned away the other heads of the Hydra and\nburied the ninth, which was immortal, under a rock.\n\n[Illustration: FIG. 124. HERACLES AND THE HYDRA]\n\nHis third labor was the capture of a boar that haunted Mount Erymanthus\nin Arcadia. The adventure was, in itself, successful. But on the\nsame journey Hercules made the friendship of the centaur Pholus,\nwho, receiving him hospitably, poured out for him without stint the\nchoicest wine that the centaurs possessed. As a consequence, Hercules\nbecame involved in a broil with the other centaurs of the mountain.\nUnfortunately his friend Pholus, drawing one of the arrows of Hercules\nfrom a brother centaur, wounded himself therewith and died of the\npoison.\n\nThe fourth labor of Hercules was the capture of a wonderful stag of\ngolden antlers and brazen hoofs, that ranged the hills of Cerynea,\nbetween Arcadia and Achaia.\n\nHis fifth labor was the destruction of the Stymphalian birds, which\nwith cruel beaks and sharp talons harassed the inhabitants of the\nvalley of Stymphalus, devouring many of them.\n\nHis sixth labor was the cleaning of the Augean stables. Augeas, king\nof Elis, had a herd of three thousand oxen, whose stalls had not been\ncleansed for thirty years. Hercules, bringing the rivers Alphe\u00fcs and\nPene\u00fcs through them, purified them thoroughly in one day.\n\n[Illustration: FIG. 125. HERACLES BRINGING HOME THE BOAR]\n\nHis seventh labor was the overthrow of the Cretan bull,--an awful but\nbeautiful brute, at once a gift and a curse bestowed by Neptune upon\nMinos of Crete.[215] This monster Hercules brought to Mycen\u00e6.\n\nHis eighth labor was the removal of the horses of Diomedes, king of\nThrace. These horses subsisted on human flesh, were swift and fearful.\nDiomedes, attempting to retain them, was killed by Hercules and given\nto the horses to devour. They were then delivered to Eurystheus; but,\nescaping, they roamed the hills of Arcadia, till the wild beasts of\nApollo tore them to pieces.\n\nHis ninth labor was of a more delicate character. Admeta, the daughter\nof Eurystheus, desired the girdle of the queen of the Amazons, and\nEurystheus ordered Hercules to get it. The Amazons were a nation\ndominated by warlike women, and in their hands were many cities. It\nwas their custom to bring up only the female children, whom they\nhardened by martial discipline; the boys were either dispatched to the\nneighboring nations or put to death. Hippolyta, the queen, received\nHercules kindly and consented to yield him the girdle; but Juno, taking\nthe form of an Amazon, persuaded the people that the strangers were\ncarrying off their queen. They instantly armed and beset the ship.\nWhereupon Hercules, thinking that Hippolyta had acted treacherously,\nslew her and, taking her girdle, made sail homeward.\n\n[Illustration: FIG. 126. HERACLES WITH THE BULL]\n\nThe tenth task enjoined upon him was to capture for Eurystheus the oxen\nof Geryon, a monster with three bodies, who dwelt in the island Erythea\n(the red),--so called because it lay in the west, under the rays of the\nsetting sun. This description is thought to apply to Spain, of which\nGeryon was king. After traversing various countries, Hercules reached\nat length the frontiers of Libya and Europe, where he raised the two\nmountains of Abyla and Calpe as monuments of his progress,--the Pillars\nof Hercules; or, according to another account, rent one mountain into\ntwo and left half on each side, forming the Strait of Gibraltar.\nThe oxen were guarded by the giant Eurytion and his two-headed dog,\nbut Hercules killed the warders and conveyed the oxen in safety to\nEurystheus.\n\nOne of the most difficult labors was the eleventh,--the robbery of\nthe golden apples of the Hesperides. Hercules did not know where to\nfind them; but after various adventures, arrived at Mount Atlas in\nAfrica. Since Atlas was the father of the Hesperides, Hercules thought\nhe might through him obtain the apples. The hero, accordingly, taking\nthe burden of the heavens on his own shoulders,[216] sent Atlas to seek\nthe apples. The giant returned with them and proposed to take them\nhimself to Eurystheus. \"Even so,\" said Hercules; \"but, pray, hold this\nload for me a moment, while I procure a pad to ease my shoulders.\"\nUnsuspectingly the giant resumed the burden of the heavens. Hercules\ntook the apples.\n\n[Illustration: FIG. 127 HERACLES AND CERBERUS]\n\nHis twelfth exploit was to fetch Cerberus from the lower world. To\nthis end he descended into Hades, accompanied by Mercury and Minerva.\nThere he obtained permission from Pluto to carry Cerberus to the upper\nair, provided he could do it without the use of weapons. In spite of\nthe monster's struggling he seized him, held him fast, carried him to\nEurystheus, and afterward restored him to the lower regions. While\nin Hades, Hercules also obtained the liberty of Theseus, his admirer\nand imitator, who had been detained there for an attempt at abducting\nProserpine.[217]\n\nAfter his return from Hades to his native Thebes, he renounced his wife\nMegara, for, having slain his children by her in his fit of madness, he\nlooked upon the marriage as displeasing to the gods.\n\nTwo other exploits not recorded among the twelve labors are the\nvictories over Ant\u00e6us and Cacus. Ant\u00e6us, the son of Poseidon and G\u00e6a,\nwas a giant and wrestler whose strength was invincible so long as he\nremained in contact with his mother Earth. He compelled all strangers\nwho came to his country to wrestle with him, on condition that if\nconquered, they should suffer death.\n\nHercules encountered him and, finding that it was of no avail to throw\nhim,--for he always rose with renewed strength from every fall,--lifted\nhim up from the earth and strangled him in the air.\n\nLater writers tell of an army of Pygmies which, finding Hercules asleep\nafter his defeat of Ant\u00e6us, made preparations to attack him, as if\nthey were about to attack a city. But the hero, awakening, laughed at\nthe little warriors, wrapped some of them up in his lion's skin, and\ncarried them to Eurystheus.\n\n[Illustration: FIG. 128. HERACLES AND ANT\u00c6US]\n\nCacus was a giant who inhabited a cave on Mount Aventine and plundered\nthe surrounding country. When Hercules was driving home the oxen of\nGeryon, Cacus stole part of the cattle while the hero slept. That their\nfootprints might not indicate where they had been driven, he dragged\nthem backward by their tails to his cave. Hercules was deceived by the\nstratagem and would have failed to find his oxen, had it not happened\nthat while he was driving the remainder of the herd past the cave\nwhere the stolen ones were concealed, those within, beginning to low,\ndiscovered themselves to him. Hercules promptly dispatched the thief.\n\nThrough most of these expeditions Hercules was attended by Iola\u00fcs, his\ndevoted friend, the son of his half brother Iphicles.\n\n=158. His Later Exploits.= On the later exploits of the hero we can\ndwell but briefly. Having, in a fit of madness, killed his friend\nIphitus, he was condemned for the offense to spend three years as the\nslave of Queen Omphale. He lived effeminately, wearing at times the\ndress of a woman and spinning wool with the handmaidens of Omphale,\nwhile the queen wore his lion's skin. But during this period he\ncontrived to engage in about as many adventures as would fill the life\nof an ordinary hero. He rescued Daphnis from Lityerses and threw the\nbloodthirsty king[218] into the river M\u00e6ander; he discovered the body\nof Icarus[219] and buried it; he joined the company of Argonauts,\nwho were on their way to Colchis to secure the golden fleece, and he\ncaptured the thievish gnomes, called Cercopes. Two of these grotesque\nrascals had made off with the weapons of Hercules while he was\nsleeping. When he had caught them he strapped them, knees upward,\nto a yoke and so bore them away. Their drollery, however, regained\nthem their liberty. It is said that some of them having once deceived\nJupiter were changed to apes.\n\n=159. The Loss of Hylas.=[220] In the Argonautic adventure Hercules was\nattended by a lad, Hylas, whom he tenderly loved and on whose account\nhe deserted the expedition in Mysia; for Hylas had been stolen by the\nNaiads.\n\n ... Never was Heracles apart from Hylas, not when midnoon was\n high in heaven, not when Dawn with her white horses speeds\n upwards to the dwelling of Zeus, not when the twittering\n nestlings look towards the perch, while their mother flaps her\n wings above the smoke-browned beam; and all this that the lad\n might be fashioned to his mind, and might drive a straight\n furrow, and come to the true measure of man....\n\n And Hylas of the yellow hair, with a vessel of bronze in his\n hand, went to draw water against supper-time for Heracles himself\n and the steadfast Telamon, for these comrades twain supped ever\n at one table. Soon was he ware of a spring in a hollow land,\n and the rushes grew thickly round it, and dark swallowwort,\n and green maidenhair, and blooming parsley, and deer grass\n spreading through the marshy land. In the midst of the water\n the nymphs were arranging their dances,--the sleepless nymphs,\n dread goddesses of the country people, Eunice, and Malis, and\n Nycheia, with her April eyes. And now the boy was holding out\n the wide-mouthed pitcher to the water, intent on dipping it; but\n the nymphs all clung to his hand, for love of the Argive lad had\n fluttered the soft hearts of all of them. Then down he sank into\n the black water, headlong all, as when a star shoots flaming from\n the sky, plumb in the deep it falls; and a mate shouts out to the\n seamen, \"Up with the gear, my lads, the wind is fair for sailing.\"\n\n Then the nymphs held the weeping boy on their laps, and with\n gentle words were striving to comfort him. But the son of\n Amphitryon was troubled about the lad, and went forth, carrying\n his bended bow in Scythian fashion, and the club that is ever\n grasped in his right hand. Thrice he shouted, \"Hylas!\" as loud as\n his deep throat could call, and thrice again the boy heard him,\n and thrice came his voice from the water, and, hard by though\n he was, he seemed very far away. And as when a bearded lion, a\n ravening lion on the hills, hears the bleating of a fawn afar off\n and rushes forth from his lair to seize it, his readiest meal,\n even so the mighty Heracles, in longing for the lad, sped through\n the trackless briars and ranged over much country.\n\n Reckless are lovers: great toils did Heracles bear, in hills\n and thickets wandering; and Jason's quest was all postponed to\n this....\n\n Thus loveliest Hylas is numbered with the Blessed; but for a\n runaway they girded at Heracles--the heroes--because he roamed\n from Argo of the sixty oarsmen. But on foot he came to Colchis\n and inhospitable Phasis.\n\n=160. The Rescue of Daphnis.=[221] Daphnis was the ideal Sicilian\nshepherd and to him was ascribed the invention of pastoral story and\nsong. His father was Hermes (Mercury); his mother, a nymph who laid\nhim when an infant in a charming valley in a laurel grove from which\nhe received his name,[222] and on account of which Apollo loved him\nand endowed him with the gift of idyllic verse. He was brought up by\nnymphs and shepherds, and, avoiding the noisy haunts of men, he tended\nhis flocks on Mount \u00c6tna, winter and summer. He loved a maiden named\nPiplea, but she was borne away by robbers. He followed them to Phrygia,\nand there found his sweetheart in the power of the king of that realm,\nLityerses. This Lityerses had a pleasant custom of making strangers try\na contest with him in reaping corn. If he overcame them, he cut off\ntheir heads in the evening and concealed their bodies in the sheaves,\nsinging a comfortable song meanwhile. In order to win back Piplea,\nDaphnis entered upon the reaping contest with the king and made himself\ncomfortable, too, by singing a harvest song meanwhile. But Lityerses\nsurpassed him at the work and was about to put him to death, singing\nno doubt a comfortable song of the reaper, Death, meanwhile,--when\nsuddenly Hercules appeared upon the scene. He doesn't seem to have\nspent much time singing: he assured Daphnis of his head by cutting\noff that of the pleasant king; and then he threw the body into the\nriver M\u00e6ander. Daphnis regained his Piplea and one would suppose that\nthey lived happy ever after. Another story, unfortunately, relates\nevents in which Piplea's name does not occur. A Naiad fell in love with\nthe handsome shepherd and made him promise eternal fidelity to her,\nthreatening him with blindness if he violated his vow. It was hard for\npoor Daphnis, for nearly every lass he met made love to him. At last a\nprincess intoxicated him and he forgot his vow. Immediately the Naiad\nshowed the quality of her love by striking him blind. He consoled\nhimself for a while by singing his songs and playing the flute as he\nwandered from place to place. Then weary, he called on his father for\naid. Mercury accordingly transported him to heaven and caused a well\nto gush forth on the spot from which he ascended. Here the Sicilians\noffered yearly sacrifice in his honor.\n\nTheocritus gives us a Lityerses song as he undoubtedly used to hear it\nsung by the harvesters of the country-side in Sicily:[223]\n\n Demeter, rich in fruit and rich in grain, may this corn be easy\n to win and fruitful exceedingly!\n Bind, ye binders, the sheaves, lest the wayfarer should cry, \"Men\n of straw were the workers here; aye, and their hire was wasted!\"\n See that the cut stubble faces the North wind, or the West;--'tis\n thus that the grain waxes richest.\n They that thresh corn should shun the noonday sleep; at noon the\n chaff parts easiest from the straw.\n As for the reapers, let them begin when the crested lark is\n waking, and cease when he sleeps, but take holiday in the heat.\n Lads, the frog has a jolly life: he is not cumbered about a\n butler to his drink; for he has liquor by him unstinted!\n Boil the lentils better, thou miserly steward; take heed lest\n thou chop thy fingers, when thou'rt splitting cummin seed.\n\nWhen Matthew Arnold is writing of the death of his dear friend, the\npoet, Arthur Hugh Clough, who died in Italy,[224] he says:\n\n And now in happier air,\n Wandering with the great Mother's train divine....\n Within a folding of the Apennine,\n\n Thou hearest the immortal chants of old!\n Putting his sickle to the perilous grain\n In the hot cornfield of the Phrygian king,\n For thee the Lityerses song again\n Young Daphnis with his silver voice doth sing;\n Sings his Sicilian fold,\n His sheep, his hapless love, his blinded eyes:--\n And how a call celestial round him rang,\n And heavenward from the fountain-brink he sprang,--\n And all the marvel of the golden skies!\n\n=161. The Expedition against Laomedon.= After his servitude under\nOmphale was ended, Hercules sailed with eighteen ships against Troy.\nFor Laomedon, king of that realm, had refused to give Hercules the\nhorses of Neptune, which he had promised in gratitude for the rescue of\nhis daughter Hesione from the sea-monster.[225] The hero, overcoming\nTroy, placed a son of Laomedon, Priam, upon the throne, and gave\nHesione to Telamon, who, with Peleus, O\u00efcles, and other Greek heroes,\nhad accompanied him. Also worthy of mention among the exploits of\nHercules were his successful expeditions against Pylos and Sparta,\nhis victory over the giants, his struggle with Death for the body\nand life of Alcestis,[226] and his delivery, according to prophecy,\nof Prometheus, who until that time had remained in chains upon the\nCaucasian Mountains.[227]\n\n=162. The Death of Hercules.= Finally, the hero married Dejanira,\ndaughter of [OE]neus of Calydon and sister of Meleager of the\nCalydonian hunt. With her he lived three prosperous years. But on one\noccasion, as they journeyed together, they came to a river across\nwhich the centaur Nessus carried travelers for a stated fee. Hercules\nproceeded to ford the river and gave Dejanira to Nessus to be carried\nacross. Nessus, however, attempted to make off with her; whereupon\nHercules, hearing her cries, shot an arrow into his heart. The centaur,\nas he died, bade Dejanira take a portion of his blood and keep it,\nsaying that it might be used as a charm to preserve the love of her\nhusband. Dejanira did so. Before long, jealous of Hercules' fondness\nfor Iole of [OE]chalia, a captive maiden, she steeped a sacrificial\nrobe of her husband's in the blood of Nessus. As soon as the garment\nbecame warm on the body of Hercules, the poison penetrated his limbs.\nIn his frenzy he seized Lichas, who had brought him the fatal robe,\nand hurled him into the sea; then tried to wrench off the garment, but\nit stuck to his flesh and tore away whole pieces of his body.\n\n[Illustration: FIG. 129. HERCULES AND NESSUS]\n\n Alcides, from [OE]chalia crowned\n With conquest, felt the envenomed robe, and tore,\n Through pain, up by the roots Thessalian pines,\n And Lichas from the top of [OE]ta threw\n Into the Euboic Sea.[228]\n\n[Illustration: THE WEDDING OF HERCULES AND HEBE]\n\nIn this state he embarked on board a ship and was conveyed home.\nDejanira, on seeing what she had unwittingly done, hanged herself.\nHercules, prepared to die, ascended Mount [OE]ta, where he built a\nfuneral pile of trees, gave his bow and arrows to Philoctetes,[229] and\nlaid himself upon the pile, his head resting on his club and his lion's\nskin spread over him. With a countenance as serene as if he were taking\nhis place at a festal board, he commanded Philoctetes to apply the\ntorch. The flames spread apace, and soon invested the whole mass.[230]\n\nThe gods themselves grieved to see the champion of the earth so brought\nto his end. But Jupiter took care that only his mother's part in him\nshould perish by the flames. The immortal element, derived from Jupiter\nhimself, was translated to heaven; and by the consent of the gods--even\nof reluctant Juno--Hercules was admitted as a deity to the ranks of the\nimmortals. The white-armed queen of heaven was finally reconciled to\nthe offspring of Alcmene. She adopted him for her son and gave him in\nmarriage her daughter Hebe.\n\n Deep degraded to a coward's slave,\n Endless contests bore Alcides brave,\n Through the thorny path of suffering led;\n Slew the Hydra, crushed the lion's might,\n Threw himself, to bring his friend to light,\n Living, in the skiff that bears the dead.\n All the torments, every toil of earth,\n Juno's hatred on him could impose,\n Well he bore them, from his fated birth\n To life's grandly mournful close.\n\n Till the god, the earthly part forsaken,\n From the man in flames asunder taken,\n Drank the heavenly ether's purer breath.\n Joyous in the new unwonted lightness,\n Soared he upwards to celestial brightness,\n Earth's dark heavy burden lost in death.\n High Olympus gives harmonious greeting\n To the hall where reigns his sire adored;\n Youth's bright goddess, with a blush at meeting,\n Gives the nectar to her lord.[231]\n\nIn the tragedy called The Maidens of Trachis, Sophocles describes this\nhero as \"The noblest man of all the earth, of whom thou ne'er shalt\nsee the like again.\" To some of us the manner of his earthly end may\nseem unworthy; but the Greek poets teach that, in the unabated vigor of\none's powers, serenely to meet and accept one's doom is the happiest\ndeath. This view is well expressed by Matthew Arnold in the following\nfragment of a Greek chorus sung with reference to the death of Hercules:\n\n O frivolous mind of man,\n Light ignorance, and hurrying, unsure thoughts!\n Though man bewails you not,\n How _I_ bewail you!...\n\n For you will not put on\n New hearts with the inquirer's holy robe,\n And purged, considerate minds.\n\n And him on whom, at the end\n Of toil and dolor untold,\n The Gods have said that repose\n At last shall descend undisturb'd--\n Him you expect to behold\n In an easy old age, in a happy home;\n No end but this you praise.\n\n But him, on whom, in the prime\n Of life, with vigor undimm'd,\n With unspent mind, and a soul\n Unworn, undebased, undecay'd,\n Mournfully grating, the gates\n Of the city of death have forever closed--\n _Him_, I count _him_, well-starr'd.[232]\n\nHere we take leave for a time of the descendants of Inachus. We shall\nrevert to them in the stories of Minos of Crete and of the house of\nLabdacus.\n\nFOOTNOTES:\n\n[199] \u00a7 21, and Commentary, \u00a7 57.\n\n[200] For references to genealogical tables, see Commentary, \u00a7 148.\n\n[201] Apollodorus, 2, 1, \u00a7 5, etc.; Pausanias; Ovid, Heroides, 14;\nHorace, Odes, 3; 11; 23.\n\n[202] Simonides of Ceos, also Apollodorus, Pausanias, and Hyginus\n(Fables).\n\n[203] Ovid, Metam. 4, 608-739; 5, 1-249.\n\n[204] For Gorgons and Gr\u00e6\u00e6, see \u00a7 52.\n\n[205] William Morris, The Doom of King Acrisius, in The Earthly\nParadise.\n\n[206] William Morris, The Doom of King Acrisius, in The Earthly\nParadise.\n\n[207] From Shelley's lines On the Medusa of Leonardo Da Vinci in the\nFlorentine Gallery.\n\n[208] Milton, Il Penseroso, l. 19.\n\n[209] From Charles Kingsley's Andromeda.\n\n[210] Milman, Samor.\n\n[211] Milton, Comus.\n\n[212] Iliad, 6, 155-202; Apollodorus, 1, 9, \u00a7 3; Horace, Odes, 4; 11;\n26.\n\n[213] See Commentary, \u00a7\u00a7 103, 155.\n\n[214] Authorities are Homer,--Iliad and Odyssey; Theocritus 24; 25,\netc.; Apollodorus, 2, 4, \u00a7 7, etc.; Sophocles, Women of Trachis;\nEuripides, Hercules Furens; Ovid, Metam. 9, 102-272; Seneca,--Hercules\nFurens and [OE]t\u00e6us; Hyginus, etc.\n\n[215] \u00a7 172.\n\n[216] Atlas and the heavens, \u00a7 153.\n\n[217] \u00a7 180.\n\n[218] \u00a7 160.\n\n[219] \u00a7 173.\n\n[220] Theocritus. Idyl XIII (Lang's translation).\n\n[221] Theocritus, Idyl X, 41, and the Scholia; Virgil, Bucol. 5; 8; 10;\nand Comments.\n\n[222] See the story of Daphne.\n\n[223] Theocritus, Idyl X (Lang's translation).\n\n[224] Thyrsis.\n\n[225] \u00a7 119.\n\n[226] \u00a7 83.\n\n[227] \u00a7 15.\n\n[228] Milton.\n\n[229] See \u00a7 220. According to Sophocles, Philoctetes' father P[oe]as\napplied the torch.\n\n[230] See the spirited poems, De\u00efaneira and Herakles, in the classical,\nbut too little read, Epic of Hades, by Lewis Morris.\n\n[231] Schiller's Ideal and Life. Translated by S. G. Bulfinch, brother\nof Thomas Bulfinch.\n\n[232] From Fragment of Chorus of a \"Dejaneira.\"\n\n[Illustration: FIG. 130. THE BUILDING OF THE ARGO]\n\n\n\n\nCHAPTER XV\n\nTHE FAMILY OF \u00c6OLUS\n\n\n=163. Descendants of Deucalion.= Athamas, brother of Sisyphus, was\ndescended from \u00c6olus, whose father, Hellen, was the son of Deucalion\nof Thessaly. Athamas had by his wife Nephele two children, Phrixus and\nHelle. After a time, growing indifferent to his wife, Athamas put her\naway and took Ino, the daughter of Cadmus. The unfortunate sequel of\nthis second marriage we have already seen.[233]\n\nNephele, apprehending danger to her children from the influence of\ntheir stepmother, took measures to put them out of her reach. Mercury\ngave her a ram with a golden fleece, on which she set the two children.\nVaulting into the air, the animal took his course to the east; but\nwhen he was crossing the strait that divides Europe and Asia, the girl\nHelle fell from his back into the sea, which from her was afterward\ncalled the Hellespont--now the Dardanelles. The ram safely landed the\nboy Phrixus in Colchis, where he was hospitably received by \u00c6etes, the\nking of that country. Phrixus sacrificed the ram to Jupiter, but the\nfleece he gave to \u00c6etes, who placed it in a consecrated grove under the\ncare of a sleepless dragon.[234]\n\n=164. The Quest of the Golden Fleece.=[235] Another realm in Thessaly,\nnear to that of Athamas, was ruled over by his nephew \u00c6son. \u00c6son,\nalthough he had a son Jason, surrendered the crown to a half brother,\nPelias,[236] on condition that he should hold it only during the\nminority of the lad. This young Jason was, by the way, a second cousin\nof Bellerophon and of the Atalanta who ran against Hippomenes, and a\nfirst cousin of Admetus, the husband of Alcestis.[237] When, however,\nJason, being grown up, came to demand the crown, his uncle Pelias\nwith wily intent suggested to him the glorious quest of the golden\nfleece. Jason, pleased with the thought, forthwith made preparations\nfor the expedition. At that time the only species of navigation known\nto the Greeks consisted of small boats or canoes hollowed out from\ntrunks of trees; when, accordingly, Jason employed Argus to build a\nvessel capable of containing fifty men, it was considered a gigantic\nundertaking. The vessel was named _Argo_, probably after its builder.\nJason soon found himself at the head of a bold band of comrades, many\nof whom afterward were renowned among the heroes and demigods of Greece.\n\n From every region of \u00c6gea's shore\n The brave assembled; those illustrious twins\n Castor and Pollux; Orpheus, tuneful bard;\n Zetes and Cala\u00efs, as the wind in speed;\n Strong Hercules and many a chief renowned.\n On deep Iolcos' sandy shore they thronged,\n Gleaming in armor, ardent of exploits,--\n And soon, the laurel cord and the huge stone\n Uplifting to the deck, unmoored the bark;\n Whose keel of wondrous length the skillful hand\n Of Argus fashioned for the proud attempt;\n And in the extended keel a lofty mast\n Upraised, and sails full swelling; to the chiefs\n Unwonted objects. Now first, now they learned\n Their bolder steerage over ocean wave,\n Led by the golden stars, as Chiron's art\n Had marked the sphere celestial.[238]\n\nTheseus, Meleager, Peleus, and Nestor were also among these Argonauts,\nor sailors of the _Argo_. The ship with her crew of heroes left\nthe shores of Thessaly, and touching at the island of Lemnos,\nthence crossed to Mysia and thence to Thrace. Here they found the\nsage Phineus, who instructed the Argonauts how they might pass the\nSymplegades, or Clashing Islands, at the entrance of the Euxine Sea.\nWhen they reached these islands they, accordingly, let go a dove, which\ntook her way between the rocks and passed in safety, only losing some\nfeathers of her tail. Jason and his men, seizing the favorable moment\nof the rebound, plied their oars with vigor and passed safe through,\nthough the islands closed behind them and actually grazed the stern of\nthe vessel. They then rowed along the shore till they arrived at the\neastern end of the sea, and so landed in the kingdom of Colchis.\n\n[Illustration: FIG. 131. JASON CONQUERS THE BULLS AND STEALS THE FLEECE]\n\nJason made known his message to the Colchian king, \u00c6etes, who consented\nto give up the golden fleece on certain conditions, namely, that Jason\nshould yoke to the plow two fire-breathing bulls with brazen feet,\nand that he then should sow the teeth of the dragon that Cadmus had\nslain. Jason, although it was well known that a crop of armed men\nwould spring up from the teeth, destined to turn their weapons against\ntheir producer, accepted the conditions, and a time was set for the\nundertaking. The hero, however, wisely spent the interval in wooing\nMedea, the daughter of \u00c6etes; and with such success that they plighted\ntroth before the altar of Hecate. The princess then furnished her hero\nwith a charm which should aid him in the contest to come.\n\nAccordingly, when the momentous day was arrived, Jason with calmness\nencountered the fire-breathing monsters and speedily yoked them to the\nplow. The Colchians stood in amazement; the Greeks shouted for joy.\nNext, the hero proceeded to sow the dragon's teeth and plow them in.\nUp sprang, according to prediction, the crop of armed men, brandished\naloft their weapons, and rushed upon Jason. The Greeks trembled for\ntheir hero. Medea herself grew pale with fear. The hero himself for a\ntime, with sword and shield, kept his assailants at bay; but he surely\nwould have been overwhelmed by the numbers, had he not resorted to\na charm which Medea had taught him: seizing a stone, he threw it in\nthe midst of his foes. Immediately they turned their arms against one\nanother, and soon there was not one of the dragon's brood alive.\n\nIt remained only to lull to sleep the dragon that guarded the fleece.\nThis was done by scattering over him a few drops of a preparation\nwhich, again, Medea had supplied. Jason then seized the fleece, and,\nwith his friends and his sweetheart accompanying, hastened to the\nvessel. It is said that, in order to delay the pursuit of her father\n\u00c6etes, Medea tore to pieces her young brother Absyrtus and strewed\nfragments of him along the line of their flight. The ruse succeeded.\n\n=165. The Return of the Argonauts.= On their way home the Argonauts\nbeat a devious course, sailing after other dangers had been overcome,\nby the island that the Sirens infested. And here the heroes would\nhave hung their halsers and remained, had not Orpheus vanquished the\nseductive strains of the sea-muses with his own more melodious and\npersuasive song.[239]\n\n Oh, happy seafarers are ye\n And surely all your ills are past,\n And toil upon the land and sea,\n Since ye are brought to us at last;\n\nchanted the Sirens, promising long rest and the kingdoms of sleep.\n\n But now, but now, when ye have lain\n Asleep with us a little while\n Beneath the washing of the main,\n How calm shall be your waking smile!\n\nThen Orpheus replied, encouraging his men:\n\n A little more, a little more,\n O carriers of the Golden Fleece!\n A little labor with the oar,\n Before we reach the land of Greece.\n\n E'en now, perchance, faint rumors reach\n Men's ears of this our victory,\n And draw them down upon the beach\n To gaze across the empty sea.\n\nAgain the Sirens:\n\n Alas! and will ye stop your ears,\n In vain desire to do aught,\n And wish to live 'mid cares and fears,\n Until the last fear makes you nought?\n\nBut Orpheus, reminding the rowers of home and love and joy:\n\n Is not the May-time now on earth,\n When close against the city wall\n The folks are singing in their mirth,\n While on their heads the May flowers fall?\n\ncarried them past triumphant.\n\nThe Argonauts arrived safe in Thessaly. Jason delivered the fleece to\nPelias, and dedicated the _Argo_ to Neptune.\n\n=166. Medea and \u00c6son.=[240] Medea's career as a sorceress was, by no\nmeans, completed. At Jason's request she undertook next to restore his\naged father \u00c6son to the vigor of youth. To the full moon she addressed\nher incantations, to the stars, to Hecate, to Tellus, the goddess of\nthe earth. In a chariot borne aloft by dragons she traversed the fields\nof air to regions where flourished potent plants, which only she knew\nhow to select. Nine nights she employed in her search, and during that\nperiod shunned all intercourse with mortals.\n\n[Illustration: FIG. 132. MEDEA]\n\nNext she erected two altars, the one to Hecate, the other to Hebe,\nand sacrificed a black sheep,--pouring libations of milk and wine.\nShe implored Pluto and his stolen bride to spare the old man's life.\nThen she directed that \u00c6son be led forth; and throwing him into a deep\nsleep, she laid him on a bed of herbs, like one dead. No eye profane\nlooked upon her mysteries. With streaming hair thrice she moved round\nthe altars, dipped flaming twigs in the blood, and laid them thereon\nto burn. Meanwhile, the caldron with its contents was preparing. In\nit she put magic herbs, with seeds and flowers of acrid juice, stones\nfrom the distant East, and sand from the shore of all-surrounding\nocean, hoar-frost gathered by moonlight, a screech owl's head and\nwings, and the entrails of a wolf. She added fragments of the shells\nof tortoises and the liver of stags--animals tenacious of life--and\nthe head and beak of a crow, which outlives nine generations of men.\nThese, with many other things \"without a name,\" she boiled together for\nher purposed work, stirring them with a dry olive branch. The branch,\nwhen taken out, instantly was green and erelong was covered with leaves\nand a plentiful growth of young olives; and as the liquor boiled and\nbubbled and sometimes bubbled over, the grass wherever the sprinklings\nfell leaped into verdure like that of spring.\n\nSeeing that all was ready, Medea cut the throat of the old man, let\nout his blood, and poured into his mouth and his wound the juices of\nher caldron. As soon as he had completely imbibed them, his hair and\nbeard lost their whiteness and assumed the color of youth; his paleness\nand emaciation were gone; his veins were full of blood, his limbs of\nvigor and robustness; and \u00c6son, on awakening, found himself forty years\nyounger.\n\n[Illustration: FIG. 133. MEDEA AND DAUGHTERS OF PELIAS]\n\n=167. Pelias.=[241] In another instance, Medea made her arts the\ninstrument of revenge. Pelias, the usurping uncle of Jason, still kept\nhim out of his heritage. But the daughters of Pelias wished Medea\nto restore their father also to youth. Medea simulated consent, but\nprepared her caldron for him in a new and singular way. She put in only\nwater and a few simple herbs. In the night she persuaded the daughters\nof Pelias to kill him. They at first hesitated to strike, but Medea\nchiding their irresolution, they turned away their faces and, giving\nrandom blows, smote him with their weapons. Starting from his sleep,\nthe old man cried out, \"My daughters, would you kill your father?\"\nWhereat their hearts failed them, and the weapons fell from their\nhands. Medea, however, struck the fatal blow.\n\nThey placed him in the caldron, but, as might be expected, with no\nsuccess. Medea herself had taken care to escape before they discovered\nthe treachery. She had, however, little profit of the fruits of her\ncrime. Jason, for whom she had sacrificed so much, put her away, for he\nwished to marry Cre\u00fcsa, princess of Corinth. Whereupon Medea, enraged\nat his ingratitude, called on the gods for vengeance; then, sending a\npoisoned robe as a gift to the bride, killing her own children, and\nsetting fire to the palace, she mounted her serpent-drawn chariot and\nfled to Athens. There she married King \u00c6geus, the father of Theseus;\nand we shall meet her again when we come to the adventures of that\nhero.[242]\n\nThe incantation of Medea readily suggests that of the witches in\nMacbeth:\n\n Round about the caldron go;\n In the poison'd entrails throw.--\n Toad, that under cold stone\n Days and nights has thirty-one\n Swelter'd venom sleeping got,\n Boil thou first i' the charm\u00e8d pot....\n Fillet of a fenny snake\n In the caldron boil and bake;\n Eye of newt and toe of frog,\n Wool of bat and tongue of dog,\n Adder's fork and blind-worm's sting,\n Lizard's leg and howlet's wing,--\n For a charm of powerful trouble\n Like a hell-broth boil and bubble....\n Scale of dragon, tooth of wolf,\n Witches' mummy, maw and gulf\n Of the ravin'd salt-sea shark,\n Root of hemlock digged i' the dark....\n Make the gruel thick and slab.[243]\n\nFOOTNOTES:\n\n[233] \u00a7 144.\n\n[234] Apollodorus, 1, 9, \u00a7 1; Apollonius Rhodius, 1, 927.\n\n[235] Ovid, Metam. 6, 667; 7, 143. The Argonautica of Apollonius of\nRhodes.\n\n[236] See \u00a7 120.\n\n[237] See Table G, Commentary, \u00a7 103.\n\n[238] Dyer, The Fleece.\n\n[239] William Morris, Life and Death of Jason.\n\n[240] Ovid, Metam. 7, 143-293.\n\n[241] Ovid, Metam. 7, 297-353.\n\n[242] \u00a7 176.\n\n[243] Macbeth, IV, i. Consult.\n\n\n\n\nCHAPTER XVI\n\nTHE FAMILY OF \u00c6TOLUS AND ITS CONNECTIONS\n\n\n=168. The Calydonian Hunt.=[244] One of the heroes of the Argonautic\nexpedition had been Meleager, a son of [OE]neus and Alth\u00e6a, rulers\nof Calydon in \u00c6tolia. His parents were cousins, descended from a son\nof Endymion named \u00c6tolus, who had colonized that realm. By ties of\nkinship and marriage they were allied with many historic figures. Their\ndaughter Dejanira had become, as we have already noted, the wife of\nHercules; while Leda, the sister of Alth\u00e6a, was mother of Castor and\nPollux,[245] and of Clytemnestra and Helen, intimately concerned in the\nTrojan War.\n\nWhen her son Meleager was born, Alth\u00e6a had beheld the three Destinies,\nwho, as they spun their fatal thread, foretold that the life of the\nchild should last no longer than a certain brand then burning upon the\nhearth. Alth\u00e6a seized and quenched the brand, and carefully preserved\nit while Meleager grew to boyhood, youth, and man's estate. It chanced,\nthen, that [OE]neus, offering sacrifices to the gods, omitted to pay\ndue honors to Diana; wherefore she, indignant at the neglect, sent a\nboar of enormous size to lay waste the fields of Calydon. Meleager\ncalled on the heroes of Greece to join in a hunt for the ravenous\nmonster. Theseus and his friend Piritho\u00fcs,[246] Jason, Peleus the\nfather of Achilles, Telamon the father of Ajax, Nestor, then a youth,\nbut who in his age bore arms with Achilles and Ajax in the Trojan\nWar,[247]--these and many more joined in the enterprise. With them\ncame, also, Atalanta, the daughter of Iasius, of the race of Callisto,--\n\n Arcadian Atalanta, snowy-souled,\n Fair as the snow and footed as the wind.[248]\n\nA buckle of polished gold confined her vest, an ivory quiver hung on\nher left shoulder, and her left hand bore the bow. Her face blended\nfeminine beauty with the graces of martial youth. Meleager saw and,\nwith chivalric reverence, somewhat thus addressed her:\n\n For thy name's sake and awe toward thy chaste head,\n O holiest Atalanta! no man dares\n Praise thee, though fairer than whom all men praise,\n And godlike for thy grace of hallowed hair\n And holy habit of thine eyes, and feet\n That make the blown foam neither swift nor white,\n Though the wind winnow and whirl it; yet we praise\n Gods, found because of thee adorable\n And for thy sake praiseworthiest from all men:\n Thee therefore we praise also, thee as these,\n Pure, and a light lit at the hands of gods.[249]\n\n[Illustration: FIG. 134. MELEAGER ON THE BOAR HUNT]\n\nBut there was no time then for love; on to the hunt they pushed. To\nthe hunt went also Plexippus and Toxeus, brothers of Queen Alth\u00e6a,\nbraggarts, envious of Meleager. Speedily the hunters drew near the\nmonster's lair. They stretched strong nets from tree to tree; they\nuncoupled their dogs; they sought the footprints of their quarry in the\ngrass. From the wood was a descent to marshy ground. Here the boar, as\nhe lay among the reeds, heard the shouts of his pursuers and rushed\nforth against them. One and another is thrown down and slain. Jason,\nNestor, Telamon open the attack, but in vain.\n\n ... Then all abode save one,\n The Arcadian Atalanta: from her side\n Sprang her hounds, laboring at the leash, and slipped,\n And plashed ear-deep with plunging feet; but she\n Saying, \"Speed it as I send it for thy sake,\n Goddess,\" drew bow and loosed; the sudden string\n Rang, and sprang inward, and the waterish air\n Hissed, and the moist plumes of the songless reeds\n Moved as a wave which the wind moves no more.\n But the boar heaved half out of ooze and slime,\n His tense flank trembling round the barb\u00e8d wound,\n Hateful; and fiery with invasive eyes,\n And bristling with intolerable hair,\n Plunged, and the hounds clung, and green flowers and white\n Reddened and broke all round them where they came.[1]\n\nIt was a slight wound, but Meleager saw and joyfully proclaimed it. The\nattack was renewed. Peleus, Amphiara\u00fcs, Theseus, Jason, hurled their\nlances. Anc\u00e6us was laid low by a mortal wound. But Meleager,--\n\n Rock-rooted, fair with fierce and fastened lips,\n Clear eyes and springing muscle and shortening limb--\n With chin aslant indrawn to a tightening throat,\n Grave, and with gathered sinews, like a god,--\n Aimed on the left side his well-handled spear,\n Grasped where the ash was knottiest hewn, and smote,\n And with no missile wound, the monstrous boar\n Right in the hairiest hollow of his hide,\n Under the last rib, sheer through bulk and bone,\n Deep in; and deeply smitten, and to death,\n The heavy horror with his hanging shafts\n Leapt, and fell furiously, and from raging lips\n Foamed out the latest wrath of all his life.[250]\n\nThen rose a shout from those around; they glorified the\nconqueror,--crowded to touch his hand. But he, placing his foot upon\nthe head of the slain boar, turned to Atalanta, and bestowed on her\nthe head and the rough hide--trophies of his success. Thereat she\nlaughed--\n\n Lit with a low blush to the braided hair,\n And rose-colored and cold like very dawn,\n Golden and godlike, chastely with chaste lips,\n A faint grave laugh; and all they held their peace,\n And she passed by them. Then one cried, \"Lo now,\n Shall not the Arcadian shoot out lips at us,\n Saying all we were despoiled by this one girl?\"\n And all they rode against her violently\n And cast the fresh crown from her hair, and now\n They had rent her spoil away, dishonoring her,\n Save that Meleager, as a tame lion chafed,\n Bore on them, broke them, and as fire cleaves wood,\n So clove and drove them, smitten in twain; but she\n Smote not nor heaved up hand; and this man first,\n Plexippus, crying out, \"This for love's sake, Sweet,\"\n Drove at Meleager, who with spear straightening\n Pierced his cheek through; then Toxeus made for him,\n Dumb, but his spear shake; vain and violent words,\n Fruitless; for him, too, stricken through both sides\n The earth felt falling....\n ... And these being slain,\n None moved, nor spake.[251]\n\nOf this fearful sequel to the hunt, Alth\u00e6a has heard nothing. As she\nbears thank offering to the temples for the victory of her son, the\nbodies of her murdered brothers meet her sight. She shrieks, and beats\nher breast, and hastens to change the garments of joy for those of\nmourning. But when the author of the deed is known, grief gives way\nto the stern desire of vengeance on her son. The fatal brand, which\nthe Destinies have linked with Meleager's life, she brings forth. She\ncommands a fire to be prepared. Four times she essays to place the\nbrand upon the pile; four times draws back, shuddering before the\ndestruction of her son. The feelings of the mother and the sister\ncontend within her. Now she is pale at the thought of the purposed\ndeed, now flushed again with anger at the violence of her offspring.\nFinally, the sister prevails over the mother:--turning away her face,\nshe throws the fatal wood upon the burning pile. Meleager, absent and\nunconscious of the cause, feels a sudden pang. He burns; he calls upon\nthose whom he loves, Atalanta and his mother. But speedily the brand\nis ashes, and the life of Meleager is breathed forth to the wandering\nwinds.\n\nWhen at last the deed was done, the mother laid violent hands upon\nherself.\n\n[Illustration: FIG. 135. THE DEATH OF MELEAGER]\n\n=169. Merope.= A heroine connected by blood with Atalanta was\nMerope,[252] daughter of king Cypselus of Arcadia, and descended from\nArcas, the son of Callisto and Jupiter. On account of her relationship\nto Atalanta her story may be told here, though she is not a member of\nthe family of \u00c6tolus. Her husband, Cresphontes the Heraclid, king of\nMessenia, had been slain with two of his sons by rebellious nobles;\nand one Polyphontes, leader of the revolt, reigned in his stead and\ntook Merope to wife. But her third son by Cresphontes, \u00c6pytus, had been\nconcealed by her in Arcadia. Thence, in due season, he returned unknown\nto her, with the purpose of wreaking vengeance on the murderers of his\nsire. He pretended to have slain \u00c6pytus, and so as a stranger won the\nfavor of Polyphontes, but came near losing his life at his mother's\nhands. A recognition being happily effected, \u00c6pytus, aided by his\nmother, put Polyphontes to death and took possession of the kingdom.\nThis story has been frequently dramatized, first by Euripides in a\nlost play called Cresphontes, and most recently by Matthew Arnold,\nwhose Merope is a masterpiece of classical invention and of poetic\nexecution.\n\n=170. Castor and Pollux.= Leda, the sister of Alth\u00e6a and aunt of\nMeleager, bore to Tyndareus, king of Sparta, Castor and Clytemnestra.\nTo Jove she bore Pollux and Helen. Pollux and Castor--one, the son\nof a god and immortal, the other, of mortal breed and destiny--are\nfamous for their fraternal affection. Endowed with various manly\nvirtues,--Castor a horse-tamer, Pollux a boxer,--they made all\nexpeditions in common. Together they joined the Calydonian hunt.\nTogether they accompanied the Argonauts. During the voyage to Colchis\nit is said that, a storm arising, Orpheus prayed to the Samothracian\ngods and played on his harp, and that when the storm ceased, stars\nappeared on the heads of the brothers. Hence they came to be honored as\npatrons of voyagers.\n\nThey rendered, indeed, noteworthy service to the Argonauts returning\nfrom Colchis with Medea and the Golden Fleece. For when the voyagers\nattempted a landing at Crete they were confronted by the gigantic\nwarder of the island. This was Talus, a form of living brass, fashioned\nby Heph\u00e6stus (Vulcan) and presented to King Minos, about whose Cretan\ndomain he made his rounds three times a day. Ordinarily when Talus saw\nvoyagers nearing the coast he fired himself red-hot and embraced them\nas they landed. For some reason he did not welcome the Argonauts in\nthis warm fashion, but\n\n Whirling with resistless sway\n Rocks sheer uprent, repels them from the bay.[1]\n\nMedea, objecting to the volley of stones, resorts to necromantic spells:\n\n Thrice she applies the power of magic prayer,\n Thrice, hellward bending, mutters charms in air;\n Then, turning toward the foe, bids Mischief fly,\n And looks Destruction as she points her eye.[253]\n\nMaddened, as might be surmised, by so insidious and unaccustomed a form\nof attack, the Man of Brass \"tears up whole hills to crush his foes\";\nthen fleeing in sudden panic, he is overcome by the stupor of the\nenchantment and taken captive by Castor and Pollux. He had in his body\nonly one vein, and that plugged on the crown of his head with a nail.\nMedea drew out the stopper.\n\nAt a later period when Theseus and his friend Piritho\u00fcs had carried off\nHelen from Sparta, the youthful heroes, Castor and Pollux, with their\nfollowers hasted to the rescue. Theseus being absent from Attica, the\nbrothers recovered their sister. Later still, we find Castor and Pollux\nengaged in a combat with Idas and Lynceus of Messene, some say over the\ndaughters of Leucippus, others, over a herd of oxen. Castor was slain;\nbut Pollux, inconsolable for the loss of his brother, besought Jupiter\nto be permitted to give his own life as a ransom for him. Jupiter so\nfar consented as to allow the two brothers to enjoy the boon of life\nalternately, each spending one day under the earth and the next in the\nheavenly abodes. According to another version, Jupiter rewarded the\nattachment of the brothers by placing them among the stars as Gemini,\nthe Twins. They received heroic honors as the _Tyndarid\u00e6_ (sons of\nTyndareus); divine honors they received under the name of _Dioscuri_\n(sons of Jove).[254]\n\n=171. The Twin Brethren among the Romans.= In Rome they were honored\nwith a temple in the Forum and made the patrons of knighthood because\nof the assistance they rendered in the battle of Lake Regillus. In the\nmoment of dire distress they had appeared, a princely pair:\n\n So like they were, no mortal\n Might one from other know;\n White as snow their armor was,\n Their steeds were white as snow.\n Never on earthly anvil\n Did such rare armor gleam,\n And never did such gallant steeds\n Drink of an earthly stream.\n\n And all who saw them trembled,\n And pale grew every cheek;\n And Aulus the Dictator\n Scarce gathered voice to speak:\n \"Say by what name men call you?\n What city is your home?\n And wherefore ride ye in such guise\n Before the ranks of Rome?\"\n\n[Illustration: FIG. 136. CASTOR AND POLLUX CAPTURING THE GIANT TALUS\n\n(Left portion)]\n\n\"By many names,\" they answered,--\n\n \"By many names men call us;\n In many lands we dwell:\n Well Samothracia knows us;\n Cyrene knows us well;\n Our house in gay Tarentum\n Is hung each morn with flowers;\n High o'er the masts of Syracuse\n Our marble portal towers;\n But by the brave Eurotas\n Is our dear native home;\n And for the right we come to fight\n Before the ranks of Rome.\"\n\nAfter the battle was won they were the first to bear the tidings to the\ncity. With joy the people acclaimed them,--\n\n But on rode these strange horsemen,\n With slow and lordly pace;\n And none who saw their bearing\n Durst ask their name or race.\n On rode they to the Forum,\n While laurel boughs and flowers,\n From housetops and from windows,\n Fell on their crests in showers.\n When they drew nigh to Vesta,\n They vaulted down amain,\n And washed their horses in the well\n That springs by Vesta's fane.\n And straight again they mounted,\n And rode to Vesta's door;\n Then, like a blast, away they passed,\n And no man saw them more....\n\n And Sergius the High Pontiff\n Alone found voice to speak:\n \"The gods who live forever\n Have fought for Rome to-day!\n These be the Great Twin Brethren\n To whom the Dorians pray.\n Back comes the chief in triumph\n Who, in the hour of fight,\n Hath seen the Great Twin Brethren\n In harness on his right.\n Safe comes the ship to haven,\n Through billows and through gales\n If once the Great Twin Brethren\n Sit shining on the sails....\n Here, hard by Vesta's temple,\n Build we a stately dome\n Unto the Great Twin Brethren\n Who fought so well for Rome!\"[255]\n\n[Illustration: FIG. 137. CASTOR AND POLLUX CAPTURING THE GIANT TALUS\n\n(Right portion)]\n\nFor many a year the procession, in which the knights, olive-wreathed\nand purple-robed, marched in honor of the Twin Brethren, continued to\nbe held; and still there stand three columns of their temple above the\npool of Juturna and Vesta's ruined shrine.\n\nFOOTNOTES:\n\n[244] Ovid, Metam. 8, 260-546.\n\n[245] \u00a7 170.\n\n[246] \u00a7 180.\n\n[247] Chapter XXI.\n\n[248] From Swinburne's Atalanta in Calydon.\n\n[249] From Swinburne's Atalanta in Calydon.\n\n[250] From Swinburne's Atalanta in Calydon.\n\n[251] From Swinburne's Atalanta in Calydon.\n\n[252] Hyginus, Fab. 184; Apollodorus, 2, 8; Pausanias, 2, 18; 4, 3,\netc.; Aristotle, Poetics, 14, 9.\n\n[253] Apollonius Rhodius, 4, 1629 (Broome's translation). See also\nApollodorus, 1; 9, 26.\n\n[254] Hyginus, Fab. 80; Ovid, Fasti, 100. Theocritus, Idyl XXII, gives\na different version.\n\n[255] Macaulay, Lays of Ancient Rome, The Battle of Lake Regillus.\n\n\n\n\nCHAPTER XVII\n\nTHE HOUSE OF MINOS\n\n\n=172. Minos of Crete= was a descendant of Inachus in the sixth\ngeneration. A son of Jupiter and Europa, he was, after death,\ntransferred, with his brother Rhadamanthus and with King \u00c6acus, to\nHades, where the three became judges of the Shades. This is the Minos\nmentioned by Homer and Hesiod,--the eminent lawgiver. Of his grandson,\nMinos II, it is related that when aiming at the crown of Crete, he\nboasted of his power to obtain by prayer whatever he desired, and as\na test, he implored Neptune to send him a bull for sacrifice. The\nbull appeared, but Minos, astonished at its great beauty, declined\nto sacrifice the brute. Neptune, therefore incensed, drove the bull\nwild,--worse still, drove Pasipha\u00eb, the wife of Minos, wild with\nlove of it. The wonderful brute was finally caught and overcome by\nHercules, who rode it through the waves to Greece. But its offspring,\nthe Minotaur, a monster bull-headed and man-bodied, remained for many\na day a terror to Crete, till finally a famous artificer, D\u00e6dalus,\nconstructed for him a labyrinth, with passages and turnings winding\nin and about like the river M\u00e6ander, so that whoever was inclosed in\nit might by no means find his way out. The Minotaur, roaming therein,\nlived upon human victims. For it is said that, after Minos had subdued\nMegara,[256] a tribute of seven youths and seven maidens was sent every\nyear from Athens to Crete to feed this monster; and it was not until\nthe days of Theseus of Athens that an end was put to both tribute and\nMinotaur.[257]\n\n=173. D\u00e6dalus and Icarus.=[258] D\u00e6dalus, who abetted the love of\nPasipha\u00eb for the Cretan bull, afterwards lost the favor of Minos and\nwas imprisoned by him. Seeing no other way of escape, the artificer\nmade, out of feathers, wings for his son Icarus and himself, which he\nfastened on with wax. Then poising themselves in the air, they flew\naway. Icarus had been warned not to approach too near the sun, and\nall went well till they had passed Samos and Delos on the left and\nLebynthos on the right. But then the boy, exulting in his career,\nsoared upward. The blaze of the torrid sun softened the waxen fastening\nof his wings. Off they came, and down the lad dropped into the sea\nwhich after him is named Icarian, even to this day.\n\n[Illustration: FIG. 138. D\u00c6DALUS AND ICARUS]\n\n ... With melting wax and loosened strings\n Sunk hapless Icarus on unfaithful wings;\n Headlong he rushed through the affrighted air,\n With limbs distorted and disheveled hair;\n His scattered plumage danced upon the wave,\n And sorrowing Nere\u00efds decked his watery grave;\n O'er his pale corse their pearly sea flowers shed,\n And strewed with crimson moss his marble bed;\n Struck in their coral towers the passing bell,\n And wide in ocean tolled his echoing knell.[259]\n\nThe story, save for its tragic conclusion, reads like a remarkable\nanticipation of the exploits of the Wright brothers, Bl\u00e9riot, and\nLatham with the a\u00ebroplane to-day, or of Count Zeppelin with his\nairships.\n\nD\u00e6dalus, mourning his son, arrived finally in Sicily where, being\nkindly received by King Cocalus, he built a temple to Apollo and hung\nup his wings, an offering to the god. But Minos, having learned of the\nhiding place of the artificer, followed him to Sicily with a great\nfleet; and D\u00e6dalus would surely have perished, had not one of the\ndaughters of Cocalus disposed of Minos by scalding him to death while\nhe was bathing.\n\nIt is said that D\u00e6dalus could not bear the idea of a rival. His sister\nhad placed her son Perdix under his charge to be taught the mechanical\narts. He was an apt scholar and gave striking evidences of ingenuity.\nWalking on the seashore, he picked up the spine of a fish, and,\nimitating it in iron, invented the saw. He invented, also, a pair of\ncompasses. But D\u00e6dalus, envious of his nephew, pushed him off a tower\nand killed him. Minerva, however, in pity of the boy, changed him into\na bird, the partridge, which bears his name.\n\nTo the descendants of Inachus we shall again return in the account of\nthe house of Labdacus.\n\nFOOTNOTES:\n\n[256] \u00a7 143.\n\n[257] \u00a7 177. Apollodorus, 3, 1, \u00a7 3; 15, \u00a7 8; Pausanias, 1, 27, \u00a7 9,\netc.; Ovid, Metam. 7, 456.\n\n[258] Virgil, \u00c6neid, 6, 14-36; Ovid, Metam. 8, 152-259; Hyginus, Fab.\n40, 44.\n\n[259] Erasmus Darwin.\n\n\n\n\nCHAPTER XVIII\n\nTHE HOUSE OF CECROPS AND ERICHTHONIUS\n\n\n[Illustration: FIG. 139. THESEUS]\n\n=174. From Cecrops[260] to Philomela.= Cecrops, half-snake, half-man,\ncame from Crete or Egypt into Attica, founded Athens, and chose\nMinerva rather than Neptune as its guardian. His successor was\nErichthonius,[261] or Erechtheus, a snake-formed genius of the fertile\nsoil of Attica. This Erichthonius[262] was a special ward of the\ngoddess Minerva, who brought him up in her temple. His son Pandion\nhad two daughters, Procne and Philomela, of whom he gave the former\nin marriage to Tereus, king of Thrace (or of Daulis in Phocis). This\nruler, after his wife had borne him a son Itys (or Itylus), wearied\nof her, plucked out her tongue by the roots to insure her silence,\nand, pretending that she was dead, took in marriage the other sister,\nPhilomela. Procne by means of a web, into which she wove her story,\ninformed Philomela of the horrible truth. In revenge upon Tereus, the\nsisters killed Itylus and served up the child as food to the father;\nbut the gods, in indignation, transformed Procne into a swallow,\nPhilomela into a nightingale, forever bemoaning the murdered Itylus,\nand Tereus into a hawk, forever pursuing the sisters.[263]\n\n=175. Matthew Arnold's Philomela.=\n\n Hark! ah, the nightingale--\n The tawny-throated!\n Hark, from that moonlit cedar what a burst!\n What triumph! hark!--what pain!\n O wanderer from a Grecian shore,\n Still, after many years in distant lands,\n Still nourishing in thy bewilder'd brain\n That wild, unquench'd, deep-sunken, old-world pain--\n Say, will it never heal?\n And can this fragrant lawn\n With its cool trees, and night,\n And the sweet, tranquil Thames,\n And moonshine, and the dew,\n To thy rack'd heart and brain\n Afford no calm?\n\n Dost thou to-night behold,\n Here, through the moonlight on this English grass,\n The unfriendly palace in the Thracian wild?\n Dost thou again peruse,\n With hot cheeks and sear'd eyes,\n The too clear web, and thy dumb sister's shame?\n Dost thou once more assay\n Thy flight, and feel come over thee,\n Poor fugitive, the feathery change\n Once more, and once more seem to make resound\n With love and hate, triumph and agony,\n Lone Daulis, and the high Cephissian vale?\n Listen, Eugenia--\n How thick the bursts come crowding through the leaves!\n Again--thou hearest?\n Eternal passion!\n Eternal pain!\n\nAccording to another version of this story, it was Philomela who was\nrobbed of her tongue and who wove the web by means of which the queen\nProcne learned the truth.\n\n=176. Theseus.=[264] A descendant of Erechtheus, or of Cecrops, was\n\u00c6geus, king of Athens. By \u00c6thra, granddaughter of Pelops, he became\nthe father of the Attic hero, Theseus. \u00c6geus, on parting from \u00c6thra,\nbefore the birth of the child, had placed his sword and shoes under\na large stone and had directed her to send the child to him if it\nshould prove strong enough to roll away the stone and take what was\nunder. The lad Theseus was brought up at Tr[oe]zen, of which Pittheus,\n\u00c6thra's father, was king. When \u00c6thra thought the time had come, she\nled Theseus to the stone. He removed it with ease and took the sword\nand shoes. Since at that time the roads were infested with robbers,\nhis grandfather Pittheus pressed him earnestly to take the shorter and\nsafer way to his father's country, by sea; but the youth, feeling in\nhimself the spirit and soul of a hero and eager to signalize himself\nlike Hercules, determined on the more perilous and adventurous journey\nby land.\n\n[Illustration: FIG. 140. \u00c6THRA AND THESEUS]\n\nHis first day's journey brought him to Epidaurus, where dwelt\nPeriphetes, a son of Vulcan. This ferocious savage always went armed\nwith a club of iron, and all travelers stood in terror of his violence;\nbut beneath the blows of the young hero he speedily fell.\n\nSeveral similar contests with the petty tyrants and marauders of\nthe country followed, in all of which Theseus was victorious. Most\nimportant was his slaughter of Procrustes, or the Stretcher. This giant\nhad an iron bedstead on which he used to tie all travelers who fell\ninto his hands. If they were shorter than the bed, he stretched them\ntill they fitted it; if they were longer than the bed, he lopped off\ntheir limbs.\n\nIn the course of time Theseus reached Athens, but here new dangers\nawaited him. For Medea, the sorceress, who had fled from Corinth after\nher separation from Jason,[265] had become the wife of \u00c6geus. Knowing\nby her arts who the stranger was, and fearing the loss of her influence\nwith her husband if Theseus should be acknowledged as his son, she\ntried to poison the youth; but the sword which he wore discovered him\nto his father and prevented the fatal draft. Medea fled to Asia, where\nthe country afterwards called Media is said to have received its name\nfrom her. Theseus was acknowledged by his sire and declared successor\nto the throne.\n\n[Illustration: FIG. 141. THESEUS AND THE MINOTAUR]\n\n=177. Theseus and= =Ariadne.=[266] Now the Athenians were at that\ntime in deep affliction on account of the tribute of youths and\nmaidens which they were forced to send to the Minotaur, dwelling in\nthe labyrinth of Crete,--a penalty said to have been imposed by Minos\nupon the Athenians because \u00c6geus had sent Androge\u00fcs, the son of Minos,\nagainst the Marathonian bull and so had brought about the young man's\ndeath.\n\nFrom this calamity Theseus resolved to deliver his countrymen or to\ndie in the attempt. He, therefore, in spite of the entreaties of his\nfather, presented himself as champion of Athens and of her fair sons\nand daughters, to do battle against the Minotaur, and departed with the\nvictims in a vessel bearing black sails, which he promised his father\nto change for white in the event of his returning victorious. So,--\n\n Rather than cargo on cargo of corpses undead should be wafted[267]\n Over the ravening sea to the pitiless monster of Creta,--\n Leaving the curv\u00e8d strand Pir\u00e6an, and wooing the breezes,\n Theseus furrowed the deep to the dome superb of the tyrant.\n Then as the maid Ariadne beheld him with glances of longing,--\n Princess royal of Creta Minoan, tender, sequestered,--\n Locked in a mother's embrace, in seclusion virginal, fragrant,\n Like some myrtle set by streaming ways of Eurotas,\n Like to the varied tints that Spring invites with her breezes,--\n Then, as with eager gaze she looked her first upon Theseus,\n Never a whit she lowered her eyes nor ceased to consume him,\n Ere to the core profound her breast with love was enkindled.\n --God-born boy, thou pitiless heart, provoker of madness,\n Mischievous, mingling care with the fleeting pleasure of mortals,--\n Goddess of Golgi, thou, frequenter of coverts Idalian,\n In what wildering seas ye tossed the impassionate maiden\n Ever a-sighing,--aye for the fair-haired stranger a-sighing!\n Ah, what ponderous fears oppressed her languishing bosom,\n How, more pallid than gold her countenance flashed into whiteness,\n What time Theseus marched unto death or to glory undying,\n Manful, minded to quell the imbruted might of the monster!\n\nNot unaided, however, did he undertake the task; for Ariadne,\napprehensive lest he might lose his way in the d\u00e6dalian labyrinth,\nfurnished him with a thread, the gift of Vulcan, which, unrolled by\nTheseus as he entered the maze, should enable him on his return to\nretrace his former path. Meanwhile--\n\n Offering artless bribes, Ariadne invoked the Immortals,\n Kindled voiceless lip with unvoic\u00e8d tribute of incense,\n Suppliant, not in vain: for, like to an oak upon Taurus,\n Gnarl\u00e8d, swinging his arms,--like some cone-burthen\u00e8d pine tree\n Oozing the life from his bark, that, riven to heart by the whirlwind,\n Wholly uprooted from earth, falls prone with extravagant ruin,\n Perishes, dealing doom with precipitate rush of its branches,--\n So was the Cretan brute by Theseus done to destruction,\n E'en so, tossing in vain his horns to the vacuous breezes.\n Then with abundant laud he turned, unscathed from the combat,\n Theseus,--guiding his feet unsure by the filament slender,\n Lest as he threaded paths circuitous, ways labyrinthine,\n Some perverse, perplexing, erratic alley might foil him.\n\n Why should I tarry to tell how, quitting her sire, Ariadne\n Quitting the sister's arms, the infatuate gaze of the mother,--\n She whose sole delight, whose life, was her desperate daughter,--\n How Ariadne made less of the love of them all than of Theseus?\n Why should I sing how sailing they came to the beaches of Dia,--\n White with the foam,--how thence, false-hearted, the lover departing\n Left her benighted with sleep, the Mino\u00efd, princess of Creta?\n\n[Illustration: FIG. 142. THE SLEEPING ARIADNE]\n\n Gazing amain from the marge of the flood-reverberant Dia,\n Chafing with ire, indignant, exasperate,--lo, Ariadne,\n Lorn Ariadne, beholds swift craft, swift lover retreating.\n Nor can be sure she sees what things she sees of a surety,\n When upspringing from sleep, she shakes off treacherous slumber,\n Lone beholds herself on a shore forlorn of the ocean.\n Carelessly hastens the youth, meantime, who, driving his oar-blades\n Hard in the waves, consigns void vows to the blustering breezes.\n But as, afar from the sedge, with sad eyes still the Mino\u00efd\n Mute as a M\u00e6nad in stone unmoving stonily gazes--\n Heart o'erwhelmed with woe--ah, thus, while thus she is gazing,--\n Down from her yellow hair slips, sudden, the weed of the fine-spun\n Snood, and the vesture light of her mantle down from the shoulders\n Slips, and the twisted scarf encircling her womanly bosom;\n Stealthily gliding, slip they downward into the billow,\n Fall, and are tossed by the buoyant flood at the feet of the fair one.\n Nothing she recks of the coif, of the floating garment as little,\n Cares not a moment then, whose care hangs only on Theseus,--\n Wretched of heart, soul-wrecked, dependent only on Theseus,--\n Desperate, woe-unselfed with a cureless sorrow incessant,\n Frantic, bosoming torture of thorns Erycina had planted....\n\n Then, they say, that at last, infuriate out of all measure,\n Once and again she poured shrill-voic\u00e8d shrieks from her bosom;\n Helpless, clambered steeps, sheer beetling over the surges,\n Whence to enrange with her eyes vast futile regions of ocean;--\n Lifting the folds, soft folds of her garments, baring her ankles,\n Dashed into edges of upward waves that trembled before her;\n Uttered, anguished then, one wail, her maddest and saddest,--\n Catching with tear-wet lips poor sobs that shivering choked her:--\n \"Thus is it far from my home, O traitor, and far from its altars--\n Thus on a desert strand,--dost leave me, treacherous Theseus?\n Thus is it thou dost flout our vow, dost flout the Immortals,--\n Carelessly homeward bearest, with baleful ballast of curses?\n Never, could never a plea forfend thy cruelly minded\n Counsel? Never a pity entreat thy bosom for shelter?...\n Hence, let never a maid confide in the oath of a lover,\n Never presume man's vows hold aught trustworthy within them!\n Verily, while in anguish of heart his spirit is longing,\n Nothing he spares to assever, nor aught makes scruple to promise:\n But, an his dearest desire, his nearest of heart be accorded--\n Nothing he recks of affiance, and reckons perjury,--nothing.\n\n \"Oh! what lioness whelped thee? Oh! what desolate cavern?\n What was the sea that spawned, that spat from its churning abysses,\n Thee,--what wolfish Scylla, or Syrtis, or vasty Charybdis,\n Thee,--thus thankful for life, dear gift of living, I gave thee?...\n Had it not liked thee still to acknowledge vows that we plighted,\n Mightest thou homeward, yet, have borne me a damsel beholden,\n Fain to obey thy will, and to lave thy feet like a servant,\n Fain to bedeck thy couch with purple coverlet for thee.\n\n \"But to the hollow winds why stand repeating my quarrel,--\n I, for sorrow unselfed,--they, but breezes insensate,--\n Potent neither voices to hear nor words to re-echo?...\n Yea, but where shall I turn? Forlorn, what succor rely on?\n 'Haste to the Gnossian hills?' Ah, see how distantly surging\n Deeps forbid, distending their gulfs abhorrent before me!\n 'Comfort my heart, mayhap, with the loyal love of my husband?'\n Lo, the reluctant oar, e'en now, he plies to forsake me!--\n Nought but the homeless strand of an isle remote of the ocean!\n No, no way of escape, where the circling sea without shore is,--\n No, no counsel of flight, no hope, no sound of a mortal;\n All things desolate, dumb, yea, all things summoning deathward!\n Yet mine eyes shall not fade in death that sealeth the eyelids,\n Nor from the frame outworn shall fare my lingering senses,\n Ere, undone, from powers divine I claim retribution--\n Ere I call--in the hour supreme, on the faith of Immortals!\n\n \"Come, then, Righters of Wrong, O vengeful dealers of justice,\n Braided with coil of the serpents, O Eumenides, ye of\n Brows that blazon ire exhaling aye from the bosom,\n Haste, oh, haste ye, hither and hear me, vehement plaining,\n Destitute, fired with rage, stark-blind, demented for fury!--\n As with careless heart yon Theseus sailed and forgot me,\n So with folly of heart, may he slay himself and his household!\"\n ... Then with a nod supreme Olympian Jupiter nodded:\n Quaked thereat old Earth,--quaked, shuddered the terrified waters,\n Ay, and the constellations in Heaven that glitter were jangled.\n Straightway like some cloud on the inward vision of Theseus\n Dropped oblivion down, enshrouding vows he had cherished,\n Hiding away all trace of the solemn behest of his father.\n\n[Illustration: FIG. 143. HEAD OF DIONYSUS]\n\nFor, as was said before, \u00c6geus, on the departure of his son for Creta,\nhad given him this command: \"If Minerva, goddess of our city, grant\nthee victory over the Minotaur, hoist on thy return, when first the\ndear hills of Attica greet thy vision, white canvas to herald thy joy\nand mine, that mine eyes may see the propitious sign and know the glad\nday that restores thee safe to me.\"\n\n ... Even as clouds compelled by urgent push of the breezes\n Float from the brow uplift of a snow-envelop\u00e8d mountain,\n So from Theseus passed all prayer and behest of his father.\n Waited the sire meanwhile, looked out from his tower over ocean,\n Wasted his anxious eyes in futile labor of weeping,\n Waited expectant,--saw to the southward sails black-bellied--\n Hurled him headlong down from the horrid steep to destruction,--\n Weening hateful Fate had severed the fortune of Theseus.\n Theseus, then, as he paced that gloom of the home of his father,\n Insolent Theseus knew himself what manner of evil\n He with a careless heart had aforetime dealt Ariadne,--\n Fixed Ariadne that still, still stared where the ship had receded,--\n Wounded, revolving in heart her countless muster of sorrows.\n\n[Illustration: FIG. 144. THE REVELS OF BACCHUS AND ARIADNE]\n\n=178. Bacchus and Ariadne.= But for the deserted daughter of Minos\na happier fate was yet reserved. This island, on which she had been\nabandoned, was Naxos, loved and especially haunted by Bacchus, where\nwith his train of reeling devotees he was wont to hold high carnival.\n\n ... Sweeping over the shore, lo, beautiful, blooming Iacchus,--\n Chorused of Satyrs in dance and of Nysian-born Sileni,--\n Seeking fair Ariadne,--afire with flame of a lover!\n Lightly around him leaped Bacchant\u00e8s, strenuous, frenzied,\n Nodding their heads, \"Euhoe!\" to the cry, \"Euhoe, O Bacchus!\"\n Some--enwreath\u00e8d spears of Iacchus madly were waving;\n Some--ensanguined limbs of the bullock, quivering, brandished;\n Some--were twining themselves with sinuous snakes that twisted;\n Some--with vessels of signs mysterious, passed in procession--\n Symbols profound that in vain the profane may seek to decipher;\n Certain struck with the palms--with tapered fingers on timbrels,\n Others the tenuous clash of the rounded cymbals awakened;--\n Brayed with a raucous roar through the turmoil many a trumpet,\n Many a stridulous fife went, shrill, barbarian, shrieking.[268]\n\nSo the grieving, much-wronged Ariadne was consoled for the loss of\nher mortal spouse by an immortal lover. The blooming god of the vine\nwooed and won her. After her death, the golden crown that he had given\nher was transferred by him to the heavens. As it mounted the ethereal\nspaces, its gems, growing in brightness, became stars; and still it\nremains fixed, as a constellation, between the kneeling Hercules and\nthe man that holds the serpent.\n\n=179. The Amazons.= As king of Athens, it is said that Theseus\nundertook an expedition against the Amazons. Assailing them before they\nhad recovered from the attack of Hercules, he carried off their queen\nAntiope; but they in turn, invading the country of Athens, penetrated\ninto the city itself; and there was fought the final battle in which\nTheseus overcame them.\n\n=180. Theseus and Piritho\u00fcs.= A famous friendship between Theseus and\nPiritho\u00fcs of Thessaly, son of Jupiter, originated in the midst of\narms. Piritho\u00fcs had made an irruption into the plain of Marathon and\nhad carried off the herds of the king of Athens. Theseus went to repel\nthe plunderers. The moment the Thessalian beheld him, he was seized\nwith admiration, and stretching out his hand as a token of peace, he\ncried, \"Be judge thyself,--what satisfaction dost thou require?\"--\"Thy\nfriendship,\" replied the Athenian; and they swore inviolable fidelity.\nTheir deeds corresponding to their professions, they continued true\nbrothers in arms. When, accordingly, Piritho\u00fcs was to marry Hippodamia,\ndaughter of Atrax, Theseus took his friend's part in the battle that\nensued between the Lapith\u00e6 (of whom Piritho\u00fcs was king) and the\nCentaurs. For it happened that at the marriage feast, the Centaurs were\namong the guests; and one of them, Eurytion, becoming intoxicated,\nattempted to offer violence to the bride. Other Centaurs followed his\nexample; combat was joined; Theseus leaped into the fray, and not a few\nof the guests bit the dust.\n\n[Illustration: FIG. 145. LAPITH AND CENTAUR]\n\nLater, each of these friends aspired to espouse a daughter of Jupiter.\nTheseus fixed his choice on Leda's daughter Helen, then a child, but\nafterwards famous as the cause of the Trojan War; and with the aid of\nhis friend he carried her off, only, however, to restore her at very\nshort notice. As for Piritho\u00fcs, he aspired to the wife of the monarch\nof Erebus; and Theseus, though aware of the danger, accompanied the\nambitious lover to the underworld. But Pluto seized and set them on\nan enchanted rock at his palace gate, where fixed they remained till\nHercules, arriving, liberated Theseus but left Piritho\u00fcs to his fate.\n\n=181. Ph\u00e6dra and Hippolytus.= After the death of Antiope, Theseus\nmarried Ph\u00e6dra, sister of the deserted Ariadne, daughter of Minos. But\nPh\u00e6dra, seeing in Hippolytus, the son of Theseus, a youth endowed with\nall the graces and virtues of his father and of an age corresponding\nto her own, loved him. When, however, he repulsed her advances, her\nlove was changed to despair and hate. Hanging herself, she left for\nher husband a scroll containing false charges against Hippolytus.\nThe infatuated husband, filled, therefore, with jealousy of his son,\nimprecated the vengeance of Neptune upon him. As Hippolytus one day\ndrove his chariot along the shore, a sea monster raised himself above\nthe waters and frightened the horses so that they ran away and dashed\nthe chariot to pieces. Hippolytus was killed, but by \u00c6sculapius was\nrestored to life, and then, removed by Diana from the power of his\ndeluded father, was placed in Italy under the protection of the nymph\nEgeria.\n\nIn his old age, Theseus, losing the favor of his people, retired to the\ncourt of Lycomedes, king of Scyros, who at first received him kindly,\nbut afterwards treacherously put him to death.\n\nFOOTNOTES:\n\n[260] Ovid, Metam. 2, 555; Apollodorus, 3, 14, \u00a7 1; Pausanias; and\nHyginus, Fab. 48.\n\n[261] Ovid, Metam. 2, 554; 6, 676; Homer, Iliad, 2, 547; Odyssey, 7,\n81; Hyginus, Poet. Astr. 2, 13.\n\n[262] For Ruskin's interpretation, see Queen of the Air, \u00a7 38.\n\n[263] Hyginus, Fab. 45; Apollodorus, 3, 14, \u00a7 8; Ovid, Metam. 6,\n412-676. See Commentary.\n\n[264] Ovid, Metam. 7, 350-424; Plutarch, Theseus.\n\n[265] \u00a7 167.\n\n[266] Odyssey, 11, 321; Plutarch, Theseus; Catullus, LXIV.\n\n[267] Catullus, LXIV. From The Wedding of Peleus and Thetis. A\nTranslation in Hexameters, by Charles Mills Gayley.\n\n[268] Catullus, LXIV (Charles Mills Gayley's translation).\n\n\n\n\nCHAPTER XIX\n\nTHE HOUSE OF LABDACUS\n\n\n[Illustration: FIG. 146. [OE]DIPUS AND THE SPHINX]\n\n=182. The Misfortunes of Thebes.= Returning to the descendants of\nInachus, we find that the curse which fell upon Cadmus when he slew\nthe dragon of Mars followed nearly every scion of his house. His\ndaughters, Semele, Ino, Autono\u00eb, Agave,--his grandsons, Melicertes,\nAct\u00e6on, Pentheus,--lived sorrowful lives or suffered violent deaths.\nThe misfortunes of one branch of his family, sprung from his son\nPolydorus, remain to be told. The curse seems to have spared Polydorus\nhimself. His son Labdacus, also, lived a quiet life as king of Thebes\nand left a son, La\u00efus, upon the throne. But erelong La\u00efus was warned\nby an oracle that there was danger to his throne and life if his son,\nnew-born, should reach man's estate. He, therefore, committed the child\nto a herdsman with orders for its destruction; but the herdsman, moved\nwith pity yet not daring entirely to disobey, pierced the child's feet,\npurposing to expose him to the elements on Mount Cith\u00e6ron.\n\n=183. [OE]dipus and the Sphinx.=[269] In this plight the infant was\ngiven to a tender-hearted fellow-shepherd, who carried him to King\nPolybus of Corinth and his queen, by whom he was adopted and called\n[OE]dipus, or Swollen-foot.\n\nMany years afterward, [OE]dipus, learning from an oracle that he was\ndestined to be the death of his father, left the realm of his reputed\nsire, Polybus. It happened, however, that La\u00efus was then driving\nto Delphi, accompanied only by one attendant. In a narrow road he\nmet [OE]dipus, also in a chariot. On the refusal of the youthful\nstranger to leave the way at their command, the attendant killed one\nof his horses. [OE]dipus, consumed with rage, slew both La\u00efus and the\nattendant, and thus unknowingly fulfilled both oracles.\n\nShortly after this event, the city of Thebes, to which [OE]dipus had\nrepaired, was afflicted with a monster that infested the high-road.\nShe was called the Sphinx. She had the body of a lion and the upper\npart of a woman. She lay crouched on the top of a rock and, arresting\nall travelers who came that way, propounded to them a riddle, with the\ncondition that those who could solve it should pass safe, but those\nwho failed should be killed. Not one had yet succeeded in guessing it.\n[OE]dipus, not daunted by these alarming accounts, boldly advanced to\nthe trial. The Sphinx asked him, \"What animal is it that in the morning\ngoes on four feet, at noon on two, and in the evening upon three?\"\n[OE]dipus replied, \"Man, who in childhood creeps on hands and knees, in\nmanhood walks erect, and in old age goes with the aid of a staff.\" The\nSphinx, mortified at the collapse of her riddle, cast herself down from\nthe rock and perished.\n\n=184. [OE]dipus, the King.= In gratitude for their deliverance, the\nThebans made [OE]dipus their king, giving him in marriage their\nqueen, Jocasta. He, ignorant of his parentage, had already become the\nslayer of his father; in marrying the queen he became the husband\nof his mother. These horrors remained undiscovered till, after many\nyears, Thebes being afflicted with famine and pestilence, the oracle\nwas consulted, and, by a series of coincidences, the double crime of\n[OE]dipus came to light. At once, Jocasta put an end to her life by\nhanging herself. As for [OE]dipus, horror-struck,--\n\n When her form\n He saw, poor wretch! with one wild fearful cry,\n The twisted rope he loosens, and she fell,\n Ill-starred one, on the ground. Then came a sight\n Most fearful. Tearing from her robe the clasps,\n All chased with gold, with which she decked herself,\n He with them struck the pupils of his eyes,\n With words like these: \"Because they had not seen\n What ills he suffered, and what ills he did,\n They in the dark should look, in time to come,\n On those whom they ought never to have seen,\n Nor know the dear ones whom he fain had known.\"\n With suchlike wails, not once or twice alone,\n Raising his eyes he smote them, and the balls,\n All bleeding, stained his cheek.[270]\n\n=185. [OE]dipus at Colonus.= After these sad events [OE]dipus would\nhave left Thebes, but the oracle forbade the people to let him go.\nJocasta's brother, Creon, was made regent of the realm for the two sons\nof [OE]dipus. But after [OE]dipus had grown content to stay, these sons\nof his, with Creon, thrust him into exile. Accompanied by his daughter\nAntigone, he went begging through the land. His other daughter, Ismene,\nat first stayed at home. Cursing the sons who had abandoned him,\nbut bowing his own will in submission to the ways of God, [OE]dipus\napproached the hour of his death in Colonus, a village near Athens.\nHis friend Theseus, king of Athens, comforted and sustained him to the\nlast. Both his daughters were also with him:\n\n And then he called his girls, and bade them fetch\n Clear water from the stream, and bring to him\n For cleansing and libation. And they went,\n Both of them, to yon hill we look upon,\n Owned by Demeter of the fair green corn,\n And quickly did his bidding, bathed his limbs,\n And clothed them in the garment that is meet.\n And when he had his will in all they did,\n And not one wish continued unfulfilled,\n Zeus from the dark depths thundered, and the girls\n Heard it, and shuddering, at their father's knees,\n Falling they wept; nor did they then forbear\n Smiting their breasts, nor groanings lengthened out;\n And when he heard their bitter cry, forthwith\n Folding his arms around them, thus he spake:\n \"My children, on this day ye cease to have\n A father. All my days are spent and gone;\n And ye no more shall lead your wretched life,\n Caring for me. Hard was it, that I know,\n My children! Yet one word is strong to loose,\n Although alone, the burden of these toils,\n For _love_ in larger store ye could not have\n From any than from him who standeth here,\n Of whom bereaved ye now shall live your life.\"[271]\n\nThere was sobbing, then silence. Then a voice called him,--and he\nfollowed. God took him from his troubles. Antigone returned to\nThebes,--where, as we shall see, her sisterly fidelity showed itself as\ntrue as, aforetime, her filial affection.\n\nHer brothers, Eteocles and Polynices, had meanwhile agreed to share the\nkingdom between them and to reign alternately year by year. The first\nyear fell to the lot of Eteocles, who, when his time expired, refused\nto surrender the kingdom to his brother. Polynices, accordingly, fled\nto Adrastus, king of Argos, who gave him his daughter in marriage and\naided him with an army to enforce his claim to the kingdom. These\ncauses led to the celebrated expedition of the \"Seven against Thebes,\"\nwhich furnished ample materials for the epic and tragic poets of\nGreece. And here the younger heroes of Greece make their appearance.\n\nFOOTNOTES:\n\n[269] Sophocles, [OE]dipus Rex, [OE]dipus Coloneus, Antigone;\nEuripides, Ph[oe]niss\u00e6; Apollodorus, 3, 5, \u00a7\u00a7 7, 8.\n\n[270] Sophocles, [OE]dipus, the King (E. H. Plumptre's translation).\n\n[271] Sophocles, [OE]dipus at Colonus, ll. 1600, etc. (E. H. Plumptre's\ntranslation).\n\n\n\n\nCHAPTER XX\n\nMYTHS OF THE YOUNGER HEROES: THE SEVEN AGAINST THEBES\n\n\n=186. Their Exploits.= The exploits of the sons and grandsons of the\nchieftains engaged in the Calydonian Hunt and the Quest of the Golden\nFleece are narrated in four stories,--the Seven against Thebes, the\nSiege of Troy, the Wanderings of Ulysses, and the Adventures of \u00c6neas.\n\n=187. The Seven against Thebes.=[272] The allies of Adrastus and\nPolynices in the enterprise against Thebes were Tydeus of Calydon,\nhalf brother of Meleager, Parthenop\u00e6us of Arcadia, son of Atalanta\nand Mars, Capaneus of Argos, Hippomedon of Argos, and Amphiara\u00fcs, the\nbrother-in-law of Adrastus. Amphiara\u00fcs opposed the expedition for,\nbeing a soothsayer, he knew that none of the leaders except Adrastus\nwould live to return from Thebes; but on his marriage to Eriphyle,\nthe king's sister, he had agreed that whenever he and Adrastus should\ndiffer in opinion, the decision should be left to Eriphyle. Polynices,\nknowing this, gave Eriphyle the necklace of Harmonia and thereby gained\nher to his interest. This was the selfsame necklace that Vulcan had\ngiven to Harmonia on her marriage with Cadmus; Polynices had taken it\nwith him on his flight from Thebes. It seems to have been still fraught\nwith the curse of the house of Cadmus. But Eriphyle could not resist\nso tempting a bribe. By her decision the war was resolved on, and\nAmphiara\u00fcs went to his fate. He bore his part bravely in the contest,\nbut still could not avert his destiny. While, pursued by the enemy, he\nwas fleeing along the river, a thunderbolt launched by Jupiter opened\nthe ground, and he, his chariot, and his charioteer were swallowed up.\n\nIt is unnecessary here to detail all the acts of heroism or atrocity\nwhich marked this contest. The fidelity, however, of Evadne stands out\nas an offset to the weakness of Eriphyle. Her husband, Capaneus, having\nin the ardor of the fight declared that he would force his way into the\ncity in spite of Jove himself, placed a ladder against the wall and\nmounted; but Jupiter, offended at his impious language, struck him with\na thunderbolt. When his obsequies were celebrated, Evadne cast herself\non his funeral pile and perished.\n\n[Illustration: FIG. 147. ETEOCLES AND POLYNICES KILL EACH OTHER]\n\nIt seems that early in the contest Eteocles consulted the soothsayer\nTiresias as to the issue. Now, this Tiresias in his youth had by chance\nseen Minerva bathing, and had been deprived by her of his sight, but\nafterwards had obtained of her the knowledge of future events. When\nconsulted by Eteocles, he declared that victory should fall to Thebes\nif Men[oe]ceus, the son of Creon, gave himself a voluntary victim. The\nheroic youth, learning the response, threw away his life in the first\nencounter.\n\nThe siege continued long, with varying success. At length both hosts\nagreed that the brothers should decide their quarrel by single combat.\nThey fought, and fell each by the hand of the other. The armies then\nrenewed the fight; and at last the invaders were forced to yield,\nand fled, leaving their dead unburied. Creon, the uncle of the\nfallen princes, now became king, caused Eteocles to be buried with\ndistinguished honor, but suffered the body of Polynices to lie where it\nfell, forbidding any one, on pain of death, to give it burial.\n\n=188. Antigone=,[273] the sister of Polynices, heard with indignation\nthe revolting edict which, consigning her brother's body to the dogs\nand vultures, deprived it of the rites that were considered essential\nto the repose of the dead. Unmoved by the dissuading counsel of her\naffectionate but timid sister, and unable to procure assistance, she\ndetermined to brave the hazard and to bury the body with her own hands.\nShe was detected in the act. When Creon asked the fearless woman\nwhether she dared disobey the laws, she answered:\n\n Yes, for it was not Zeus who gave them forth,\n Nor justice, dwelling with the gods below,\n Who traced these laws for all the sons of men;\n Nor did I deem thy edicts strong enough,\n That thou, a mortal man, should'st overpass\n The unwritten laws of God that know no change.\n They are not of to-day nor yesterday,\n But live forever, nor can man assign\n When first they sprang to being. Not through fear\n Of any man's resolve was I prepared\n Before the gods to bear the penalty\n Of sinning against these. That I should die\n I knew (how should I not?), though thy decree\n Had never spoken. And before my time\n If I shall die, I reckon this a gain;\n For whoso lives, as I, in many woes,\n How can it be but he shall gain by death?\n And so for me to bear this doom of thine\n Has nothing fearful. But, if I had left\n My mother's son unburied on his death,\n In that I should have suffered; but in this\n I suffer not.[274]\n\nCreon, unyielding and unable to conceive of a law higher than that\nhe knew, gave orders that she should be buried alive, as having\ndeliberately set at nought the solemn edict of the city. Her lover,\nH\u00e6mon, the son of Creon, unable to avert her fate, would not survive\nher, and fell by his own hand. It is only after his son's death and as\nhe gazes upon the corpses of the lovers, that the aged Creon recognizes\nthe insolence of his narrow judgment. And those that stand beside him\nsay:\n\n Man's highest blessedness\n In wisdom chiefly stands;\n And in the things that touch upon the gods,\n 'T is best in word or deed,\n To shun unholy pride;\n Great words of boasting bring great punishments,\n And so to gray-haired age\n Teach wisdom at the last.[275]\n\n=189. The Epigoni.=[276] Such was the fall of the house of Labdacus.\nThe bane of Cadmus expires with the family of [OE]dipus. But the\nwedding gear of Harmonia has not yet fulfilled its baleful mission.\nAmphiara\u00fcs had, with his last breath, enjoined his son Alcm\u00e6on to\navenge him on the faithless Eriphyle. Alcm\u00e6on engaged his word, but\nbefore accomplishing the fell purpose, he was ordered by an oracle of\nDelphi to conduct against Thebes a new expedition. Thereto his mother\nEriphyle, influenced by Thersander, the son of Polynices, and bribed\nthis time by the gift of Harmonia's wedding garment, impelled not only\nAlcm\u00e6on but her other son, Amphilochus. The descendants (_Epigoni_) of\nthe former Seven thus renewed the war against Thebes. They leveled the\ncity to the ground. Its inhabitants, counseled by Tiresias, took refuge\nin foreign lands. Tiresias himself perished during the flight. Alcm\u00e6on,\nreturning to Argos, put his mother to death but, in consequence,\nrepeated in his own experience the penalty of Orestes. The outfit\nof Harmonia preserved its malign influence until, at last, it was\ndevoted to the temple at Delphi and removed from the sphere of mortal\njealousies.\n\nFOOTNOTES:\n\n[272] \u00c6schylus, Seven against Thebes; Euripides, Ph[oe]niss\u00e6;\nApollodorus, 3. 6 and 7; Hyginus, Fab. 69, 70; Pausanias, 8 and 9;\nStatius, Thebaid.\n\n[273] Sophocles, Antigone; Euripides, Suppliants.\n\n[274] Sophocles, Antigone, ll. 450-470 (E. H. Plumptre's translation).\n\n[275] Sophocles, Antigone, closing chorus.\n\n[276] Pausanias, 9, 9, \u00a7\u00a7 2, 3; Herodotus, 5, 61; Apollodorus.\n\n\n\n\nCHAPTER XXI\n\nHOUSES CONCERNED IN THE TROJAN WAR\n\n\n=190. Three Families.= Before entering upon the causes of the war\nagainst Troy, we must notice the three Grecian families that were\nprincipally concerned,--those of Peleus, Atreus, and Tyndareus.\n\n=191. Peleus=[277] was the son of \u00c6acus and grandson of Jove. It was\nfor his father \u00c6acus, king of Phthia in Thessaly, that, as we have\nseen, an army of Myrmidons was created by Jupiter. Peleus joined the\nexpedition of the Argonauts, and on that journey beheld and fell in\nlove with the sea-nymph Thetis, daughter of Nereus and Doris. Such\nwas the beauty of the nymph that Jupiter himself had sought her in\nmarriage; but having learned from Prometheus, the Titan, that Thetis\nshould bear a son who should be greater than his father, the Olympian\ndesisted from his suit and decreed that Thetis should be the wife\nof a mortal. By the aid of Chiron, the Centaur, Peleus succeeded in\nwinning the goddess for his bride. In this marriage, to be productive\nof momentous results for mortals, the immortals manifested a lively\ninterest. They thronged with the Thessalians to the wedding in\nPharsalia; they honored the wedding feast with their presence and,\nreclining on ivory couches, gave ear while the three Sisters of Fate,\nin responsive strain, chanted the fortunes of Achilles,--the future\nhero of the Trojan War,--the son that should spring from this union of\na goddess with a mortal. The following is from a translation of the\nfamous poem, The Wedding of Peleus and Thetis:[278]\n\n ... Now, on the day foreset, Aurora forsaking the ocean\n Crimsons the orient sky: all Thessaly, seeking the palace,\n Fares to the royal seat, in populous muster exultant,\n Heavy of hand with gifts, but blithesome of cheer for the joyance.\n Scyros behind they leave, they leave Phthiotican Tempe,\n Crannon's glittering domes and the battlements Lariss\u00e6an,\n Cumber Pharsalia, throng the abodes and the streets of Pharsalus.\n Fields, meanwhile are untilled, grow tender the necks of the oxen,\n None with the curving teeth of the harrow cleareth the vineyard,\n None upturneth the glebe with bull and the furrowing plowshare,\n None with gardener's knife lets light through the branches umbrageous;\n Squalid the rust creeps up o'er plows forgotten of plowmen.\n\n Bright is the palace, ay, through far retreating recesses\n Blazing for sheen benign of the opulent gold and the silver:\n Ivory gleams on the thrones, great goblets glint on the tables,\n Glitters the spacious home, made glad with imperial splendor,--\n Ay, but most--in the hall midmost--is the couch of the goddess,\n Glorious, made of the tusk of the Indian elephant--polished--\n Spread with a wonder of quilt empurpled with dye of the sea-shell.\n\nOn this coverlet of purple were embroidered various scenes illustrating\nthe lessons of heroism and justice that the poet would inculcate: to\nthe good falleth good; to the evil, evil speedily. Therefore, the\nstory of Theseus and Ariadne, which has already been recounted, was\nhere displayed in cunning handiwork. For Theseus, the false lover,\nbold of hand but bad of heart, gained by retributive justice undying\nruth and misery; whereas Ariadne, the injured and innocent, restored\nto happiness, won no less a reward than Bacchus himself. Gorgeously\nwoven with such antique and heroic figures was the famous quilt upon\nthe couch of Thetis. For a season the wedding guests feasted their eyes\nupon it.\n\n Then when Thessaly's youth, long gazing, had of the wonder\n Their content, they gan give place to the lords of Olympus.\n As when Zephyr awakes the recumbent billows of ocean,\n Roughens the placid deep with eager breath of the morning,\n Urges the waves, and impels, to the threshold of journeying\n Ph[oe]bus,--\n They, at first, blown outward unroughly when Dawn is a-rising,\n Limp slow-footed, and loiter with laughter lightsomely plashing,\n But, with the freshening gale, creep quicker and thicker together,\n Till on horizon they float refulgent of luminous purple,--\n So from the portal withdrawing the pomp Thessalian departed\n Faring on world-wide ways to the far-off homes of their fathers.\n Now when they were aloof, drew nigh from Pelion's summit\n Chiron bearing gifts from copses and glades of the woodland--\n Gifts that the meadows yield: what flowers on Thessaly's mountains,\n Or, by waves of the stream, the prolific breath of the West Wind,\n Warming, woos to the day, all such in bunches assorted\n Bore he. Flattered with odors the whole house brake into laughter.\n Came there next Pene\u00fcs, abandoning verdurous Tempe--\n Tempe embowered deep mid superimpendent forests.\n\nAnd after the river-god, who bore with him nodding plane trees and\nlofty beeches, straight slim laurels, the lithe poplar, and the airy\ncypress to plant about the palace that thick foliage might give it\nshade, followed Prometheus, the bold and cunning of heart, wearing\nstill the marks of his ancient punishment on the rocks of Caucasus.\nFinally the father of the gods himself came, with his holy spouse and\nhis offspring,--all, save Ph[oe]bus and his one sister, who naturally\nlooked askance upon a union to be productive of untold misfortune to\ntheir favored town of Troy.\n\n[Illustration: FIG. 148. THE GODS BRING WEDDING GIFTS]\n\n ... When now the gods had reclined their limbs on the ivory couches,\n Viands many and rare were heaped on the banqueting tables,\n Whilst the decrepit Sisters of Fate, their tottering bodies\n Solemnly swayed, and rehearsed their soothfast vaticination.\n --Lo, each tremulous frame was wrapped in robe of a whiteness,\n Down to the ankles that fell, with nethermost border of purple,\n While on ambrosial brows there rested fillets like snowflakes.\n They, at a task eternal their hands religiously plying,\n Held in the left on high, with wool enfolded, a distaff,\n Delicate fibers wherefrom, drawn down, were shaped by the right hand--\n Shaped by fingers upturned,--but the down-turned thumb set a-whirling,\n Poised with perfected whorl, the industrious shaft of the spindle.\n Still, as they span, as they span, was the tooth kept nipping and\n smoothing,\n And to the withered lip clung morsels of wool as they smoothed it--\n Filaments erstwhile rough that stood from the twist of the surface.\n Close at their feet, meantime, were woven baskets of wicker\n Guarding the soft white balls of the wool resplendent within them.\n Thus then, parting the strands, these Three with resonant voices\n Uttered, in chant divine, predestined sooth of the future--\n Prophecy neither in time, nor yet in eternity, shaken.\n\n \"Thou that exaltest renown of thy name with the name of thy valor,\n Bulwark Emathian, blest above sires in the offspring of promise,\n Hear with thine ears this day what oracles fall from the Sisters\n Chanting the fates for thee;--but you, ye destiny-drawing\n Spindles, hasten the threads of the destinies set for the future!\n\n \"Rideth the orb upon high that heralds boon unto bridegrooms--\n Hesperus,--cometh anon with star propitious the virgin,\n Speedeth thy soul to subdue--submerge it with love at the flood tide.\n Hasten, ye spindles, and run, yea, gallop, ye thread-running spindles!\n\n \"Erstwhile, never a home hath roofed like generous loving,\n Never before hath Love conjoin\u00e8d lovers so dearly,--\n Never with harmony such as endureth for Thetis and Peleus.\n Hasten, ye spindles, and run, yea, gallop, ye thread-running spindles!\n\n \"Born unto you shall be the undaunted heart of Achilles,\n Aye by his brave breast known, unknown by his back to the foeman,--\n Victor in onslaught, victor in devious reach of the race-course,\n Fleeter of foot than feet of the stag that lighten and vanish,--\n Hasten, ye spindles, and run, yea, gallop, ye thread-running spindles!\"\n\n=192. Achilles, Son of Peleus.= So the sisters prophesied the future\nof the hero, Achilles,--from his father called Pelides; from his\ngrandfather, \u00c6acides. How by him the Trojans should fall, as fall\nthe ears of corn when they are yellow before the scythe; how because\nof him Scamander should run red, warm with blood, choked with blind\nbodies, into the whirling Hellespont; how finally he himself, in\nhis prime, should fall, and how on his tomb should be sacrificed\nthe fair Polyxena, daughter of Priam, whom he had loved. \"So,\" says\nCatullus, \"sang the Fates. For those were the days before piety and\nrighteous action were spurned by mankind, the days when Jupiter and\nhis immortals deigned to consort with zealous man, to enjoy the sweet\nodor of his burnt-offering, to march beside him to battle, to swell his\nshout in victory and his lament in defeat, to smile on his peaceful\nharvests, to recline at his banquets, and to bless the weddings of fair\nwomen and goodly heroes. But now, alas,\" concludes Catullus, \"godliness\nand chastity, truth, wisdom, and honor have departed from among men\":\n\n[Illustration: FIG. 149]\n\n Wherefore the gods no more vouchsafe their presence to mortals,\n Suffer themselves no more to be touched by the ray of the morning.\n But there were gods in the pure,--in the golden prime of the Ages.\n\nThe hero of the Trojan War, here prophesied, =Achilles=, fleet of foot,\nthe dauntless, the noble, the beloved of Zeus, the breaker of the ranks\nof men, is the ideal hero of the Greeks,--the mightiest of the Ach\u00e6ans\nfar. Of his youth many interesting stories are told: how his mother,\nendeavoring to make him invulnerable, plunged him in the river Styx,\nand succeeded save with regard to his ankles by which she held him; and\nhow he was educated in eloquence and the arts of war by his father's\nfriend Ph[oe]nix, and by his father's other friend Chiron, the centaur,\nin riding and hunting and music and the art of healing. One of the most\nGreek-minded of our English poets, Matthew Arnold,[279] singing of a\nbeauteous dell by Etna, tells how\n\n In such a glen, on such a day,\n On Pelion, on the grassy ground,\n Chiron, the aged Centaur, lay,\n The young Achilles standing by.\n The Centaur taught him to explore\n The mountains; where the glens are dry\n And the tired Centaurs come to rest,\n And where the soaking springs abound\n And the straight ashes grow for spears,\n And where the hill goats come to feed\n And the sea eagles build their nest.\n He showed him Phthia far away.\n And said, \"O boy, I taught this lore\n To Peleus, in long distant years!\"\n He told him of the gods, the stars,\n The tides;--and then of mortal wars,\n And of the life which heroes lead\n Before they reach the Elysian place\n And rest in the immortal mead;\n And all the wisdom of his race.\n\nUpon the character of Achilles, outspoken, brave, impulsive; to his\nfriends passionately devoted, to his foes implacable; lover of war\nand lover of home; inordinately ambitious but submissive to divine\ndecree;--upon this handsome, gleaming, terrible, glooming, princely\nwarrior of his race, the poet of the Iliad delights to dwell, and the\nworld has delighted in the portraiture from that day to this.\n\n=193. Atreus= was the son of Pelops and Hippodamia and grandson of\nTantalus, therefore great-grandson of Jove. Both by blood and by\nmarriage he was connected with Theseus. He took to wife A\u00ebrope,\ngranddaughter of Minos II, king of Crete, and by her had two sons,\nAgamemnon, the general of the Grecian army in the Trojan War, and\nMenela\u00fcs, at whose solicitation the war was undertaken. Of Atreus it\nmay be said that with cannibal atrocity like that of his grandsire,\nTantalus, he on one occasion wreaked his vengeance on a brother,\nThyestes, by causing him to eat the flesh of two of his own children.\nA son of this Thyestes, \u00c6gisthus by name, revived in due time against\nAgamemnon the treacherous feud that had existed between their fathers.\n\n=194. Tyndareus= was king of Laced\u00e6mon (Sparta). His wife was Leda,\ndaughter of Thestius of Calydon, and sister of Alth\u00e6a, the mother of\nMeleager and Dejanira. To Tyndareus Leda bore Castor and Clytemnestra;\nto Jove she bore Pollux and Helen. The two former were mortal; the two\nlatter, immortal. Clytemnestra was married to Agamemnon of Mycen\u00e6, to\nwhom she bore Electra, Iphigenia, Chrysothemis, and Orestes. Helen, the\nfair immediate cause of the Trojan War, became the wife of Menela\u00fcs,\nwho with her obtained the kingdom of Sparta.\n\nOf the families of Peleus, Atreus, and Tyndareus, the genealogies will\nbe found in the Commentary corresponding with these sections of the\nstory; also the genealogy of Ulysses, one of the leaders of the Greek\narmy during the war and the hero of the Odyssey, which narrates his\nsubsequent adventures; and that of the royal family of Troy against\nwhom the war was undertaken. A slight study of these family trees will\nreveal interesting relationships between the principal participants in\nthe war. For instance: that the passionate Achilles and the intolerant\nAjax, second only to Achilles in military prowess, are first cousins;\nand that the family of Ajax is connected by marriage with that of the\nTrojan Hector, whom he meets in combat. That Ulysses is a distant\ncousin of his wife Penelope and of Clytemnestra, the wife of Agamemnon;\nand that he is a kinsman of Patroclus, the bosom friend of Achilles. In\nthe family of Tyndareus we note most the tragic and romantic careers\nof the women,--Clytemnestra, who murdered her husband and married\nhis cousin \u00c6gisthus; Helen, whose beauty provoked war between her\ntwo husbands and their races; Penelope, whose fidelity to her absent\nlord is the marvel of the Odyssey. It will be noticed, too, that the\ndaughter of Helen, Hermione, is strangely enough married first by\nthe son of Achilles and, afterwards, by the son of Agamemnon, and so\nbecomes sister-in-law to her noble cousins, Electra and Iphigenia.\n\nThe kinsmen and descendants of Peleus--Telamon, Ajax, Teucer, Achilles,\nNeoptolemus--are characterized by their personal valor, their\nintolerant and resentful temper. In the family of Atreus, the men are\nremarkable for their kingly attributes; the principal women for their\nunwavering devotion to religious duty. The members of the royal family\nof Troy are of richly varied and most unusual individuality: like\nTithonus and Memnon, Paris, Hesione, Cassandra and Polyxena, poetic\nand pathetic; like Laomedon, Priam, Hector and Troilus, patriotic,\npersistent in the face of overwhelming odds; but all fated to a\ndolorous end. Of those engaged in the Trojan War, \u00c6neas and his aged\nfather, Anchises, beloved of Venus, are practically the only survivors\nto a happier day.\n\nFOOTNOTES:\n\n[277] Ovid, Metam. 11, 221-265; Catullus, LXIV; Hyginus, Fab. 14;\nApollonius Rhodius. Argon. 1, 558; Valerius Flaccus, Argon.; Statius,\nAchilleid.\n\n[278] Catullus, LXIV (Charles Mills Gayley's translation).\n\n[279] Empedocles on Etna.\n\n[Illustration: FIG. 150. HELEN PERSUADED]\n\n\n\n\nCHAPTER XXII\n\nTHE TROJAN WAR\n\n\n ... At length I saw a lady within call,\n Stiller than chisel'd marble, standing there:\n A daughter of the gods, divinely tall,\n And most divinely fair.\n\n Her loveliness with shame and with surprise\n Froze my swift speech: she turning on my face\n The starlike sorrows of immortal eyes,\n Spoke slowly in her place.\n\n \"I had great beauty; ask thou not my name:\n No one can be more wise than destiny.\n Many drew swords and died. Where'er I came\n I brought calamity.\"[280]\n\n=195. Its Origin.= At the nuptials of Peleus and Thetis all the gods\nhad been invited with the exception of Eris, or Discord. Enraged at her\nexclusion, the goddess threw a golden apple among the guests, with the\ninscription, \"For the fairest.\" Thereupon Juno, Venus, and Minerva each\nclaimed the apple. Not willing to decide so delicate a matter, Jupiter\nsent the goddesses to Mount Ida where Paris, son of Priam, king of\nTroy, was tending his flocks. Till that moment the shepherd-prince had\nbeen happy. He was young and beautiful and beloved,--\"White-breasted\nlike a star,\" says [OE]none, the nymph whom he had wedded:\n\n White-breasted like a star\n Fronting the dawn he moved; a leopard skin\n Dropp'd from his shoulder, but his sunny hair\n Cluster'd about his temples like a god's:\n And his cheek brighten'd as the foam-bow brightens\n When the wind blows the foam, and all my heart\n Went forth to embrace him coming ere he came.[1]\n\nBut to him was now committed the judgment between the goddesses. They\nappeared:\n\n And at their feet the crocus brake like fire,\n Violet, amaracus, and asphodel,\n Lotos and lilies: and a wind arose,\n And overhead the wandering ivy and vine,\n This way and that, in many a wild festoon\n Ran riot, garlanding the gnarl\u00e8d boughs\n With bunch and berry and flower thro' and thro'.[281]\n\nJuno promised him power and riches, Minerva glory and renown in war,\nVenus the fairest of women for his wife,--each attempting to bias\nthe judge in her own favor. Paris, forgetting the fair nymph to whom\nhe owed fealty, decided in favor of Venus, thus making the two other\ngoddesses his enemies. Under the protection of the goddess of love, he\nsoon afterwards sailed to Greece. Here he was hospitably received by\nMenela\u00fcs, whose wife, Helen, as fairest of her sex, was unfortunately\nthe prize destined for Paris. This fair queen had in time past been\nsought by numerous suitors; but before her decision was made known,\nthey all, at the suggestion of Ulysses, son of La\u00ebrtes, king of Ithaca,\nhad taken an oath that they would sustain her choice and avenge her\ncause if necessary. She was living happily with Menela\u00fcs when Paris,\nbecoming their guest, made love to her, and then, aided by Venus,\npersuaded her to elope with him, and carried her to Troy. From this\ncause arose the famous Trojan War,--the theme of the greatest poems of\nantiquity, those of Homer and Virgil.\n\n[Illustration: FIG. 151. ACHILLES TAKEN FROM SCYROS]\n\nMenela\u00fcs called upon the chieftains of Greece to aid him in recovering\nhis wife. They came forward with a few exceptions. Ulysses, for\ninstance, who had married a cousin of Helen's, Penelope, daughter of\nIcarius, was happy in his wife and child, and loth to embark in the\ntroublesome affair. Palamedes was sent to urge him. But when Palamedes\narrived at Ithaca, Ulysses pretended madness. He yoked an ass and an ox\ntogether to the plow and began to sow salt. The ambassador, to try him,\nplaced the infant Telemachus before the plow, whereupon the father,\nturning the plow aside, showed that his insanity was a mere pretense.\nBeing himself gained for the undertaking, Ulysses lent his aid to bring\nin other reluctant chiefs, especially Achilles, son of Peleus and\nThetis. Thetis being herself one of the immortals, and knowing that\nher son was fated to perish before Troy if he went on the expedition,\nendeavored to prevent his going. She, accordingly, sent him to the\ncourt of King Lycomedes of the island of Scyros, and induced him to\nconceal himself in the garb of a maiden among the daughters of the\nking. Hearing that the young Achilles was there, Ulysses went disguised\nas a merchant to the palace and offered for sale female ornaments,\namong which had been placed some arms. Forgetting the part he had\nassumed, Achilles handled the weapons and thereby betrayed himself to\nUlysses, who found no great difficulty in persuading him to disregard\nhis mother's counsels and join his countrymen in the war.\n\nIt seems that from early youth Paris had been reared in obscurity,\nbecause there were forebodings that he would be the ruin of the state.\nThese forebodings appeared, at last, likely to be realized; for the\nGrecian armament now in preparation was the greatest that had ever\nbeen fitted out. Agamemnon, king of Mycen\u00e6 and brother of Menela\u00fcs,\nwas chosen commander in chief. Pre\u00ebminent among the warriors was\nthe swift-footed Achilles. After him ranked his cousin Ajax, the\nson of Telamon, gigantic in size and of great courage, but dull of\nintellect; Diomede, the son of Tydeus, second only to Achilles in all\nthe qualities of a hero; Ulysses, famous for sagacity; and Nestor, the\noldest of the Grecian chiefs, to whom they all looked up for counsel.\n\nBut Troy was no feeble enemy. Priam the king, son of Laomedon and\nbrother of Tithonus and Hesione, was now old; but he had been a wise\nprince and had strengthened his state by good government at home and\npowerful alliances with his neighbors. By his wife Hecuba he had a\nnumerous family; but the principal stay and support of his throne was\nhis son Hector, one of the noblest figures of antiquity. The latter\nhad, from the first, a presentiment of the ruin of Troy, but still\nhe persevered in heroic resistance, though he by no means justified\nthe wrong which brought this danger upon his country. He was united\nin marriage with the noble Andromache, and as husband and father his\ncharacter was not less admirable than as warrior. The principal leaders\non the side of the Trojans, beside Hector, were his relative, \u00c6neas,\nthe son of Venus and Anchises, Deiphobus, Glaucus, and Sarpedon.\n\n=196. Iphigenia in Aulis.= After two years of preparation, the Greek\nfleet and army assembled in the port of Aulis in B[oe]otia. Here\nAgamemnon, while hunting, killed a stag that was sacred to Diana. The\ngoddess in retribution visited the army with pestilence and produced\na calm which prevented the ships from leaving the port. Thereupon,\nCalchas the soothsayer announced that the wrath of the virgin goddess\ncould only be appeased by the sacrifice of a virgin, and that none\nother but the daughter of the offender would be acceptable. Agamemnon,\nhowever reluctant, submitted to the inevitable and sent for his\ndaughter Iphigenia, under the pretense that her marriage to Achilles\nwas to be at once performed. But, in the moment of sacrifice, Diana,\nrelenting, snatched the maiden away and left a hind in her place.\nIphigenia, enveloped in a cloud, was conveyed to Tauris, where Diana\nmade her priestess of her temple.[282]\n\n[Illustration: FIG. 152. THE SACRIFICE OF IPHIGENIA]\n\nIphigenia is represented as thus describing her feelings at the moment\nof sacrifice:\n\n \"I was cut off from hope in that sad place,\n Which men call'd Aulis in those iron years:\n My father held his hand upon his face;\n I, blinded with my tears,\n\n \"Still strove to speak: my voice was thick with sighs\n As in a dream. Dimly I could descry\n The stern black-bearded kings, with wolfish eyes\n Waiting to see me die.\n\n \"The high masts flicker'd as they lay afloat;\n The crowds, the temples, waver'd, and the shore;\n The bright death quiver'd at the victim's throat;\n Touch'd; and I knew no more.\"[283]\n\n=197. Protesila\u00fcs and Laodamia.= The wind now proving fair, the fleet\nmade sail and brought the forces to the coast of Troy. The Trojans\nopposed their landing, and at the first onset one of the noblest of\nthe Greeks, Protesila\u00fcs, fell by the hand of Hector. This Protesila\u00fcs\nhad left at home his wife Laodamia (a niece of Alcestis),--who was\nmost tenderly attached to him. The story runs that when the news of\nhis death reached her, she implored the gods for leave to converse\nwith him if but for three hours. The request was granted. Mercury led\nProtesila\u00fcs back to the upper world; and when the hero died a second\ntime Laodamia died with him. It is said that the nymphs planted elm\ntrees round his grave, which flourished till they were high enough\nto command a view of Troy, then withered away, giving place to fresh\nbranches that sprang from the roots.\n\nWordsworth has taken the story of Protesila\u00fcs and Laodamia for a poem\ninvested with the atmosphere of the classics. The oracle, according\nto the tradition, had declared that victory should be the lot of that\nparty from which should fall the first victim in the war. The poet\nrepresents Protesila\u00fcs, on his brief return to earth, relating to\nLaodamia the story of his fate:\n\n \"The wished-for wind was given:--I then revolved\n The oracle, upon the silent sea;\n And, if no worthier led the way, resolved\n That, of a thousand vessels, mine should be\n The foremost prow in pressing to the strand,--\n Mine the first blood that tinged the Trojan sand.\n\n \"Yet bitter, ofttimes bitter, was the pang\n When of thy loss I thought, belov\u00e8d Wife!\n On thee too fondly did my memory hang,\n And on the joys we shared in mortal life,--\n The paths which we had trod--these fountains, flowers,\n My new-planned cities, and unfinished towers.\n\n \"But should suspense permit the foe to cry,\n 'Behold they tremble!--haughty their array,\n Yet of their number no one dares to die'?\n In soul I swept the indignity away:\n Old frailties then recurred:--but lofty thought,\n In act embodied, my deliverance wrought.\"...\n\n ... Upon the side\n Of Hellespont (such faith was entertained)\n A knot of spiry trees for ages grew\n From out the tomb of him for whom she died;\n And ever, when such stature they had gained\n That Ilium's walls were subject to their view,\n The trees' tall summits withered at the sight;\n A constant interchange of growth and blight!\n\n=198. Homer's Iliad.= The war continued without decisive result for\nnine years. Then an event occurred which seemed likely to prove fatal\nto the cause of the Greeks,--a quarrel between Achilles and Agamemnon.\nIt is at this point that the great poem of Homer, the Iliad, begins.\n\nOf this and the other epics from which the story is drawn an account\nwill be found in Chapter XXXII below; and a list of the best English\ntranslations, in the corresponding sections of the Commentary. What\ndelight one may derive from reading the Greek epics even in translation\nis nowhere better expressed than in the following sonnet of John Keats,\n\"On First Looking into Chapman's Homer\":\n\n Much have I travel'd in the realms of gold,\n And many goodly states and kingdoms seen;\n Round many western islands have I been\n Which bards in fealty to Apollo hold.\n Oft of one wide expanse had I been told\n That deep-brow'd Homer ruled as his demesne:\n Yet did I never breathe its pure serene\n Till I heard Chapman speak out loud and bold:\n --Then felt I like some watcher of the skies\n When a new planet swims into his ken;\n Or like stout Cortez when with eagle eyes\n He stared at the Pacific--and all his men\n Look'd at each other with a wild surmise--\n Silent, upon a peak in Darien.\n\n=199. The Wrath of Achilles.= The Greeks, though unsuccessful against\nTroy, had taken the neighboring and allied cities; and in the division\nof the spoil a female captive, by name Chryse\u00efs, daughter of Chryses,\npriest of Apollo, had fallen to the share of Agamemnon. Chryses came\nbearing the sacred emblems of his office and begged the release of\nhis daughter. Agamemnon refused. Thereupon Chryses implored Apollo to\nafflict the Greeks till they should be forced to yield their prey.\nApollo granted the prayer of his priest and sent such pestilence upon\nthe Grecian camp, that a council was called to deliberate how to allay\nthe wrath of the gods and avert the plague. Achilles boldly charged\nthe misfortunes upon Agamemnon as caused by his withholding Chryse\u00efs.\nAgamemnon, in anger, consented, thereupon, to relinquish his captive,\nbut demanded that Achilles should yield to him in her stead Brise\u00efs,\na maiden who had fallen to that hero's share in the division of the\nspoil. Achilles submitted, but declared that he would take no further\npart in the war,--withdrew his forces from the general camp and avowed\nhis intention of returning to Greece.\n\n[Illustration: FIG. 153. THE SURRENDER OF BRISE\u00cfS From the relief by\nThorwaldsen]\n\n=200. The Enlistment of the Gods.= The gods and goddesses interested\nthemselves as much in this famous siege as did the parties themselves.\nIt was well known in heaven that fate had decreed the fall of Troy, if\nher enemies only persevered. Yet there was room for chance sufficient\nto excite by turns the hopes and fears of the powers above who took\npart with either side. Juno and Minerva, in consequence of the slight\nput upon their charms by Paris, were hostile to the Trojans; Venus\nfor the opposite cause favored them; she enlisted, also, her admirer\nMars on the same side. Neptune favored the Greeks. Apollo was neutral,\nsometimes taking one side, sometimes the other. Jove himself, though he\nloved Priam, exercised a degree of impartiality,--not, however, without\nexceptions.\n\n=201. Thetis intercedes for Achilles.= Resenting the injury done by\nAgamemnon to her son, Thetis, the silver-footed, repaired to Jove's\npalace, and besought him to grant success to the Trojan arms and so\nmake the Greeks repent of their injustice to Achilles. The father of\nthe gods, wavering at first, finally sighed and consented, saying, \"Go\nthou now, but look to it that Juno see thee not, for oft she taunts me\nthat I aid the Trojan cause.\" Vain precaution: the jealous queen had\nseen only too well, and quickly she confronted the Thunderer with her\nsuspicions,--\n\n \"Fateful favor to Achilles, hast thou granted now I trow!\"\n\nsaid she.\n\n Zeus that rolls the clouds of heaven, her addressing answered then:\n \"Moonstruck! thou art ever _trowing_; never I escape thy ken.\n After all, it boots thee nothing; leaves thee of my heart the less,--\n So thou hast the worser bargain. What if I the fact confess?\n It was done because I willed it. Hold thy place--my word obey,\n Lest if I come near, and on thee these unconquered hands I lay,\n All the gods that hold Olympus naught avail thee here to-day.\"[284]\n\n=202. Agamemnon calls a Council.= In the events which immediately\nfollow we are introduced to the more important human personages on\nboth sides. To begin with, Agamemnon, king of men, deceived by a dream\nsent by Jupiter, calls a council of the Greeks in which, desiring\nto arouse them to fresh onslaught upon the Trojans, he tests their\npatience first by depicting the joys of the return home to Greece, and\nnearly overreaches himself in his cunning; for had it not been for the\nwise Nestor, king of sandy Pylos, and Ulysses of many devices, peer of\nJove in wisdom, the common soldiers, fired with hope of viewing their\ndear native land and wives and little children once more, would have\nlaunched the ships and sailed forthwith. Among the murmuring host of\nthose who clamor for retreat the leader is Thersites, uncontrolled of\nspeech, full of disorderly words, striving idly against the chieftains,\naiming ever to turn their authority into ridicule. He is the one\nludicrous character of the Iliad, this boaster and scandalmonger,\nsneering and turbulent of tongue:\n\n His figure such as might his soul proclaim;\n One eye was blinking, and one leg was lame;\n His mountain shoulders half his breast o'erspread,\n Thin hairs bestrewed his long misshapen head.\n Spleen to mankind his envious heart possest,\n And much he hated all, but most the best.\n Ulysses or Achilles still his theme;\n But royal scandal his delight supreme.[1]\n\nHim Ulysses hearing rebukes, raising his scepter to strike:\n\n \"Peace, factious monster, born to vex the state,\n With wrangling talents formed for foul debate....\n Have we not known thee, slave of all our host,\n The man who acts the least, upbraids the most?...\"\n He said, and cowering as the dastard bends,\n The weighty scepter on his back descends:\n On the round bunch the bloody tumors rise;\n The tears spring starting from his haggard eyes:\n Trembling he sat, and, shrunk in abject fears,\n From his wild visage wiped the scalding tears.[285]\n\nThe revolt is thus stayed. A banquet of the Greek chieftains is then\nheld, merely of the greatest--Nestor, Idomeneus of Crete, Ajax the son\nof Telamon and cousin of Achilles, and Ajax the less, son of O\u00efleus,\nUlysses, also, and Agamemnon himself. Menela\u00fcs comes, unbid but not\nunwelcome. Sacrifices are offered, but in vain; Jove heeds them not.\nFinally, a muster of the Greek troops, by nations and by kings, is\ndetermined upon; and so the army is set in array.\n\n=203. Paris plays the Champion.= Likewise the army of the Trojans; and\nbattle is about to be joined when forth from the Trojan ranks steps\nParis himself to challenge some champion of the opposing host to single\ncombat,--the beauteous Paris,\n\n In form a god! The panther's speckled hide\n Flowed o'er his armor with an easy pride,--\n His bended bow across his shoulders flung,\n His sword beside him negligently hung,\n Two pointed spears he shook with gallant grace,\n And dared the bravest of the Grecian race.[1]\n\nHim, Menela\u00fcs whom he had betrayed, Menela\u00fcs loved of Mars, raging\nlike a lion, swift espies and, leaping from his chariot, hastens to\nencounter. But Paris, smitten with a sense of his own treachery,\nfearful, trembling, pale at sight of the avenger, betakes himself to\nhis heels and hides in the thick of the forces behind. Upbraided,\nhowever, by the generous Hector, noblest of Priam's sons, the handsome\nTrojan recovers his self-possession and consents to meet Menela\u00fcs\nin formal combat between the opposing hosts: Helen and the wealth\nshe brought to be the prize; and, thus, the long war to reach its\ntermination. The Greeks accept the proposal, and a truce is agreed upon\nthat sacrifices may be made on either side for victory, and the duel\nproceed.\n\n=204. Helen surveys the Grecian Host.= Meantime, Iris, the goddess of\nthe rainbow, summons Helen to view the impending duel. At her loom in\nthe Trojan palace the ill-starred daughter of Leda is sitting, weaving\nin a golden web her own sad story. At memory of her former husband's\nlove, her home, her parents, the princess drops a tear; then, softly\nsighing, turns her footsteps to the Sc\u00e6an gate. No word is said of\nher matchless beauty, but what it was Homer shows us by its effect.\nFor as she approaches the tower where aged Priam and his gray-haired\nchieftains sit, these cry,--\n\n \"No wonder such celestial charms\n For nine long years have set the world in arms;\n What winning graces! what majestic mien!\n She moves a goddess, and she looks a queen.\n Yet hence, oh Heaven! convey that fatal face,\n And from destruction save the Trojan race.\"[286]\n\n--Words re\u00ebchoed by our English Marlowe, two thousand years later:\n\n Was this the face that launched a thousand ships,\n And burnt the topless towers of Ilium?\n Sweet Helen, make me immortal with a kiss.--\n Her lips suck forth my soul: see, where it flies!\n Come, Helen, come, give me my soul again!\n Here will I dwell, for heaven is in these lips,\n And all is dross that is not Helena....\n Oh, thou art fairer than the evening air\n Clad in the beauty of a thousand stars;\n Brighter art thou than flaming Jupiter\n When he appeared to hapless Semele;...\n And none but thou shalt be my paramour![287]\n\nPriam, receiving his daughter-in-law tenderly, inquires of her the\nnames of one and another of the Greeks moving on the plain below.--\n\n \"Who, that\n Around whose brow such martial graces shine,\n So tall, so awful, and almost divine?\"[2]\n\n\"The son of Atreus,\" answers she, shamefacedly. \"Agamemnon, king of\nkings, my brother once, before my days of shame.\"\n\n \"What's he whose arms lie scattered on the plain?\n Broad is his breast, his shoulders larger spread,\n Though great Atrides overtops his head.\n Nor yet appear his care and conduct small;\n From rank to rank he moves and orders all.\"[2]\n\n\"That is Ulysses,\" replies Helen, \"of the barren isle of Ithaca; but\nhis fame for wisdom fills the earth.\"\n\nOld Antenor, seated by Priam's side, thereupon recalls the modesty and\nthe restrained but moving eloquence of the wondrous son of La\u00ebrtes.\n\n The king then asked, as yet the camp he viewed,\n \"What chief is that, with giant strength endued;\n Whose brawny shoulders, and whose swelling chest,\n And lofty stature, far exceed the rest?\"[288]\n\n\"That is Ajax the great,\" responds the beauteous queen, \"himself a\nhost, bulwark of the Ach\u00e6ans.\" And she points out Idomeneus, also, the\ngodlike king of Crete; then scans the array for her own dear brothers\nCastor and Pollux;--in vain, for them the life-giving earth held fast\nthere in Laced\u00e6mon, their native land.\n\n=205. Menela\u00fcs defeats Paris.= Now from both sides sacrifices have been\nmade to Jove, avenger of oaths, with prayer for victory and vow of\nfidelity to the contract made. But Jove vouchsafes not yet fulfillment.\nThe lists are measured out by Hector and Ulysses. The duel is on. Paris\nthrows his spear: it strikes, but fails to penetrate the shield of\nMenela\u00fcs. Menela\u00fcs then breaks his blade upon the helmet of the Trojan,\nseizes him by the horsehair crest, and drags him toward the Grecian\nlines. But Aphrodite touches the chin strap of Paris' headpiece so that\nit breaks and leaves the futile helmet in the victor's hand. Then,\nwrapping her favorite in a mist, the goddess bears him from the pursuit\nof the furious Menela\u00fcs, and, laying him safe in Helen's chamber,\nsummons his mistress, who first upbraids, then soothes him with her\nlove.\n\nThe Greeks claim the victory, and with justice. The Trojans, then and\nthere, would have yielded Helen and her wealth, and the fate of Troy\nmight have been averted, had it not been for the machinations of the\ngoddesses, Juno and Minerva. These could not bear that the hated city\nshould thus escape. Prompted by the insidious urging of Minerva, one of\nthe Trojans, Pandarus, breaks the truce; he shoots his arrow full at\nthe heart of the unsuspecting Menela\u00fcs. Minerva, of course, deflects\nthe fatal shaft. But the treachery has accomplished its purpose; the\nwar is reopened with fresh bitterness.\n\n=206. The Two Days' Battle.= The battle which then begins lasts for\ntwo whole days. In its progress we witness a series of single combats.\nPandarus the archer wounds Diomede, the son of Tydeus. He in turn,\nraging over the plain, fells Pandarus with his spear and crushes \u00c6neas,\nPriam's valiant kinsman, to his knees with a great stone. Venus shrouds\nher fallen son in her shining veil and will rescue him. But Diomedes,\nclear of vision, spies her out and drives his pointed spear against\nher hand, grazing the palm of it. Out leaps the ichor, life-stream of\nthe blessed gods, and the goddess shrieking drops her burden and flees\nfrom the jeering Diomede;--nay, mounts even to Olympus where, sobbing\nin the arms of her mother, Dione, she finds solace of her pain, and\nstraightway turns to hopes of vengeance. \u00c6neas, meantime, is wrapped by\nPh[oe]bus Apollo in a dusky cloud and borne aloft to that god's temple,\nwhere Diana and Latona heal him.\n\nTo Diomede still breathing slaughter, the god of war himself, Mars, now\nappears in form of a Thracian captain, opposing him and stirring Hector\nand the swiftly recovered \u00c6neas and the godlike Sarpedon against the\nGreeks. And the Greeks give back, but the keen eye of Diomede pierces\nthe disguise of the War-god, and he shouts a warning to his comrades.\nThen Minerva descends to where Diomede, the son of Tydeus, is resting\nbeside his chariot, and she spurs him afresh to the fray. \"Thou joy\nof my heart,\" says she, \"fear thou neither Mars nor any other of the\nimmortals, for I shall help thee mightily.\" So she takes the place of\nhis charioteer, and together they drive upon the War-god. And that one\ncannot come at the son of Tydeus to strike him down, because of the\nward that Minerva vouchsafes. But, for his part, Diomede strikes his\nspear against the nethermost belly of Mars and wounds him, rending\nhis fair skin; and he plucks forth the spear again. Then brazen Mars\nbellows loud as nine or ten thousand soldiers all at once; and, like\nVenus before him, betakes himself to Olympus. There, complaining to\nJove, he receives stern reprimand for his intolerant and hateful\nspirit, stirring men ever to strife,--\"like thine own mother Juno,\nafter whom, not after me, thou takest.\" Thus, the father of the gods;\nand he makes an end, and bids P\u00e6an, the family physician, heal him.\n\nDiomedes, still bearing down upon the Trojans, is about to fight with\na young warrior when, struck by his appearance, he inquires his name.\nIt is Glaucus, and the youth is grandson of the noble Bellerophon.\nThen Diomede of the loud war cry is glad and strikes his spear into\nthe earth and declines to fight. \"For lo,\" says he, \"our grandfathers\nwere guest-friends, and guest-friends are we. Why slay each other?\nThere are multitudes of Trojans for me to slay, and for thee Ach\u00e6ans\nin multitude, if thou canst. Let us twain rather exchange arms as a\ntestimony of our good faith.\" And this they do; and Diomede gets the\nbest of the bargain, his armor being worth but nine oxen, and young\nGlaucus' five score.\n\n=207. Hector and Andromache.= The Trojans being still pushed nearer to\ntheir own walls, Hector, bravest of Priam's sons, returns to the city\nto urge the women to prayer, and to carry the loitering Paris back with\nhim to the defense. Here he meets his brave mother Hecuba, and then the\nfair Helen; but most to our purpose and his, his wife, the white-armed\nAndromache, the noblest of the women of the Iliad, for whom he has\nsearched in vain.\n\n[Illustration: FIG. 154. HECTOR'S FAREWELL\n\nFrom the relief by Thorwaldsen]\n\n But when he had passed through the great city and was come to the\n Sc\u00e6an gates, whereby he was minded to issue upon the plain, then\n came his dear-won wife, running to meet him, even Andromache,\n daughter of great-hearted E\u00ebtion.... So she met him now; and with\n her went the handmaid bearing in her bosom the tender boy, the\n little child, Hector's loved son, like unto a beautiful star. Him\n Hector called Scamandrius, but all the folk Astyanax, \"defender\n of the city.\" So now he smiled and gazed at his boy silently, and\n Andromache stood by his side weeping, and clasped her hand in\n his, and spake and called upon his name. \"Dear my lord, this thy\n hardihood will undo thee, neither hast thou any pity for thine\n infant boy, nor for hapless me that soon shall be thy widow; for\n soon will the Ach\u00e6ans all set upon thee and slay thee. But it\n were better for me to go down to the grave if I lose thee; for\n nevermore will any comfort be mine, when once thou, even thou,\n hast met thy fate,--but only sorrow. Moreover I have no father,\n now, nor lady mother.... And the seven brothers that were mine\n within our halls, all these on the selfsame day went within the\n house of Hades; for fleet-footed, goodly Achilles slew them all\n amid their kine of trailing gait and white-faced sheep.... Nay,\n Hector, thou art to me father and lady mother, yea and brother,\n even as thou art my goodly husband. Come now, have pity and abide\n here upon the tower, lest thou make thy child an orphan and thy\n wife a widow.\" ...\n\n Then great Hector of the glancing helm answered her: \"Surely I\n take thought for all these things, my wife; but I have very sore\n shame of the Trojans and Trojan dames with trailing robes, if\n like a coward I shrink away from battle. Moreover mine own soul\n forbiddeth me, seeing I have learnt ever to be valiant and fight\n in the forefront of the Trojans, winning my father's great glory\n and mine own. Yea of a surety, I know this in heart and soul; the\n day shall come for holy Ilios to be laid low, and Priam and the\n folk of Priam of the good ashen spear. Yet doth the anguish of\n the Trojans hereafter not so much trouble me, neither Hecuba's\n own, neither king Priam's, neither my brethren's, the many and\n brave that shall fall in the dust before their foemen, as doth\n thine anguish in the day when some mail-clad Ach\u00e6an shall lead\n thee weeping, and rob thee of the light of freedom.... But me in\n death may the heaped-up earth be covering, ere I hear thy crying\n and thy carrying into captivity.\"[289]\n\nSo spoke the great-hearted hero, and stretched his arms out to take his\nlittle boy. But\n\n The babe clung crying to his nurse's breast,\n Scared at the dazzling helm, and nodding crest.\n With secret pleasure each fond parent smiled,\n And Hector hasted to relieve his child,--\n The glittering terrors from his brows unbound\n And placed the beaming helmet on the ground.\n Then kissed the child, and, lifting high in air,\n Thus to the gods, preferred a father's prayer:\n \"O thou! whose glory fills the ethereal throne,\n And all ye deathless powers! protect my son!\n Grant him, like me, to purchase just renown,\n To guard the Trojans, to defend the crown,\n Against his country's foes the war to wage.\n And rise the Hector of the future age!\n So when, triumphant from successive toils\n Of heroes slain, he bears the reeking spoils,\n Whole hosts may hail him with deserved acclaim\n And say, 'This chief transcends his father's fame':\n While, pleased, amidst the general shouts of Troy,\n His mother's conscious heart o'erflows with joy.\"[290]\n\nSo prayed he, the glorious Hector, foreboding of the future, but\nlittle thinking that, when he himself was slain and the city sacked,\nhis starlike son should be cast headlong to death from Troy's high\ntowers, and his dear wife led into captivity as he had dreaded,\nindeed, and by none other than Neoptolemus, the son of his mortal foe,\nAchilles. But now Hector laid the boy in the arms of his wife, and she,\nsmiling tearfully, gathered him to her fragrant bosom; and her husband\npitied her, and caressed her with his hand, and bade her farewell,\nsaying:\n\n \"Andromache! my soul's far better part,\n Why with untimely sorrows heaves thy heart?\n No hostile hand can antedate my doom,\n Till fate condemns me to the silent tomb.\n Fixed is the term to all the race of earth;\n And such the hard condition of our birth,\n No force can then resist, no flight can save;\n All sink alike, the fearful and the brave.\n No more--but hasten to thy tasks at home,\n There guide the spindle, and direct the loom;\n Me glory summons to the martial scene,\n The field of combat is the sphere for men.\n Where heroes war, the foremost place I claim,\n The first in danger, as the first in fame.\"[291]\n\nHe took up his horsehair crested helmet; and she departed to her home,\noft looking back and letting fall big tears, thinking that he would no\nmore come back from battle.\n\n=208. Neptune aids the Discouraged Greeks.= But the end was not to be\nso soon. Hector, returning to the field, challenged the bravest of\nthe Greeks to combat. Nine accepted the challenge; but the lot fell\nupon Ajax, the son of Telamon. The duel lasted till night, with deeds\nof valor on both sides; and the heroes parted, each testifying to his\nfoeman's worth. The next day a truce was declared for the burning of\nthe dead; but, soon after, the conflict was renewed, and before the\nmight of Hector and his troops the Greeks were driven back to their\ntrenches.\n\nThen Agamemnon, king of men, called another council of his wisest and\nbravest chiefs and, grievously discouraged, proposed, this time in\nearnest, that they re\u00ebmbark and sail home to Greece.[292] In the debate\nthat ensued Nestor advised that an embassy should be sent to Achilles\npersuading him to return to the field; and that Agamemnon should yield\nthe maiden, the cause of dispute, with ample gifts to atone for the\nwrong he had done. Agamemnon assented; and Ulysses, Ajax, and Ph[oe]nix\nwere sent to carry to Achilles the penitent message. They performed\nthat duty, but Achilles was deaf to their entreaties. He positively\nrefused to return to the attack and persisted in his determination to\nembark for Greece without delay.\n\n[Illustration: FIG. 155. THE EMBASSY TO ACHILLES\n\n(Left section)]\n\nMeanwhile the Greeks, having constructed a rampart around their ships,\nwere now, instead of besieging Troy, in a manner themselves besieged,\nwithin their rampart. The next day after the unsuccessful embassy to\nAchilles, another battle was fought, in which Agamemnon raged mightily\nwith his spear till, wounded, he was forced to retire to the hollow\nships; and Ulysses, too, bravely warring, had a narrow escape with\nlife.[293] Then the Trojans, favored by Jove, succeeded in forcing\na passage through the Grecian rampart and were about to set fire to\nthe ships. But Neptune, seeing the Greeks hard pressed, came to their\nrescue.[294] Appearing in the form of Calchas the prophet, he raised\nthe ardor of the warriors to such a pitch that they forced the Trojans\nto give way. Here Ajax, son of Telamon, performed prodigies of valor.\nBearing his massy shield and \"shaking his far-shadowing spear,\" he\nencountered Hector.[295] The Greek shouted defiance, to which Hector\nreplied, and hurled his lance at the huge warrior. It was well aimed\nand struck Ajax where the belts that bore his sword and shield\ncrossed each other on the breast, but the double guard prevented its\npenetrating, and it fell harmless. Then Ajax, seizing a huge stone,\none of those that served to prop the ships, hurled it at Hector. It\nstruck him near the neck and stretched him on the plain. His followers\ninstantly seized him and bore him off stunned and wounded.\n\n[Illustration: FIG. 156. THE EMBASSY TO ACHILLES\n\n(Right Section)]\n\n=209. Jupiter inspirits the Trojans.= While Neptune was thus aiding\nthe Greeks and driving back the Trojans, Jupiter saw nothing of what\nwas going on, for his attention had been drawn from the field by\nthe wiles of Juno.[296] That goddess had arrayed herself in all her\ncharms, and to crown all had borrowed of Venus her girdle, the Cestus,\nwhich enhanced the wearer's charms to such a degree that they were\nirresistible. So prepared, Juno had joined her husband, who sat on\nOlympus watching the battle. When he beheld her, the fondness of his\nearly love revived and, forgetting the contending armies and all other\naffairs of state, he gave himself up to her and let the battle go as it\nwould.\n\nBut this oblivion did not continue long. When, upon turning his\neyes downward, the cloud-compeller beheld Hector stretched, almost\nlifeless, on the plain, he angrily dismissed Juno, commanding her to\nsend Iris and Apollo to him.[297] The former bore a peremptory message\nto Neptune, ordering him to quit the contest. Apollo was dispatched\nto heal Hector's bruises and to inspirit his heart. These orders were\nobeyed with such speed that while the battle was still raging, Hector\nreturned to the field and Neptune betook himself to his own dominions.\n\n[Illustration: FIG. 157. THE BATTLE BY THE SHIPS]\n\n=210. Achilles and Patroclus.= An arrow from the bow of Paris had\nwounded Machaon, son of \u00c6sculapius, a brave warrior, who, having\ninherited his father's art, was of great value to the Greeks as their\nsurgeon. Nestor, taking Machaon in his chariot, conveyed him from the\nfield. As they passed the ships of Achilles, that hero, looking over\nthe battle, saw the chariot of Nestor, and recognized the old chief,\nbut could not discern who the wounded warrior was. Calling Patroclus,\nhis companion and dearest friend, he sent him to Nestor's tent to\ninquire. Patroclus, performing the behest, saw Machaon wounded and,\nhaving told the cause of his coming, would have hastened away, but\nNestor detained him to tell him the extent of the Grecian calamities.\nHe reminded him also how, at the time of the departure for Troy,\nAchilles and himself had been charged by their respective sires: the\none to aspire to the highest pitch of glory; the other, as the elder,\nto keep watch over his friend and to guide his inexperience. \"Now,\"\nsaid Nestor, \"is the time for such guidance. If the gods so please,\nthou mayest win Achilles back to the common cause; but if not, let him\nat least send his soldiers to the field, and come thou, Patroclus,\nclad in his armor. Perhaps the very sight of it may drive back the\nTrojans.\"[298]\n\n=211. Patroclus in the Armor of Achilles.= Patroclus, strongly moved by\nthis address, hastened to his friend, revolving in his mind what he had\nseen and heard.[299] He told the prince the sad condition of affairs\nat the camp of their late associates; Diomede, Ulysses, Agamemnon,\nMachaon, all wounded, the rampart broken down, the enemy among the\nships preparing to burn them and thus to cut off all means of return to\nGreece. While they spoke, the flames burst forth from one of the ships.\nAchilles, at the sight, relented so far as to intrust Patroclus with\nthe Myrmidons for the onslaught and to lend him his armor that he might\nthereby strike the more terror into the minds of the Trojans. Without\ndelay the soldiers were marshaled, Patroclus put on the radiant armor,\nmounted the chariot of Achilles, and led forth the men ardent for\nbattle. But before his friend went, Achilles strictly charged him to\nbe content with repelling the foe. \"Seek not,\" said he, \"to press the\nTrojans without me, lest thou add still more to the disgrace already\nmine.\" Then exhorting the troops to do their best, he dismissed them\nfull of ardor to the fight.\n\nPatroclus and his Myrmidons at once plunged into the contest where\nit raged hottest. At the sight of them the joyful Grecians shouted,\nand the ships re\u00ebchoed the acclaim; but the Trojans, beholding the\nwell-known armor, struck with terror, looked everywhere for refuge.\nFirst those who had got possession of the ship and set it on fire\nallowed the Grecians to retake it and extinguish the flames. Then\nthe rest fled in dismay. Ajax, Menela\u00fcs, and the two sons of Nestor\nperformed prodigies of valor. Hector was forced to turn his horses'\nheads and retire from the enclosure, leaving his men encumbered in the\nfosse to escape as they could. Patroclus drove all before him, slaying\nmany; nor did one dare to make a stand against him.\n\n[Illustration: FIG. 158. MENELA\u00dcS WITH THE BODY OF PATROCLUS]\n\n=212. The Deaths of Sarpedon and Patroclus.= At last the grandson of\nBellerophon, Sarpedon, son of Jove and Laodamia, ventured to oppose\nthe Greek warrior. The Olympian looked down upon his son and would\nhave snatched him from the fate impending, but Juno hinted that if he\ndid so, the other inhabitants of heaven might be induced to interpose\nin like manner whenever any of their offspring were endangered,--an\nargument to which Jove yielded. Sarpedon threw his spear, but missed\nPatroclus; the spear of the Greek, on the other hand, pierced\nSarpedon's breast, and he fell, calling to his friends to save his\nbody from the foe. Then a furious contest arose for the corpse. The\nGreeks succeeded in stripping Sarpedon of his armor, but Jove would not\nsuffer the body to be dishonored. By his command Apollo snatched it\nfrom the midst of the combatants and committed it to the care of the\ntwin brothers Death and Sleep. By them it was transported to Lycia,\nSarpedon's native land, and there received due funeral rites.\n\nThus far Patroclus had succeeded to the utmost in repelling the foe and\nrelieving his countrymen, but now came a change of fortune. Hector,\nborne in his chariot, confronted him. Patroclus threw a vast stone at\nthe Trojan, which missed its aim, but smote Cebriones, the charioteer,\nand felled him from the car. Hector leaped from the chariot to rescue\nhis friend, and Patroclus also descended to complete his victory. Thus\nthe two heroes met face to face. At this decisive moment the poet, as\nif reluctant to give Hector the glory, records that Ph[oe]bus Apollo,\ntaking part against Patroclus, struck the helmet from his head and the\nlance from his hand. At the same moment an obscure Trojan wounded him\nin the back, and Hector pressing forward pierced him with his spear. He\nfell mortally wounded.\n\nThen arose a tremendous conflict for the body of Patroclus; but his\narmor was at once taken possession of by Hector, who, retiring a short\ndistance, divested himself of his own mail, put on that of Achilles,\nthen returned to the fight.[300] Ajax and Menela\u00fcs defended the body,\nand Hector and his bravest warriors struggled to capture it. The battle\nstill raged with equal fortune, when Jove enveloped the whole face\nof heaven in a cloud. The lightning flashed, the thunder roared, and\nAjax, looking round for some one whom he might dispatch to Achilles\nto tell him of the death of his friend and of the imminent danger of\nhis remains falling into the hands of the enemy, could see no suitable\nmessenger. In desperation he exclaimed:\n\n \"Father of heaven and earth! deliver thou\n Achaia's host from darkness; clear the skies;\n Give day; and, since thy sovereign will is such,\n Destruction with it; but, oh, give us day!\"[301]\n\nJupiter heard the prayer and dispersed the clouds. Ajax sent Antilochus\nto Achilles with the intelligence of Patroclus' death and of the\nconflict raging for his remains; and the Greeks at last succeeded in\nbearing off the body to the ships, closely pursued by Hector and \u00c6neas\nand the rest of the Trojans.\n\n=213. The Remorse of Achilles.= Achilles heard the fate of his friend\nwith such distress that Antilochus feared for a while lest he might\ndestroy himself.[302] His groans reached the ears of Thetis, far down\nin the deeps of ocean where she abode, and she hastened to inquire\nthe cause. She found him overwhelmed with self-reproach that he had\nsuffered his friend to fall a victim to his resentment. His only\nconsolation was the hope of revenge. He would fly instantly in search\nof Hector. But his mother reminded him that he was now without armor\nand promised, if he would but wait till the morrow, to procure for\nhim a suit of armor from Vulcan more than equal to that he had lost.\nHe consented, and Thetis immediately repaired to Vulcan's palace.\nShe found him busy at his forge, making tripods for his own use, so\nartfully constructed that they moved forward of their own accord when\nwanted, and retired again when dismissed. On hearing the request of\nThetis, Vulcan immediately laid aside his work and hastened to comply\nwith her wishes. He fabricated a splendid suit of armor for Achilles;\nfirst a shield adorned with elaborate devices, of which a noble\ndescription is given by Homer, then a helmet crested with gold, then a\ncorselet and greaves of impenetrable temper, all perfectly adapted to\nthe hero's form, and of consummate workmanship. The suit was made in\none night, and Thetis, receiving it, descended to earth and laid it at\nAchilles' feet at the dawn of day.\n\n=214. The Reconciliation of Agamemnon and Achilles.= The first glow of\npleasure that Achilles had felt since the death of Patroclus was at\nthe sight of this splendid armor.[303] And now arrayed in it, he went\nforth to the camp, calling the chiefs to council. When the leaders were\nassembled, Achilles addressed them. Renouncing his displeasure against\nAgamemnon and bitterly lamenting the miseries that had resulted from\nit, he called on them to proceed at once to the field. Agamemnon made\na suitable reply, laying the blame on Ate, the goddess of infatuation;\nand thereupon complete reconcilement took place between the heroes.\n\nThen Achilles went forth to battle, heartened by the inspiration of\nMinerva and filled with a rage and thirst for vengeance that made him\nirresistible. As he mounted his chariot, one of his immortal coursers\nwas, strange to say, endowed suddenly with speech from on high and,\nbreaking into prophecy, warned the hero of his approaching doom. But,\nnothing daunted, Achilles pressed upon the foe. The bravest warriors\nfled before him or fell by his lance.[304] Hector, cautioned by Apollo,\nkept aloof; but the god, assuming the form of one of Priam's sons,\nLycaon, urged \u00c6neas to encounter the terrible warrior. \u00c6neas, though\nhe felt himself unequal, did not decline the combat. He hurled his\nspear with all his force against the shield, the work of Vulcan. The\nspear pierced two plates of the shield, but was stopped in the third.\nAchilles threw his spear with better success. It pierced through the\nshield of \u00c6neas, but glanced near his shoulder and made no wound. Then\n\u00c6neas, seizing a stone, such as two men of modern times could hardly\nlift, was about to throw it,--and Achilles, with sword drawn, was\nabout to rush upon him,--when Neptune, looking out upon the contest,\nhad pity upon \u00c6neas, who was sure to have the worst of it. The god,\nconsequently, spread a cloud between the combatants and, lifting the\nTrojan from the ground, bore him over the heads of warriors and steeds\nto the rear of the battle. Achilles, when the mist cleared away, looked\nround in vain for his adversary, and acknowledging the prodigy, turned\nhis arms against other champions. But none dared stand before him;\nand Priam from his city walls beheld the whole army in full flight\ntoward the city. He gave command to open wide the gates to receive the\nfugitives, and to shut them as soon as the Trojans should have passed,\nlest the enemy should enter likewise. But Achilles was so close in\npursuit that that would have been impossible if Apollo had not, in the\nform of Agenor, Priam's son, first encountered the swift-footed hero,\nthen turned in flight, and taken the way apart from the city. Achilles\npursued, and had chased his supposed victim far from the walls before\nthe god disclosed himself.[305]\n\n=215. The Death of Hector.= But when the rest had escaped into the\ntown Hector stood without, determined to await the combat. His father\ncalled to him from the walls, begging him to retire nor tempt the\nencounter. His mother, Hecuba, also besought him, but all in vain.\n\"How can I,\" said he to himself, \"by whose command the people went to\nthis day's contest where so many have fallen, seek refuge for myself\nfrom a single foe? Or shall I offer to yield up Helen and all her\ntreasures and ample of our own beside? Ah no! even that is too late. He\nwould not hear me through, but slay me while I spoke.\" While he thus\nruminated, Achilles approached, terrible as Mars, his armor flashing\nlightning as he moved. At that sight Hector's heart failed him and\nhe fled. Achilles swiftly pursued. They ran, still keeping near the\nwalls, till they had thrice encircled the city. As often as Hector\napproached the walls Achilles intercepted him and forced him to keep\nout in a wider circle. But Apollo sustained Hector's strength and\nwould not let him sink in weariness. Then Pallas, assuming the form of\nDeiphobus, Hector's bravest brother, appeared suddenly at his side.\nHector saw him with delight, and thus strengthened, stopped his flight,\nand, turning to meet Achilles, threw his spear. It struck the shield\nof Achilles and bounded back. He turned to receive another from the\nhand of Deiphobus, but Deiphobus was gone. Then Hector understood his\ndoom and said, \"Alas! it is plain this is my hour to die! I thought\nDeiphobus at hand, but Pallas deceived me, and he is still in Troy. But\nI will not fall inglorious.\" So saying he drew his falchion from his\nside and rushed at once to combat. Achilles, secure behind his shield,\nwaited the approach of Hector. When he came within reach of his spear,\nAchilles, choosing with his eye a vulnerable part where the armor\nleaves the neck uncovered, aimed his spear at that part, and Hector\nfell, death-wounded. Feebly he said, \"Spare my body! Let my parents\nransom it, and let me receive funeral rites from the sons and daughters\nof Troy.\" To which Achilles replied, \"Dog, name not ransom nor pity to\nme, on whom you have brought such dire distress. No! trust me, nought\nshall save thy carcass from the dogs. Though twenty ransoms and thy\nweight in gold were offered, I should refuse it all.\"[306]\n\n[Illustration: FIG. 159. CONTEST OF ACHILLES AND HECTOR]\n\n=216. Achilles drags the Body of Hector.= So saying, the son of Peleus\nstripped the body of its armor, and, fastening cords to the feet, tied\nthem behind his chariot, leaving the body to trail along the ground.\nThen mounting the chariot he lashed the steeds and so dragged the body\nto and fro before the city. No words can tell the grief of Priam and\nHecuba at this sight. His people could scarce restrain the aged king\nfrom rushing forth. He threw himself in the dust and besought them\neach by name to let him pass. Hecuba's distress was not less violent.\nThe citizens stood round them weeping. The sound of the mourning\nreached the ears of Andromache, the wife of Hector, as she sat among\nher maidens at work; and anticipating evil she went forth to the wall.\nWhen she saw the horror there presented, she would have thrown herself\nheadlong from the wall, but fainted and fell into the arms of her\nmaidens. Recovering, she bewailed her fate, picturing to herself her\ncountry ruined, herself a captive, and her son, the youthful Astyanax,\ndependent for his bread on the charity of strangers.\n\n[Illustration: FIG. 160. ACHILLES OVER THE BODY OF HECTOR AT THE TOMB\nOF PATROCLUS]\n\nAfter Achilles and the Greeks had thus taken their revenge on the\nslayer of Patroclus, they busied themselves in paying due funeral\nrites to their friend.[307] A pile was erected, and the body burned\nwith due solemnity. Then ensued games of strength and skill, chariot\nraces, wrestling, boxing, and archery. Later, the chiefs sat down to\nthe funeral banquet, and finally retired to rest. But Achilles partook\nneither of the feast nor of sleep. The recollection of his lost friend\nkept him awake,--the memory of their companionship in toil and dangers,\nin battle or on the perilous deep. Before the earliest dawn he left\nhis tent, and joining to his chariot his swift steeds, he fastened\nHector's body to be dragged behind. Twice he dragged him round the tomb\nof Patroclus, leaving him at length stretched in the dust. But Apollo\nwould not permit the body to be torn or disfigured with all this abuse;\nhe preserved it free from taint or defilement.[308]\n\n[Illustration: FIG. 161. PRIAM'S VISIT TO ACHILLES]\n\nWhile Achilles indulged his wrath in thus disgracing Hector, Jupiter\nin pity summoned Thetis to his presence. Bidding her prevail on\nAchilles to restore the body of Hector to the Trojans, he sent Iris to\nencourage Priam to beg of Achilles the body of his son. Iris delivered\nher message, and Priam prepared to obey. He opened his treasuries and\ntook out rich garments and cloths, with ten talents in gold and two\nsplendid tripods and a golden cup of matchless workmanship. Then he\ncalled to his sons and bade them draw forth his litter and place in it\nthe various articles designed for a ransom to Achilles. When all was\nready, the old king with a single companion as aged as himself, the\nherald Id\u00e6us, drove forth from the gates, parting there with Hecuba\nhis queen, and all his friends, who lamented him as going to certain\ndeath.\n\n=217. Priam in the Tent of Achilles.=[309] But Jupiter, beholding\nwith compassion the venerable king, sent Mercury to be his guide and\nprotector. Assuming the form of a young warrior, Mercury presented\nhimself to the aged couple; and, when at the sight of him they\nhesitated whether to fly or yield, approaching he grasped Priam's hand\nand offered to be their guide to Achilles' tent. Priam gladly accepted\nhis service, and Mercury, mounting the carriage, assumed the reins and\nconveyed them to the camp. Then having cast the guards into a heavy\nsleep, he introduced Priam into the tent where Achilles sat, attended\nby two of his warriors. The aged king threw himself at the feet of\nAchilles and kissed those terrible hands which had destroyed so many\nof his sons. \"Think, O Achilles,\" he said, \"of thine own father, full\nof days like me, and trembling on the gloomy verge of life. Even now,\nmayhap, some neighbor chief oppresses him and there is none at hand\nto succor him in his distress. Yet, knowing that Achilles lives, he\ndoubtless still rejoices, hoping that one day he shall see thy face\nagain. But me no comfort cheers, whose bravest sons, so late the\nflower of Ilium, all have fallen. Yet one I had, one more than all the\nrest the strength of my age, whom fighting for his country thou hast\nslain. His body I come to redeem, bringing inestimable ransom with me.\nAchilles! reverence the gods! recollect thy father! for his sake show\ncompassion to me!\" These words moved Achilles, and he wept, remembering\nby turns his absent father and his lost friend. Moved with pity of\nPriam's silver locks and beard, he raised him from the earth and spake:\n\"Priam, I know that thou hast reached this place conducted by some\ngod, for without aid divine no mortal even in his prime of youth had\ndared the attempt. I grant thy request, for I am moved thereto by the\nmanifest will of Jove.\" So saying he arose, went forth with his two\nfriends, and unloaded of its charge the litter, leaving two mantles and\na robe for the covering of the body. This they placed on the litter and\nspread the garments over it, that not unveiled it should be borne back\nto Troy. Then Achilles dismissed the old king, having first pledged\nhimself to a truce of twelve days for the funeral solemnities.\n\nAs the litter approached the city and was descried from the walls,\nthe people poured forth to gaze once more on the face of their hero.\nForemost of all, the mother and the wife of Hector came, and at the\nsight of the lifeless body renewed their lamentations. The people wept\nwith them, and to the going down of the sun there was no pause or\nabatement of their grief.\n\nThe next day, preparations were made for the funeral solemnities. For\nnine days the people brought wood and built the pile; and on the tenth\nthey placed the body on the summit and applied the torch, while all\nTroy, thronging forth, encompassed the pyre. When it had completely\nburned, they quenched the cinders with wine, and, collecting the bones,\nplaced them in a golden urn, which they buried in the earth. Over the\nspot they reared a pile of stones.\n\n Such honors Ilium to her hero paid,\n And peaceful slept the mighty Hector's shade.[310]\n\nFOOTNOTES:\n\n[280] From Tennyson's Dream of Fair Women.\n\n[281] From Tennyson's [OE]none.\n\n[282] Euripides, Iphigenia at Aulis, Iphigenia among the Tauri.\n\n[283] From Tennyson's Dream of Fair Women.\n\n[284] Gladstone's Translations from the Iliad.\n\n[285] Iliad, 2 (Pope's translation).\n\n[286] Iliad, 3 (Pope's translation).\n\n[287] Christopher Marlowe, Doctor Faustus.\n\n[288] Iliad, 3 (Pope's translation).\n\n[289] Iliad, 6, 390 _et seq._ (Lang, Leaf, and Myers' translation).\n\n[290] Iliad, 6, 470-490 (Pope's translation).\n\n[291] Iliad, 6 (Pope's translation).\n\n[292] Iliad, 9.\n\n[293] Iliad, 11.\n\n[294] Iliad, 13.\n\n[295] Iliad, 14, 400-440.\n\n[296] Iliad, 14, 150-350.\n\n[297] Iliad, 15.\n\n[298] Iliad, 11.\n\n[299] Iliad, 16.\n\n[300] Iliad, 17.\n\n[301] Cowper's translation. The lines are often quoted.\n\n[302] Iliad, 18.\n\n[303] Iliad, 19.\n\n[304] Iliad, 20.\n\n[305] Iliad, 21.\n\n[306] Iliad, 22, 350.\n\n[307] Iliad, 23.\n\n[308] Iliad, 24, 15.\n\n[309] Iliad, 24, 330-804.\n\n[310] Iliad, 24, 804 (Pope's translation).\n\n[Illustration: AMAZON]\n\n\n\n\nCHAPTER XXIII\n\nTHE FALL OF TROY\n\n\n[Illustration: FIG. 162. ACHILLES AND PENTHESILEA]\n\n=218. The Fall of Troy.= The story of the Iliad ends with the death\nof Hector, and it is from the Odyssey and later poems that we learn\nthe fate of the other heroes. After the death of Hector, Troy did not\nimmediately fall, but receiving aid from new allies, still continued\nits resistance. One of these allies was Memnon, the Ethiopian prince,\nwhose story has been already told.[311] Another was Penthesilea, queen\nof the Amazons, who came with a band of female warriors. All the\nauthorities attest the valor of these women and the fearful effect\nof their war cry. Penthesilea, having slain many of the bravest\nGreeks, was at last slain by Achilles. But when the hero bent over his\nfallen foe and contemplated her beauty, youth, and valor, he bitterly\nregretted his victory. Thersites, the insolent brawler and demagogue,\nattempting to ridicule his grief, was in consequence slain by the\nhero.[312]\n\n=219. The Death of Achilles.= But Achilles himself was not destined\nto a long life. Having by chance seen Polyxena, daughter of King\nPriam,--perhaps on occasion of the truce which was allowed the Trojans\nfor the burial of Hector,--he was captivated with her charms; and to\nwin her in marriage, it is said (but not by Homer) that he agreed to\ninfluence the Greeks to make peace with Troy. While the hero was in the\ntemple of Apollo negotiating the marriage, Paris discharged at him a\npoisoned arrow,[313] which, guided by Apollo, fatally wounded him in\nthe heel. This was his only vulnerable spot; for Thetis, having dipped\nhim when an infant in the river Styx, had rendered every part of him\ninvulnerable except that by which she held him.[314]\n\n=220. Contest for the Arms of Achilles.= The body of Achilles so\ntreacherously slain was rescued by Ajax and Ulysses. Thetis directed\nthe Greeks to bestow her son's armor on that hero who of all survivors\nshould be judged most deserving of it. Ajax and Ulysses were the only\nclaimants. A select number of the other chiefs were appointed to award\nthe prize. By the will of Minerva it was awarded to Ulysses,--wisdom\nbeing thus rated above valor. Ajax, enraged, set forth from his tent\nto wreak vengeance upon the Atrid\u00e6 and Ulysses. But the goddess robbed\nhim of reason and turned his hand against the flocks and herds of the\nArgives, which he slaughtered or led captive to his tent, counting them\nthe rivals who had wronged him. Then the cruel goddess restored to him\nhis wits. And he, fixing his sword in the ground, prepared to take his\nown life:\n\n \"Come and look on me,\n O Death, O Death,--and yet in yonder world\n I shall dwell with thee, speak enough with thee;\n And thee I call, thou light of golden day,\n Thou Sun, who drivest on thy glorious car,\n Thee, for this last time,--never more again!\n O Light, O sacred land that was my home;\n O Salamis, where stands my father's hearth,\n Thou glorious Athens, with thy kindred race;\n Ye streams and rivers here, and Tro\u00efa's plains,\n To you that fed my life I bid farewell;\n This last, last word does Ajax speak to you;\n All else, I speak in Hades to the dead.\"[3]\n\nThen, falling upon his sword, he died. So, in the words of his\nmagnanimous foe, Ulysses, passed to the god that ruleth in gloom\n\n The best and bravest of the Argive host,\n Of all that came to Tro\u00efa, saving one,\n Achilles' self.[315]\n\nOn the spot where his blood sank into the earth a hyacinth sprang up,\nbearing on its leaves the first two letters of his name, Ai, the Greek\ninterjection of woe.[316]\n\n[Illustration: FIG. 163. [OE]NONE WARNING PARIS]\n\nIt was now discovered that Troy could not be taken but by the aid\nof the arrows of Hercules. They were in possession of Philoctetes,\nthe friend who had been with Hercules at the last and had lighted\nhis funeral pyre. Philoctetes[317] had joined the Grecian expedition\nagainst Troy; but he accidentally wounded his foot with one of the\npoisoned arrows, and the smell from the wound proved so offensive that\nhis companions carried him to the isle of Lemnos and left him there.\nDiomede and Ulysses, or Ulysses and Neoptolemus (son of Achilles), were\nnow sent to induce him to rejoin the army. They succeeded. Philoctetes\nwas cured of his wound by Machaon, and Paris was the first victim of\nthe fatal arrows.\n\n=221. Paris and [OE]none.= In his distress Paris bethought him of one\nwhom in his prosperity he had forgotten. This was the nymph [OE]none,\nwhom he had married when a youth and had abandoned for the fatal beauty\nof Helen. [OE]none, remembering the wrongs she had suffered, refused to\nheal the wound; and Paris went back to Troy and died. [OE]none quickly\nrepented and hastened after him with remedies, but came too late, and\nin her grief hanged herself.\n\n=222. The Palladium.= There was in Troy a celebrated statue of Minerva\ncalled the Palladium. It was said to have fallen from heaven, and the\nbelief was that the city could not be taken so long as this statue\nremained within it. Ulysses and Diomede entered the city in disguise\nand succeeded in obtaining the Palladium, which they carried off to the\nGrecian camp.\n\n[Illustration: FIG. 164. THE WOODEN HORSE]\n\n=223. The Wooden Horse.= But Troy still held out. The Greeks began to\ndespair of subduing it by force, and by advice of Ulysses they resorted\nto stratagem.[318] They pretended to be making preparations to abandon\nthe siege; and a number of the ships were withdrawn and concealed\nbehind a neighboring island. They then constructed an immense wooden\nhorse, which they gave out was intended as a propitiatory offering to\nMinerva; but it was, in fact, filled with armed men. The rest of the\nGreeks then betook themselves to their ships and sailed away, as if for\na final departure. The Trojans, seeing the encampment broken up and the\nfleet gone, concluded that the enemy had abandoned the siege. The gates\nof the city were thrown open, and the whole population issued forth,\nrejoicing at the long-prohibited liberty of passing freely over the\nscene of the late encampment. The great horse was the chief object of\ncuriosity. Some recommended that it be taken into the city as a trophy;\nothers felt afraid of it. While they hesitated, Laoco\u00f6n, the priest\nof Neptune, exclaimed, \"What madness, citizens, is this! Have you not\nlearned enough of Grecian fraud to be on your guard against it? For my\npart, I fear the Greeks even when they offer gifts.\"[319] So saying,\nhe threw his lance at the horse's side. It struck, and a hollow sound\nreverberated like a groan. Then perhaps the people might have taken his\nadvice and destroyed the fatal horse with its contents, but just at\nthat moment a group of people appeared dragging forward one who seemed\na prisoner and a Greek. Stupefied with terror, the captive was brought\nbefore the chiefs. He informed them that he was a Greek, Sinon by name;\nand that in consequence of the malice of Ulysses, he had been left\nbehind by his countrymen at their departure. With regard to the wooden\nhorse, he told them that it was a propitiatory offering to Minerva, and\nhad been made so huge for the express purpose of preventing its being\ncarried within the city; for Calchas the prophet had told them that if\nthe Trojans took possession of it, they would assuredly triumph over\nthe Greeks.\n\n[Illustration: LAOCO\u00d6N]\n\n=224. Laoco\u00f6n and the Serpents.= This language turned the tide of the\npeople's feelings, and they began to think how they might best secure\nthe monstrous horse and the favorable auguries connected with it,\nwhen suddenly a prodigy occurred which left no room for doubt. There\nappeared advancing over the sea two immense serpents. They came upon\nthe land and the crowd fled in all directions. The serpents advanced\ndirectly to the spot where Laoco\u00f6n stood with his two sons. They\nfirst attacked the children, winding round their bodies and breathing\npestilential breath in their faces. The father, attempting to rescue\nthem, was next seized and involved in the serpent's coils.\n\n ... Vain\n The struggle; vain, against the coiling strain\n And gripe, and deepening of the dragon's grasp,\n The old man's clinch; the long envenomed chain\n Rivets the living links,--the enormous asp\n Enforces pang on pang, and stifles gasp on gasp.[320]\n\nHe struggled to tear them away, but they overpowered all his efforts\nand strangled him and the children in their poisonous folds. The event\nwas regarded as a clear indication of the displeasure of the gods at\nLaoco\u00f6n's irreverent treatment of the wooden horse, which they no\nlonger hesitated to regard as a sacred object and prepared to introduce\nwith due solemnity into the city. They did so with songs and triumphal\nacclamations, and the day closed with festivity. In the night the\narmed men who were inclosed in the body of the horse, being let out by\nthe traitor Sinon, opened the gates of the city to their friends who\nhad returned under cover of the night. The city was set on fire; the\npeople, overcome with feasting and sleep, were put to the sword, and\nTroy completely subdued.\n\n[Illustration: FIG. 165. THE SACK OF TROY\n\n(Left half)]\n\n=225. The Death of Priam.= Priam lived to see the downfall of his\nkingdom and was slain at last on the fatal night when the Greeks\ntook the city. He had armed himself and was about to mingle with the\ncombatants,[321] but was prevailed on by Hecuba to take refuge with\nhis daughters and herself as a suppliant at the altar of Jupiter.\nWhile there, his youngest son, Polites, pursued by Pyrrhus, the son of\nAchilles, rushed in wounded and expired at the feet of his father;\nwhereupon Priam, overcome with indignation, hurled his spear with\nfeeble hand against Pyrrhus and was forthwith slain by him.\n\n[Illustration: FIG. 166. THE SACK OF TROY\n\n(Right half)]\n\n=226. The Survivors.=[322] Queen Hecuba and her daughter Cassandra were\ncarried captives to Greece. Cassandra had been loved by Apollo, who\ngave her the gift of prophecy; but afterwards offended with her, he had\nrendered the gift unavailing by ordaining that her predictions should\nnever be believed. Polyxena, another daughter, who had been loved by\nAchilles, was demanded by the ghost of that warrior and was sacrificed\nby the Greeks upon his tomb. Of the fate of the white-armed Andromache\nwe have already spoken. She was carried off as the wife of Neoptolemus,\nbut he was faithful to her for only a short time. After he had cast\nher aside she married Helenus, a brother of Hector, and still later\nreturned to Asia Minor.\n\n=227. Helen, Menela\u00fcs, and Agamemnon.= On the fall of Troy, Menela\u00fcs\nrecovered possession of his wife, who, it seems, had not ceased to\nlove him, though she had yielded to the might of Venus and deserted\nhim for another.[323] After the death of Paris, she aided the Greeks\nsecretly on several occasions: in particular when Ulysses and Diomede\nentered the city in disguise to carry off the Palladium. She then saw\nand recognized Ulysses, but kept the secret and even assisted them\nin obtaining the image. Thus she became reconciled to Menela\u00fcs, and\nthey were among the first to leave the shores of Troy for their native\nland. But having incurred the displeasure of the gods, they were driven\nby storms from shore to shore of the Mediterranean, visiting Cyprus,\nPh[oe]nicia, and Egypt. In Egypt they were kindly treated and presented\nwith rich gifts, of which Helen's share was a golden spindle and a\nbasket on wheels.\n\n ... Many yet adhere\n To the ancient distaff at the bosom fixed,\n Casting the whirling spindle as they walk.\n ... This was of old, in no inglorious days,\n The mode of spinning, when the Egyptian prince\n A golden distaff gave that beauteous nymph,\n Too beauteous Helen; no uncourtly gift.[324]\n\nMilton also alludes to a famous recipe for an invigorating draft,\ncalled Nepenthe, which the Egyptian queen gave to Helen:\n\n Not that Nepenthes which the wife of Thone\n In Egypt gave to Jove-born Helena,\n Is of such power to stir up joy as this,\n To life so friendly or so cool to thirst.[325]\n\nAt last, arriving in safety at Sparta, Menela\u00fcs and Helen resumed their\nroyal dignity, and lived and reigned in splendor; and when Telemachus,\nthe son of Ulysses, in search of his father, arrived at Sparta, he\nfound them celebrating the marriage of their daughter Hermione to\nNeoptolemus, son of Achilles.\n\nAgamemnon[326] was not so fortunate in the issue. During his absence\nhis wife Clytemnestra had been false to him; and when his return was\nexpected, she with her paramour, \u00c6gisthus, son of Thyestes, laid a\nplan for his destruction. Cassandra warned the king, but as usual her\nprophecy was not regarded. While Agamemnon was bathing previous to the\nbanquet given to celebrate his return, the conspirators murdered him.\n\n[Illustration: FIG. 167. ORESTES AND ELECTRA AT THE TOMB OF AGAMEMNON]\n\n=228. Electra and Orestes.= It was the intention of the conspirators to\nslay his son Orestes also, a lad not yet old enough to be an object of\napprehension, but from whom, if he should be suffered to grow up, there\nmight be danger. Electra, the sister of Orestes, saved her brother's\nlife by sending him secretly to his uncle Strophius, king of Phocis. In\nthe palace of Strophius, Orestes grew up with the king's son Pylades,\nand formed with him a friendship which has become proverbial. Electra\nfrequently reminded her brother by messengers of the duty of avenging\nhis father's death; he, too, when he reached maturity, consulted the\noracle of Delphi, which confirmed him in the design. He therefore\nrepaired in disguise to Argos, pretending to be a messenger from\nStrophius, who would announce the death of Orestes. He brought with\nhim what purported to be the ashes of the deceased in a funeral urn.\nAfter visiting his father's tomb and sacrificing upon it, according\nto the rites of the ancients, he met by the way his sister Electra.\nMistaking her for one of the domestics, and desirous of keeping his\narrival a secret till the hour of vengeance should arrive, he produced\nthe urn. At once his sister, believing Orestes to be really dead, took\nthe urn from him, and, embracing it, poured forth her grief in language\nfull of tenderness and despair. Soon a recognition was effected,\nand the prince, with the aid of his sister, slew both \u00c6gisthus and\nClytemnestra.[327]\n\n[Illustration: FIG. 168. ORESTES PURSUED BY FURIES]\n\n=229. Orestes pursued by the Furies.=[328] This revolting act, the\nslaughter of a mother by her son, though extenuated by the guilt of the\nvictim and the express command of the gods, did not fail to awaken in\nthe breasts of the ancients the same abhorrence that it does in ours.\nThe Eumenides seized upon Orestes and drove him frantic from land to\nland. In these wanderings Pylades accompanied him and watched over\nhim. At length in answer to a second appeal to the oracle, Orestes\nwas directed to go to the temple of the Tauri in Scythia and to bring\nthence a statue of Diana which was believed to have fallen from heaven.\nAccordingly the friends went to the Tauric Chersonese. Since there\nthe barbarous people were accustomed to sacrifice to the goddess all\nstrangers who fell into their hands, the two friends were seized and\ncarried bound to the temple to be made victims. But the priestess of\nDiana of the Tauri was no other than Iphigenia, the sister of Orestes,\nwho had been snatched away by Diana at the moment when she was about to\nbe sacrificed. Ascertaining from the prisoners who they were, Iphigenia\ndisclosed herself to them; and the three made their escape with the\nstatue of the goddess, and returned to Mycen\u00e6.[329]\n\n[Illustration: FIG. 169. ORESTES AND PYLADES BEFORE THE KING OF THE\nTAURI]\n\n=230. His Purification.= But Orestes was not yet relieved from the\nvengeance of the Erinyes. Finally, he took refuge with Minerva at\nAthens. The goddess afforded him protection and appointed the court of\nAreopagus to decide his fate. The Erinyes brought their accusation,\nand Orestes pleaded the command of the Delphic oracle as his excuse.\nWhen the court voted and the voices were equally divided, Orestes\nwas acquitted by the command of Minerva. He was then purified with\nplentiful blood of swine.\n\nFOOTNOTES:\n\n[311] \u00a7 128.\n\n[312] Pausanias, 5, 11, \u00a7 2; and Sophocles, Philoctetes, 445.\n\n[313] Virgil, \u00c6neid, 6, 57.\n\n[314] Statius, Achilleid, 1, 269.\n\n[315] Sophocles, Ajax.\n\n[316] See Commentary.\n\n[317] Servius Honoratus, Commentary on \u00c6neid (3, 402). According to\nSophocles (Philoctetes), the wound was occasioned by the bite of a\nserpent that guarded the shrine of the nymph Chryse, on an islet of the\nsame name near Lemnos.\n\n[318] Virgil, \u00c6neid, 2.\n\n[319] _Timeo Danaos et dona ferentes._--\u00c6neid. 2, 49.\n\n[320] Byron, Childe Harold.\n\n[321] Hecuba's exclamation, \"Not such aid nor such defenders does the\ntime require,\" has become proverbial.\n\n _Non tali auxilio nec defensoribus istis_\n _Tempus eget._--\u00c6neid, 2, 521.\n\n[322] Euripides,--Troades, Hecuba, Andromache.\n\n[323] According to Euripides (Helen), and Stesichorus, it was a\nsemblance of Helen that Paris won; the real Helen went to Egypt.\n\n[324] Dyer, The Fleece.\n\n[325] Milton, Comus.\n\n[326] \u00c6schylus, Agamemnon.\n\n[327] \u00c6schylus, Cho\u00ebphori; Sophocles, Electra; Euripides,--Electra,\nOrestes.\n\n[328] \u00c6schylus, Eumenides.\n\n[329] Euripides, Iphigenia among the Tauri.\n\n\n\n\nCHAPTER XXIV\n\nTHE WANDERINGS OF ULYSSES\n\n\n[Illustration: FIG. 170. ULYSSES]\n\n As one that for a weary space has lain\n Lulled by the song of Circe and her wine\n In gardens near the pale of Proserpine,\n Where that \u00c6\u00e6an isle forgets the main,\n And only the low lutes of love complain,\n And only shadows of wan lovers pine,--\n As such an one were glad to know the brine\n Salt on his lips, and the large air again,\n So, gladly, from the songs of modern speech\n Men turn and see the stars, and feel the free\n Shrill wind beyond the close of heavy flowers;\n And, through the music of the languid hours,\n They hear like ocean on a western beach\n The surge and thunder of the Odyssey.[330]\n\n=231. From Troy to Ph\u00e6acia.= The Odyssey of Homer narrates the\nwanderings of Ulysses (=Odysseus=) in his return from Troy to his own\nkingdom, Ithaca.[331]\n\nFrom Troy the vessels first made land at Ismarus, city of the\nCiconians, where, in a skirmish with the inhabitants, Ulysses lost six\nmen from each ship.[332]\n\n[Illustration: THE OUTER GEOGRAPHY OF THE ODYSSEY ACCORDING TO\nGLADSTONE.]\n\n=232. The Lotus-eaters.= Sailing thence they were overtaken by a storm\nwhich drove them for nine days till they reached the country of the\nLotos-eaters. Here, after watering, Ulysses sent three of his men\nto discover who the inhabitants were. These men on coming among the\nLotos-eaters were kindly entertained by them and were given some of\ntheir own food, the lotos plant, to eat. The effect of this food was\nsuch that those who partook of it lost all thought of home and wished\nto remain in that country. It was by main force that Ulysses dragged\nthese men away, and he was even obliged to tie them under the benches\nof his ship.\n\nTennyson in The Lotos-eaters has fittingly expressed the dreamy,\nlanguid feeling which the lotus-food is said to have produced.\n\n ... How sweet it were, hearing the downward stream,\n With half-shut eyes ever to seem\n Falling asleep in a half-dream!\n To dream and dream, like yonder amber light\n Which will not leave the myrrh-bush on the height;\n To hear each other's whisper'd speech;\n Eating the Lotos, day by day,\n To watch the crisping ripples on the beach,\n And tender curving lines of creamy spray;\n To lend our hearts and spirits wholly\n To the influence of mild-minded melancholy;\n To muse and brood and live again in memory,\n With those old faces of our infancy\n Heap'd over with a mound of grass,\n Two handfuls of white dust, shut in an urn of brass!\n\n Dear is the memory of our wedded lives,\n And dear the last embraces of our wives\n And their warm tears: but all hath suffer'd change;\n For surely now our household hearths are cold:\n Our sons inherit us: our looks are strange:\n And we should come like ghosts to trouble joy.\n\n ... But, propt on beds of amaranth and moly,\n How sweet (while warm airs lull us, blowing lowly)\n With half-dropt eyelid still,\n Beneath a heaven dark and holy,\n To watch the long bright river drawing slowly\n His waters from the purple hill--\n To hear the dewy echoes calling\n From cave to cave thro' the thick-twined vine--\n To watch the emerald-color'd water falling\n Thro' many a wov'n acanthus-wreath divine!\n Only to hear and see the far-off sparkling brine,\n Only to hear were sweet, stretch'd out beneath the pine.\n\n The Lotos blooms below the barren peak:\n The Lotos blows by every winding creek:\n All day the wind breathes low with mellower tone:\n Thro' every hollow cave and alley lone\n Round and round the spicy downs the yellow Lotos-dust is blown.\n We have had enough of action, and of motion we,\n Roll'd to starboard, roll'd to larboard, when the surge was\n seething free,\n Where the wallowing monster spouted his foam-fountains in the sea.\n Let us swear an oath, and keep it with an equal mind,\n In the hollow Lotos-land to live and lie reclined\n On the hills like Gods together, careless of mankind....\n\n=233. The Cyclopes.= They next arrived at the country of the Cyclopes.\nThe Cyclopes[333] inhabited an island of which they were the only\npossessors. They dwelt in caves and fed on the wild productions of\nthe island and on what their flocks yielded, for they were shepherds.\nUlysses left the main body of his ships at anchor, and with one vessel\nwent to the Cyclopes' island to explore for supplies. He landed with\nhis companions, carrying with them a jar of wine for a present. Coming\nto a large cave they entered it, and, finding no one within, examined\nits contents. They found it stored with the riches of the flock,\nquantities of cheese, pails and bowls of milk, lambs and kids in their\npens, all in good order. Presently arrived the master of the cave,\nPolyphemus, bearing an immense bundle of firewood, which he threw\ndown before the cavern's mouth. He then drove into the cave the sheep\nand goats to be milked, and, entering, rolled to the cave's mouth an\nenormous rock, that twenty oxen could not draw. Next he sat down and\nmilked his ewes, preparing a part for cheese and setting the rest\naside for his customary drink. Then turning round his one huge eye he\ndiscerned the strangers, and growled out at them, demanding who they\nwere and where from. Ulysses replied most humbly, stating that they\nwere Greeks from the great expedition that had lately won so much\nglory in the conquest of Troy, that they were now on their way home,\nand finished by imploring his hospitality in the name of the gods.\nPolyphemus deigned no answer, but reaching out his hand seized two of\nthe men, whom he hurled against the side of the cave and dashed out\ntheir brains. He proceeded to devour them with great relish, and having\nmade a hearty meal, stretched himself on the floor to sleep. Ulysses\nwas tempted to seize the opportunity and plunge his sword into him as\nhe slept, but recollected that it would only expose them all to certain\ndestruction, as the rock with which the giant had closed up the door\nwas far beyond their power to remove, and they would therefore be in\nhopeless imprisonment.\n\nNext morning the giant seized two more of the men and dispatched them\nin the same manner as their companions, feasting on their flesh till no\nfragment was left. He then moved away the rock from the door, drove out\nhis flocks, and went out, carefully replacing the barrier after him.\nWhen he was gone Ulysses planned how he might take vengeance for his\nmurdered friends and effect his escape with his surviving companions.\nHe made his men prepare a massive bar of wood cut by the Cyclops for\na staff, which they found in the cave. They sharpened the end of the\nstaff and seasoned it in the fire, and hid it under the straw on the\ncavern floor. Then four of the boldest were selected, with whom Ulysses\njoined himself as a fifth. The Cyclops came home at evening, rolled\naway the stone, and drove in his flock as usual. After milking them\nand making his arrangements as before, he seized two more of Ulysses'\ncompanions, dashed their brains out, and made his evening meal upon\nthem as he had on the others. After he had supped, Ulysses approaching\nhim handed him a bowl of wine, saying, \"Cyclops, this is wine; taste\nand drink after thy meal of man's flesh.\" He took and drank it, and was\nhugely delighted with it, and called for more. Ulysses supplied him\nonce and again, which pleased the giant so much that he promised him as\na favor that he should be the last of the party devoured. He asked his\nname, to which Ulysses replied, \"My name is Noman.\"\n\nAfter his supper the giant sought his repose, and was soon sound\nasleep. Then Ulysses with his four select friends held the end of the\nstake in the fire till it was one burning coal, then poising it exactly\nabove the giant's only eye, they plunged it deep into the socket,\ntwirling it round as a carpenter does his auger. The howling monster\nwith his outcry filled the cavern, and Ulysses with his aids nimbly got\nout of his way and concealed themselves in the cave. He, bellowing,\ncalled aloud on all the Cyclopes dwelling in the caves around him, far\nand near. They, on his cry, flocked round the den, and inquired what\ngrievous hurt had caused him to sound such an alarm and break their\nslumbers. He replied, \"O friends, I die, and Noman gives the blow.\"\nThey answered, \"If no man hurts thee, it is the stroke of Jove, and\nthou must bear it.\" So saying, they left him groaning.\n\n[Illustration: FIG. 171. BORING OUT THE CYCLOPS' EYE]\n\nNext morning the Cyclops rolled away the stone to let his flock out\nto pasture, but planted himself in the door of the cave to feel of\nall as they went out, that Ulysses and his men should not escape with\nthem. But Ulysses had made his men harness the rams of the flock\nthree abreast, with osiers which they found on the floor of the cave.\nTo the middle ram of the three one of the Greeks suspended himself,\nso protected by the exterior rams on either side. As they passed,\nthe giant felt of the animals' backs and sides, but never thought\nof their bellies; so the men all passed safe, Ulysses himself being\non the last one that passed. When they had got a few paces from the\ncavern, Ulysses and his friends released themselves from their rams\nand drove a good part of the flock down to the shore to their boat.\nThey put them aboard with all haste, then pushed off from the shore;\nand when at a safe distance Ulysses shouted out, \"Cyclops, the gods\nhave well requited thee for thy atrocious deeds. Know it is Ulysses\nto whom thou owest thy shameful loss of sight.\" The Cyclops, hearing\nthis, seized a rock that projected from the side of the mountain, and\nrending it from its bed, he lifted it high in the air, then exerting\nall his force, hurled it in the direction of the voice. Down came the\nmass, just forward of the vessel. The ocean, at the plunge of the huge\nrock, heaved the ship toward Polyphemus; but a second rock which he\nhurled, striking aft, propelled them fortunately in the direction that\nthey desired to take. Ulysses was about to hail the giant again, but\nhis friends besought him not to do so. He could not forbear, however,\nletting the giant know that they had escaped his missile, but waited\ntill they had reached a safer distance than before. The giant answered\nthem with curses, while Ulysses and his friends, plying their oars\nvigorously, regained their companions.\n\n[Illustration: FIG. 172. ULYSSES AND TWO COMPANIONS UNDER RAMS]\n\n=234. The Bag of Winds.= Ulysses next arrived at the island of\n\u00c6olus.[334] He treated Ulysses hospitably, and at his departure gave\nhim, tied up in a leathern bag with a silver string, such winds as\nmight be hurtful and dangerous, commanding fair winds to blow the barks\ntoward their country. Nine days they sped before the wind, and all\nthat time Ulysses had stood at the helm without sleep. At last quite\nexhausted he lay down to sleep. While he slept, the crew conferred\ntogether about the mysterious bag, and concluded it must contain\ntreasures given by the hospitable King \u00c6olus to their commander.\nTempted to secure some portion for themselves, they loosed the string,\nwhen immediately the winds rushed forth. The ships were driven far from\ntheir course and back again to the island they had just left. \u00c6olus,\nindignant at their folly, refused to assist them further, and they were\nobliged to labor over their course once more by means of their oars.\n\n=235. The L\u00e6strygonians.= Their next adventure was with the barbarous\ntribe of L\u00e6strygonians. The vessels all pushed into the harbor, tempted\nby the secure appearance of the cove, completely landlocked; only\nUlysses moored his vessel without. As soon as the L\u00e6strygonians found\nthe ships completely in their power, they attacked them, heaving huge\nstones which broke and overturned them, while with their spears they\ndispatched the seamen as they struggled in the water. All the vessels\nwith their crews were destroyed, except Ulysses' own ship which had\nremained outside. He, finding no safety but in flight, exhorted his men\nto ply their oars vigorously; and they escaped.\n\n=236. The Isle of \u00c6\u00e6a.= With grief for their slain companions mixed\nwith joy at their own escape, they pursued their way till they arrived\nat the \u00c6\u00e6an isle, where Circe dwelt, the daughter of the sun. Landing\nhere, Ulysses climbed a hill and, gazing round, saw no signs of\nhabitation except in one spot at the center of the island, where he\nperceived a palace embowered with trees. He sent forward one half of\nhis crew, under the command of Eurylochus, to see what prospect of\nhospitality they might find. As they approached the palace, they found\nthemselves surrounded by lions, tigers, and wolves, not fierce, but\ntamed by Circe's art, for she was a powerful magician. These animals\nhad once been men, but had been changed by Circe's enchantments into\nthe forms of beasts. The sounds of soft music were heard from within,\nand a sweet female voice singing. Eurylochus called aloud, and the\ngoddess came forth and invited them in; they all gladly entered except\nEurylochus, who suspected danger. The goddess conducted her guests to\na seat, and had them served with wine and other delicacies. When they\nhad feasted heartily, she touched them one by one with her wand, and\nthey became immediately changed into swine, in \"head, body, voice, and\nbristles,\" yet with their intellects as before. She shut them in her\nstyes and supplied them with acorns and such other things as swine\nlove.\n\nEurylochus hurried back to the ship and told the tale. Ulysses\nthereupon determined to go himself and try if by any means he might\ndeliver his companions. As he strode onward alone, he met a youth\nwho addressed him familiarly, appearing to be acquainted with his\nadventures. He announced himself as Mercury, and informed Ulysses of\nthe arts of Circe and of the danger of approaching her. As Ulysses\nwas not to be dissuaded from his attempt, Mercury provided him with a\nsprig of the plant Moly, of wonderful power to resist sorceries, and\ninstructed him how to act.\n\n[Illustration: FIG. 173. THE CASTLE OF CIRCE]\n\nMeanwhile the companions of Ulysses made mournful plaint to their cruel\nmistress:\n\n Huddling they came, with shag sides caked of mire,--\n With hoofs fresh sullied from the troughs o'er-turned,--\n With wrinkling snouts,--yet eyes in which desire\n Of some strange thing unutterably burned,\n Unquenchable; and still where'er She turned\n They rose about her, striving each o'er each,\n With restless, fierce importuning that yearned\n Through those brute masks some piteous tale to teach,\n Yet lacked the words thereto, denied the power of speech....\n\n ... \"If swine we be,--if we indeed be swine,\n Daughter of Pers\u00e9, make us swine indeed,\n Well-pleased on litter-straw to lie supine,--\n Well-pleased on mast and acorn-shales to feed,\n Stirred by all instincts of the bestial breed;\n But O Unmerciful! O Pitiless!\n Leave us not thus with sick men's hearts to bleed!--\n To waste long days in yearning, dumb distress,\n And memory of things gone, and utter hopelessness!\n\n ... \"Make thou us men again,--if men but groping\n That dark Hereafter which th' Olympians keep;\n Make thou us men again,--if men but hoping\n Behind death's doors security of sleep;--\n For yet to laugh is somewhat, and to sleep;--\n To feel delight of living, and to plow\n The salt-blown acres of the shoreless deep;--\n Better,--yea better far all these than bow\n Foul faces to foul earth, and yearn--as we do now!\"\n\n So they in speech unsyllabled. But She,\n The fair-tressed Goddess, born to be their bane,\n Uplifting straight her wand of ivory,\n Compelled them groaning to the styes again;\n Where they in hopeless bitterness were fain\n To rend the oaken woodwork as before,\n And tear the troughs in impotence of pain,--\n Not knowing, they, that even at the door\n Divine Odysseus stood,--as Hermes told of yore.[335]\n\nUlysses, reaching the palace, was courteously received by Circe, who\nentertained him as she had done his companions, but after he had eaten\nand drunk, touched him with her wand, saying, \"Hence, seek the stye and\nwallow with thy friends.\" But he, instead of obeying, drew his sword\nand rushed upon her with fury in his countenance. She fell on her knees\nand begged for mercy.\n\nHe dictated a solemn oath that she would release his companions and\npractice no further harm against him or them; and she repeated it, at\nthe same time promising to dismiss them all in safety after hospitably\nentertaining them. She was as good as her word. The men were restored\nto their shapes, the rest of the crew summoned from the shore, and\nall magnificently entertained day after day, till Ulysses seemed to\nhave forgotten his native land and to have reconciled himself to an\ninglorious life of ease and pleasure.\n\n=237. Ulysses visits Hades.= At length his companions recalled him to\nnobler sentiments, and he received their admonition gratefully. Circe,\nwon over by his prayers, consented to send him on his homeward way. But\nshe warned him that first he must perform another journey, must visit\nthe Underworld and there learn from the shade of Tiresias, the blind\nprophet of Thebes, the way and measure of his path, and how to proceed\nto Ithaca over the teeming deep.\n\n\"But who will guide us?\" queried Ulysses in amaze; \"for no man ever yet\nsailed to hell in a black ship.\"\n\n\"Son of La\u00ebrtes,\" replied the Goddess, \"Ulysses of many devices, nay,\ntrouble not thyself for want of a guide, by thy ship abiding, but set\nup the mast and spread abroad the white sails and sit thee down; and\nthe breeze of the North Wind will bear thy vessel on her way. But when\nthou hast now sailed in thy ship across the stream Oceanus where is a\nwaste shore and the groves of Persephone, even tall poplar trees and\nwillows that shed their fruit before the season, there beach thy ship\nby deep-eddying Oceanus, but go thyself to the dank house of Hades.\nThereby into Acheron flows Pyriphlegethon, and Cocytus, a branch of\nthe water of the Styx; and there is a rock, and the meeting of the two\nroaring waters. There dig a trench and pour a drink offering to all the\ndead, mead and sweet wine and water, sprinkling white meal thereon. And\nwhen thou hast prayed to them, offer up a ram and a black ewe. Then\nwill many spirits come to thee of the dead that be departed; but thou\nshalt draw thy sharp sword and suffer them not to approach the blood,\nere thou hast word of Tiresias.\"[336]\n\nSo Ulysses and his companions did as they were bid. And the ship came\nto the limits of the world, to the deep-flowing Oceanus. There is the\nland and city of the Cimmerians, where no ray of sunshine ever falls,\nbut deadly night is outspread over miserable mortals. And there Ulysses\nand those with him performed the drink offering and the prayer and\nthe sacrifice; and Ulysses fended off the spirits of the dead from\nthe blood until the soul of the Theban prophet arrived. And that one,\nhaving drunk of the dark blood, declared unto Ulysses the future of his\nway: how the Earthshaker, god of the waters, should oppose him, but\nhow he should win home without further disaster if, when passing the\nisle Thrinacia, he would but restrain the spirit of his men so that\nthey should do no injury to the cattle of the Sun grazing thereon. If,\nhowever, these cattle were not respected but hurt, then there should\nfollow ruin for both ship and men; and Ulysses himself on the ship\nof strangers should return late in time to his home, to find sorrows\nthere, proud men wasting his patrimony and wooing his godlike wife\nto wed her. But that he should avenge their violence, and settle his\naffairs at home, and then betake himself again to wandering; and that\nfrom the sea should his own death come,--\"the gentlest death that may\nbe, which shall end thee fordone with smooth old age; and the folk\nshall dwell happily around thee.\"\n\nIn the land of Hades, Ulysses saw also the shade of his mother, and\nspoke with her of his father and of Penelope, his wife, and of his\nson Telemachus. And he saw also the shades of Antiope and Alcmene and\nPh\u00e6dra and Procris; and of Agamemnon, and Achilles, and Ajax, the son\nof Telamon, and of many others, and spoke with them of their own fates\nand of the affairs of the upper world.\n\n=238. The Sirens.= Returning from the abode of the shades, Ulysses\nrevisited the \u00c6\u00e6an isle and recounted to Circe his adventures and\nthe wondrous visions and the laws of Hell. She in return speeded his\nhomeward voyage, instructing him particularly how to pass safely by the\ncoast of the Sirens.[337]\n\nThese nymphs had the power, as has been already said, of charming by\ntheir song all who heard them, so that mariners were impelled to cast\nthemselves into the sea to destruction. Circe directed Ulysses to stop\nthe ears of his seamen with wax, so that they should not hear the\nstrain; to have himself bound to the mast, and to enjoin his people,\nwhatever he might say or do, by no means to release him till they\nshould have passed the Sirens' island. Ulysses obeyed these directions.\nAs they approached the Sirens' island, the sea was calm, and over the\nwaters came notes of music so ravishing and attractive that Ulysses\nstruggled to get loose and, by cries and signs to his people, begged\nto be released; but they, obedient to his previous orders, sprang\nforward and bound him still faster. They held on their course, and the\nmusic grew fainter till it ceased to be heard, when with joy Ulysses\ngave his companions the signal to unseal their ears; and they relieved\nhim from his bonds. It is said that one of the Sirens, Parthenope, in\ngrief at the escape of Ulysses drowned herself. Her body was cast up on\nthe Italian shore where now stands the city of Naples, in early times\ncalled by the Siren's name.\n\n[Illustration: FIG. 174. ULYSSES AND THE SIRENS]\n\n=239. Scylla and Charybdis.= Ulysses had been warned by Circe of the\ntwo monsters Scylla and Charybdis. We have already met with Scylla in\nthe myth of Glaucus. She dwelt in a cave high up on the cliff, from\nwhence she was accustomed to thrust forth her long necks (for she had\nsix heads), and in each of her mouths to seize one of the crew of every\nvessel passing within reach. The other terror, Charybdis, was a gulf\nnearly on a level with the water. Thrice each day the water rushed\ninto a frightful chasm, and thrice was disgorged. Any vessel coming\nnear the whirlpool when the tide was rushing in must inevitably be\nengulfed; not Neptune himself could save it. On approaching the haunt\nof the dread monsters, Ulysses kept strict watch to discover them.\nThe roar of the waters as Charybdis engulfed them gave warning at a\ndistance, but Scylla could nowhere be discerned. While Ulysses and his\nmen watched with anxious eyes the dreadful whirlpool, they were not\nequally on their guard from the attack of Scylla,[338] and the monster,\ndarting forth her snaky heads, caught six of his men and bore them away\nshrieking to her den. Ulysses was unable to afford any assistance.\n\n[Illustration: FIG. 175. ULYSSES AND SCYLLA]\n\n=240. The Cattle of the Sun.= Both Tiresias and Circe had warned him\nof another danger. After passing Scylla and Charybdis the next land he\nwould make was Thrinacia, an island whereon were pastured the cattle\nof Helios, the Sun, tended by his daughters Lampetia and Pha\u00ebthusa.\nThese flocks must not be violated, whatever the wants of the voyagers\nmight be. If this injunction were transgressed, destruction was sure to\nfall on the offenders. Ulysses would willingly have passed the island\nof the Sun without stopping, but his companions so urgently pleaded\nfor the rest and refreshment that would be derived from anchoring and\npassing the night on shore, that Ulysses yielded. He made them swear,\nhowever, not to touch the sacred flocks and herds, but to content\nthemselves with what provision they yet had left of the supply which\nCirce had put on board. So long as this supply lasted the people kept\ntheir oath; but contrary winds detained them at the island for a month,\nand after consuming all their stock of provisions, they were forced to\nrely upon the birds and fishes they could catch. Famine pressed them,\nand at last, in the absence of Ulysses, they slew some of the cattle,\nvainly attempting to make amends for the deed by offering from them a\nportion to the offended powers. Ulysses, on his return to the shore,\nwas horror-struck at perceiving what they had done, and the more so on\naccount of the portentous signs which followed. The skins crept on the\nground, and the joints of meat lowed on the spits while roasting.\n\n[Illustration: FLYING MERCURY]\n\nThe wind becoming fair, they sailed from the island. They had not gone\nfar when the weather changed, and a storm of thunder and lightning\nensued. A stroke of lightning shattered their mast, which in its fall\nkilled the pilot. At last the vessel itself went to pieces. The keel\nand mast floating side by side, Ulysses formed of them a raft to which\nhe clung; and, the wind changing, the waves bore him to Calypso's\nisland. All the rest of the crew perished.\n\n=241. Calypso's Island.= Calypso, a sea-nymph, received Ulysses\nhospitably, entertained him magnificently, became enamored of him, and\nwished to retain him forever, offering him immortality. He remained\nwith her seven long years. But he persisted in his resolution to return\nto his country and his wife and son.[339] Calypso at last received the\ncommand of Jove to dismiss him. Mercury brought the message to her and\nfound her in her grotto.\n\n A garden vine, luxuriant on all sides,\n Mantled the spacious cavern, cluster-hung\n Profuse; four fountains of serenest lymph,\n Their sinuous course pursuing side by side,\n Strayed all around, and everywhere appeared\n Meadows of softest verdure, purpled o'er\n With violets; it was a scene to fill\n A god from heaven with wonder and delight.[340]\n\nCalypso, with much reluctance, proceeded to obey the commands of\nJupiter. She supplied Ulysses with the means of constructing a raft,\nprovisioned it well for him, and gave him a favoring gale. He sped on\nhis course prosperously for many days, till at last, when in sight of\nland, a storm arose that broke his mast and threatened to rend the\nraft asunder. In this crisis he was seen by a compassionate sea-nymph,\nLeucothea, who, in the form of a cormorant, alighted on the raft and\npresented him with a girdle, directing him to bind it beneath his\nbreast, that, if he should be compelled to trust himself to the waves,\nit might buoy him up and enable him to reach the land.\n\n=242. The Land of the Ph\u00e6acians.= Ulysses clung to the raft so long as\nits timbers held together, and when it no longer yielded him support,\nbinding the girdle around him, he swam. Minerva smoothed the billows\nbefore him and sent him a wind that rolled the waves towards the shore.\nThe surf beat high on the rocks and seemed to forbid approach; but at\nlength finding calm water at the mouth of a gentle stream, he landed,\nspent with toil, breathless and speechless and almost dead. Reviving\nafter some time, he kissed the soil, rejoicing, yet at a loss what\ncourse to take. At a short distance he perceived a wood, to which he\nturned his steps. There finding a covert sheltered by intermingling\nbranches alike from the sun and the rain, he collected a pile of leaves\nand formed a bed, on which he stretched himself, and, heaping the\nleaves over him, fell asleep.\n\nThe land where he was thrown was Scheria, the country of the\nPh\u00e6acians.[341] These people dwelt originally near the Cyclopes; but,\nbeing oppressed by that savage race, they migrated to the isle of\nScheria under the conduct of Nausitho\u00fcs, their king. They were, the\npoet tells us, a people akin to the gods, who appeared manifestly and\nfeasted among them when they offered sacrifices, and did not conceal\nthemselves from solitary wayfarers when they met them. They had\nabundance of wealth and lived in the enjoyment of it undisturbed by\nthe alarms of war; for as they dwelt remote from gain-seeking man, no\nenemy ever approached their shores, and they did not even require to\nmake use of bows and quivers. Their chief employment was navigation.\nTheir ships, which went with the velocity of birds, were endued with\nintelligence; they knew every port and needed no pilot. Alcino\u00fcs, the\nson of Nausitho\u00fcs, was now their king, a wise and just sovereign,\nbeloved by his people.\n\nNow it happened that the very night on which Ulysses was cast ashore on\nthe Ph\u00e6acian island, and while he lay sleeping on his bed of leaves,\nNausicaa, the daughter of the king, had a dream sent by Minerva,\nreminding her that her wedding day might not be far distant, and that\nit would be but a prudent preparation for that event to have a general\nwashing of the clothes of the family.\n\nThis was no slight affair, for the fountains were at some distance and\nthe garments must be carried thither. On awaking, the princess hastened\nto her parents to tell them what was on her mind,--not alluding to\nher wedding day, but finding other reasons equally good. Her father\nreadily assented and ordered the grooms to furnish forth a wagon for\nthe purpose. The clothes were put therein, and the queen, her mother,\nplaced in the wagon likewise an abundant supply of food and wine.\nThe princess took her seat and plied the lash, her attendant virgins\nfollowing her on foot. Arrived at the riverside they turned out the\nmules to graze, and unlading the carriage, bore the garments down to\nthe water, and, working with cheerfulness and alacrity, soon dispatched\ntheir labor. Then having spread the garments on the shore to dry, and\nhaving themselves bathed, they sat down to enjoy their meal; after\nwhich they rose and amused themselves with a game of ball, the princess\nsinging to them while they played. But when they had refolded the\napparel and were about to resume their way to the town, Minerva caused\nthe ball thrown by the princess to fall into the water, whereat they\nall screamed, and Ulysses awaked at the sound.\n\nUtterly destitute of clothing, he discovered that only a few bushes\nwere interposed between him and a group of young maidens, whom, by\ntheir deportment and attire, he discovered to be not mere peasant\ngirls, but of a higher class. Breaking off a leafy branch from a tree,\nhe held it before him and stepped out from the thicket. The virgins\nat sight of him fled in all directions, Nausicaa alone excepted, for\nher Minerva aided and endowed with courage and discernment. Ulysses,\nstanding respectfully aloof, told his sad case, and besought the fair\nobject (whether queen or goddess he professed he knew not) for food and\nclothing. The princess replied courteously, promising present relief\nand her father's hospitality when he should become acquainted with the\nfacts. She called back her scattered maidens, chiding their alarm and\nreminding them that the Ph\u00e6acians had no enemies to fear. This man,\nshe told them, was an unhappy wanderer, whom it was a duty to cherish,\nfor the poor and the stranger are from Jove. She bade them bring food,\nand the garments of some of her brothers that were among the contents\nof the wagon. When this was done, and Ulysses retiring to a sheltered\nplace had washed his body free from the sea-foam, and clothed himself,\nand eaten, Pallas dilated his form and diffused grace over his ample\nchest and manly brows.\n\nThe princess, seeing him, was filled with admiration and scrupled not\nto say to her damsels that she wished the gods would send her such\na husband. To Ulysses she recommended that he repair to the city,\nfollowing herself and her train so far as the way lay through the\nfields; but when they should approach the city, she desired that he no\nlonger be seen in her company, for she feared the remarks which rude\nand vulgar people might make on seeing her return accompanied by such\na gallant stranger. To avoid this she directed him to stop at a grove\nadjoining the city, in which were a farm and garden belonging to the\nking. After allowing time for the princess and her companions to reach\nthe city, he was then to pursue his way thither, and should be easily\nguided by any he might meet to the royal abode.\n\nUlysses obeyed the directions and in due time proceeded to the city,\non approaching which he met a young woman bearing forth a pitcher for\nwater.[342] It was Minerva who had assumed that form. Ulysses accosted\nher and desired to be directed to the palace of Alcino\u00fcs, the king. The\nmaiden replied respectfully, offering to be his guide; for the palace,\nshe informed him, stood near her father's dwelling. Under the guidance\nof the goddess and, by her power, enveloped in a cloud which shielded\nhim from observation, Ulysses passed among the busy crowd and with\nwonder observed their harbor, their ships, their forum (the resort of\nheroes), and their battlements, till they came to the palace, where\nthe goddess, having first given him some information of the country,\nking, and people he was about to meet, left him. Ulysses, before\nentering the courtyard of the palace, stood and surveyed the scene. Its\nsplendor astonished him. Brazen walls stretched from the entrance to\nthe interior house, of which the doors were gold, the doorposts silver,\nthe lintels silver ornamented with gold. On either side were figures of\nmastiffs wrought in gold and silver, standing in rows as if to guard\nthe approach. Along the walls were seats spread through all their\nlength with mantles of finest texture, the work of Ph\u00e6acian maidens.\nOn these seats the princes sat and feasted, while golden statues of\ngraceful youths held in their hands lighted torches which shed radiance\nover the scene. Full fifty female menials served in household offices,\nsome employed to grind the corn, others to wind off the purple wool or\nply the loom. For the Ph\u00e6acian women as far exceeded all other women in\nhousehold arts as the mariners of that country did the rest of mankind\nin the management of ships. Without the court a spacious garden lay,\nfour acres in extent. In it grew many a lofty tree, pomegranate, pear,\napple, fig, and olive. Neither winter's cold nor summer's drought\narrested their growth.\n\n The languid sunset, mother of roses,[343]\n Lingers, a light on the magic seas,\n The wide fire flames, as a flower uncloses,\n Heavy with odor, and loose to the breeze.\n\n The red rose clouds, without law or leader,\n Gather and float in the airy plain;\n The nightingale sings to the dewy cedar,\n The cedar scatters his scent to the main.\n\n The strange flowers' perfume turns to singing,\n Heard afar over moonlit seas:\n The Siren's song, grown faint in winging,\n Falls in scent on the cedar-trees.\n\n As waifs blown out of the sunset, flying,\n Purple, and rosy, and gray, the birds\n Brighten the air with their wings; their crying\n Wakens a moment the weary herds.\n\n Butterflies flit from the fairy garden,\n Living blossoms of flying flowers;\n Never the nights with winter harden,\n Nor moons wax keen in this land of ours.\n\n Great fruits, fragrant, green and golden,\n Gleam in the green, and droop and fall;\n Blossom, and bud, and flower unfolden,\n Swing and cling to the garden wall.\n\n Deep in the woods as twilight darkens,\n Glades are red with the scented fire;\n Far in the dells the white maid hearkens\n Song and sigh of the heart's desire.\n\nUlysses stood gazing in admiration, unobserved himself, for the\ncloud which Minerva spread around him still shielded him. At length\nhaving sufficiently observed the scene, he advanced with rapid step\ninto the hall where the chiefs and senators were assembled, pouring\nlibation to Mercury, whose worship followed the evening meal. Just\nthen Minerva dissolved the cloud and disclosed him to the assembled\nchiefs. Advancing to the place where the queen sat, he knelt at her\nfeet and implored her favor and assistance to enable him to return to\nhis native country. Then withdrawing, he seated himself in the manner\nof suppliants, at the hearth-side.\n\nFor a time none spoke. At last an aged statesman, addressing the king,\nsaid, \"It is not fit that a stranger who asks our hospitality should\nbe kept waiting in suppliant guise, none welcoming him. Let him,\ntherefore, be led to a seat among us and supplied with food and wine.\"\nAt these words the king, rising, gave his hand to Ulysses and led him\nto a seat, displacing thence his own son to make room for the stranger.\nFood and wine were set before him and he ate and refreshed himself.\n\nThe king then dismissed his guests, notifying them that the next day he\nwould call them to council to consider what had best be done for the\nstranger.\n\nWhen the guests had departed and Ulysses was left alone with the king\nand queen, the queen asked him who he was and whence he came, and\n(recognizing the clothes which he wore as those which her maidens and\nherself had made) from whom he received those garments. He told them of\nhis residence in Calypso's isle and his departure thence; of the wreck\nof his raft, his escape by swimming, and of the relief afforded by\nthe princess. The parents heard approvingly, and the king promised to\nfurnish a ship in which his guest might return to his own land.\n\nThe next day the assembled chiefs confirmed the promise of the\nking.[344] A bark was prepared and a crew of stout rowers selected,\nand all betook themselves to the palace, where a bounteous repast was\nprovided. After the feast the king proposed that the young men should\nshow their guest their proficiency in manly sports, and all went forth\nto the arena for games of running, wrestling, and other exercises.\nAfter all had done their best, Ulysses being challenged to show what he\ncould do, at first declined, but being taunted by one of the youths,\nseized a quoit of weight far heavier than any the Ph\u00e6acians had\nthrown, and sent it farther than the utmost throw of theirs. All were\nastonished and viewed their guest with greatly increased respect.\n\nAfter the games they returned to the hall, and the herald led in\nDemodocus, the blind bard,--\n\n Dear to the Muse,\n Who yet appointed him both good and ill,\n Took from him sight, but gave him strains divine.\n\nHe took for his theme the Wooden Horse, by means of which the Greeks\nfound entrance into Troy. Apollo inspired him, and he sang so feelingly\nthe terrors and the exploits of that eventful time that all were\ndelighted, but Ulysses was moved to tears. Observing which, Alcino\u00fcs,\nwhen the song was done, demanded of him why at the mention of Troy\nhis sorrows awaked. Had he lost there a father, or brother, or any\ndear friend? Ulysses replied by announcing himself by his true name,\nand, at their request, recounted the adventures which had befallen\nhim since his departure from Troy. This narrative raised the sympathy\nand admiration of the Ph\u00e6acians for their guest to the highest pitch.\nThe king proposed that all the chiefs should present him with a gift,\nhimself setting the example. They obeyed, and vied with one another in\nloading the illustrious stranger with costly gifts.\n\nThe next day Ulysses set sail in the Ph\u00e6acian vessel, and in a short\ntime arrived safe at Ithaca, his own island.[345] When the vessel\ntouched the strand he was asleep. The mariners, without waking him,\ncarried him on shore, and landed with him the chest containing his\npresents, and then sailed away.\n\nNeptune was so displeased at the conduct of the Ph\u00e6acians in thus\nrescuing Ulysses from his hands, that, on the return of the vessel to\nport, he transformed it into a rock, right opposite the mouth of the\nharbor.\n\n=243. Fate of the Suitors.= Ulysses had now been away from Ithaca for\ntwenty years, and when he awoke he did not recognize his native land:\n\n \"Some god hath cast me forth upon this land,\n And O! what land? So thick is the sea mist,\n All is phantasmal. What king ruleth here?\n What folk inhabit?--cruel unto strangers,\n Or hospitable? The gods have lied to me\n When they foretold I should see Ithaca.\n This is some swimming and Cimmerian isle,\n With melancholy people of the mist.\n Ah! Ithaca, I shall not see thee more!\"[346]\n\nBut Minerva, appearing in the form of a young shepherd, informed him\nwhere he was, and told him the state of things at his palace. More than\na hundred nobles of Ithaca and of the neighboring islands had been for\nyears suing for the hand of Penelope, his wife, imagining him dead, and\nlording it over his palace and people as if they were owners of both.\n\nPenelope was one of those mythic heroines whose beauties were not\nthose of person only, but of character and conduct as well. She was\nthe niece of Tyndareus,--being the daughter of his brother Icarius,\na Spartan prince. Ulysses, seeking her in marriage, had won her over\nall competitors. But, when the moment came for the bride to leave\nher father's house, Icarius, unable to bear the thoughts of parting\nwith his daughter, tried to persuade her to remain with him and not\naccompany her husband to Ithaca. Ulysses gave Penelope her choice, to\nstay or go with him. Penelope made no reply, but dropped her veil over\nher face. Icarius urged her no further, but when she was gone erected a\nstatue to Modesty on the spot where they had parted.\n\nUlysses and Penelope had not enjoyed their union more than a year when\nit was interrupted by the events which called Ulysses to the Trojan\nWar. During his long absence, and when it was doubtful whether he still\nlived, and highly improbable that he would ever return, Penelope was\nimportuned by numerous suitors, from whom there seemed no refuge but\nin choosing one of them for her husband. She, however, employed every\nart to gain time, still hoping for Ulysses' return. One of her arts\nof delay was by engaging in the preparation of a robe for the funeral\ncanopy of La\u00ebrtes, her husband's father. She pledged herself to make\nher choice among the suitors when the web was finished. During the day\nshe worked at it, but in the night she undid the work of the day.\n\n[Illustration: FIG. 176. PENELOPE AND TELEMACHUS]\n\nThat Ulysses on returning might be able to take vengeance upon the\nsuitors, it was important that he should not be recognized. Minerva\naccordingly metamorphosed him into an unsightly beggar, and as such he\nwas kindly received by Eum\u00e6us, the swineherd, a faithful servant of his\nhouse.[347]\n\nTelemachus, his son, had for some time been absent in quest of his\nfather, visiting the courts of the other kings who had returned\nfrom the Trojan expedition. While on the search, he received counsel\nfrom Minerva to return home.[348] He arrived at this juncture, and\nsought Eum\u00e6us to learn something of the state of affairs at the palace\nbefore presenting himself among the suitors. Finding a stranger with\nEum\u00e6us, he treated him courteously, though in the garb of a beggar,\nand promised him assistance. Eum\u00e6us was sent to the palace to inform\nPenelope privately of her son's arrival, for caution was necessary with\nregard to the suitors, who, as Telemachus had learned, were plotting\nto intercept and kill him. When the swineherd was gone, Minerva\npresented herself to Ulysses and directed him to make himself known to\nhis son. At the same time she touched him, removed at once from him\nthe appearance of age and penury, and gave him the aspect of vigorous\nmanhood that belonged to him. Telemachus viewed him with astonishment,\nand at first thought he must be more than mortal. But Ulysses announced\nhimself as his father, and accounted for the change of appearance by\nexplaining that it was Minerva's doing.\n\n Then threw Telemachus\n His arms around his father's neck and wept.\n Desire intense of lamentation seized\n On both; soft murmurs uttering, each indulged\n His grief.[349]\n\nThe father and son took counsel together how they should get the better\nof the suitors and punish them for their outrages. It was arranged that\nTelemachus should proceed to the palace and mingle with the suitors as\nformerly; that Ulysses should also go as a beggar, a character which in\nthe rude old times had different privileges from what we concede to it\nnow. As traveler and storyteller, the beggar was admitted in the halls\nof chieftains and often treated like a guest; though sometimes, also,\nno doubt, with contumely. Ulysses charged his son not to betray, by any\ndisplay of unusual interest in him, that he knew him to be other than\nhe seemed, and even if he saw him insulted or beaten, not to interpose\notherwise than he might do for any stranger. At the palace they found\nthe usual scene of feasting and riot going on. The suitors pretended\nto receive Telemachus with joy at his return, though secretly mortified\nat the failure of their plots to take his life. The old beggar was\npermitted to enter and provided with a portion from the table. A\ntouching incident occurred as Ulysses entered the courtyard of the\npalace. An old dog lay in the yard almost dead with age, and seeing\na stranger enter, raised his head, with ears erect. It was Argus,\nUlysses' own dog, that he had in other days often led to the chase.\n\n Soon as he perceived\n Long-lost Ulysses nigh, down fell his ears\n Clapped close, and with his tail glad sign he gave\n Of gratulation, impotent to rise,\n And to approach his master as of old.\n Ulysses, noting him, wiped off a tear\n Unmarked.\n\n ... Then his destiny released\n Old Argus, soon as he had lived to see\n Ulysses in the twentieth year restored.[350]\n\n[Illustration: FIG. 177. ULYSSES RECOGNIZED BY EURYCLEA]\n\nAs Ulysses sat eating his portion in the hall, the suitors soon began\nto exhibit their insolence to him. When he mildly remonstrated, one of\nthem raised a stool and with it gave him a blow. Telemachus had hard\nwork to restrain his indignation at seeing his father so treated in his\nown hall; but, remembering his father's injunctions, said no more than\nwhat became him as master of the house, though young, and protector of\nhis guests.\n\nOnce again was the wanderer all but betrayed;--when his aged nurse\nEuryclea, bathing his feet, recognized the scar of a wound dealt him\nby a boar, long ago.[351] Grief and joy overwhelmed the crone, and she\nwould have revealed him to Penelope had not Ulysses enjoined silence\nupon her.\n\nPenelope had protracted her decision in favor of any one of her suitors\nso long that there seemed to be no further pretense for delay. The\ncontinued absence of her husband seemed to prove that his return was no\nlonger to be expected. Meanwhile her son had grown up and was able to\nmanage his own affairs. She therefore consented to submit the question\nof her choice to a trial of skill among the suitors. The test selected\nwas shooting with the bow.[352] Twelve rings were arranged in a line,\nand he whose arrow was sent through the whole twelve was to have the\nqueen for his prize. A bow that one of his brother heroes had given to\nUlysses in former times was brought from the armory and with its quiver\nfull of arrows was laid in the hall. Telemachus had taken care that all\nother weapons should be removed, under pretense that in the heat of\ncompetition there was danger, in some rash moment, of putting them to\nan improper use.\n\n[Illustration: FIG. 178. ULYSSES KILLS THE SUITORS\n\n(Left half)]\n\nAll things being prepared for the trial, the first thing to be done was\nto bend the bow in order to attach the string. Telemachus endeavored\nto do it, but found all his efforts fruitless; and modestly confessing\nthat he had attempted a task beyond his strength, he yielded the bow\nto another, _He_ tried it with no better success, and, amidst the\nlaughter and jeers of his companions, gave it up. Another tried it, and\nanother; they rubbed the bow with tallow, but all to no purpose; it\nwould not bend. Then spoke Ulysses, humbly suggesting that he should be\npermitted to try; for, said he, \"beggar as I am, I was once a soldier,\nand there is still some strength in these old limbs of mine.\" The\nsuitors hooted with derision and commanded to turn him out of the hall\nfor his insolence. But Telemachus spoke up for him, and, merely to\ngratify the old man, bade him try. Ulysses took the bow and handled it\nwith the hand of a master. With ease he adjusted the cord to its notch,\nthen fitting an arrow to the bow he drew the string and sped the arrow\nunerring through the rings.\n\n[Illustration: FIG. 179. ULYSSES KILLS THE SUITORS\n\n(Right half)]\n\nWithout allowing them time to express their astonishment, he said, \"Now\nfor another mark!\" and aimed direct at Antino\u00fcs, the most insolent\nof the suitors.[353] The arrow pierced through his throat and he\nfell dead. Telemachus, Eum\u00e6us, and another faithful follower, well\narmed, now sprang to the side of Ulysses. The suitors, in amazement,\nlooked round for arms, but found none, neither was there any way of\nescape, for Eum\u00e6us had secured the door. Ulysses left them not long in\nuncertainty; he announced himself as the long-lost chief, whose house\nthey had invaded, whose substance they had squandered, whose wife and\nson they had persecuted for ten long years; and told them he meant to\nhave ample vengeance. All but two were slain, and Ulysses was left\nmaster of his palace and possessor of his kingdom and his wife.\n\n=244. Tennyson's Ulysses.= Tennyson's poem of Ulysses represents the\nold hero,--his dangers past and nothing left but to stay at home and be\nhappy,--growing tired of inaction and resolving to set forth again in\nquest of new adventures.\n\n It little profits that an idle king,\n By this still hearth, among these barren crags,\n Match'd with an ag\u00e8d wife, I mete and dole\n Unequal laws unto a savage race,\n That hoard, and sleep, and feed, and know not me.\n I cannot rest from travel: I will drink\n Life to the lees: all times I have enjoy'd\n Greatly, have suffer'd greatly, both with those\n That loved me, and alone; on shore, and when\n Thro' scudding drifts the rainy Hyades\n Vext the dim sea: I am become a name;\n For always roaming with a hungry heart\n Much have I seen and known: cities of men,\n And manners, climates, councils, governments,\n Myself not least, but honor'd of them all;\n And drunk delight of battle with my peers,\n Far on the ringing plains of windy Troy.\n I am a part of all that I have met;\n Yet all experience is an arch wherethro'\n Gleams that untravel'd world, whose margin fades\n Forever and forever when I move.\n How dull it is to pause, to make an end,\n To rust unburnish'd, not to shine in use!\n As tho' to breathe were life. Life piled on life\n Were all too little, and of one to me\n Little remains: but every hour is saved\n From that eternal silence, something more,\n A bringer of new things; and vile it were\n For some three suns to store and hoard myself,\n And this gray spirit yearning in desire\n To follow knowledge like a sinking star,\n Beyond the utmost bound of human thought.\n\n This is my son, mine own Telemachus,\n To whom I leave the scepter and the isle--\n Well-loved of me, discerning to fulfil\n This labor, by slow prudence to make mild\n A rugged people, and thro' soft degrees\n Subdue them to the useful and the good.\n Most blameless is he, centered in the sphere\n Of common duties, decent not to fail\n In offices of tenderness, and pay\n Meet adoration to my household gods,\n When I am gone. He works his work, I mine.\n\n * * * * *\n\n[Illustration: FIG. 180. THE NIKE OF SAMOTHRACE]\n\n There lies the port: the vessel puffs her sail:\n There gloom the dark broad seas. My mariners,\n Souls that have toil'd, and wrought, and thought with me--\n That ever with a frolic welcome took\n The thunder and the sunshine, and opposed\n Free hearts, free foreheads--you and I are old;\n Old age has yet his honor and his toil;\n Death closes all: but something ere the end,\n Some work of noble note, may yet be done,\n Not unbecoming men that strove with Gods.\n The lights begin to twinkle from the rocks:\n The long day wanes: the slow moon climbs: the deep\n Moans round with many voices. Come, my friends,\n 'Tis not too late to seek a newer world.\n Push off, and sitting well in order smite\n The sounding furrows; for my purpose holds\n To sail beyond the sunset, and the baths\n Of all the western stars, until I die.\n It may be that the gulfs will wash us down:\n It may be we shall touch the Happy Isles,\n And see the great Achilles, whom we knew.\n Tho' much is taken, much abides; and tho'\n We are not now that strength which in old days\n Moved earth and heaven, that which we are, we are;\n One equal temper of heroic hearts,\n Made weak by time and fate, but strong in will\n To strive, to seek, to find, and not to yield.\n\nFOOTNOTES:\n\n[330] Sonnet by Andrew Lang.\n\n[331] For the authorship of the Odyssey, see \u00a7 298 (3); and for\ntranslations, see corresponding section of the Commentary.\n\n[332] Odyssey, 9.\n\n[333] \u00a7 141.\n\n[334] Odyssey, 10.\n\n[335] From Austin Dobson's Prayer of the Swine to Circe.\n\n[336] Odyssey, 10; adapted from Butcher and Lang's translation. So the\nfollowing from Odyssey, 11.\n\n[337] Odyssey, 12.\n\n[338] _Incidit in Scyllam, cupiens vitare Charybdim._\n\n[339] Odyssey, 1, 10.\n\n[340] Odyssey, 5, 64 (Cowper's translation).\n\n[341] Odyssey, 6.\n\n[342] Odyssey, 7.\n\n[343] Andrew Lang, A Song of Ph\u00e6acia.\n\n[344] Odyssey, 8.\n\n[345] Odyssey, 13.\n\n[346] Stephen Phillips, Ulysses.\n\n[347] Odyssey, 14.\n\n[348] Odyssey, 15.\n\n[349] Odyssey 16, 212 (Cowper's translation).\n\n[350] Odyssey, 17, 290 (Cowper's translation).\n\n[351] Odyssey, 19.\n\n[352] Odyssey, 21.\n\n[353] Odyssey, 22.\n\n\n\n\nCHAPTER XXV\n\nADVENTURES OF \u00c6NEAS\n\n\n Roman Virgil, thou that singest\n Ilion's lofty temples robed in fire,\n Ilion falling, Rome arising,\n wars, and filial faith, and Dido's pyre;\n\n Landscape lover, lord of language\n more than he that sang the Works and Days,\n All the chosen coin of fancy\n flashing out from many a golden phrase;...\n\n Light among the vanish'd ages;\n star that gildest yet this phantom shore;\n Golden branch amid the shadows,\n kings and realms that pass to rise no more;...\n\n Now the Rome of slaves hath perish'd,\n and the Rome of freemen holds her place,\n I, from out the Northern Island\n sunder'd once from all the human race,\n\n I salute thee, Mantovano,\n I that loved thee since my day began,\n Wielder of the stateliest measure\n ever molded by the lips of man.[354]\n\n[Illustration: ITALY BEFORE THE GROWTH OF THE ROMAN EMPIRE]\n\n=245. From Troy to Italy.= Homer tells the story of one of the Grecian\nheroes, Ulysses, in his wanderings on his return home from Troy. Virgil\nin his \u00c6neid[355] narrates the mythical fortunes of the remnant of the\n_conquered_ people under their chief \u00c6neas, the son of Venus and the\nTrojan Anchises, in their search for a new home after the ruin of their\nnative city. On that fatal night when the wooden horse disgorged its\ncontents of armed men, and the capture and conflagration of the city\nwere the result, \u00c6neas made his escape from the scene of destruction,\nwith his father and his wife and young son. The father, Anchises, was\ntoo old to walk with the speed required, and \u00c6neas took him upon his\nshoulders. Thus burdened, leading his son and followed by his wife, he\nmade the best of his way out of the burning city; but in the confusion\nhis wife, Cre\u00fcsa, was swept away and lost.\n\n[Illustration: FIG. 181. \u00c6NEAS, ANCHISES, AND IULIUS]\n\n=246. The Departure from Troy.= On arriving at the place of rendezvous,\nnumerous fugitives of both sexes were found, who put themselves under\nthe guidance of \u00c6neas. Some months were spent in preparation, and at\nlength they embarked. They first landed on the neighboring shores of\nThrace, and were preparing to build a city, but \u00c6neas was deterred by\na prodigy. Preparing to offer sacrifice, he tore some twigs from one\nof the bushes. To his dismay the wounded part dropped blood. When he\nrepeated the act, a voice from the ground cried out to him, \"Spare me,\n\u00c6neas; I am thy kinsman, Polydore, here murdered with many arrows, from\nwhich a bush has grown, nourished with my blood.\" These words recalled\nto the recollection of \u00c6neas that Polydore was a young prince of Troy,\nwhom his father had sent with ample treasures to the neighboring land\nof Thrace, to be there brought up, at a distance from the horrors of\nwar. The king to whom he was sent had murdered him and seized his\ntreasures. \u00c6neas and his companions, considering the land accursed by\nthe stain of such a crime, hastened away.\n\n=247. The Promised Empire.= They next landed on the island of Delos.\nHere \u00c6neas consulted the oracle of Apollo, and received an answer,\nambiguous as usual,--\"Seek thy ancient mother; there the race of\n\u00c6neas shall dwell, and reduce all other nations to their sway.\" The\nTrojans heard with joy and immediately began to ask one another, \"Where\nis the spot intended by the oracle?\" Anchises remembered that there\nwas a tradition that their forefathers came from Crete, and thither\nthey resolved to steer. They arrived at Crete and began to build\ntheir city; but sickness broke out among them, and the fields that\nthey had planted, failed to yield a crop. In this gloomy aspect of\naffairs, \u00c6neas was warned in a dream to leave the country and seek a\nwestern land called Hesperia, whence Dardanus, the true founder of the\nTrojan race, was reported to have migrated. To Hesperia, now called\nItaly, they therefore directed their future course, and not till after\nmany adventures, and the lapse of time sufficient to carry a modern\nnavigator several times round the world, did they arrive there.\n\n=248. The Harpies.= Their first landing was at the island of the\nHarpies. These were disgusting birds, with the heads of maidens, with\nlong claws, and faces pale with hunger. They were sent by the gods to\ntorment a certain Phineus, whom Jupiter had deprived of his sight in\npunishment of his cruelty; and whenever a meal was placed before him,\nthe harpies darted down from the air and carried it off. They were\ndriven away from Phineus by the heroes of the Argonautic expedition,\nand took refuge in the island where \u00c6neas now found them. When the\nTrojans entered the port they saw herds of cattle roaming over the\nplain. They slew as many as they wished, and prepared for a feast.\nBut no sooner had they seated themselves at the table than a horrible\nclamor was heard in the air, and a flock of these odious harpies came\nrushing down upon them, seizing in their talons the meat from the\ndishes and flying away with it. \u00c6neas and his companions drew their\nswords and dealt vigorous blows among the monsters, but to no purpose,\nfor they were so nimble it was almost impossible to hit them, and their\nfeathers were, like armor, impenetrable to steel. One of them, perched\non a neighboring cliff, screamed out, \"Is it thus, Trojans, ye treat\nus innocent birds, first slaughter our cattle and then make war on\nourselves?\" She then predicted dire sufferings to them in their future\ncourse, and, having vented her wrath, flew away.\n\n=249. Epirus.= The Trojans made haste to leave the country, and next\nfound themselves coasting along the shore of Epirus. Here they landed\nand to their astonishment learned that certain Trojan exiles, who had\nbeen carried there as prisoners, had become rulers of the country.\nAndromache, the widow of Hector, had borne three sons to Neoptolemus\nin Epirus. But when he cast her off for Hermione, he left her to her\nfellow-captive, Helenus, Hector's brother. Now that Neoptolemus was\ndead she had become the wife of Helenus; and they ruled the realm.\nHelenus and Andromache treated the exiles with the utmost hospitality,\nand dismissed them loaded with gifts.\n\n[Illustration: FIG. 182. SCYLLA]\n\n=250. The Cyclopes Again.= From hence \u00c6neas coasted along the shore of\nSicily and passed the country of the Cyclopes. Here they were hailed\nfrom the shore by a miserable object, whom by his garments tattered,\nas they were, they perceived to be a Greek. He told them he was one\nof Ulysses' companions, left behind by that chief in his hurried\ndeparture. He related the story of Ulysses' adventure with Polyphemus,\nand besought them to take him off with them, as he had no means of\nsustaining his existence where he was, but wild berries and roots, and\nlived in constant fear of the Cyclopes. While he spoke Polyphemus made\nhis appearance,--terrible, shapeless, vast, and, of course, blind.[356]\nHe walked with cautious steps, feeling his way with a staff, down to\nthe seaside, to wash his eye-socket in the waves. When he reached the\nwater he waded out towards them, and his immense height enabled him to\nadvance far into the sea, so that the Trojans in terror took to their\noars to get out of his way. Hearing the oars, Polyphemus shouted after\nthem so that the shores resounded, and at the noise the other Cyclopes\ncame forth from their caves and woods, and lined the shore, like a row\nof lofty pine trees. The Trojans plied their oars and soon left them\nout of sight.\n\n\u00c6neas had been cautioned by Helenus to avoid the strait guarded by the\nmonsters Scylla and Charybdis. There Ulysses, the reader will remember,\nhad lost six of his men, seized by Scylla while the navigators were\nwholly intent upon avoiding Charybdis. \u00c6neas, following the advice of\nHelenus, shunned the dangerous pass and coasted along the island of\nSicily.\n\n=251. The Resentment of Juno.= Now Juno, seeing the Trojans speeding\ntheir way prosperously towards their destined shore, felt her old\ngrudge against them revive, for she could not forget the slight that\nParis had put upon her in awarding the prize of beauty to another. In\nheavenly minds can such resentment dwell![357] Accordingly she gave\norders to \u00c6olus, who sent forth his sons, Boreas, Typhon, and the other\nwinds, to toss the ocean. A terrible storm ensued, and the Trojan ships\nwere driven out of their course towards the coast of Africa. They were\nin imminent danger of being wrecked, and were separated, so that \u00c6neas\nthought that all were lost except his own vessel.\n\nAt this crisis, Neptune, hearing the storm raging, and knowing that he\nhad given no orders for one, raised his head above the waves and saw\nthe fleet of \u00c6neas driving before the gale. Understanding the hostility\nof Juno, he was at no loss to account for it, but his anger was not\nthe less at this interference in his province. He called the winds and\ndismissed them with a severe reprimand. He then soothed the waves, and\nbrushed away the clouds from before the face of the sun. Some of the\nships which had got on the rocks he pried off with his own trident,\nwhile Triton and a sea-nymph, putting their shoulders under others, set\nthem afloat again. The Trojans, when the sea became calm, sought the\nnearest shore,--the coast of Carthage, where \u00c6neas was so happy as to\nfind that one by one the ships all arrived safe, though badly shaken.\n\n=252. The Sojourn at Carthage. Dido.= Carthage, where the exiles had\nnow arrived, was a spot on the coast of Africa opposite Sicily, where\nat that time a Tyrian colony under Dido, their queen, were laying\nthe foundations of a state destined in later ages to be the rival of\nRome itself. Dido was the daughter of Belus, king of Tyre, and sister\nof Pygmalion, who succeeded his father on the throne. Her husband\nwas Sich\u00e6us, a man of immense wealth, but Pygmalion, who coveted his\ntreasures, caused him to be put to death. Dido, with a numerous body of\nfriends and followers, both men and women, succeeded in effecting their\nescape from Tyre, in several vessels, carrying with them the treasures\nof Sich\u00e6us. On arriving at the spot which they selected as the seat of\ntheir future home, they asked of the natives only so much land as they\ncould inclose with a bull's hide. When this was readily granted, the\nqueen caused the hide to be cut into strips, and with them inclosed a\nspot on which she built a citadel, and called it Byrsa (a hide). Around\nthis fort the city of Carthage rose, and soon became a powerful and\nflourishing place.\n\nSuch was the state of affairs when \u00c6neas with his Trojans arrived\nthere. Dido received the illustrious exiles with friendliness and\nhospitality. \"Not unacquainted with distress,\" she said, \"I have\nlearned to succor the unfortunate.\"[358] The queen's hospitality\ndisplayed itself in festivities at which games of strength and skill\nwere exhibited. The strangers contended for the palm with her own\nsubjects on equal terms, the queen declaring that whether the victor\nwere \"Trojan or Tyrian should make no difference to her.\"[359] At the\nfeast which followed the games, \u00c6neas gave at her request a recital of\nthe closing events of the Trojan history and his own adventures after\nthe fall of the city. Dido was charmed with his discourse and filled\nwith admiration of his exploits. She conceived an ardent passion for\nhim, and he for his part seemed well content to accept the fortunate\nchance which appeared to offer him at once a happy termination of his\nwanderings, a home, a kingdom, and a bride. Months rolled away in the\nenjoyment of pleasant intercourse, and it seemed as if Italy and the\nempire destined to be founded on its shores were alike forgotten.\nSeeing which, Jupiter dispatched Mercury with a message to \u00c6neas\nrecalling him to a sense of his high destiny, and commanding him to\nresume his voyage.\n\n\u00c6neas parted from Dido, though she tried every allurement and\npersuasion to detain him. The blow to her affection and her pride was\ntoo much for her to endure, and when she found that he was gone, she\nmounted a funeral pile which she had caused to be prepared, and having\nstabbed herself was consumed with the pile. The flames rising over the\ncity were seen by the departing Trojans, and, though the cause was\nunknown, gave to \u00c6neas some intimation of the fatal event.\n\n=253. Palinurus. Italy at Last.= After touching at the island of\nSicily, where Acestes, a prince of Trojan lineage, bore sway, and gave\nthem a hospitable reception, the Trojans re\u00ebmbarked and held on their\ncourse for Italy. Venus now interceded with Neptune to allow her son at\nlast to attain the wished-for goal and find an end of his perils on the\ndeep. Neptune consented, stipulating only for one life as a ransom for\nthe rest. The victim was Palinurus, the pilot. As he sat watching the\nstars with his hand on the helm, Somnus, sent by Neptune, approached\nin the guise of Phorbas, and said, \"Palinurus, the breeze is fair,\nthe water smooth, and the ship sails steadily on her course. Lie down\nawhile and take needful rest. I will stand at the helm in thy place.\"\nPalinurus replied, \"Tell me not of smooth seas or favoring winds,--me\nwho have seen so much of their treachery. Shall I trust \u00c6neas to the\nchances of the weather and the winds?\" And he continued to grasp the\nhelm and to keep his eyes fixed on the stars. But Somnus waved over\nhim a branch moistened with Leth\u00e6an dew, and his eyes closed in spite\nof all his efforts. Then Somnus pushed him overboard, and he fell;\nbut as he kept his hold upon the helm, it came away with him. Neptune\nwas mindful of his promise, and held the ship on her track without\nhelm or pilot till \u00c6neas discovered his loss and, sorrowing deeply for\nhis faithful steersman, took charge of the ship himself. Under his\nguidance the ships at last reached the shores of Italy, and joyfully\nthe adventurers leaped to land.\n\n[Illustration: FIG. 183. THE CUM\u00c6AN SIBYL\n\nFrom the painting by Michelangelo]\n\n=254. The Sibyl of Cum\u00e6.= While his people were employed in making\ntheir encampment, \u00c6neas sought the abode of the Sibyl. It was a cave\nconnected with a temple and grove, sacred to Apollo and Diana. While\n\u00c6neas contemplated the scene, the Sibyl accosted him. She seemed\nto know his errand, and, under the influence of the deity of the\nplace, burst forth in a prophetic strain, giving dark intimations\nof labors and perils through which he was destined to make his way\nto final success. She closed with the encouraging words which have\nbecome proverbial: \"Yield not to disasters, but press onward the more\nbravely.\"[360] \u00c6neas replied that he had prepared himself for whatever\nmight await him. He had but one request to make. Having been directed\nin a dream to seek the abode of the dead in order to confer with\nhis father Anchises to receive from him a revelation of his future\nfortunes and those of his race, he asked her assistance to enable him\nto accomplish the task. The Sibyl replied: \"The descent to Avernus\nis easy; the gate of Pluto stands open night and day; but to retrace\none's steps and return to the upper air, that is the toil, that the\ndifficulty.\"[361] She instructed him to seek in the forest a tree on\nwhich grew a golden branch. This branch was to be plucked off and\nborne as a gift to Proserpine, and if fate was propitious, it would\nyield to the hand and quit its parent trunk, but otherwise no force\ncould rend it away. If torn away, another would succeed.\n\n\u00c6neas followed the directions of the Sibyl. His mother, Venus, sent\ntwo of her doves to fly before him and show him the way, and by their\nassistance he found the tree, plucked the branch, and hastened back\nwith it to the Sibyl.\n\n=255. The Infernal Regions.= The region where Virgil locates the\nentrance to the infernal regions is, perhaps, the most strikingly\nadapted to excite ideas of the terrific and preternatural of any\non the face of the earth. It is the volcanic region near Vesuvius,\nwhere the whole country is cleft with chasms from which sulphurous\nflames arise, while the ground is shaken with pent-up vapors, and\nmysterious sounds issue from the bowels of the earth. The lake Avernus\nis supposed to fill the crater of an extinct volcano. It is circular,\nhalf a mile wide and very deep, surrounded by high banks, which in\nVirgil's time were covered with a gloomy forest. Mephitic vapors rise\nfrom its waters, so that no life is found on its banks, and no birds\nfly over it. Here \u00c6neas offered sacrifices to the infernal deities,\nProserpine, Hecate, and the Furies. Then a roaring was heard in the\nearth, the woods on the hilltops were shaken, and the howling of dogs\nannounced the approach of the deities. \"Now,\" said the Sibyl, \"summon\nthy courage, for thou shalt need it.\" She descended into the cave of\nAvernus, and \u00c6neas followed. Before the threshold of hell they passed\nthrough a group of beings who are enumerated as Griefs and avenging\nCares, pale Diseases, and melancholy Age, Fear and Hunger that tempt to\ncrime, Toil, Poverty, and Death,--forms horrible to view. The Furies\nspread their couches there, and Discord, whose hair was of vipers tied\nup with a bloody fillet. Here also were the monsters, Briareus, with\nhis hundred arms, Hydras hissing, and Chim\u00e6ras breathing fire. \u00c6neas\nshuddered at the sight, drew his sword and would have struck, but\nthe Sibyl restrained him. They then came to the black river Cocytus,\nwhere they found the ferryman Charon, old and squalid, but strong and\nvigorous, who was receiving passengers of all kinds into his boat,\nstout-hearted heroes, boys and unmarried girls, as numerous as the\nleaves that fall at autumn or the flocks that fly southward at the\napproach of winter. They stood pressing for a passage and longing to\ntouch the opposite shore. But the stern ferryman took in only such\nas he chose, driving the rest back. \u00c6neas, wondering at the sight,\nasked the Sibyl, \"Why this discrimination?\" She answered, \"Those who\nare taken on board the bark are the souls of those who have received\ndue burial rites; the host of others who have remained unburied are\nnot permitted to pass the flood, but wander a hundred years, and flit\nto and fro about the shore, till at last they are taken over.\" \u00c6neas\ngrieved at recollecting some of his own companions who had perished\nin the storm. At that moment he beheld Palinurus, his pilot, who fell\noverboard and was drowned. He addressed him and asked him the cause of\nhis misfortune. Palinurus replied that the rudder was carried away,\nand he, clinging to it, was swept away with it. He besought \u00c6neas most\nurgently to extend to him his hand and take him in company to the\nopposite shore. The Sibyl rebuked him for the wish thus to transgress\nthe laws of Pluto, but consoled him by informing him that the people of\nthe shore where his body had been wafted by the waves should be stirred\nup by prodigies to give it due burial, and that the promontory should\nbear the name of Cape Palinurus,--and so it does to this day. Leaving\nPalinurus consoled by these words, they approached the boat. Charon,\nfixing his eyes sternly upon the advancing warrior, demanded by what\nright he, living and armed, approached that shore. To which the Sibyl\nreplied that they would commit no violence, that \u00c6neas' only object\nwas to see his father, and finally exhibited the golden branch, at\nsight of which Charon's wrath relaxed, and he made haste to turn his\nbark to the shore and receive them on board. The boat, adapted only to\nthe light freight of bodiless spirits, groaned under the weight of the\nhero. They were soon conveyed to the opposite shore. There they were\nencountered by the three-headed dog Cerberus, with his necks bristling\nwith snakes. He barked with all three throats till the Sibyl threw him\na medicated cake, which he eagerly devoured, and then stretched himself\nout in his den and fell asleep. \u00c6neas and the Sibyl sprang to land. The\nfirst sound that struck their ears was the wailing of young children\nwho had died on the threshold of life; and near to these were those who\nhad perished under false charges. Minos presides over them as judge and\nexamines the deeds of each. The next class was of those who had died by\ntheir own hand, hating life and seeking refuge in death. How willingly\nwould they now endure poverty, labor, and any other infliction if they\nmight but return to life! Next were situated the regions of sadness,\ndivided off into retired paths, leading through groves of myrtle. Here\nroamed those who had fallen victims to unrequited love, not freed\nfrom pain even by death itself. Among these \u00c6neas thought he descried\nthe form of Dido, with a wound still recent. In the dim light he was\nfor a moment uncertain, but approaching, perceived it was indeed she.\nTears fell from his eyes, and he addressed her in the accents of love.\n\"Unhappy Dido! was then the rumor true that thou hadst perished? And\nwas I, alas! the cause? I call the gods to witness that my departure\nfrom thee was reluctant and in obedience to the commands of Jove; nor\ncould I believe that my absence would have cost thee so dear. Stop,\nI beseech thee, and refuse me not a last farewell.\" She stood for a\nmoment with averted countenance and eyes fixed on the ground, and\nthen silently passed on, as insensible to his pleadings as a rock.\n\u00c6neas followed for some distance, then with a heavy heart rejoined his\ncompanion and resumed his route.\n\nThey next entered the fields where roam the heroes who have fallen in\nbattle. Here they saw many shades of Grecian and Trojan warriors. The\nTrojans thronged around him and could not be satisfied with the sight.\nThey asked the cause of his coming and plied him with innumerable\nquestions. But the Greeks, at the sight of his armor glittering through\nthe murky atmosphere, recognized the hero, and, filled with terror,\nturned their backs and fled, as they used to do on the plains of Troy.\n\n\u00c6neas would have lingered long with his Trojan friends, but the Sibyl\nhurried him away. They next came to a place where the road divided,\nthe one way leading to Elysium, the other to the regions of the\ncondemned. \u00c6neas beheld on one side the walls of a mighty city, around\nwhich Phlegethon rolled its fiery waters. Before him was the gate of\nadamant that neither gods nor men can break through. An iron tower\nstood by the gate, on which Tisiphone, the avenging Fury, kept guard.\nFrom the city were heard groans, and the sound of the scourge, the\ncreaking of iron, and the clanking of chains. \u00c6neas, horror-stricken,\ninquired of his guide what crimes were those whose punishments produced\nthe sounds he heard. The Sibyl answered, \"Here is the judgment hall\nof Rhadamanthus, who brings to light crimes done in life which the\nperpetrator vainly thought impenetrably hid. Tisiphone applies her whip\nof scorpions and delivers the offender over to her sister Furies.\" At\nthis moment with horrid clang the brazen gates unfolded, and within,\n\u00c6neas saw a Hydra with fifty heads guarding the entrance. The Sibyl\ntold him that the gulf of Tartarus descended deep, so that its recesses\nwere as far beneath their feet as heaven was high above their heads. In\nthe bottom of this pit the Titan race, who warred against the gods, lie\nprostrate; Salmoneus also, who presumed to vie with Jupiter, and built\na bridge of brass over which he drove his chariot that the sound might\nresemble thunder, launching flaming brands at his people in imitation\nof lightning, till Jupiter struck him with a real thunderbolt and\ntaught him the difference between mortal weapons and divine. Here also\nis Tityus, the giant, whose form is so immense that, as he lies, he\nstretches over nine acres, while a vulture preys upon his liver, which\nas fast as it is devoured grows again, so that his punishment will have\nno end.\n\n\u00c6neas saw groups seated at tables loaded with dainties, while near by\nstood a Fury who snatched away the viands from their lips as fast as\nthey prepared to taste them. Others beheld suspended over their heads\nhuge rocks, threatening to fall, keeping them in a state of constant\nalarm. These were they who had hated their brothers, or struck their\nparents, or defrauded the friends who trusted them, or who, having\ngrown rich, kept their money to themselves and gave no share to\nothers,--the last being the most numerous class. Here also were those\nwho had violated the marriage vow, or fought in a bad cause, or failed\nin fidelity to their employers. Here was one who had sold his country\nfor gold, another who perverted the laws, making them say one thing\nto-day and another to-morrow.\n\nIxion was there, fastened to the circumference of a wheel ceaselessly\nrevolving; and Sisyphus, whose task was to roll a huge stone up to a\nhilltop; but when the steep was well-nigh gained, the rock, repulsed by\nsome sudden force, rushed again headlong down to the plain. Again he\ntoiled at it, while the sweat bathed all his weary limbs, but all to no\neffect. There was Tantalus, who stood in a pool his chin level with the\nwater, yet he was parched with thirst and found nothing to assuage it;\nfor when he bowed his hoary head, eager to quaff, the water fled away,\nleaving the ground at his feet all dry. Tall trees, laden with fruit,\nstooped their heads to him,--pears, pomegranates, apples, and luscious\nfigs; but when, with a sudden grasp, he tried to seize them, winds\nwhirled them high above his reach.\n\n[Illustration: FIG. 184. IXION ON THE WHEEL]\n\n=256. The Elysian Fields.= The Sibyl now warned \u00c6neas that it was\ntime to turn from these melancholy regions and seek the city of the\nblessed. They passed through a middle tract of darkness and came upon\nthe Elysian Fields, the groves where the happy reside. They breathed a\nfreer air and saw all objects clothed in a purple light. The region had\na sun and stars of its own. The inhabitants were enjoying themselves in\nvarious ways, some in sports on the grassy turf, in games of strength\nor skill, others dancing or singing. Orpheus struck the chords of his\nlyre and called forth ravishing sounds. Here \u00c6neas saw the founders\nof the Trojan state, great-hearted heroes who lived in happier times.\nHe gazed with admiration on the war chariots and glittering arms now\nreposing in disuse. Spears stood fixed in the ground, and the horses,\nunharnessed, roamed over the plain. The same pride in splendid armor\nand generous steeds which the old heroes felt in life accompanied them\nhere. He saw another group feasting and listening to the strains of\nmusic. They were in a laurel grove, whence the great river Po has its\norigin and flows out among men. Here dwelt those who fell by wounds\nreceived in their country's cause, holy priests also, and poets who\nhave uttered thoughts worthy of Apollo, and others who have contributed\nto cheer and adorn life by their discoveries in the useful arts, and\nhave made their memory blessed by rendering service to mankind. They\nwore snow-white fillets about their brows. The Sibyl addressed a\ngroup of these and inquired where Anchises was to be found. They were\ndirected where to seek him, and soon found him in a verdant valley,\nwhere he was contemplating the ranks of his posterity, their destinies\nand worthy deeds to be achieved in coming times. When he recognized\n\u00c6neas approaching, he stretched out both hands to him, while tears\nflowed freely. \"Dost thou come at last,\" said he, \"long expected, and\ndo I behold thee after such perils past? O my son, how have I trembled\nfor thee, as I have watched thy course!\" To which \u00c6neas replied, \"O\nfather! thy image was always before me to guide and guard me.\" Then he\nendeavored to infold his father in his embrace, but his arms inclosed\nonly an unsubstantial shade.\n\n=257. The Valley of Oblivion.= \u00c6neas perceived before him a spacious\nvalley, with trees gently waving to the wind, a tranquil landscape,\nthrough which the river Lethe flowed. Along the banks of the stream\nwandered a countless multitude, numerous as insects in the summer air.\n\u00c6neas, with surprise, inquired who were these. Anchises answered:\n\"They are souls to which bodies are to be given in due time. Meanwhile\nthey dwell on Lethe's bank and drink oblivion of their former lives.\"\n\"O father!\" said \u00c6neas, \"is it possible that any can be so in love with\nlife as to wish to leave these tranquil seats for the upper world?\"\nAnchises replied by explaining the plan of creation. The Creator, he\ntold him, originally made the material of which souls are composed, of\nthe four elements, fire, air, earth, and water, all which when united\ntook the form of the most excellent part, fire, and became _flame_.\nThis material was scattered like seed among the heavenly bodies, the\nsun, moon, and stars. Of this seed the inferior gods created man and\nall other animals, mingling it with various proportions of earth,\nby which its purity was alloyed and reduced. Thus the more earth\npredominates in the composition, the less pure is the individual; and\nwe see that men and women with their full-grown bodies have not the\npurity of childhood. So in proportion to the time which the union of\nbody and soul has lasted, is the impurity contracted by the spiritual\npart. This impurity must be purged away after death, which is done\nby ventilating the souls in the current of winds, or merging them in\nwater, or burning out their impurities by fire. Some few, of whom\nAnchises intimates that he is one, are admitted at once to Elysium,\nthere to remain. But the rest, after the impurities of earth are purged\naway, are sent back to life endowed with new bodies, having had the\nremembrance of their former lives effectually washed away by the waters\nof Lethe. Some souls, however, there still are, so thoroughly corrupted\nthat they are not fit to be intrusted with human bodies, and these pass\nby metempsychosis into the bodies of brute animals.\n\nAnchises, having explained so much, proceeded to point out to \u00c6neas\nindividuals of his race who were hereafter to be born, and to relate\nto him the exploits they should perform in the world. After this he\nreverted to the present, and told his son of the events that remained\nto him to be accomplished before the complete establishment of himself\nand his followers in Italy. Wars were to be waged, battles fought, a\nbride to be won, and, in the result, a Trojan state founded, from which\nshould rise the Roman power, to be in time the sovereign of the world.\n\nAs \u00c6neas and the Sibyl pursued their way back to earth, he said to\nher: \"Whether thou be a goddess or a mortal beloved by the gods, by me\nthou shalt always be held in reverence. When I reach the upper air, I\nwill cause a temple to be built to thy honor, and will myself bring\nofferings.\" \"I am no goddess,\" said the Sibyl; \"I have no claims to\nsacrifice or offering. I am mortal, yet, could I but have accepted\nthe love of Apollo, I might have been immortal. He promised me the\nfulfillment of my wish, if I would consent to be his. I took a handful\nof sand and, holding it forth, said, 'Grant me to see as many birthdays\nas there are sand-grains in my hand.' Unluckily I forgot to ask for\nenduring youth. This also he would have granted could I have accepted\nhis love, but, offended at my refusal, he allowed me to grow old. My\nyouth and youthful strength fled long ago. I have lived seven hundred\nyears, and to equal the number of the sand-grains I have still to see\nthree hundred springs and three hundred harvests. My body shrinks up as\nyears increase, and in time I shall be lost to sight, but my voice will\nremain, and future ages will respect my sayings.\"\n\nThese concluding words of the Sibyl alluded to her prophetic power. In\nher cave she was accustomed to inscribe on leaves gathered from the\ntrees the names and fates of individuals. The leaves thus inscribed\nwere arranged in order within the cave, and might be consulted by her\nvotaries. But if, perchance, at the opening of the door the wind rushed\nin and dispersed the leaves, the Sibyl gave no aid to restoring them\nagain, and the oracle was irreparably lost.\n\nFOOTNOTES:\n\n[354] From Tennyson's To Virgil.\n\n[355] For Virgil, see \u00a7 299; for translations of his \u00c6neid, see\ncorresponding section in Commentary.\n\n[356] _Monstrum horrendum, informe, ingens, cui lumen\nademptum._--\u00c6neid, 3, 658.\n\n[357] _Tantaene animis coelestibus irae?_--\u00c6neid, 1, 11.\n\n[358] _Haud ignara mali, miseris succurrere disco._--\u00c6neid, 1, 630.\n\n[359] _Tros Tyriusve mihi nullo discrimine agetur._--\u00c6neid, 1, 574.\n\n[360]\n\n _Tu ne cede malis, sed contra audentior ito._--\u00c6neid, 6, 95.\n\n[361]\n\n _Facilis descensus Averno;_\n _Noctes atque dies patet atri janua Ditis;_\n _Sed revocare gradum, superasque evadere ad auras,_\n _Hoc opus, hic labor est._--\u00c6neid, 6, 126-129.\n\n\n\n\n\n\nCHAPTER XXVI\n\nTHE WAR BETWEEN TROJANS AND LATINS\n\n\n=258. The Fulfillment of Prophecy.= \u00c6neas, having parted from the Sibyl\nand rejoined his fleet, coasted along the shores of Italy and cast\nanchor in the mouth of the Tiber. The poet, having brought his hero to\nthis spot, the destined termination of his wanderings, invokes his Muse\nto tell him the situation of things at that eventful moment. Latinus,\nthird in descent from Saturn, ruled the country. He was now old and had\nno male descendant, but had one charming daughter, Lavinia, who was\nsought in marriage by many neighboring chiefs, one of whom, Turnus,\nking of the Rutulians, was favored by the wishes of her parents. But\nLatinus had been warned in a dream by his father, Faunus, that the\ndestined husband of Lavinia should come from a foreign land. From that\nunion should spring a race destined to subdue the world.\n\nOur readers will remember that in the conflict with the harpies, one of\nthose half-human birds had threatened the Trojans with dire sufferings.\nIn particular, she predicted that before their wanderings ceased they\nshould be pressed by hunger to devour their tables. This portent now\ncame true; for as they took their scanty meal, seated on the grass, the\nmen placed their hard biscuit on their laps and put thereon whatever\ntheir gleanings in the woods supplied. Having dispatched the latter,\nthey finished by eating the crusts. Seeing which, the boy Iulus said\nplayfully, \"See! we are eating our tables.\" \u00c6neas caught the words and\naccepted the omen. \"All hail, promised land!\" he exclaimed, \"this is\nour home, this our country!\" He then took measures to find out who were\nthe present inhabitants of the land and who their rulers. A hundred\nchosen men were sent to the village of Latinus, bearing presents and\na request for friendship and alliance. They went and were favorably\nreceived. Latinus immediately concluded that the Trojan hero was\nno other than the promised son-in-law announced by the oracle. He\ncheerfully granted his alliance, and sent back the messengers mounted\non steeds from his stables and loaded with gifts and friendly messages.\n\nJuno, seeing things go thus prosperously for the Trojans, felt her old\nanimosity revive, summoned Alecto from Erebus, and sent her to stir up\ndiscord. The Fury first took possession of the queen, Amata, and roused\nher to oppose in every way the new alliance. Alecto then sped to the\ncity of Turnus and, assuming the form of an old priestess, informed him\nof the arrival of the foreigners and of the attempts of their prince\nto rob him of his betrothed. Next she turned her attention to the camp\nof the Trojans. There she saw the boy Iulus and his companions amusing\nthemselves with hunting. She sharpened the scent of the dogs and led\nthem to rouse up from the thicket a tame stag, the favorite of Silvia,\nthe daughter of Tyrrheus, the king's herdsman. A javelin from the\nhand of Iulus wounded the animal, which had only strength left to run\nhomeward and die at its mistress's feet. Her cries and tears roused her\nbrothers and the herdsmen, and they, seizing whatever weapons came to\nhand, furiously assaulted the hunting party. These were protected by\ntheir friends, and the herdsmen were finally driven back with the loss\nof two of their number.\n\nThese things were enough to rouse the storm of war, and the queen,\nTurnus, and the peasants all urged the old king to drive the strangers\nfrom the country. He resisted as long as he could, but, finding his\nopposition unavailing, finally gave way and retreated to his retirement.\n\n=259. The Gates of Janus Opened.= It was the custom of the country,\nwhen war was to be undertaken, for the chief magistrate, clad in his\nrobes of office, with solemn pomp to open the gates of the temple\nof Janus, which were kept shut as long as peace endured. His people\nnow urged the old king to perform that solemn office, but he refused\nto do so. While they contested, Juno herself, descending from the\nskies, smote the doors with irresistible force and burst them open.\nImmediately the whole country was in a flame. The people rushed from\nevery side, breathing nothing but war.\n\nTurnus was recognized by all as leader; others joined as allies, chief\nof whom was Mezentius, a brave and able soldier, but of detestable\ncruelty. He had been the chief of one of the neighboring cities,\nbut his people drove him out. With him was joined his son Lausus, a\ngenerous youth worthy of a better sire.\n\n[Illustration: FIG. 185. AMAZON]\n\n=260. Camilla.= Camilla, the favorite of Diana, a huntress and warrior\nafter the fashion of the Amazons, came with her band of mounted\nfollowers, including a select number of her own sex, and ranged herself\non the side of Turnus. This maiden had never accustomed her fingers to\nthe distaff or the loom, but had learned to endure the toils of war and\nin speed to outstrip the wind. It seemed as if she might run over the\nstanding corn without crushing it, or over the surface of the water\nwithout dipping her feet. Camilla's history had been singular from the\nbeginning. Her father, Metabus, driven from his city by civil discord,\ncarried with him in his flight his infant daughter. As he fled through\nthe woods, his enemies in hot pursuit, he reached the bank of the river\nAmasenus, which, swelled by rains, seemed to debar a passage. He paused\nfor a moment, then decided what to do. He tied the infant to his lance\nwith wrappers of bark, and poising the weapon in his upraised hand,\nthus addressed Diana: \"Goddess of the woods! I consecrate this maid to\nthee\"; then hurled the weapon with its burden to the opposite bank.\nThe spear flew across the roaring water. His pursuers were already\nupon him, but he plunged into the river, and swam across, and found\nthe spear with the infant safe on the other side. Thenceforth he lived\namong the shepherds and brought up his daughter in woodland arts. While\na child she was taught to use the bow and throw the javelin. With her\nsling she could bring down the crane or the wild swan. Her dress was a\ntiger's skin. Many mothers sought her for a daughter-in-law, but she\ncontinued faithful to Diana and repelled the thought of marriage.\n\n=261. Alliance with Evander.= Such were the formidable allies that\nranged themselves against \u00c6neas. It was night, and he lay stretched in\nsleep on the bank of the river under the open heavens. The god of the\nstream, Father Tiber, seemed to raise his head above the willows and\nto say: \"O goddess-born, destined possessor of the Latin realms, this\nis the promised land; here is to be thy home, here shall terminate the\nhostility of the heavenly powers, if only thou faithfully persevere.\nThere are friends not far distant. Prepare thy boats and row up my\nstream; I will lead thee to Evander, the Arcadian chief. He has long\nbeen at strife with Turnus and the Rutulians, and is prepared to become\nan ally of thine. Rise! offer thy vows to Juno and deprecate her anger.\nWhen thou hast achieved thy victory, then think of me.\" \u00c6neas woke\nand paid immediate obedience to the friendly vision. He sacrificed to\nJuno, and invoked the god of the river and all his tributary fountains\nto lend their aid. Then for the first time a vessel filled with armed\nwarriors floated on the stream of the Tiber. The river smoothed its\nwaves and bade its current flow gently, while, impelled by the vigorous\nstrokes of the rowers, the vessel shot rapidly up the stream.\n\nAbout the middle of the day they came in sight of the scattered\nbuildings of the infant town where in after times the proud city of\nRome grew, whose glory reached the skies. By chance the old king,\nEvander, was that day celebrating annual solemnities in honor of\nHercules and all the gods. Pallas, his son, and all the chiefs of the\nlittle commonwealth stood by. When they saw the tall ship gliding\nonward through the wood, they were alarmed at the sight and rose from\nthe tables. But Pallas forbade the solemnities to be interrupted and,\nseizing a weapon, stepped forward to the river's bank. He called aloud,\ndemanding who the strangers were and what their object. \u00c6neas, holding\nforth an olive branch, replied: \"We are Trojans, friends to you and\nenemies to the Rutulians. We seek Evander and offer to join our arms\nwith yours.\" Pallas, in amaze at the sound of so great a name, invited\nthem to land, and when \u00c6neas touched the shore, he seized his hand and\nheld it long in friendly grasp. Proceeding through the wood they joined\nthe king and his party, and were most favorably received. Seats were\nprovided for them at the tables, and the repast proceeded.\n\n=262. The Site of Future Rome.= When the solemnities were ended, all\nmoved towards the city. The king, bending with age, walked between his\nson and \u00c6neas, taking the arm of one or the other of them, and with\nmuch variety of pleasing talk shortening the way. \u00c6neas with delight\nlooked and listened, observing all the beauties of the scene and\nlearning much of heroes renowned in ancient times. Evander said: \"These\nextensive groves were once inhabited by fauns and nymphs, and a rude\nrace of men who sprang from the trees themselves and had neither laws\nnor social culture. They knew not how to yoke the cattle, nor raise\na harvest, nor provide from present abundance for future want, but\nbrowsed like beasts upon the leafy boughs or fed voraciously on their\nhunted prey. Such were they when Saturn, expelled from Olympus by his\nsons, came among them and drew together the fierce savages, formed them\ninto society, and gave them laws. Such peace and plenty ensued that men\never since have called his reign the Golden Age; but by degrees far\nother times succeeded, and the thirst of gold and the thirst of blood\nprevailed. The land was a prey to successive tyrants till fortune and\nresistless destiny brought me hither, an exile from my native land,\nArcadia.\"\n\nHaving thus said, he showed him the Tarpeian rock, and the rude spot,\nthen overgrown with bushes, where in after times the Capitol was to\nrise in all its magnificence. He next pointed to some dismantled walls\nand said, \"Here stood Janiculum, built by Janus, and there Saturnia,\nthe town of Saturn.\" Such discourse brought them to the cottage of\nEvander, whence they saw the lowing herds roaming over the plain where\nsoon should stand the proud and stately Forum. They entered, and a\ncouch, well stuffed with leaves and covered with the skin of a Libyan\nbear, was spread for \u00c6neas.\n\nNext morning, awakened by the dawn and the shrill song of birds beneath\nthe eaves of his low mansion, old Evander rose. Clad in a tunic, and a\npanther's skin thrown over his shoulders, with sandals on his feet and\nhis good sword girded to his side, he went forth to seek his guest. Two\nmastiffs followed him,--his whole retinue and bodyguard. He found the\nhero attended by his faithful Achates, and Pallas soon joining them,\nthe old king spoke thus:\n\n\"Illustrious Trojan, it is but little we can do in so great a cause.\nOur state is feeble, hemmed in on one side by the river, on the other\nby the Rutulians. But I propose to ally thee with a people numerous\nand rich, to whom fate has brought thee at the propitious moment. The\nEtruscans hold the country beyond the river. Mezentius was their king,\na monster of cruelty, who invented unheard-of torments to gratify his\nvengeance. He would fasten the dead to the living, hand to hand and\nface to face, and leave the wretched victims to die in that dreadful\nembrace. At length people cast him out, him and his house. They\nburned his palace, and slew his friends. He escaped and took refuge\nwith Turnus, who protects him with arms. The Etruscans demand that\nhe shall be given up to deserved punishment, and would ere now have\nattempted to enforce their demand; but their priests restrain them,\ntelling them that it is the will of heaven that no native of the land\nshall guide them to victory and that their destined leader must come\nfrom across the sea. They have offered the crown to me, but I am too\nold to undertake such great affairs, and my son is native-born, which\nprecludes him from the choice. Thou, equally by birth and time of life\nand fame in arms pointed out by the gods, hast but to appear to be\nhailed at once as their leader. With thee I will join Pallas, my son,\nmy only hope and comfort. Under thee he shall learn the art of war and\nstrive to emulate thy great exploits.\"\n\nThen the king ordered horses to be furnished for the Trojan chiefs,\nand \u00c6neas, with a chosen band of followers and Pallas accompanying,\nmounted and took the way to the Etruscan city,[362] having sent back\nthe rest of his party in the ships. \u00c6neas and his band safely arrived\nat the Etruscan camp and were received with open arms by Tarchon and\nhis countrymen.\n\n=263. Turnus attacks the Trojan Camp.= In the meanwhile Turnus had\ncollected his bands and made all necessary preparations for the war.\nJuno sent Iris to him with a message inciting him to take advantage\nof the absence of \u00c6neas and surprise the Trojan camp. Accordingly the\nattempt was made; but the Trojans were found on their guard, and\nhaving received strict orders from \u00c6neas not to fight in his absence,\nthey lay still in their intrenchments and resisted all the efforts of\nthe Rutulians to draw them into the field. Night coming on, the army\nof Turnus, in high spirits at their fancied superiority, feasted and\nenjoyed themselves, and finally stretched themselves on the field and\nslept secure.\n\n=264. Nisus and Euryalus.= In the camp of the Trojans things were far\notherwise. There all was watchfulness and anxiety, and impatience for\n\u00c6neas' return. Nisus stood guard at the entrance of the camp, and\nEuryalus, a youth distinguished above all in the army for graces of\nperson and fine qualities, was with him. These two were friends and\nbrothers in arms. Nisus said to his friend: \"Dost thou perceive what\nconfidence and carelessness the enemy display? Their lights are few and\ndim, and the men seem all oppressed with wine or sleep. Thou knowest\nhow anxiously our chiefs wish to send to \u00c6neas and to get intelligence\nfrom him. Now I am strongly moved to make my way through the enemy's\ncamp and to go in search of our chief. If I succeed, the glory of\nthe deed will be reward enough for me, and if they judge the service\ndeserves anything more, let them pay it thee.\"\n\nEuryalus, all on fire with the love of adventure, replied: \"Wouldst\nthou then, Nisus, refuse to share thy enterprise with me? And shall\nI let thee go into such danger alone? Not so my brave father brought\nme up, nor so have I planned for myself when I joined the standard of\n\u00c6neas and resolved to hold my life cheap in comparison with honor.\"\nNisus replied: \"I doubt it not, my friend; but thou knowest the\nuncertain event of such an undertaking, and whatever may happen to\nme, I wish thee to be safe. Thou art younger than I and hast more of\nlife in prospect. Nor can I be the cause of such grief to thy mother,\nwho has chosen to be here in the camp with thee rather than stay and\nlive in peace with the other matrons in Acestes' city.\" Euryalus\nreplied, \"Say no more. In vain dost thou seek arguments to dissuade\nme. I am fixed in the resolution to go with thee. Let us lose no\ntime.\" They called the guard and, committing the watch to them, sought\nthe general's tent. They found the chief officers in consultation,\ndeliberating how they should send notice to \u00c6neas of their situation.\nThe offer of the two friends was gladly accepted, themselves loaded\nwith praises and promised the most liberal rewards in case of success.\nIulus especially addressed Euryalus, assuring him of his lasting\nfriendship. Euryalus replied: \"I have but one boon to ask. My aged\nmother is with me in the camp. For me she left the Trojan soil and\nwould not stay behind with the other matrons at the city of Acestes. I\ngo now without taking leave of her. I could not bear her tears nor set\nat naught her entreaties. But do thou, I beseech thee, comfort her in\nher distress. Promise me that and I shall go more boldly into whatever\ndangers may present themselves.\" Iulus and the other chiefs were moved\nto tears and promised to do all his request. \"Thy mother shall be\nmine,\" said Iulus, \"and all that I have promised thee shall be made\ngood to her, if thou dost not return to receive it.\"\n\nThe two friends left the camp and plunged at once into the midst of the\nenemy. They found no watch, no sentinels posted, but, all about, the\nsleeping soldiers strewn on the grass and among the wagons. The laws\nof war at that early day did not forbid a brave man to slay a sleeping\nfoe, and the two Trojans slew, as they passed, such of the enemy as\nthey could without exciting alarm. In one tent Euryalus made prize of\na helmet brilliant with gold and plumes. They had passed through the\nenemy's ranks without being discovered, but now suddenly appeared a\ntroop directly in front of them, which, under Volscens, their leader,\nwere approaching the camp. The glittering helmet of Euryalus caught\ntheir attention, and Volscens hailed the two and demanded who and\nwhence they were. They made no answer, but plunged into the wood. The\nhorsemen scattered in all directions to intercept their flight. Nisus\nhad eluded pursuit and was out of danger, but, since Euryalus was\nmissing, he turned back to seek him. He again entered the wood and soon\ncame within sound of voices. Looking through the thicket he saw the\nwhole band surrounding Euryalus with noisy questions. What should he\ndo; how extricate the youth; or would it be better to die with him?\n\nRaising his eyes to the moon which now shone clear, he said, \"Goddess,\nfavor my effort!\" and, aiming his javelin at one of the leaders of the\ntroop, struck him in the back and stretched him on the plain with a\ndeathblow. In the midst of their amazement another weapon flew, and\nanother of the party fell dead. Volscens, the leader, ignorant whence\nthe darts came, rushed sword in hand upon Euryalus. \"Thou shalt pay\nthe penalty of both,\" he said, and would have plunged the sword into\nhis bosom, when Nisus, who from his concealment saw the peril of his\nfriend, rushed forward exclaiming, \"'T was I! 't was I! Turn your\nswords against me, Rutulians. I did it; he only followed me as a\nfriend.\" While he spoke the sword fell and pierced the comely bosom of\nEuryalus. His head fell over on his shoulder, like a flower cut down\nby the plow. Nisus rushed upon Volscens and plunged his sword into his\nbody, and was himself slain on the instant by numberless blows.\n\n=265. The Death of Mezentius.= \u00c6neas, with his Etrurian allies, arrived\non the scene of action in time to rescue his beleaguered camp; and now\nthe two armies being nearly equal in strength, the war began in good\nearnest. We cannot find space for all the details, but must simply\nrecord the fate of the principal characters. The tyrant Mezentius,\nfinding himself engaged against his revolted subjects, raged like a\nwild beast. He slew all who dared withstand him, and put the multitude\nto flight wherever he appeared. At last he encountered \u00c6neas, and the\narmies stood still to see the issue. Mezentius threw his spear, which,\nstriking \u00c6neas' shield, glanced off and hit Antores,--a Grecian by\nbirth who had left Argos, his native city, and followed Evander into\nItaly. The poet says of him, with simple pathos which has made the\nwords proverbial, \"He fell, unhappy, by a wound intended for another,\nlooked up to the skies, and, dying, remembered sweet Argos.\"[363] \u00c6neas\nnow in turn hurled his lance. It pierced the shield of Mezentius and\nwounded him in the thigh. Lausus, his son, could not bear the sight,\nbut rushed forward and interposed himself, while the followers pressed\nround Mezentius and bore him away. \u00c6neas held his sword suspended over\nLausus and delayed to strike, but the furious youth pressed on, and he\nwas compelled to deal the fatal blow. Lausus fell, and \u00c6neas bent over\nhim in pity. \"Hapless youth,\" he said, \"what can I do for thee worthy\nof thy praise? Keep those arms in which thou gloriest, and fear not\nbut that thy body shall be restored to thy friends and have due funeral\nhonors.\" So saying, he called the timid followers and delivered the\nbody into their hands.\n\nMezentius meanwhile had been borne to the riverside, and had washed\nhis wound. Soon the news reached him of Lausus' death, and rage and\ndespair supplied the place of strength. He mounted his horse and dashed\ninto the thickest of the fight, seeking \u00c6neas. Having found him, he\nrode round him in a circle, throwing one javelin after another, while\n\u00c6neas stood fenced with his shield, turning every way to meet them.\nAt last after Mezentius had three times made the circuit, \u00c6neas threw\nhis lance directly at the horse's head. The animal fell with pierced\ntemples, while a shout from both armies rent the skies. Mezentius asked\nno mercy, but only that his body might be spared the insults of his\nrevolted subjects and be buried in the same grave with his son. He\nreceived the fatal stroke not unprepared, and poured out his life and\nhis blood together.\n\n=266. The Deaths of Pallas and Camilla.= While these things were doing\nin one part of the field, in another Turnus encountered the youthful\nPallas. The contest between champions so unequally matched could not be\ndoubtful. Pallas bore himself bravely, but fell by the lance of Turnus.\nThe victor almost relented when he saw the brave youth lying dead at\nhis feet, and spared to use the privilege of a conqueror in despoiling\nhim of his arms. The belt only, adorned with studs and carvings of\ngold, he took and clasped round his own body. The rest he remitted to\nthe friends of the slain.\n\nAfter the battle there was a cessation of arms for some days to allow\nboth armies to bury their dead. In this interval \u00c6neas challenged\nTurnus to decide the contest by single combat, but Turnus evaded the\nchallenge. Another battle ensued, in which Camilla, the virgin warrior,\nwas chiefly conspicuous. Her deeds of valor surpassed those of the\nbravest warriors, and many Trojans and Etruscans fell pierced with her\ndarts or struck down by her battle-ax. At last an Etruscan named Aruns,\nwho had watched her long, seeking for some advantage, observed her\npursuing an enemy whose splendid armor offered a tempting prize. Intent\non the chase she observed not her danger, and the javelin of Aruns\nstruck her and inflicted a fatal wound. She fell and breathed her last\nin the arms of her attendant maidens. But Diana, who beheld her fate,\nsuffered not her slaughter to be unavenged. Aruns, as he stole away\nglad but frightened, was struck by a secret arrow, launched by one of\nthe nymphs of Diana's train, and he died ignobly and unknown.\n\n=267. The Final Conflict.= At length the final conflict took place\nbetween \u00c6neas and Turnus. Turnus had avoided the contest as long as\nhe could; but at last, impelled by the ill success of his arms and by\nthe murmurs of his followers, he braced himself to the conflict. The\noutcome could not be doubtful. On the side of \u00c6neas were the expressed\ndecree of destiny, the aid of his goddess-mother in every emergency,\nand impenetrable armor fabricated by Vulcan, at her request, for her\nson. Turnus, on the other hand, was deserted by his celestial allies,\nJuno having been expressly forbidden by Jupiter to assist him any\nlonger. Turnus threw his lance, but it recoiled harmless from the\nshield of \u00c6neas. The Trojan hero then threw his, which, penetrating the\nshield of Turnus, pierced his thigh. Then Turnus' fortitude forsook\nhim, and he begged for mercy; \u00c6neas, indeed, would have spared his\nopponent's life, but at the instant his eye fell on the belt of Pallas,\nwhich Turnus had taken from the slaughtered youth. Instantly his rage\nrevived, and exclaiming, \"Pallas immolates thee with this blow,\" he\nthrust him through with his sword.\n\nHere the poem of the \u00c6neid closes, and we are left to infer that\n\u00c6neas, having triumphed over his foes, obtained Lavinia for his bride.\nTradition adds that he founded a city and called it Lavinium, after her\nname. His son Iulus founded Alba Longa, which became the birthplace of\nRomulus and Remus and the cradle of Rome.\n\nFOOTNOTES:\n\n[362] The poet here inserts a famous line which is thought to imitate\nin its sound the galloping of horses: _Quadrupedante putrem sonitu\nquatit ungula campum_.--\u00c6neid, 8, 596.\n\n[363]\n\n _Sternitur infelix alieno volnere, caelumque_\n _Aspicit, et dulcis moriens reminiscitur Argos._--\u00c6neid 10, 781.\n\n[Illustration: NIKE OF BRESCIA]\n\n\n\n\nCHAPTER XXVII\n\nMYTHS OF THE NORSE GODS[364]\n\n\n=268. The Creation.= According to the Eddas there was once no heaven\nabove nor earth beneath, but only a bottomless deep, Ginungagap, and\na world of mist, Niflheim, in which sprang a fountain. Twelve rivers\nissued from this fountain, Vergelmir, and when they had flowed far from\ntheir source, they froze into ice, and one layer accumulating over\nanother, the great deep was filled up.\n\nSouthward from the world of mist was the world of light, Muspelheim.\nFrom this proceeded a warm wind upon the ice and melted it. The\nvapors rose in the air and formed clouds, from which sprang Ymir, the\nrime-cold giant and his progeny, and the cow Audhumbla, whose milk\nafforded nourishment and food to the giant. The cow got nourishment\nby licking the hoar frost and salt from the ice. While she was one\nday licking the salt stones there appeared at first the hair of some\nbeing, on the second day his whole head, and on the third the entire\nform endowed with beauty, agility, and power. This new being was a god,\nBori, from whom and his wife, a daughter of the giant race, sprang Bor,\nthe father of Odin, Vili, and Ve. These three slew the giant Ymir, and\nout of his body formed the earth, of his blood the seas, of his bones\nthe mountains, of his hair the trees, of his skull the heavens, and of\nhis brain clouds, charged with hail and snow. Of Ymir's eyebrows the\ngods built a fence around the Midgard or mid-earth between Niflheim and\nMuspelheim, destined to become the abode of man.\n\nOdin then regulated the periods of day and night and the seasons by\nplacing in the heavens the sun and moon, and appointing to them their\nrespective courses. As soon as the sun began to shed its rays upon\nthe earth, it caused the vegetable world to bud and sprout. Shortly\nafter the gods (the Anse-race, Anses, \u00c6sir, or Asa-folk) had created\nthe world, they walked by the side of the sea, pleased with their new\nwork, but found that it was still incomplete, for it was without human\nbeings. They therefore took an ashen spar and made a man out of it;\nwoman they made out of a piece of elm; and they called the man Ask and\nthe woman Embla. Odin then gave them life and soul, Vili reason and\nmotion, and Ve bestowed upon them the senses, expressive features, and\nspeech. Midgard was given them as their residence, and they became the\nprogenitors of the human race.\n\n=269. Yggdrasil.= The mighty ash tree, Yggdrasil, was supposed to\nsupport the whole universe. It sprang from the body of Ymir, and had\nthree immense roots, extending one into Midgard (the dwelling of\nmortals), another into J\u00f6tunheim (the abode of the giants), and the\nthird below Niflheim, into the region of Death. By the side of each\nof these roots is a spring, from which it is watered. The root that\nextends into Midgard is carefully tended by the three Norns,--goddesses\nwho are regarded as the dispensers of fate. They are Urd (the past),\nVerdandi (the present), Skuld (the future). The spring at the J\u00f6tunheim\nside is Mimir's well, in which wisdom and wit lie hidden, but that\nbelow Niflheim refreshes also the dark dragon of despair, Nidhogg (the\nback-biter), which perpetually gnaws at the root. Four harts run across\nthe branches of the tree and nip the buds; they represent the four\nwinds. Under the tree lies Ymir, and when he tries to shake off its\nweight the earth quakes. The boughs overshadow the earth, and the top\nrises into Asgard in the zenith.\n\n=270. Odin and his Valhalla.= To Asgard, the abode of the gods,\naccess is gained only by crossing the bridge, Bifrost (the rainbow).\nAsgard--Gladsheim for the gods, Vingolf for the goddesses--consists of\ngolden and silver palaces; but the most beautiful of these is Valhalla,\nthe great hall of Odin. When seated on his throne he overlooks\nheaven and earth. Beside him sits _Frigga_ (or _Fricka_), his wife,\nwho knows all things. Upon his shoulders are the ravens, Hugin and\nMunin,--Thought and Memory,--who fly every day over the whole world,\nand on their return report to him what they have seen and heard. At his\nfeet lie his two wolves, Geri and Freki, to whom Odin gives the meat\nthat is set before him, for he himself stands in no need of food. Mead\nis for him both food and drink. He invented the Runic characters; the\ndecrees of fate, inscribed therein, it is the business of the Norns\nto engrave upon a metal shield. From Odin's name, spelt Woden, as it\nsometimes is, comes our English word, Wednesday.\n\n[Illustration: FIG. 186. VALKYRIE BEARING A HERO TO VALHALLA\n\nFrom the painting by Dielitz]\n\nOdin is frequently called Alfadur (Allfather), but this name is\nsometimes used in a way that shows that the Scandinavians had an idea\nof a deity superior to Odin, uncreated and eternal. In Valhalla Odin\nfeasts with his chosen heroes, all those who have fallen bravely in\nbattle, for all who die a peaceful death are excluded. The flesh of\nthe boar Serimnir is served up to them and is abundant for all. For\nalthough this boar is cooked every morning, he becomes whole again\nevery night. For drink the heroes are supplied abundantly with mead\nfrom the she-goat Heidrun. When the heroes are not feasting, they amuse\nthemselves with fighting. Every day they ride out into the court or\nfield and fight until they cut each other in pieces. This is their\npastime; but when mealtime comes, they recover from their wounds and\nreturn to feast in Valhalla.\n\n=271. The Valkyries.= The Valkyries are warlike virgins, mounted upon\nhorses and armed with helmets, shields, and spears. Odin is desirous\nof gathering many heroes in Valhalla that he may gloriously meet\nthe giants in the day of the final contest; he therefore sends to\nevery battle field for the bravest of those who shall be slain. The\nValkyries, Choosers of the Slain, are his messengers. Later they are\ncalled his daughters. When they ride forth on their errand, their armor\nsheds a weird flickering light over the northern skies, making what men\ncall the Aurora Borealis.[365]\n\n=272. Thor and the Other Gods.= Of the following, _Thor_, _Vidar_,\n_Bragi_, _Balder_, and _H\u00f6der_ are sons of Odin. _Thor_, the thunderer,\nOdin's eldest son, is the strongest of gods and men, and possesses\nthree precious things. The first is a hammer, which both the Frost and\nthe Mountain giants (Hrim-thursar and Berg-risar) know to their cost,\nwhen they see it hurled against them in the air, for it has split many\na skull of their fathers and kindred. When thrown, it returns to his\nhand of its own accord. The second rare thing he possesses is the belt\nof strength. When he girds it about him his divine might is doubled.\nThe third is his iron gloves, which he puts on whenever he would use\nhis mallet efficiently. From Thor's name is derived our word Thursday.\n\n_Vidar_ comes next in strength to Thor.\n\n_Bragi_ is the god of poetry, and his song records the deeds of\nwarriors. His wife, _Iduna_, keeps in a box the apples which the gods,\nwhen they feel old age approaching, have only to taste of to become\nyoung again.\n\n_Balder_, dearest of the Anses, is the god of sunlight, spring, and\ngladness. _H\u00f6der_, his opposite, is the blind god of winter.\n\nOf other gods, _Freyr_ presides over rain and sunshine and all the\nfruits of the earth. His sister _Freya_ (Freia) is the most propitious\nof the goddesses. She loves music, spring, and flowers, and the fairies\nof Elfheim. She is the goddess of love. Her day is Friday.\n\n_Tyr_ (_Ziu_ or _Tiw_), from whose name is derived our Tuesday, is the\nwrestler among the gods; and pre\u00ebminently the \"god of battles.\"\n\n_Heimdall_ is the watchman of the gods, and is therefore placed on the\nborders of heaven to prevent the giants from forcing their way over the\nbridge Bifrost. He requires less sleep than a bird, and sees by night\nas well as by day a hundred miles around him. So acute is his ear that\nno sound escapes him, for he can even hear the grass grow,--and the\nwool on a sheep's back.\n\n=273. Loki and his Progeny.= Loki (or Loge) is described as the\ncalumniator of the gods and the contriver of all fraud and mischief. He\nis the son of Farbauti, the Charon of Norse mythology. He is handsome\nand well made, but of fickle mood and evil disposition. Although of\nthe demon race, he forced himself into the company of the gods, and\nseemed to take pleasure in bringing them into difficulties, and in\nextricating them out of the danger by his cunning, wit, and skill. Loki\nhas three children. The first is the wolf _Fenris_, the second the\n_Midgard Serpent_, the third _Hela_ (Death). The gods were not ignorant\nthat these monsters were maturing and that they would one day bring\nmuch evil upon gods and men. So Odin deemed it advisable to send one\nto bring them to him. When they came he threw the serpent in that deep\nocean by which the earth is surrounded. But the monster has grown to\nsuch an enormous size that, holding his tail in his mouth, he encircles\nthe whole earth. Hela he hurled below Niflheim and gave her power over\nnine worlds or regions, in which she distributes those who are sent to\nher,--that is, all who die of sickness or old age. Her hall is called\nEliudnir, or Sleet-den. Hunger is her table, Starvation her knife,\nDelay her man, Slowness her maid, Pale Woe her door, Stumbling-stone\nher threshold, Care her bed; and Falling-peril forms the hangings of\nher apartments. She may easily be recognized, for her body is half\nflesh color and half blue, and she presents a stern and forbidding\ncountenance.\n\nThe wolf Fenris gave the gods a great deal of trouble before they\nsucceeded in chaining him. He broke the strongest fetters as if\nthey were made of cobwebs. Finally the gods sent a messenger to the\nmountain spirits, who made for them the chain called Gleipnir. It is\nfashioned of six things,--the noise made by the footfall of a cat, the\nbeards of women, the roots of stones, the breath of fishes, the nerves\n(sensibilities) of bears, and the spittle of birds. When finished it\nwas as smooth and soft as a silken string. But when the gods asked the\nwolf to suffer himself to be bound with this apparently slight ribbon,\nhe suspected their design, fearing that it was made by enchantment. He\ntherefore consented to be bound with it only upon condition that one of\nthe gods put his hand in his (Fenris') mouth as a pledge that the band\nwas to be removed again. Tyr alone had courage enough to do this. But\nwhen the wolf found that he could not break his fetters and that the\ngods would not release him, he bit off Tyr's hand. Tyr, consequently,\nhas ever since remained one-handed.\n\n=274. The Conflict with the Mountain Giants.= When the gods were\nconstructing their abodes and had already finished Midgard and\nValhalla, a certain artificer came and offered to build them a\nresidence so well fortified that they should be perfectly safe from the\nincursions of the Frost giants and the giants of the mountains. But he\ndemanded for his reward the goddess Freya, together with the sun and\nmoon. The gods yielded to the terms, provided that the artificer would\nfinish the whole work without any one's assistance, and all within the\nspace of one winter. But if anything remained unfinished on the first\nday of summer, he should forfeit the recompense agreed on. On being\ntold these terms, the artificer stipulated that he be allowed the use\nof his horse Svadilfari, and this request, by the advice of Loki,\nwas conceded. He accordingly set to work on the first day of winter,\nand during the night let his horse draw stone for the building. The\nenormous size of the stones struck the gods with astonishment, and they\nsaw clearly that the horse did one half more of the toilsome work than\nhis master. Their bargain, however, had been concluded and confirmed\nby solemn oaths, for without these precautions a giant would not have\nthought himself safe among the gods,--still less, indeed, if Thor\nshould return from the expedition he had then undertaken against the\nevil demons.\n\nAs the winter drew to a close the building was far advanced, and\nthe bulwarks were sufficiently high and massive to render the place\nimpregnable. In short, when it wanted but three days to summer, the\nonly part that remained to be finished was the gateway. Then sat the\ngods on their seats of justice and entered into consultation, inquiring\nof one another who among them could have advised the rest to surrender\nFreya, or to plunge the heavens in darkness by permitting the giant to\ncarry away the sun and the moon.\n\nThey all agreed that no one but Loki, the author of so many evil\ndeeds, could have given such counsel, and that he should be put to\na cruel death unless he contrived some way to prevent the artificer\nfrom completing his task and obtaining the stipulated recompense. They\nproceeded to lay hands on Loki, who in his fright promised upon oath\nthat, let it cost him what it might, he would so manage matters that\nthe man should lose his reward. That night when the man went with\nSvadilfari for building-stone, a mare suddenly ran out of a forest and\nbegan to neigh. The horse thereat broke loose and ran after the mare\ninto the forest, obliging the man also to run after his horse; thus,\ntherefore, between one and another the whole night was lost, so that at\ndawn the work had not made the usual progress. The man, seeing that he\nmust fail of completing his task, resumed his own gigantic stature, and\nthe gods now clearly perceived that it was in reality a mountain giant\nwho had come amongst them. Feeling no longer bound by their oaths, they\ncalled on Thor, who immediately ran to their assistance and, lifting\nup his mallet, paid the workman his wages, not with the sun and moon,\nand not even by sending him back to J\u00f6tunheim, for with the first blow\nhe shattered the giant's skull to pieces and hurled him headlong into\nNiflheim.\n\n=275. The Recovery of Thor's Hammer.= Soon afterward it happened that\nThor's hammer fell into the possession of the giant Thrym, who buried\nit eight fathoms deep under the rocks of J\u00f6tunheim. Thor sent Loki to\nnegotiate with Thrym, but he could only prevail so far as to get the\ngiant's promise to restore the weapon if Freya would consent to be his\nbride. Loki returned and reported the result of his mission, but the\ngoddess of love was horrified at the idea of bestowing her charms on\nthe king of the Frost giants. In this emergency Loki persuaded Thor to\ndress himself in Freya's clothes and accompany him to J\u00f6tunheim. Thrym\nreceived his veiled bride with due courtesy, but was greatly surprised\nat seeing her eat for her supper eight salmon and a full-grown ox\nbesides other delicacies, washing the whole down with three tuns of\nmead. Loki, however, assured him that she had not tasted anything\nfor eight long nights, so great was her desire to see her lover, the\nrenowned ruler of J\u00f6tunheim. Thrym had at last the curiosity to peep\nunder his bride's veil, but started back in affright, and demanded why\nFreya's eyeballs glistened with fire. Loki repeated the same excuse,\nand the giant was satisfied. He ordered the hammer to be brought in\nand laid on the maiden's lap. Thereupon Thor threw off his disguise,\ngrasped his redoubted weapon, and slaughtered Thrym and all his\nfollowers.\n\n=276. Thor's Visit to J\u00f6tunheim.= One day Thor, with his servant\nThialfi and accompanied by Loki, set out for the giants' country.\nThialfi was of all men the swiftest of foot. He bore Thor's wallet\ncontaining their provisions. When night came on they found themselves\nin an immense forest, and searched on all sides for a place where\nthey might pass the night. At last they came to a large hall, with\nan entrance that took the whole breadth of one end of the building.\nHere they lay down to sleep, but towards midnight were alarmed by an\nearthquake which shook the whole edifice. Thor, rising up, called on\nhis companions to seek with him a place of safety. On the right they\nfound an adjoining chamber into which the others entered, but Thor\nremained at the doorway with his mallet in his hand, prepared to defend\nhimself whatever might happen. A terrible groaning was heard during\nthe night, and at dawn of day Thor went out and found lying near him a\nhuge giant, still snoring in the way that had alarmed them. For once\nThor was afraid to use his mallet, and as the giant soon waked up, Thor\ncontented himself with simply asking his name.\n\n\"My name is Skrymir,\" said the giant, \"but I need not ask thy name, for\nI know that thou art the god Thor. But what has become of my glove?\"\nThor then perceived that what they had taken overnight for a hall was\nthe giant's glove, and the chamber where his two companions had sought\nrefuge was the thumb. Skrymir then proposed that they should travel in\ncompany, and Thor consenting, they sat down to eat their breakfast.\nWhen they had done, Skrymir packed all the provisions into one wallet,\nthrew it over his shoulder, and strode on before them, taking such\ntremendous strides that they were hard put to it to keep up with him.\nSo they traveled the whole day, and at dusk Skrymir chose a place for\nthem to pass the night in under a large oak tree. Skrymir then told\nthem he would lie down to sleep. \"But take ye the wallet,\" he added,\n\"and prepare your supper.\"\n\nSkrymir soon fell asleep and began to snore strongly, but when Thor\ntried to open the wallet, he found the giant had tied it up so tight he\ncould not untie a single knot. At last Thor became wroth, and grasping\nhis mallet with both hands, he struck a furious blow on the giant's\nhead. Skrymir, awakening, merely asked whether a leaf had not fallen on\nhis head, and whether they had supped and were ready to go to sleep.\nThor answered that they were just going to sleep, and so saying went\nand laid himself down under another tree. But sleep came not that\nnight to Thor, and when Skrymir snored again so loud that the forest\nre\u00ebchoed with the noise, he arose, and, grasping his mallet, launched\nit with such force at the giant's skull that it made a deep dint in\nit. Skrymir, awakening, cried out: \"What's the matter? Are there any\nbirds perched on this tree? I felt some moss from the branches fall on\nmy head. How fares it with thee, Thor?\" But Thor went away hastily,\nsaying that he had just then awoke, and, that as it was only midnight,\nthere was still time for sleep. He, however, resolved that if he had\nan opportunity of striking a third blow, it should settle all matters\nbetween them. A little before daybreak he perceived that Skrymir was\nagain fast asleep, and again grasping his mallet, he dashed it with\nsuch violence that it forced its way into the giant's skull up to the\nhandle. But Skrymir sat up, and, stroking his cheek, said: \"An acorn\nfell on my head. What! Art thou awake, Thor? Methinks it is time for\nus to get up and dress ourselves; but you have not now a long way\nbefore you to the city called Utgard. I have heard you whispering to\none another that I am not a man of small dimensions, but if you come\nto Utgard, you will see there many men much taller than I. Wherefore I\nadvise you, when you come there, not to make too much of yourselves;\nfor the followers of Utgard-Loki will not brook the boasting of such\nlittle fellows as you are. You must take the road that leads eastward;\nmine lies northward, so we must part here.\"\n\nHereupon he threw his wallet over his shoulders and turned away from\nthem into the forest, and Thor had no wish to stop him or to ask for\nany more of his company.\n\nThor and his companions proceeded on their way, and towards noon\ndescried a city standing in the middle of a plain. It was so lofty that\nthey were obliged to bend their necks quite back on their shoulders in\norder to see to the top of it. On arriving they entered the city, and\nseeing a large palace before them with the door wide open, they went\nin and found a number of men of prodigious stature, sitting on benches\nin the hall. Going further, they came before the king Utgard-Loki,\nwhom they saluted with great respect. The king, regarding them with a\nscornful smile, said, \"If I do not mistake me, that stripling yonder\nmust be the god Thor.\" Then addressing himself to Thor, he said:\n\"Perhaps thou mayst be more than thou appearest to be. What are the\nfeats that thou and thy fellows deem yourselves skilled in?--for no one\nis permitted to remain here who does not, in some feat or other, excel\nall other men.\"\n\n\"The feat that I know,\" said Loki, \"is to eat quicker than any one\nelse, and in this I am ready to give a proof against any one here who\nmay choose to compete with me.\"\n\n\"That will indeed be a feat, if thou performest what thou promisest,\"\nsaid Utgard-Loki, \"and it shall be tried forthwith.\"\n\nHe then ordered one of his men, who was sitting at the farther end of\nthe bench and whose name was Logi, to come forward and try his skill\nwith Loki. A trough filled with meat having been set on the hall floor,\nLoki placed himself at one end and Logi at the other, and each of them\nbegan to eat as fast as he could, until they met in the middle of the\ntrough. But it was found that Loki had only eaten the flesh, while his\nadversary had devoured both flesh and bone, and the trough to boot.\nAll the company therefore adjudged that Loki was vanquished.\n\nUtgard-Loki then asked what feat the young man who accompanied Thor\ncould perform. Thialfi answered that he would run a race with any\none who might be matched against him. The king observed that skill\nin running was something to boast of, but if the youth would win the\nmatch, he must display great agility. He then arose and went, with all\nwho were present, to a plain where there was good ground for running\non, and calling a young man named Hugi, bade him run a match with\nThialfi. In the first course Hugi so much outstripped his competitor\nthat he turned back and met him not far from the starting-place. Then\nthey ran a second and a third time, but Thialfi met with no better\nsuccess.\n\nUtgard-Loki then asked Thor in what feats he would choose to give\nproofs of that prowess for which he was so famous. Thor answered that\nhe would try a drinking-match with any one. Utgard-Loki bade his\ncupbearer bring the large horn which his followers were obliged to\nempty when they had trespassed in any way against the law of the feast.\nThe cupbearer having presented it to Thor, Utgard-Loki said, \"Whoever\nis a good drinker will empty that horn at a single draft, though most\nmen make two of it; but the most puny drinker can do it in three.\"\n\nThor looked at the horn, which seemed of no extraordinary size, though\nsomewhat long; however, as he was very thirsty, he set it to his lips\nand, without drawing breath, pulled as long and as deeply as he could,\nthat he might not be obliged to make a second draft of it; but when he\nset the horn down and looked in, he could scarcely perceive that the\nliquor was diminished.\n\nAfter taking breath, Thor went to it again with all his might, but when\nhe took the horn from his mouth, it seemed to him that he had drank\nrather less than before, although the horn could now be carried without\nspilling.\n\n\"How now, Thor,\" said Utgard-Loki, \"thou must not spare thyself; if\nthou meanest to drain the horn at the third draft, thou must pull\ndeeply; and I must needs say that thou wilt not be called so mighty\na man here as thou art at home if thou showest no greater prowess in\nother feats than methinks will be shown in this.\"\n\nThor, full of wrath, again set the horn to his lips and did his best to\nempty it; but on looking in found the liquor was only a little lower,\nso he resolved to make no further attempt, but gave back the horn to\nthe cupbearer.\n\n\"I now see plainly,\" said Utgard-Loki, \"that thou art not quite so\nstout as we thought thee; but wilt thou try any other feat?--though\nmethinks thou art not likely to bear any prize away with thee hence.\"\n\n\"What new trial hast thou to propose?\" said Thor.\n\n\"We have a very trifling game here,\" answered Utgard-Loki, \"in which we\nexercise none but children. It consists in merely lifting my cat from\nthe ground; nor should I have dared to mention such a feat to the great\nThor if I had not already observed that thou art by no means what we\ntook thee for.\"\n\nAs he finished speaking a large gray cat sprang on the hall floor. Thor\nput his hand under the cat's belly and did his utmost to raise him from\nthe floor, but the cat, bending his back, had, notwithstanding all\nThor's efforts, only one of his feet lifted up, seeing which Thor made\nno further attempt.\n\n\"This trial has turned out,\" said Utgard-Loki, \"just as I imagined it\nwould. The cat is large, but Thor is little in comparison to our men.\"\n\n\"Little as ye call me,\" answered Thor, \"let me see who among you will\ncome hither now that I am in wrath and wrestle with me.\"\n\n\"I see no one here,\" said Utgard-Loki, looking at the men sitting on\nthe benches, \"who would not think it beneath him to wrestle with thee;\nlet somebody, however, call hither that old crone, my nurse Elli, and\nlet Thor wrestle with her if he will. She has thrown to the ground many\na man not less strong than this Thor is.\"\n\nA toothless old woman then entered the hall, and was told by\nUtgard-Loki to take hold of Thor. The tale is shortly told. The more\nThor tightened his hold on the crone the firmer she stood. At length,\nafter a very violent struggle, Thor began to lose his footing, and\nwas finally brought down upon one knee. Utgard-Loki then told them to\ndesist, adding that Thor had now no occasion to ask any one else in the\nhall to wrestle with him, and it was also getting late; so he showed\nThor and his companions to their seats, and they passed the night there\nin good cheer.\n\nThe next morning, at break of day, Thor and his companions dressed\nthemselves and prepared for their departure. Utgard-Loki ordered a\ntable to be set for them, on which there was no lack of victuals or\ndrink. After the repast Utgard-Loki led them to the gate of the city,\nand on parting asked Thor how he thought his journey had turned out and\nwhether he had met with any men stronger than himself. Thor told him\nthat he could not deny but that he had brought great shame on himself.\n\"And what grieves me most,\" he added, \"is that ye will call me a person\nof little worth.\"\n\n\"Nay,\" said Utgard-Loki, \"it behooves me to tell thee the truth, now\nthou art out of the city, which so long as I live and have my way thou\nshalt never enter again. And, by my troth, had I known beforehand that\nthou hadst so much strength in thee, and wouldst have brought me so\nnear to a great mishap I would not have suffered thee to enter this\ntime. Know then that I have all along deceived thee by my illusions;\nfirst in the forest, where I tied up the wallet with iron wire so that\nthou couldst not untie it. After this thou gavest me three blows with\nthy mallet; the first, though the least, would have ended my days\nhad it fallen on me, but I slipped aside and thy blows fell on the\nmountain, where thou wilt find three glens, one of them remarkably\ndeep. These are the dints made by thy mallet. I have made use of\nsimilar illusions in the contests ye have had with my followers. In the\nfirst, Loki, like hunger itself, devoured all that was set before him,\nbut Logi was in reality nothing else than Fire, and therefore consumed\nnot only the meat but the trough which held it. Hugi, with whom Thialfi\ncontended in running, was Thought, and it was impossible for Thialfi\nto keep pace with that. When thou, in thy turn, didst attempt to empty\nthe horn, thou didst perform, by my troth, a deed so marvelous that had\nI not seen it myself I should never have believed it. For one end of\nthat horn reached the sea, which thou wast not aware of, but when thou\ncomest to the shore thou wilt perceive how much the sea has sunk by\nthy drafts. Thou didst perform a feat no less wonderful by lifting up\nthe cat, and to tell thee the truth, when we saw that one of his paws\nwas off the floor, we were all of us terror-stricken, for what thou\ntookest for a cat was in reality the Midgard serpent that encompasseth\nthe earth, and he was so stretched by thee that he was barely long\nenough to inclose it between his head and tail. Thy wrestling with\nElli was also a most astonishing feat, for there was never yet a man,\nnor ever will be, whom Old Age, for such in fact was Elli, will not\nsooner or later lay low. But now, as we are going to part, let me tell\nthee that it will be better for both of us if thou never come near me\nagain, for shouldst thou do so, I shall again defend myself by other\nillusions, so that thou wilt only lose thy labor and get no fame from\nthe contest with me.\"\n\nOn hearing these words Thor, in a rage, laid hold of his mallet and\nwould have launched it at him, but Utgard-Loki had disappeared, and\nwhen Thor would have returned to the city to destroy it, he found\nnothing around him but a verdant plain.\n\n=277. The Sword of Freyr.= Freyr also possessed a wonderful weapon, a\nsword which would of itself spread a field with carnage whenever the\nowner desired it. Freyr parted with this sword, but was less fortunate\nthan Thor and never recovered it. It happened in this way: Freyr once\nmounted Odin's throne, from whence one can see over the whole universe,\nand looking round, saw far off in the giant's kingdom a beautiful maid,\nat the sight of whom he was struck with sudden sadness, insomuch that\nfrom that moment he could neither sleep nor drink nor speak. At last\nSkirnir, his messenger, drew his secret from him, and undertook to\nget him the maiden for his bride, if he would give him his sword as a\nreward. Freyr consented and gave him the sword, and Skirnir set off on\nhis journey and obtained the maiden's promise that within nine nights\nshe would come to a certain place and there wed Freyr. Skirnir having\nreported the success of his errand, Freyr exclaimed:\n\n \"Long is one night,\n Long are two nights,\n But how shall I hold out three?\n Shorter hath seemed\n A month to me oft\n Than of this longing time the half.\"\n\nSo Freyr obtained Gerda, the most beautiful of all women, for his wife,\nbut he lost his sword.\n\n=278. The Death of Balder.= Balder the Good, having been tormented with\nterrible dreams indicating that his life was in peril, told them to\nthe assembled gods, who resolved to conjure all things to avert from\nhim the threatened danger. Then Frigga, the wife of Odin, exacted an\noath from fire and water, from iron and all other metals, from stones,\ntrees, diseases, beasts, birds, poisons, and creeping things, that\nnone of them would do any harm to Balder. Odin, not satisfied with\nall this, and feeling alarmed for the fate of his son, determined to\nconsult the prophetess Angerbode, a giantess, mother of Fenris, Hela,\nand the Midgard serpent. She was dead, and Odin was forced to seek her\nin Hela's dominions.\n\nBut the other gods, feeling that what Frigga had done was quite\nsufficient, amused themselves with using Balder as a mark, some hurling\ndarts at him, some stones, while others hewed at him with their swords\nand battle-axes, for do what they would, none of them could harm him.\nAnd this became a favorite pastime with them, and was regarded as an\nhonor shown to Balder. But when Loki beheld the scene, he was sorely\nvexed that Balder was not hurt. Assuming, therefore, the shape of a\nwoman, he went to Fensalir, the mansion of Frigga. That goddess, when\nshe saw the pretended woman, inquired of her if she knew what the gods\nwere doing at their meetings. She replied that they were throwing\ndarts and stones at Balder, without being able to hurt him. \"Ay,\" said\nFrigga, \"neither stones, nor sticks, nor anything else can hurt Balder,\nfor I have exacted an oath from all of them.\" \"What,\" exclaimed the\nwoman, \"have all things sworn to spare Balder?\" \"All things,\" replied\nFrigga, \"except one little shrub that grows on the eastern side of\nValhalla and is called Mistletoe, which I thought too young and feeble\nto crave an oath from.\"\n\nAs soon as Loki heard this he went away and, resuming his natural\nshape, cut off the mistletoe and repaired to the place where the gods\nwere assembled. There he found H\u00f6der standing apart, without partaking\nof the sports on account of his blindness, and going up to him said,\n\"Why dost thou not also throw something at Balder?\"\n\n\"Because I am blind,\" answered H\u00f6der, \"and see not where Balder is, and\nhave, moreover, nothing to throw.\"\n\n\"Come, then,\" said Loki, \"do like the rest and show honor to Balder by\nthrowing this twig at him, and I will direct thy arm toward the place\nwhere he stands.\"\n\nH\u00f6der then took the mistletoe and, under the guidance of Loki, darted\nit at Balder, who, pierced through and through, fell down lifeless.\nNever was there witnessed, either among gods or men, a more atrocious\ndeed.\n\n So on the floor lay Balder dead; and round[366]\n Lay thickly strewn swords, axes, darts, and spears,\n Which all the gods in sport had idly thrown\n At Balder, whom no weapon pierced or clove;\n But in his breast stood fixt the fatal bough\n Of mistletoe, which Lok the accuser gave\n To H\u00f6der, and unwitting H\u00f6der threw--\n 'Gainst that alone had Balder's life no charm.\n And all the gods and all the heroes came,\n And stood round Balder on the bloody floor,\n Weeping and wailing; and Valhalla rang\n Up to its golden roof with sobs and cries;\n And on the tables stood the untasted meats,\n And in the horns and gold-rimmed skulls the wine.\n And now would night have fall'n and found them yet\n Wailing; but otherwise was Odin's will.\n\nHe bade them not to spend themselves in unavailing grief, for Balder,\nthough the brightest god of heaven and best beloved, had but met the\ndoom ordained at his birth by the Norns. Rather let the funeral pile\nbe prepared, and let vengeance on Loki be left to Odin himself. So\nspeaking, Odin mounted his horse Sleipnir and rode away to Lidskialf,\nand the gods in Valhalla returned to the feast:\n\n And before each the cooks, who served them, placed\n New messes of the boar Serimnir's flesh,\n And the Valkyries crowned their horns with mead.\n So they, with pent-up hearts and tearless eyes,\n Wailing no more, in silence ate and drank,\n While twilight fell, and sacred night came on.\n\nBut the blind H\u00f6der, leaving the gods, went by the sea to Fensalir, the\nhouse of Frigga, mother of the gods, to ask her what way there might be\nof restoring Balder to life and heaven. Might Hela perchance surrender\nBalder if H\u00f6der himself should take his place among the shades?\n\"Nay,\" replied Frigga, \"no way is there but one, that the first god\nthou meetest on the return to Asgard take Sleipnir, Odin's horse, and\nride o'er the bridge Bifrost where is Heimdall's watch, past Midgard\nfortress, down the dark, unknown road to Hel, and there entreat the\ngoddess Hela that she yield Balder back to heaven.\" H\u00f6der, returning\ncityward, met Hermod, swiftest of the gods,--\n\n Nor yet could Hermod see his brother's face,\n For it grew dark; but H\u00f6der touched his arm.\n And as a spray of honeysuckle flowers\n Brushes across a tired traveler's face\n Who shuffles through the deep dew-moisten'd dust\n On a May evening, in the darken'd lanes,\n And starts him, that he thinks a ghost went by,\n So H\u00f6der brush'd by Hermod's side, and said:\n \"Take Sleipnir, Hermod, and set forth with dawn\n To Hela's kingdom, to ask Balder back;\n And they shall be thy guides who have the power.\"\n He spake, and brush'd soft by and disappear'd.\n And Hermod gazed into the night, and said:\n \"Who is it utters through the dark his hest\n So quickly, and will wait for no reply?\n The voice was like the unhappy H\u00f6der's voice.\n Howbeit I will see, and do his hest;\n For there rang note divine in that command.\"\n So speaking, the fleet-footed Hermod came\n Home, and lay down to sleep in his own house;\n And all the gods lay down in their own homes.\n And H\u00f6der, too, came home distraught with grief,\n Loathing to meet, at dawn, the other gods;\n And he went in, and shut the door, and fixt\n His sword upright, and fell on it, and died.\n But from the hill of Lidskialf Odin rose,\n The throne, from which his eye surveys the world;\n And mounted Sleipnir, and in darkness rode\n To Asgard. And the stars came out in heaven,\n High over Asgard, to light home the king.\n But fiercely Odin gallop'd, moved in heart:\n And swift to Asgard, to the gate he came,\n And terribly the hoofs of Sleipnir rang\n Along the flinty floor of Asgard streets,\n And the gods trembled on their golden beds\n Hearing the wrathful father coming home--\n For dread, for like a whirlwind Odin came.\n And to Valhalla's gate he rode, and left\n Sleipnir; and Sleipnir went to his own stall,\n And in Valhalla Odin laid him down.\n\nThat night in a vision appeared Balder to Nanna his wife, comforting\nher:\n\n \"Yes, and I fain would altogether ward\n Death from thy head, and with the gods in heaven\n Prolong thy life, though not by thee desired--\n But right bars this, not only thy desire.\n Yet dreary, Nanna, is the life they lead\n In that dim world, in Hela's moldering realm;\n And doleful are the ghosts, the troops of dead,\n Whom Hela with austere control presides.\n For of the race of gods is no one there\n Save me alone, and Hela, solemn queen;\n For all the nobler souls of mortal men\n On battle field have met their death, and now\n Feast in Valhalla, in my father's hall;\n Only the inglorious sort are there below--\n The old, the cowards, and the weak are there,\n Men spent by sickness, or obscure decay.\n But even there, O Nanna, we might find\n Some solace in each other's look and speech,\n Wandering together through that gloomy world,\n And talking of the life we led in heaven,\n While we yet lived, among the other gods.\"\n He spake, and straight his lineaments began\n To fade; and Nanna in her sleep stretch'd out\n Her arms towards him with a cry, but he\n Mournfully shook his head and disappear'd.\n And as the woodman sees a little smoke\n Hang in the air, afield, and disappear,\n So Balder faded in the night away.\n And Nanna on her bed sank back; but then\n Frea, the mother of the gods, with stroke\n Painless and swift, set free her airy soul,\n Which took, on Balder's track, the way below;\n And instantly the sacred morn appear'd.\n\nWith the morn Hermod, mounting Sleipnir, set out on his mission. For\nthe space of nine days and as many nights he rode through deep glens so\ndark that he could not discern anything, until he arrived at the river\nGyoll, which he passed over on a bridge covered with glittering gold.\nThe maiden who kept the bridge asked him his name and lineage, telling\nhim that the day before five bands of dead persons had ridden over the\nbridge, and did not shake it as much as he alone. \"But,\" she added,\n\"thou hast not death's hue on thee; why then ridest thou here on the\nway to Hel?\"\n\n\"I ride to Hel,\" answered Hermod, \"to seek Balder. Hast thou perchance\nseen him pass this way?\"\n\nShe replied, \"Balder hath ridden over Gyoll's bridge, and yonder lieth\nthe way he took to the abodes of death.\"\n\nHermod pursued his journey until he came to the barred gates of Hel.\nHere he alighted, girthed his saddle tighter, and remounting clapped\nboth spurs to his horse, which cleared the gate by a tremendous leap\nwithout touching it. Hermod then rode on to the palace, where he found\nhis brother Balder occupying the most distinguished seat in the hall,\nand passed the night in his company. The next morning he besought\nHela to let Balder ride home with him, assuring her that nothing but\nlamentations were to be heard among the gods. Hela answered that it\nshould now be tried whether Balder was so beloved as he was said to be.\n\"If, therefore,\" she added, \"all things in the world, both living and\nlifeless, weep for him, then shall he return to life; but if any one\nthing speak against him or refuse to weep, he shall be kept in Hel.\"\n\nHermod then rode back to Asgard and gave an account of all he had heard\nand witnessed.\n\nThe gods upon this dispatched messengers throughout the world to beg\neverything to weep in order that Balder might be delivered from Hel.\nAll things very willingly complied with this request, both men and\nevery other living being, as well as earths, and stones, and trees,\nand metals, just as we have all seen these things weep when they are\nbrought from a cold place into a hot one.\n\nThen the messengers returned,--\n\n ... And they rode home together, through the wood\n Of Jarnvid, which to east of Midgard lies\n Bordering the giants, where the trees are iron;\n There in the wood before a cave they came,\n Where sate in the cave's mouth a skinny hag,\n Toothless and old; she gibes the passers-by.\n Thok is she called, but now Lok wore her shape;\n She greeted them the first, and laughed and said:\n \"Ye gods, good lack, is it so dull in heaven\n That ye come pleasuring to Thok's iron wood?\n Lovers of change, ye are, fastidious sprites.\n Look, as in some boor's yard, a sweet-breath'd cow,\n Whose manger is stuffed full of good fresh hay,\n Snuffs at it daintily, and stoops her head\n To chew the straw, her litter at her feet--\n So ye grow squeamish, gods, and sniff at heaven!\"\n She spake, but Hermod answered her and said,\n \"Thok, not for gibes we come; we come for tears.\n Balder is dead, and Hela holds her prey,\n But will restore, if all things give him tears.\n Begrudge not thine! to all was Balder dear.\"\n Then, with a louder laugh, the hag replied:\n \"Is Balder dead? and do ye come for tears?\n Thok with dry eyes will weep o'er Balder's pyre.\n Weep him all other things, if weep they will--\n I weep him not! let Hela keep her prey.\"\n She spake, and to the cavern's depth she fled,\n Mocking; and Hermod knew their toil was vain.[367]\n\nSo was Balder prevented from returning to Asgard.\n\n=279. The Funeral of Balder.= The gods took up the dead body and bore\nit to the seashore, where stood Balder's ship Hringham, which passed\nfor the largest in the world. Balder's dead body was put on the funeral\npile, on board the ship; and the body of Nanna was burned on the\nsame pile with her husband's. There was a vast concourse of various\nkinds of people at Balder's obsequies. First came Odin accompanied by\nFrigga, the Valkyries, and his ravens; then Freyr in his car drawn by\nGullinbursti, the boar; Heimdall rode his horse Gulltopp, and Freya\ndrove in her chariot drawn by cats. There were also a great many Frost\ngiants and giants of the mountain present. Balder's horse was led to\nthe pile fully caparisoned, and was consumed in the same flames with\nhis master.\n\n[Illustration: FIG. 187. LOKI AND SIGUNA\n\nFrom the painting by Gebhardt]\n\nBut Loki did not escape his merited punishment. When he saw how wroth\nthe gods were, he fled to the mountain and there built himself a hut\nwith four doors, so that he could see every approaching danger. He\ninvented a net to catch the fishes, such as fishermen have used since\nhis time. But Odin found out his hiding place and the gods assembled to\ntake him. He, seeing this, changed himself into a salmon and lay hid\namong the stones of the brook. But the gods took his net and dragged\nthe brook, and Loki, finding he must be caught, tried to leap over the\nnet; but Thor caught him by the tail, and compressed it so that salmon\never since have had that part remarkably fine and thin. They bound him\nwith chains and suspended a serpent over his head, whose venom falls\nupon his face drop by drop. His wife, Siguna, sits by his side and\ncatches the drops as they fall, in a cup; but when she carries it away\nto empty it, the venom falls upon Loki, which makes him howl with\nhorror and writhe so that the whole earth shakes.\n\n=280. The Elves.= The Edda mentions another class of beings, inferior\nto the gods, but still possessed of great power; these were the\nElves. The white spirits, or Elves of Light, were exceedingly fair,\nmore brilliant than the sun, and clad in garments of a delicate and\ntransparent texture. They loved the light, were kindly disposed to\nmankind, and generally appeared as fair and lovely children. Their\ncountry was called Elfheim, and was the domain of Freyr, in whose\nsunlight they always sported.\n\nThe black elves, ugly, long-nosed dwarfs, of a dirty brown color,\nappeared only at night. They avoided the sun as their most deadly\nenemy, because his beams changed them immediately into stones.\nTheir language was the echo of solitudes, and their dwelling places\nsubterranean caves and clefts. They were supposed to have come into\nexistence as maggots produced by the decaying flesh of Ymir's body.\nThey were afterwards endowed by the gods with a human form and great\nunderstanding. They were particularly distinguished for a knowledge of\nthe mysterious powers of nature, and for the runes which they carved\nand explained. They were the most skillful artificers of all created\nbeings, and worked in metals and in wood. Among their most noted works\nwere Thor's hammer, and the ship _Skidbladnir_, which they gave to\nFreyr. This vessel was so large that it could contain all the deities\nwith their war and household implements, but so skillfully was it\nwrought that when folded together it could be put into a side pocket.\n\n=281. Ragnarok.= It was a firm belief of the Northern nations that a\ntime would come when all the visible creation, the gods of Valhalla\nand Niflheim, the inhabitants of J\u00f6tunheim, Elfheim, and Midgard,\ntogether with their habitations, would be destroyed. The fearful day\nof destruction will not however be without warning. First will come\na triple winter, during which snow will fall from the four corners\nof the heavens, the frost be severe, the wind piercing, the weather\ntempestuous, and the sun impart no gladness. Three such winters will\npass without being tempered by a single summer. Three other like\nwinters will follow, during which war and discord will spread over the\nuniverse. The earth itself will be afraid and begin to tremble, the\nsea leave its basin, the heavens tear asunder; men will perish in great\nnumbers, and the eagles of the air feast upon their still quivering\nbodies. The wolf Fenris will now break his bands, the Midgard serpent\nrise out of his bed in the sea, and Loki, released from his bonds, will\njoin the enemies of the gods. Amidst the general devastation the sons\nof Muspelheim will rush forth under their leader Surter, before and\nbehind whom are flames and burning fire. Onward they ride over Bifrost,\nthe rainbow bridge, which breaks under the horses' hoofs. But they,\ndisregarding its fall, direct their course to the battle field called\nVigrid. Thither also repair the wolf Fenris, the Midgard serpent, Loki,\nwith all the followers of Hela, and the Frost giants.\n\nHeimdall now stands up and sounds the Giallar horn to assemble the gods\nand heroes for the contest. The gods advance, led on by Odin, who,\nengaging the wolf Fenris, falls a victim to the monster. Fenris is, in\nturn, slain by Vidar, Odin's son. Thor wins great renown by killing\nthe Midgard serpent, but, recoiling, falls dead, suffocated with the\nvenom which the dying monster vomits over him. Loki and Heimdall meet\nand fight till they both are slain. The gods and their enemies having\nfallen in battle, Surter, who has killed Freyr, darts fire and flames\nover the world, and the universe is consumed. The sun grows dim, the\nearth sinks into the ocean, the stars fall from heaven, and time is no\nmore.\n\nAfter this Alfadur (not Odin but the Almighty) will cause a new heaven\nand a new earth to arise out of the sea. The new earth, filled with\nabundant supplies, will produce its fruits without labor or care.\nWickedness and misery will no more be known, but the gods and men will\nlive happily together.\n\nThis twilight of the gods is aptly described in a conversation held\nbetween Balder and Hermod, after Hermod has a second time ridden to Hel:\n\n And the fleet-footed Hermod made reply:[368]--\n \"Thou hast then all the solace death allows,\n Esteem and function; and so far is well.\n Yet here thou liest, Balder, underground,\n Rusting for ever; and the years roll on,\n The generations pass, the ages grow,\n And bring us nearer to the final day\n When from the south shall march the fiery band\n And cross the bridge of heaven, with Lok for guide,\n And Fenris at his heel with broken chain;\n While from the east the giant Rymer steers\n His ship, and the great serpent makes to land;\n And all are marshal'd in one flaming square\n Against the gods, upon the plains of heaven.\n I mourn thee, that thou canst not help us then.\"\n He spake; but Balder answered him, and said:--\n \"Mourn not for me! Mourn, Hermod, for the gods;\n Mourn for the men on earth, the gods in heaven,\n Who live, and with their eyes shall see that day!\n The day will come, when fall shall Asgard's towers,\n And Odin, and his sons, the seed of Heaven;\n But what were I, to save them in that hour?\n If strength might save them, could not Odin save,\n My father, and his pride, the warrior Thor,\n Vidar the silent, the impetuous Tyr?\n I, what were I, when these can nought avail?\n Yet, doubtless, when the day of battle comes,\n And the two hosts are marshal'd, and in heaven\n The golden-crested cock shall sound alarm,\n And his black brother-bird from hence reply,\n And bucklers clash, and spears begin to pour--\n Longing will stir within my breast, though vain.\n But not to me so grievous as, I know,\n To other gods it were, is my enforced\n Absence from fields where I could nothing aid;\n For I am long since weary of your storm\n Of carnage, and find, Hermod, in your life\n Something too much of war and broils, which make\n Life one perpetual fight, a bath of blood.\n Mine eyes are dizzy with the arrowy hail;\n Mine ears are stunn'd with blows, and sick for calm.\n Inactive, therefore, let me lie in gloom,\n Unarm'd, inglorious; I attend the course\n Of ages, and my late return to light,\n In times less alien to a spirit mild,\n In new-recover'd seats, the happier day.\"\n He spake; and the fleet Hermod thus replied:--\n \"Brother, what seats are these, what happier day?\n Tell me, that I may ponder it when gone.\"\n And the ray-crown\u00e8d Balder answered him:--\n \"Far to the south, beyond the blue, there spreads\n Another heaven, the boundless--no one yet\n Hath reach'd it; there hereafter shall arise\n The second Asgard, with another name.\n Thither, when o'er this present earth and heavens\n The tempest of the latter days hath swept,\n And they from sight have disappear'd and sunk,\n Shall a small remnant of the gods repair;\n H\u00f6der and I shall join them from the grave.\n There reassembling we shall see emerge\n From the bright ocean at our feet an earth\n More fresh, more verdant than the last, with fruits\n Self-springing, and a seed of man preserved,\n Who then shall live in peace, as now in war.\n But we in heaven shall find again with joy\n The ruin'd palaces of Odin, seats\n Familiar, halls where we have supp'd of old,\n Re\u00ebnter them with wonder, never fill\n Our eyes with gazing, and rebuild with tears.\n And we shall tread once more the well-known plain\n Of Ida, and among the grass shall find\n The golden dice wherewith we played of yore;\n And that shall bring to mind the former life\n And pastime of the gods--the wise discourse\n Of Odin, the delights of other days.\n O Hermod, pray that thou may'st join us then!\n Such for the future is my hope; meanwhile,\n I rest the thrall of Hela, and endure\n Death, and the gloom which round me even now\n Thickens, and to inner gulf recalls.\n Farewell, for longer speech is not allow'd.\"\n\nFOOTNOTES:\n\n[364] For Records of Norse Mythology, see \u00a7 300, and Commentary, \u00a7\u00a7\n268, 282, and 300.\n\n[365] Gray's ode, The Fatal Sisters, is founded on this superstition.\n\n[366] From Matthew Arnold's Balder Dead.\n\n[367] From Matthew Arnold's Balder Dead.\n\n[368] From Matthew Arnold's Balder Dead.\n\n\n\n\nCHAPTER XXVIII\n\nMYTHS OF NORSE AND OLD GERMAN HEROES\n\n\n=282. The Saga of the Volsungs.=[369] Sigi, son of Odin, was a mighty\nking of the Huns whom Odin loved and prospered exceedingly. Rerir,\nalso, the son of Sigi, was a man of valor and one who got lordship and\nland unto himself; but neither Sigi nor Rerir were to compare with\n_Volsung_, who ruled over Hunland after his father Rerir went home to\nOdin.\n\nTo Volsung were born ten sons and one daughter,--Signy by name; and\nof the sons _Sigmund_ was the eldest and the most valiant. And the\nVolsungs abode in peace till Siggeir, king of Gothland, came wooing\nSigny, who, though loath to accept him, was, by her father's desire,\nbetrothed to him.\n\nNow on the night of the wedding great fires were made in the hall of\nthe Volsungs, and in the midst stood Branstock, a great oak tree, about\nwhich the hall had been built, and the limbs of the tree spread over\nthe roof of the hall; and round about Branstock they sat and feasted,\nand sang of ancient heroes and heard the music of the harp that went\nfrom hand to hand.\n\n But e'en as men's hearts were hearkening some heard the thunder\n pass[370]\n O'er the cloudless noontide heaven; and some men turned about\n And deemed that in the doorway they heard a man laugh out.\n Then into the Volsung dwelling a mighty man there strode,\n One-eyed and seeming ancient, yet bright his visage glowed;\n Cloud-blue was the hood upon him, and his kirtle gleaming-gray\n As the latter morning sun-dog when the storm is on the way;\n A bill he bore on his shoulder, whose mighty ashen beam\n Burnt bright with the flame of the sea, and the blended silver's gleam.\n And such was the guise of his raiment as the Volsung elders had told\n Was borne by their fathers' fathers, and the first that warred in\n the wold.\n So strode he to the Branstock, nor greeted any lord,\n But forth from his cloudy raiment he drew a gleaming sword,\n And smote it deep in the tree-bole, and the wild hawks overhead\n Laughed 'neath the naked heaven as at last he spake and said:\n \"Earls of the Goths, and Volsungs, abiders on the earth,\n Lo there amid the Branstock a blade of plenteous worth!\n The folk of the war-wand's forgers wrought never better steel\n Since first the burg of heaven uprose for man-folk's weal.\n Now let the man among you whose heart and hand may shift\n To pluck it from the oak-wood e'en take it for my gift.\n Then ne'er, but his own heart falter, its point and edge shall fail\n Until the night's beginning and the ending of the tale.\n Be merry, Earls of the Goth-folk, O Volsung Sons be wise,\n And reap the battle-acre that ripening for you lies:\n For they told me in the wild wood, I heard on the mountain-side\n That the shining house of heaven is wrought exceeding wide,\n And that there the Early-comers shall have abundant rest\n While Earth grows scant of great ones, and fadeth from its best,\n And fadeth from its midward, and groweth poor and vile:--\n All hail to thee, King Volsung! farewell for a little while!\"\n So sweet his speaking sounded, so wise his words did seem\n That moveless all men sat there, as in a happy dream\n We stir not lest we waken; but there his speech had end\n And slowly down the hall-floor, and outward did he wend;\n And none would cast him a question or follow on his ways,\n For they knew that the gift was Odin's, a sword for the world to\n praise.\n\nThen all made trial, Siggeir and his earls, and Volsung and his people,\nto draw forth the sword from Branstock, but with no success, till\nSigmund, laying his hand carelessly on the precious hilt, drew forth\nthe naked blade as though it were loose in the oak. Whereupon Siggeir\noffered money for the sword, but Sigmund scorned the offer.\n\nBut in time Siggeir had his vengeance. Inviting King Volsung and his\nsons to Gothland, he fell upon them, slew the king, and suffered\nthe sons, fastened under a log, to be devoured in succession by a\nshe-wolf--all but Sigmund, who through the wile of his sister Signy was\nrescued. He, driven to the life of an outlaw, sought means to avenge\nhis father, and Signy, on her part, strove to aid him,--without avail,\nhowever, till Sinfiotli, the son of herself and Sigmund, was grown\nto manhood. This youth bore Sigmund company. For a season, as wolves,\nthey scoured the woods; finally resuming the form of men, they slew the\nchildren of Siggeir and burned him in his hall. Signy, having helped to\navenge her father, died with her husband.\n\nSigmund, thereupon, became king, and took to himself a wife. But she,\nsuffering injury at the hands of Sinfiotli, poisoned him with a horn of\nale. Then Sigmund sorrowed nigh to death over his son, and drove away\nthat queen, and soon after she died. He then married Hiordis the fair;\nbut before long, doing battle against Lyngi, the son of Hunding,--a\nchieftain who also had loved the fair Hiordis,--he got his death wound:\n\n For lo, through the hedge of the war-shafts a mighty man there came,\n One-eyed and seeming ancient, but his visage shone like flame;\n Gleaming-gray was his kirtle, and his hood was cloudy-blue;\n And he bore a mighty twibil, as he waded the fight-sheaves through,\n And stood face to face with Sigmund, and upheaved the bill to smite.\n Once more round the head of the Volsung fierce glittered the\n Branstock's light,\n The sword that came from Odin; and Sigmund's cry once more\n Rang out to the very heavens above the din of war.\n Then clashed the meeting edges with Sigmund's latest stroke,\n And in shivering shards fell earthward that fear of worldly folk.\n But changed were the eyes of Sigmund, and the war-wrath left his face;\n For that gray-clad mighty helper was gone, and in his place\n Drave on the unbroken spear-wood 'gainst the Volsung's empty hands:\n And there they smote down Sigmund, the wonder of all lands,\n On the foemen, on the death-heap his deeds had piled that day.\n\nTo Hiordis, after Sigmund's death, was born _Sigurd_, like whom was\nnever man for comeliness and valor and great-heartedness and might.\nHe was the greatest of the Volsungs. His foster-father was Regin, the\nson of Rodmar, a blacksmith, who taught him the lore of runes and many\ntongues; and, by means of a story of ancient wrongs, incited him to the\ndestruction of the dragon Fafnir. For Regin told that while the gods,\nOdin and H[oe]nir, were wandering with Loki near Rodmar's house, Loki\nslew one of Rodmar's sons, Otter. Whereupon Rodmar demanded that the\ngods should fill the Otter-skin with gold and cover it with gold. Now\nLoki, being sent to procure the gold, caught Andvari the dwarf, and\nfrom him procured by force a hoard of the precious metal and with it\na magic ring, whose touch bred gold. But Andvari cursed the ring and\nthe gold and all that might possess either. The gods forthwith filled\nOtter with the dwarf's gold, and surrendered both gold and ring to\nRodmar. Immediately the curse began to work. Fafnir, brother of Regin\nand Otter, slew Rodmar and seized the treasure and, assuming a dragon's\nform, brooded upon the hoard. With this tale Regin egged on Sigurd to\nthe undoing of Fafnir. He welded him, too, a resistless sword out of\nthe shards of Sigmund's sword, Gram (the wrath). Then Sigurd swore that\nhe would slay the dragon. But first, riding on his horse, Greyfell, of\nthe blood of Odin's Sleipnir, he avenged upon the sons of Hunding the\ndeath of his father. This done, Sigurd rode to Glistenheath and slew\nFafnir, the dragon, and eating of his heart, learned the language of\nthe birds; and at their advice he slew Regin also, who plotted against\nhim.\n\nSo, setting the ring of Andvari on his finger and bearing the gold\nbefore him on his horse, Greyfell, Sigurd comes to the Hill of Hindfell:\n\n And sitteth awhile on Greyfell on the marvelous thing to gaze:\n For lo, the side of Hindfell inwrapped by the fervent blaze,\n And naught 'twixt earth and heaven save a world of flickering flame,\n And a hurrying, shifting tangle, where the dark rents went and came....\n Now Sigurd turns in his saddle, and the hilt of the Wrath he shifts,\n And draws a girth the tighter; then the gathered reins he lifts,\n And crieth aloud to Greyfell, and rides at the wildfire's heart;\n But the white wall wavers before him and the flame-flood rusheth apart,\n And high o'er his head it riseth, and wide and wild is its roar\n As it beareth the mighty tidings to the very heavenly floor;\n But he rideth through its roaring as the warrior rides the rye,\n When it bows with the wind of the summer and the hid spears draw anigh;\n The white-flame licks his raiment and sweeps through Greyfell's mane,\n And bathes both hands of Sigurd and the hilts of Fafnir's bane,\n And winds about his war-helm and mingles with his hair,\n But naught his raiment dusketh or dims his glittering gear;--\n Then it falls and fades and darkens till all seems left behind,\n And dawn and the blaze is swallowed in mid-mirk stark and blind....\n\nThen before him Sigurd sees a shield-hung castle, surmounted by a\ngolden buckler, instead of a banner, which rings against the flagstaff.\nAnd he enters and finds the form of one asleep, in armor cap-a-pie.\n\n So he draweth the helm from the head, and, lo, the brow snow-white,\n And the smooth unfurrowed cheeks, and the wise lips breathing light;\n And the face of a woman it is, and the fairest that ever was born,\n Shown forth to the empty heavens and the desert world forlorn:\n But he looketh, and loveth her sore, and he longeth her spirit to move,\n And awaken her heart to the world, that she may behold him and love.\n And he toucheth her breast and her hands, and he loveth her\n passing sore;\n And he saith, \"Awake! I am Sigurd,\" but she moveth never the more....\n\nThen with his bright blade Sigurd rends the ring-knit mail that\nincloses her, \"till naught but the rippling linen is wrapping her\nabout,\"--\n\n Then a flush cometh over her visage and a sigh upheaveth her breast,\n And her eyelids quiver and open, and she wakeneth into rest;\n Wide-eyed on the dawning she gazeth, too glad to change or smile,\n And but little moveth her body, nor speaketh she yet for a while;\n And yet kneels Sigurd, moveless, her wakening speech to heed,\n While soft the waves of the daylight o'er the starless heavens speed,\n And the gleaming vines of the Shield-burg yet bright and brighter grow,\n And the thin moon hangeth her horns dead-white in the golden glow.\n Then she turned and gazed on Sigurd, and her eyes met the\n Volsung's eyes.\n And mighty and measureless now did the tide of his love arise,\n For their longing had met and mingled, and he knew of her heart\n that she loved,\n As she spake unto nothing but him and her lips with the\n speech-flood moved.\n\nBrynhild, it was,--the Valkyrie,--who long time had lain in that\nenchanted sleep that Odin, her father, had poured over her, dooming her\nto mortal awakening and to mortal love, for the evil she had wrought\nof old when she espoused the cause in battle of those whom the Norns\nhad predestined to death. Her might none but the fearless awaken; and\nher had Sigurd awakened; and she loved him, for he was without fear and\ngodlike. And she taught him many wise sayings; and they plighted troth,\none to the other, both then and again; and Sigurd gave her the ring of\nAndvari. But they were not destined to dwell together in wedlock, and\nBrynhild, foreseeing the future, knew even this.\n\nSigurd was to wed with another than Brynhild, and it fell in this wise.\nIn the land of the Nibelungs (Niblungs, Nibelungen) dwelt Gudrun,\ndaughter of Giuki, the Nibelung king. And Gudrun dreamed a dream in\nwhich a fair hawk feathered with feathers of gold alighted upon her\nwrist. She went to Brynhild for the interpretation of the dream. \"The\nhawk,\" said Brynhild, \"is Sigurd.\" And so it came to pass. Sigurd,\nvisiting the court of the Nibelungs, was kindly entreated by King Giuki\nand his three sons, Gunnar, Hogni, and Guttorm; and he performed deeds\nof valor such that they honored him. But after many days, Grimhild, the\nmother of Gudrun, administered to Sigurd a magic potion that removed\nfrom him all memory of Brynhild. So Sigurd loved and wedded the fair\nGudrun. Indeed he soon joined others in urging his wife's brother\nGunnar, a doughty warrior, to sue for the hand of Brynhild herself. But\nBrynhild would have no one that could not ride through the flames drawn\nup around her hall. After Gunnar had made two unsuccessful attempts,\nSigurd, assuming the form of King Gunnar, mounted Greyfell and rode for\nthe second time through the flames of Hindfell. Then, still wearing\nthe semblance of Gunnar, he gained the consent of Brynhild to the\nunion, and exchanged rings with her,--she giving him none other than\nthe ancient ring of Andvari back again. But even this did not recall\nto Sigurd's memory his former ride and his former love. Returning to\nthe land of the Nibelungs, he announced the success of his undertaking\nand told all things to Gudrun, giving her the fatal ring that he had\nregained from Brynhild.\n\nIn ten days came Brynhild by agreement to the Hall of the Nibelungs,\nand though she knew well the deceit that had been practiced on her,\nshe made no sign; nay, was wedded, according to her promise, to King\nGunnar. But as they sat at the wedding-feast, the charm of Grimhild was\noutworn,--Sigurd looked upon Gunnar's bride and knew the Brynhild of\nold, the Valkyrie, whom he had loved; \"and Brynhild's face drew near\nhim with eyes grown stern and strange.\"\n\nBut, apparently, all went well till the young queens, one day bathing\nin the Water of the Nibelungs, fell into contention on a matter of\nprivilege. Brynhild claimed precedence in entering the river on the\nground that Gunnar was the liege lord of Sigurd. Gudrun, white with\nwrath, flashed out the true story of the ride through the flames, and\nthrust in Brynhild's face the Andvari ring. Consumed with jealousy,\nBrynhild plotted revenge. She loved Sigurd still, and he, since he\nhad regained his memory, could not overcome his love for her. But the\ninsult from Gudrun Brynhild would not brook. By her machinations,\nGuttorm, the brother of Gudrun, was incited to slay Sigurd. He,\naccordingly, stabbed the hero while asleep, but Sigurd, throwing Gram\nat the assassin, cut him in twain before he could escape.\n\n Woe me! how the house of the Niblungs by another cry was rent,\n The awakening wail of Gudrun, as she shrank in the river of blood\n From the breast of the mighty Sigurd: he heard it and understood,\n And rose up on the sword of Guttorm, and turned from the country\n of death,\n And spake words of loving-kindness as he strove for life and breath;\n \"Wail not, O child of the Niblungs! I am smitten, but thou shalt live,\n In remembrance of our glory, mid the gifts the gods shall give!...\n It is Brynhild's deed,\" he murmured, \"and the woman that loves me well;\n Nought now is left to repent of, and the tale abides to tell.\n I have done many deeds in my life-days, and all these, and my\n love, they lie\n In the hollow hand of Odin till the day of the world go by.\n I have done and I may not undo, I have given and I take not again;\n Art thou other than I, Allfather, wilt thou gather my glory in vain?\"\n\nSo ended the life of Sigurd. Brynhild, overcome with sorrow, dealt\nherself a mortal wound and was burned on the funeral pyre beside Sigurd\nthe Volsung.\n\nIn time Gudrun became the queen of Atli, the Budlung. He, in order to\nobtain the hoard of Sigurd, which had passed into the hands of the\nNibelungs,--Gudrun's brothers,--bade them visit him in Hunland. Fully\nwarned by Gudrun, they still accepted the invitation and, arriving at\nthe hall of Atli, were after a fearful conflict slain. But they did not\nsurrender the hoard--that lay concealed at the bottom of the Rhine.\nGudrun with the aid of Nibelung, her brother Hogni's son, in the end\nslew Atli, set fire to his hall, and brought ruin on the Budlung folk.\nThen leaping into the sea, she was borne with Swanhild, her daughter\nby Sigurd, to the realm of King Jonakr, who became her third husband.\nSwanhild, \"fairest of all women, eager-eyed as her father, so that\nfew durst look under the brows of her,\" met, by stress of love and\ntreachery, a foul end in a foreign land, trampled under foot of horses.\n\nFinally Gudrun sent her sons by Jonakr to avenge their half-sister's\ndeath; and so, bereft of all her kin and consumed with sorrow, she\ncalled upon her ancient lover, Sigurd, to come and look upon her, as he\nhad promised, from his abiding-place among the dead. And thus had the\nwords of her sorrow an end.\n\nHer sons slew Jormunrek, the murderer of Swanhild, but were themselves\ndone to death by the counsel and aid of a certain warrior, seeming\nancient and one-eyed,--Odin the forefather of the Volsungs,--the\nsame that had borne Sigi fellowship, and that struck the sword into\nBranstock of Volsung's hall, and that faced Sigmund and shattered\nGram in the hour of Sigmund's need, and that brought to Sigurd the\nmatchless horse Greyfell, and oft again had appeared to the kin of the\nVolsungs;--the same god now wrought the end of the Nibelungs. The hoard\nand the ring of Andvari had brought confusion on all into whose hands\nthey fell.\n\n=283. The Lay of the Nibelungs.=[371] In the German version of this\nstory--called the Nibelungenlied--certain variations of name, incident,\nand character appear. Sigurd is Siegfried, dwelling in Xanten near\nthe Rhine, the son of Siegmund and Siegelind, king and queen of the\nNetherlands. Gudrun is Kriemhild, sister of Gunther (Gunnar), king\nof the Burgundians, and niece of Hagen (Hogni), a warrior of dark\nand sullen mien, cunning, but withal loyal and brave, the foe of\nthe glorious Siegfried. Siegfried weds Kriemhild, takes her to the\nNetherlands and lives happily with her, enjoying the moneys of the\nNibelungen hoard, which he had taken not from a dwarf, as in the Norse\nversion, but from two princes, the sons of King Nibelung. Meanwhile\nGunther dwells in peace in the Burgundian land, husband of the proud\nBrunhild, whom Siegfried had won for him by stratagem not altogether\nunlike that of the Norse story. For the Brunhild of the Yssel-land had\ndeclared that she would marry no man save him who should surpass her\nin athletic contest. This condition Siegfried, wearing the Tarnkappe,\na cloak that rendered him invisible, had fulfilled for Gunther. He had\nalso succored poor Gunther after his marriage with Brunhild. For that\nheroine, in contempt of Gunther's strength, had bound him hand and\nfoot and suspended him from a nail on their bedroom wall. By agreement\nSiegfried had again assumed Gunther's form and, after a fearful tussle\nwith the queen, had reduced her to submission, taking from her the\nring and girdle which were the secret sources of her strength, and\nleaving her to imagine that she had been conquered by her bridegroom,\nGunther. The ring and girdle Siegfried had bestowed upon Kriemhild,\nunwisely telling her at the same time the story of Brunhild's defeat.\nAlthough the Nibelungenlied offers no explanation, it is evident that\nthe injured queen of Yssel-land had recognized Siegfried during this\nungallant intrigue; and we are led to infer that there had been some\nprevious acquaintance and passage of love between them.\n\n[Illustration: FIG. 188. GUNTHER AND BRUNHILD.\n\nFrom the fresco by Julius Schnorr von Carolsfeld]\n\nAt any rate, Siegfried and Kriemhild, retiring to the Netherlands, were\nruling happily at Xanten by the Rhine; and all might have continued in\npeace had not Brunhild resented the lack of homage paid by Siegfried,\nwhom she had been led to regard as a vassal, to Gunther, his reputed\noverlord.\n\n In her heart this thought she fostered, deep in its inmost core;[372]\n That still they kept such distance, a secret grudge she bore.\n How came it that their vassal to court declined to go,\n Nor for his land did homage, she inly yearned to know.\n\n She made request of Gunther, and begged it so might be,\n That she the absent Kriemhild yet once again might see,\n And told him, too, in secret, whereon her thoughts were bent,--\n Then with the words she uttered her lord was scarce content.\n\n[Illustration: FIG. 189. SIEGFRIED AND KRIEMHILD\n\nFrom the fresco by Julius Schnorr von Carolsfeld]\n\nBut Gunther yielded, and Siegfried and Kriemhild were invited to Worms,\nnominally to attend a high festival.\n\n ... With what joy and gladness welcomed were they there!\n It seemed when came dame Brunhild to Burgundy whilere,\n Her welcome by dame Kriemhild less tender was and true;\n The heart of each beholder beat higher at the view....\n\n Received was bold Sir Siegfried, as fitted well his state,\n With the highest honors; no man bore him hate.\n Young Giselher and Gernot proffered all courtly care;\n Never met friend or kinsman reception half so fair.\n\nOne day at the hour of vespers certain knights proved themselves at\ntilting in the regal courtyard. Conspicuous among these was Siegfried.\nAnd the proud queens sitting together were thinking each on the good\nknight that she loved full well. Then outspoke fair Kriemhild, \"My\nhusband is of such might that surely he should rule these realms\";\nBrunhild answered, \"So long as Gunther lives that can never be.\"\n\n ... Thereto rejoined fair Kriemhild, \"See'st thou how proud he stands,\n How proud he stalks, conspicuous among those warrior bands,\n As doth the moon far-beaming the glimmering stars outshine?\n Sure have I cause to pride me when such a knight is mine.\"\n\n Thereto replied queen Brunhild, \"How brave soe'er he be,\n How stout soe'er or stately, one greater is than he.\n Gunther, thy noble brother, a higher place may claim,\n Of knights and kings the foremost in merit and in fame.\"\n\nSo began the altercation. It attained its climax the same day, when\neach queen attempted to take precedence of the other in entering the\ncathedral for the celebration of the mass.\n\n Both met before the minster in all the people's sight;\n There at once the hostess let out her deadly spite.\n Bitterly and proud she bade fair Kriemhild stand;\n \"No vassaless precedeth the lady of the land.\"\n\nThen, full of wrath, Kriemhild, in terms anything but delicate,\nacquainted her haughty sister-in-law with the deception that had\ntwice been practiced upon her by Siegfried and Gunther; nay, worse,\ncorroborated her statement by displaying both ring and girdle that\nBrunhild had lost. The altercation came to the ears of the kings.\nGunther made complaint to Siegfried. Then,\n\n ... \"Women must be instructed,\" said Siegfried, the good knight,\n \"To leave off idle talking and rule their tongues aright.\n Keep thy fair wife in order, I'll do by mine the same.\n Such overweening folly puts me indeed to shame.\"\n\nBut it was too late to mend the matter. With devilish intent Brunhild\nplotted vengeance. Siegfried, the author of her mortification, must\ndie the death. The foes of Siegfried persuaded his wife, unaware of\ntheir design, to embroider in his vesture a silken cross over the one\nspot where the hero was vulnerable. Then the crafty Hagen, who had been\nsuborned by Brunhild to the baleful deed, bided his time. One day,\nGunther, Hagen, and Siegfried, heated in running, stayed by a brook to\ndrink. Hagen saw his chance.\n\n ... Then, as to drink, Sir Siegfried down kneeling there he found,\n He pierced him through the crosslet, that sudden from the wound\n Forth the life-blood spurted, e'en o'er his murderer's weed.\n Nevermore will warrior dare so foul a deed....\n\n ... With blood were all bedabbled the flowerets of the field.\n Some time with death he struggled as though he scorned to yield\n E'en to the foe whose weapon strikes down the loftiest head.\n At last prone in the meadow lay mighty Siegfried dead.\n\nBrunhild glories in the fall of Siegfried and exults over the mourning\nwidow. Kriemhild, sitting apart, nurses schemes of vengeance. Her\nbrothers affect to patch up the breach in order that they may obtain\nthe hoard of the Nibelungs. But this treasure, after it has been\nbrought to Worms, is sunk, for precaution's sake, by Hagen, in the\nRhine. Although in time Kriemhild becomes the wife of King Etzel\n(Atli, Attila) of Hunland, still she does not forget the injury done\nher by her kin. After thirteen years she inveigles her brothers and\ntheir retainers, called now Nibelungs because of their possession of\nthe hoard, to Etzel's court, where, after a desperate and dastardly\nencounter, in which their hall is reduced to ashes, they are all\ndestroyed save Gunther and Hagen. Immediately, thereafter, Gunther's\nhead is cut off at her orders; and she herself, with Siegfried's sword\nBalmung, severs the head of the hated Hagen from his body. With these\nwarriors the secret of the hidden hoard passes. Kriemhild, having\nwreaked her vengeance, falls by the hand of one of her husband's\nknights, Hildebrand, who, with Dietrich of Bern, had played a prominent\npart among the associates of King Etzel.\n\n \"I cannot say you now what hath befallen since;\n The women all were weeping, and the Ritters and the prince,\n Also the noble squires, their dear friends lying dead:\n Here hath the story ending; this is the Nibelungen's Need.\"[373]\n\nFOOTNOTES:\n\n[369] For the Sagas, see \u00a7 300; and for translations, etc., see \u00a7 282\nof the Commentary.\n\n[370] The extracts in verse are from William Morris' Sigurd the Volsung.\n\n[371] For Records of German Mythology, see \u00a7 301, below; for literature\nand translations, see \u00a7\u00a7 283 and 301 of the Commentary.\n\n[372] The extracts in verse are, unless otherwise stated, from the\ntranslation by W. N. Lettsom, London, 1890. Werner Hahn's Uebersetzung\nhas also been used.\n\n[373] From Carlyle's translation of fragments of the poem.\n\n\n\n\nCHAPTER XXIX\n\nTHE RING OF THE NIBELUNG\n\n\n=284. Wagner's Tetralogy.= In his famous Ring of the Nibelung the\nGerman composer, Richard Wagner, returns to the Norse version of the\nstories recounted in the chapter preceding this. He is responsible\nnot only for the musical score of the four operas of which the Ring\nconsists, but for the text and scenic arrangement as well. As musical\ndramas the four plays constitute the grandest series of the kind that\nthe world possesses. But even if they were not wedded to such music,\nthe _Rhine-gold_, the _Valkyrie_, the _Siegfried_, and the _Twilight_\n(or _Dusk_) _of the Gods_ would be entitled, for creative invention,\nimaginative insight and power, and poetic diction, to rank with notable\ndramas, ancient or modern. The tetralogy (or series of four) presents\nthe whole story of the accursed Nibelung gold, from that dawn when it\nwas wrested from the daughters of the Rhine to that dusk when it was\nrestored, having wrought meanwhile the doom of Nibelungs, Volsungs, and\nthe gods themselves.\n\n=285. The Rhine-gold.= We are at the bottom of the Rhine: a greenish\ntwilight, and moving water, and everywhere sharp points of rocks\njutting from the depths. Around the central rock three Rhine-daughters\nswim, guarding it carefully, but laughing and playing, and chasing one\nthe other as they guard. To them from a chasm climbs Alberich, the\nNibelung, he who in the old Norse lay was known as Andvari. He views\nthe maidens with increasing pleasure. He addresses them, he clambers\nafter them, he strives to catch them; they lure him on, they mock him\nand escape his grasp; he woos them each in turn, all unsuccessfully. He\ngazes upward--\"Could I but catch one\"; then once more failing, remains\nin speechless rage. Rage soon transformed to wonder: for through the\nwater from above there filters a brightening glow, a magical light,\nstreaming from the summit of the central rock where in the splendor of\nthe morning sun the Rhine-gold laughs a-kindle.\n\n \"What is it, ye sleek ones,\n That there doth gleam and glow?\"[374]\n\nHas he never heard of the Rhine-gold? they ask. Of the wondrous star\nwhose glory lightens the waves? He has not. He scorns it.\n\n\"The golden charm,\" cries one of the maidens,--\n\n \"The golden charm\n Wouldst thou not flout\n Knewest thou all of its wonders.\"\n\n\"The world's wealth,\" jeers another,\n\n \"Could be won by a man\n If out of the Rhine-gold\n He fashioned the Ring\n That measureless might can bestow...\n He who the sway\n Of love forswears,\n He who delight\n Of love forbears,\n Only he can master the magic\n That forces the gold to a ring!\"\n\n\"But we fear not thee--oh, no--for thou burnest in love for us.\"\n\nSo, lightly sing the Rhine-daughters; but Alberich, with his eyes on\nthe gold, has heeded well their chatter. \"The world's wealth,\" he\nmutters; \"might I win that by the spell of the gold? Nay, though love\nbe the forfeit, my cunning shall win me delight.\" Then terribly loud he\ncries,\n\n \"Mock ye, mock on!\n The Nibelung neareth your toy;--\"\n\nthen, clambering with haste to the summit,\n\n \"My hand, it quenches your light;\n I wrest from the rock your gold;\n I fashion the ring of revenge;\n Now, hear me, ye floods--\n Accurs\u00e8d be love henceforth.\"\n\nTearing the gold from the rock, he plunges into the depths and\ndisappears. After him dive the maidens. In vain. Far, far below, from\nNibelheim rises the mocking laughter of Alberich, Lord of the Gold.\n\nThe scene changes. An open space on a mountain height becomes visible.\nThe dawning day lights up a castle, glittering with pinnacles, on\nthe top of a cliff. Below flows silent the Rhine. At one side, on a\nflowery bank, Wotan (Odin), king of the gods, lies sleeping, and Fricka\n(Frigga) his wife. They wake. Wotan turns toward his castle, new-built\nby the giants, and exults; but Fricka reminds him of the terrible price\nthat is yet to be paid for its building,--none other, forsooth, than\nthe person of Freia, the fair one, the goddess of spring and love, she\nwho tends the garden of the gods, and whose apples, eaten from day to\nday, confer eternal youth,--she is the wage that the giants will claim.\n\n\"I mind me well of the bargain,\" returns Wotan, \"but I give no thought\nto fulfill it. My castle stands; for the wage--fret not thyself.\"\n\n\"Oh, laughing, impious lightness,\" reproves him Fricka, \"thy bargain is\nfast, and is still to rue.\"\n\nNay, on the moment rushes Freia to them, pleading, pursued by the\ngiants. \"Give her to us!\" they cry,--Fasolt and Fafner, mighty twain\nthat unslumbering had reared the walls of Wotan's castle, to win them a\nwoman, winsome and sweet.\n\n\"Now pay us our wage!\"\n\n\"Nay,\" coolly answers Wotan, \"other guerdon ask. Freia may I not grant!\"\n\nBut the giants insist. They accuse the god of faithlessness. He jests\nwith them, temporizing, awaiting anxiously the arrival of Loge (Loki),\nspirit of cunning, at whose suggestion that bargain had been struck.\nFor even then Loge had secretly assured Wotan that Freia should in the\nemergency be ransomed. The giants, indignant at the delay, press on\nFreia. She calls on her brothers, Froh (Freyr) and Donner (Thor). They\nrush to her rescue: Froh clasps the fair one; Donner plants himself\nbefore the importunates.\n\n\"Know ye the weight of my hammer's blow?\" thunders he.\n\nThere is battle in the air.\n\nThen enters Loge, demon of fire, mischief-maker, traitor, and thief,\nwhom long ago Wotan had lifted from his evil brood and of him made a\nfriend and counselor.\n\n\"Now hear, crabb\u00e8d one; keep thy word,\" says Wotan, sharply.\n\nLoge appears to be nonplussed. He has restlessly searched to the ends\nof the world to find a ransom for Freia; \"but naught is so rich that\ngiant or man will take it as price for a woman's worth and delight.\" He\nhas sought amid the forces of water and earth and air; \"but naught is\nso mighty that giant or man will prefer it above a woman's worth and\ndelight!\" And yet,--slyly Loge lets fall the word,--there is the ruddy\nGold:\n\n\"Yea, one I looked on, but _one_, who love's delights forswore, for\nruddy gold renouncing the wealth of woman's grace.\"\n\nAnd he recounts the marvels of the Rhine-gold. The giants offer to take\nit in lieu of Freia; nay, gods and goddesses as well are held by the\ncharm of the glittering hoard; by the lure, and the dread too, of the\nRing that, once fashioned, gives measureless might to its lord. Even\nnow, doubtless, he who has forsworn love has muttered the magic rune\nand rounded the sovereign circlet of gold. If so, the gods themselves\nshall be his slaves,--slaves of the Nibelung Alberich.\n\n\"The ring I must win me,\" decides Wotan.\n\n\"But at the cost of love?\" queries Froh.\n\nLoge counsels the theft of the gold from Alberich and its restoration\nto the daughters of the Rhine. But the gods are not thus far-sighted,\nand the giants insist upon the hoard as their due. They seize Freia,\nand bear her away as pledge till that ransom be paid....\n\n \"Alack, what aileth the gods?\"\n\nIt is Loge who speaks. A pale mist falls upon the scene, gradually\ngrowing denser. The light of the heavenly abodes is quenched. Wotan\nand all his clan become increasingly wan and aged. Freia of the Garden\nis departed: the apples of youth are decaying; \"old and gray, worn and\nwithered, the scoff of the world, dies out the godly race!\"\n\n\"Up, Loge,\" calls Wotan, dismayed, \"descend with me. To Nibelheim go we\ntogether. To win back our youth, the golden ransom must I gain.\"\n\nThe scene changes to Nibelheim, the subterranean home of the Nibelungs.\nWotan and Loge find Mime, Alberich's brother, bewailing the fate of\nthe Nibelungs--for Alberich has fashioned the Ring and all below groan\nunder his tyranny. Even now, reluctantly indeed, Mime is forging the\n_Tarnhelm_ for his tyrant brother,--a wishing-cap by whose magic the\nwearer may transfer himself through space and assume whatever form he\nplease, or make himself invisible, at will. Alberich, in the flush\nof power, enters, driving before him with brandished whip a host\nof Nibelungs from the caverns. They are laden with gold and silver\nhandiwork. At Alberich's command they heap it in a pile. He draws the\nRing from his finger; the vanquished host trembles and, shrieking,\ncowers away.\n\n\"What seek ye here?\" demands he, looking long and suspiciously at Wotan\nand Loge.\n\nThey have heard strange tidings, says Wotan, and they come to see the\nwonders that Alberich can work. Then Loge induces the Nibelung lord to\nexhibit the virtues of the Tarnhelm. Readily beguiled, he displays his\nnecromantic power. First he transforms himself into a loathly dragon.\nThe gods pretend dismay:--he can make himself great; can he make\nhimself small, likewise? \"Pah, nothing simpler! Look at me now!\" He\ndons the Tarnhelm, and lo, a toad!\n\n\"There, grasp quickly,\" says Loge. Wotan places his foot on the toad,\nand Loge seizes the Tarnhelm. Alberich becomes visible in his own form,\nwrithing under Wotan's foot. The gods bind him and drag him to the\nchasm by which they had descended.\n\nThe scene changes to the open space before Valhalla. Alberich, dragged\nin by Loge, is forced to deliver up the hoard and the Tarnhelm and the\nRing. Wotan contemplates the Ring and puts it on. Alberich is set at\nliberty.\n\n\"Am I now free?\" cries he, \"free in sooth? Thus greets you then my\nfreedom's foremost word: As by curse it came to me, accursed forever be\nthis Ring! As its gold gave measureless might, let now its magic deal\ndeath to its lord. Its wealth shall yield pleasure to none. Care shall\nconsume him who doth hold it. All shall lust after its delights; yet\nnaught shall it boot him who wins the prize! To its lord no gain let\nit bring; and forever be murder drawn in its wake, till again once more\nin my hand, rewon, I hold it!\"\n\nSo the baffled Nibelung curses, and departs. Then enter Fricka, Donner,\nand Froh, followed soon by the giants, who bring Freia back. They\nrefuse, Fasolt and Fafner, to release the fair goddess until she is\nfully redeemed; and they claim not only Tarnhelm and gold, but Ring as\nwell. With the Ring Wotan refuses to part. In that moment rises from\na rocky cleft the goddess of the earth, Erda, the beloved of heaven's\ngod, and mother by him of the Valkyries.\n\n\"Yield it, Wotan, yield it,\" she cries warningly. \"Flee the Ring's\ndread curse.\"\n\n \"What woman warneth me thus?\"\n\n\"All that e'er was, know I,\" pronounces Erda:\n\n \"How all things are;\n How all things shall be.\n Hear me! hear me! hear me!\n All that e'er was, endeth:\n A darksome day\n Dawns for your godhood!\n Be counseled; give up the Ring.\"\n\nShe vanishes, the all-wise one; and Wotan surrenders the Ring. Freia\nis redeemed, and the gods glow again with youth. No sooner have the\ngiants gained possession of the Ring than they proceed to quarrel over\nit. Fafner strikes out with his staff and stretches Fasolt on the\nground. From the dying man he hastily wrests the Ring, puts it into his\nsack, and goes on quietly packing the gold. In a solemn silence the\ngods stand horrified. Care and fear fetter the soul of Wotan. That he\nmay shake himself free of them he determines to descend to Erda; she\nyet can give him counsel. But first,--for Donner has cleared with his\nthunder and lightning the clouds that had overspread the scene,--he\nwill enter \"Valhalla,\" his castle, golden-gleaming in the evening\nsunlight.\n\n\"What meaneth the name, then?\" asks Fricka, as they cross the rainbow\nbridge.\n\nWotan evades the question, for he still dreads the curse pronounced\nby the Nibelung upon all who have owned the Ring; and that name,\n\"Valhalla,\" indicates just the means by which he hopes to escape the\ncurse. He has thought to avert the doom of the gods by gathering in\nthis Valhalla, or Hall of the Slain, the spirits of heroes fallen in\nbattle--especially of heroes of a race that shall spring from himself,\nthe Volsungs (or W\u00e4lsungs) yet to be born. They shall do battle for the\ngods when sounds the crack of doom. But of all this Wotan says naught.\nHe will say in the hour of his triumph.\n\nAs the gods enter Valhalla the plaints of the Rhine-maidens for the\nloss of their gold arise from the river below.\n\n=286.= In =The Valkyrie= Wotan proceeds with his plan. During his\nwanderings on earth, under the name of W\u00e4lse, he has become the father\nof twin children, Siegmund and Sieglinde. These have, in early youth,\nbeen separated by the murderous turmoil of warring clans, but now they\nare to be reunited; and Wotan, with a primitive disregard of the fact\nthat they are brother and sister, intends to make them man and wife,\nin order that from them may issue the heroic race that, in the latter\ndays, shall defend Valhalla from the onslaught of the powers of evil.\n\nThe play opens with the interior of a woodland lodge. In the center\nrises the stem of a mighty ash tree, about which has been built an\napartment of roughly hewn logs. It is toward evening and a violent\nthunderstorm is just subsiding. This is the home of Hunding, chieftain\nof the Neiding clan. The door opens, and Siegmund, flying from his\nenemies, wounded and weaponless, enters. Seeing no one, he closes the\ndoor, strides toward the fire, and throws himself wearily down on a\nbearskin:\n\n \"Whoe'er own this hearth,\n Here must I rest me.\"\n\nHe remains stretched out motionless. A woman enters from an inner\nchamber. It is Sieglinde. She takes compassion on the helpless\nfugitive, admires his noble bearing, gives him drink, and bids him\ntarry till her husband be home. They gaze upon each other with\never-increasing interest and emotion. Suddenly Siegmund starts up as if\nto go.\n\n\"Who pursues thee?\" she inquires.\n\n\"Ill fate pursues where'er I go. To thee, wife, may it never come.\nForth from thy house I fly.\"\n\nShe calls him back. \"Then bide thou here. Thou canst not bring ill fate\nwhere ill fate already makes its home.\"\n\nHe leans against the hearth. Again the eyes of the twain meet.\n\nHunding enters, regards the stranger with suspicion, notes the\nresemblance between him and Sieglinde; but he consents to harbor him\nfor the night.\n\n\"Thy name and fortune?\"\n\n\"Wehwalt,\" says Siegmund, \"for woe still waits on my steps; Wehwalt,\nthe son of Wolfe.\" And thus concealing his race, he tells a story in\nother respects true: how in his childhood a cruel host had laid waste\nhis home and killed his mother and carried away the sister who was his\ntwin, and how he and his father, the Wolf, for years had battled in the\nwoodlands against the Neidings.\n\nThe Neidings! They are Hunding's clan.\n\n\"My house holds thee, W\u00f6lfing, to-night. To-morrow defend thee; with\ndeath thou shalt pay for this life!\" And Hunding withdraws, Sieglinde\nwith him.\n\nSiegmund is weaponless. The firelight sends a sudden glow upon the\nash tree, and a sword-hilt there sends back an answering gleam. But\nSiegmund knows not what it means. Clad in white, Sieglinde steals from\nthe inner room. She has left Hunding asleep, overcome by a slumberous\ndraft.\n\n\"Thy coming is life,\" cries Siegmund.\n\n\"A weapon, now, let me show thee,\" she replies. And she tells how, on\nthe day of her unhappy wedding, a stranger, all in gray, low-hatted and\none-eyed, had entered the Hunding hall and struck into the ash stem a\nsword that none but the bravest of heroes could win, and how all in\nturn had tried in vain to draw forth the sword. Now she knows for whom\nit was ordained,--\n\n\"It was for thee, my deliverer, my hero held in my arms!\"\n\nThey embrace. He declares his lineage. He is son of him whose eye\nproudly glistened from under the low-brimmed hat,--son of W\u00e4lse,\nthe wanderer. He is Siegmund, the Victorious. For him, the sword\nNothung.--And he draws it easily forth.\n\n\"Art thou Siegmund?\" she cries; \"Sieglinde am I. Thine own twin sister\nthou winnest at once with the sword.\"\n\n\"Bride and sister be to thy brother; then nourish the W\u00e4lsungs for aye!\"\n\nSo the twain make their compact.\n\nIn the second act we are transported to a wild and rocky place. Before\nWotan, fully armed and carrying his spear, stands Br\u00fcnnhilde, the\nwarrior maid, likewise fully armed. She is one of the nine Valkyries,\ndaughters of Wotan and Erda, fostered for battle that they might\nforfend the doom foretold by Erda herself,--the shameful defeat of the\ngods. Well have the Valkyrs, choosers of the slain, performed their\ntask, stirring mortal hearts to battle and riding through the air above\nto designate the bravest for death, and with their spirits to fill the\nhalls on Valhalla's height. Now, however, Wotan is ordering Br\u00fcnnhilde\nto haste to the fray,--not on death's errand but on errand of life,--to\nshield Siegmund the W\u00e4lsung in the fight. The Valkyrie springs shouting\nfrom rock to rock, and disappears behind the mountain crags.\n\nAll seems to be arranged. But lo, Fricka, in her ram-drawn car! She\ndescends and strides toward her scheming spouse. The goddess has heard\nthe cry of Hunding, calling for vengeance on the twinborn pair who\nhave rashly wrought him wrong; and as guardian of wedlock she demands\nthe death of Siegmund in the coming conflict. Wotan tries to persuade\nher that Siegmund's success is needful to the gods,--the warrior band\nof mortal souls gathered by the Valkyries in the heights of Valhalla\ncannot alone suffice to avert the onslaught of the powers of darkness.\n\n\"Needed is one who, free from help of godhood, fights free of the\ngodhead's control. Only such an one is meet for the deed which is\ndenied to a god to achieve.\"\n\nBut Fricka is not to be deceived nor thwarted in her aim. She brushes\naside the plea of Wotan and his subterfuge,--who has ever heard\nthat heroes can accomplish what the gods cannot? And as for heroes\nunaided--none such is Siegmund.\n\n\"Who was it,\" she asks, \"that brought him his conquering sword? and\nwhose shield is ordained to cover him in the fight?\"\n\n\"I cannot o'erthrow him,\" breaks out Wotan; \"he has found my sword.\"\n\n\"Destroy its magic then,\" retorts the implacable queen. \"Give word to\nthy shouting war-maid that Siegmund fall!\"\n\nWotan is conquered. Sadly he revokes the order given to Br\u00fcnnhilde.\n\n\"Then takest thou from Siegmund thy shield?\" cries that one in\namazement.\n\nAnd the god: \"Yea! though Alberich's host threaten our downfall; though\nagain the Ring be won by the Nibelung, and Valhalla be lost forever.\nBy bargains bound myself, I may not wrest the Ring from the foeman,\nfrom Fafner the giant. Therefore, to fulfill my purpose, I had thought\nto create a Free One who for me should fight. Now, with loathing, I\nfind ever myself in all my hand has created. The Other for whom I\nhave longed, that Other I never shall find. Himself must the Free One\ncreate him; my hand shapes nothing but slaves. For when this hand of\nmine touched Alberich's Ring, my heart grew greedy of gold. I fled\nfrom the curse, but the curse flies not from me. What I love best must\nI surrender; whom most I cherish, I must slay. One thing awaits me\nyet--the downfall! Yea, that portended Erda,--Erda, the all-wise.\n\n\"'When the dusky foe,' she said,--\n\n 'When the dusky foe of love\n Grimly getteth a son,\n The doom of the gods\n Delays not long!'\n\nAnd of late I have heard that the Nibelung has bought him a wife. Their\nson shall inherit,--their son, the child of spite, shall inherit the\nempty pomp of the gods!\"\n\nIt was of Hagen, yet unborn, the baleful curse of the Volsungs, of\nHagen, the traitor, that Erda had prophesied. And thus dimly is\nforeshadowed the Twilight of the Gods.\n\nBut Br\u00fcnnhilde?\n\n\"Siegmund thou hast taught me to love,\" murmurs the Valkyrie. Then\nboldly,--\n\n\"For his sake thy wavering word I defy!\"\n\nThe war-father turns in wrath upon this new rebellion, and on pain of\neternal penalty enjoins upon his daughter her new duty:\n\n\"Fight truly for Fricka! Siegmund strike thou! Such be the Valkyrie's\ntask!\"\n\nThe war-maid seeks out Siegmund and announces to him his approaching\ndeath. But that hero's distress at the thought of parting from\nSieglinde stirs her to the quick. And, in the moment of battle,\nBr\u00fcnnhilde disobeys the All-father's injunction;--she shields the\nwarrior whom she loves. Then suddenly appears Wotan, standing over\nHunding and holding his spear across in front of Siegmund.\n\n\"Go back from the spear! In splinters the sword!\" shouts the god.\n\nIn terror Br\u00fcnnhilde sinks back. Siegmund's sword breaks on the\noutstretched spear, and Hunding pierces the Volsung's breast.\nBr\u00fcnnhilde hastily gathers the bits of the broken sword, lifts\nSieglinde to horse, and escapes through the gorges behind.\n\nThe scene changes to the Valkyries' rocky home. Through the drifting\nclouds come riding the eight sisters of Br\u00fcnnhilde, in full armor\neach, and each bearing before her the body of some slain hero. They\nawait Br\u00fcnnhilde. She, fleeing from Wotan's pursuit, at last arrives.\nShe implores them to shield Sieglinde from the wrath of the god, but\nunsuccessfully; and then she urges Sieglinde to fly. At first, benumbed\nby despair, the widowed woman refuses; but when Br\u00fcnnhilde mentions the\nchild that is to be born--the world's most glorious hero--she consents.\n\n\"Him thou shalt bear, thy son and Siegmund's. For him ward thou\nwell these mighty splinters of his father's sword. He shall weld\nthem anew and swing the victorious blade! His name from me let him\ntake--'Siegfried'; for Siegfried in _triumph_ shall live!\"\n\nComforted and hopeful, Sieglinde betakes herself to that forest far to\nthe east, where the Nibelung's hoard had been borne by Fafner. There,\nin dragon's form, he guarded the gold and the Ring; and thither Wotan\nis not likely to pursue.\n\nIt thunders and lightens. Wotan, raging terribly, strides from crag to\ncrag. The other Valkyries are driven from the scene. Br\u00fcnnhilde hears\nher doom:\n\n \"The heavenly host\n No more shall know thee;\n Outcast art thou\n From the clan of the gods:\n The bond by thee has been broken;\n Henceforth from sight of my face art thou banned!\"\n\nImmortal, she had followed the might of love; mortal, now she shall\nsleep, and that sleep shall endure till one comes to awaken her; and to\nhim, whosoe'er it may be, she shall be subject thenceforth.\n\nThe Valkyrie drops to her knees:\n\n\"Ah, let no craven awake me!\" she cries. \"Surround me with horrors,\nwith fires that shall fright: that none but the most fearless of heroes\nmay find me here on the fell!\"\n\nWotan accedes to her petition. He kisses her on both eyes and lays her\nunconscious, asleep, in the shade of a broad-branching fir tree. Then,--\n\n \"Appear! Come, waving fire,\n And wind thee in flames round the fell!\n Loge, Loge, appear!\"\n\nA sea of flames encircles the spot, and Wotan proclaims:\n\n \"He who my spear-point's\n Sharpness feareth\n Shall cross not this flaming fire!\"\n\nAlone, under her long steel shield, sleeps the Valkyrie.\n\n=287. Siegfried.= The drama of Siegfried opens in the cavern of Mime,\nin the forest \"far to the east\" to which Sieglinde had fled. Mime,\nthe dwarf, is he whom erstwhile his Nibelung brother, Alberich, then\nlord of the Ring, had held in thrall at the bottom of the Rhine. Some\nyears before the events represented in this play, the dwarf had found\nSieglinde dying in the woods, and had received from her Siegfried,\nher new-born son, and with him the pieces of Siegmund's broken sword,\nNothung.\n\nYoung Siegfried, noble, proud, and strong, has been nurtured in\nignorance of his lineage and destiny, as Mime's son. But of that\nlineage and destiny the cunning dwarf is well aware; and while he\ntrains Siegfried to doughty deeds, he ceaselessly forges at the\nsplinters of the sword, hoping to reweld them himself and through\nSiegfried's might to win victory over Fafner, the present lord of the\nRing, and so achieve unmeasured wealth and the mastery of the world.\nBut Siegfried despises his foster-father and seeks ever to discover the\nstory of his own descent. The attempts of Mime to shape anew the pieces\nof Nothung fail; and he daily forges other swords, which Siegfried\nscorns and breaks at the first trial. In the course of time, however,\nthere comes to Mime's cave a \"Wanderer\"--it is Wotan himself--and tells\nthe dwarf that only one, a man who knows not fear, can remake the\nall-conquering sword. He tells him, too, of the mighty spear, fashioned\nof the world ash tree's hallowed branches, with which he, Wotan, rules\nthe earth. But no word he says of the doom that is to befall that spear\nat the blow of the conquering sword,--the doom, forsooth, of the gods\nthemselves.\n\nMime, after trying in vain to arouse in Siegfried the sense of fear,\nsuggests to the youth that he try to reforge Nothung. Siegfried seizes\nthe splinters, pounds them, and files them to powder; melts them\nover the charcoal of the ash tree's stem, and, singing at his work,\nrefashions the sword. While this is doing, through the pauses of\nSiegfried's song can be heard the voice of Mime, muttering: \"The sword\nwill be forged ... and Fafner vanquished.... When Siegfried has slain\nthat dragon ... he will be athirst.... I will brew him a drink.... One\ndrop will lay him in sleep.... With the sword that he forges I'll kill\nhim.... Mine, then, the Ring and the hoard!\"\n\nAt last the sword is shaped and sharpened. Siegfried swings it before\nhim:\n\n\"Nothung, Nothung, conquering sword; again to life have I woke thee!\nStrike at the traitor, cut down the knave! See, Mime, thou smith; so\nsunders Siegfried's sword!\" and he strikes the anvil in twain from top\nto bottom. It falls asunder with a great noise, and the dwarf drops\nwith terror to the ground.\n\nThe scene changes to the forest in front of Fafner's cave. Alberich is\nwatching gloomily by, and the Wanderer rides in to taunt him with false\nhope of the Ring.\n\n\"A hero nears to set free the hoard,\" says the Wanderer. \"Fafner will\nfall. Perchance if Alberich warn the dragon, he may win the Ring in\ntoken of gratitude.\"\n\nAlberich makes the approaches. Fafner yawns: \"I have and I hold; let me\nslumber!\"\n\nWith scornful laughter the Wanderer rides away. But \"one day,\" snarls\nAlberich,--\"one day shall I see you all fade, ye light-hearted\neternals. The wise one keepeth his watch and surely worketh his spite!\"\n\nAs the day breaks Siegfried and Mime enter, Siegfried wearing his sword\nhung in a girdle of rope, and blithely blowing a horn. Fafner, in the\nshape of a huge lizardlike dragon, comes out of his cave and forward\nto the stream for water. At sight of the nonchalant youth piping his\nwood-notes gay, the monster emits a snort that serves his need of a\nlaugh,--\"I came for drink; now, too, I find food.\"\n\nThe conflict is speedily joined. More than once Siegfried is well-nigh\nlost; but his chance comes. The dragon exposes his heart, and Siegfried\nsinks his sword into it up to the hilt. In the moment of death, Fafner\nwarns the young hero to beware of him who stirred him to the fight.\nBut Siegfried pays little heed. The blood of the dragon bespatters his\nhand; it burns. Siegfried involuntarily carries his hand to his lips.\nThere is a wood bird singing. Siegfried regards him with astonishment.\n\"Almost,\" he says, \"it seems as wood birds were speaking to me,\" and he\nhearkens.\n\n\"Hei!\" sings the wood bird; \"now Siegfried owns all the Nibelung's\nhoard. Let him but search the cavern, and hoard, Tarnhelm, and Ring\nwill make him the lord of the world!\"\n\n\"Thanks, dearest birdling,\" Siegfried replies, and possesses himself of\nTarnhelm and Ring. The hoard he leaves where it was.\n\n\"Hei!\" sings the wood bird; \"Ring and Tarnhelm Siegfried has won. Now\nlet him not trust the treacherous tongue of the falsest of friends!\"\n\nNo sooner is that warning given than Mime, who has meanwhile been\nwrangling with Alberich over the division of the spoils, creeps forward.\n\n\"See, thou art weary; drink of the broth I have brewed, and take rest,\"\nhe says smilingly to Siegfried. But under his breath he is muttering,\n\"Drink, and choke thee to death,\" as he pours the draft into the drink\nhorn and offers it.\n\n\"Taste thou my sword, loathsome babbler!\" cries the young hero, and\nstrikes him dead at a blow; then pitches his body on top of the hoard\nand stops up the mouth of the cave with the grinning corpse of the\ndragon.\n\n\"Thanks, friendliest birdling! But happiness yet have I not. Brothers\nand sisters hast thou; but I--am so alone; nor brother nor sister, nor\nfather nor mother. One comrade had I; he laid out to catch me, and now\nI have slain him, perforce. Ah, birdling, find me a comrade true!\"\n\n\"Hei!\" chatters the wood bird; \"a glorious bride for Siegfried have I.\nOn a rocky fastness she sleeps, and guarded by fire is her home. Who\nfighteth the flames wakens the maid; Br\u00fcnnhilde, Br\u00fcnnhilde, he wins\nfor his own!\"\n\n\"Where'er thou fliest, follows my foot,\" shouts Siegfried, bubbling\nwith joy.\n\nThe scene changes. In a wild spot at the foot of a rocky mountain\nWotan, the Wanderer, desiring the success of Siegfried and still\nknowing that that success involves the doom of the gods, seeks counsel\nfrom Erda. The all-wise one refuses to answer,--refers him to the\nNorns. \"The Norns are waking, they wind the rope. The Norns will give\nthee answer!\"\n\n\"Ah, no!\" replies the Wanderer. \"Their weaving is ever in thrall to\nfate. To thee I come that I may learn how to stay the wheel that is\nalready rolling.\"\n\n\"Ask Br\u00fcnnhilde!\"\n\n\"In vain, All-wise One; the piercing sting of care was planted by thee.\nRuin and downfall were foretold by thee. Say to me, now, how a god may\nconquer his care!\"\n\n\"Thou art--_not_ what thou hast said.\" No more will Erda vouchsafe.\n\nNot what he has said! Then, surely, the gods are beyond redemption. But\nnot even so shall the harvest be reaped by the Nibelungs. \"Nay, to the\nVolsung shall be my heritage,\" decrees Wotan: \"to him who has known\nme never, though chosen by me; to the lad of dauntless daring, though\nuntaught by my counsel. Pure from greed, gladdened by love-dreams, he\nhas won the Nibelung's Ring. Against him the curse of Alberich cannot\navail.\"\n\nWhile yet the Wanderer is speaking, Erda descends to endless sleep.\nDawn illumines the scene. Siegfried's bird comes fluttering to the\nforeground, but, frighted by vision of the god, takes wing and\ndisappears. Siegfried presses on.\n\n\"My birdling has flown from my eyes,\" he remarks. \"I needs must find\nout the rock for myself.\"\n\n\"The way that the wood bird pointed,\" announces Wotan, encountering\nhim, \"shalt thou not pass!\"\n\n\"Ho ho! Wouldst thou stay me? Who art thou, then, that here\nwithstandest?\"\n\n\"Fear the fell's defender! By my might the slumbering maid is held\nenchained. He who should wake her, he who should win her, mightless\nwould make me forever. Go back, then, foolhardy boy!\"\n\nAs the Wanderer speaks, the splendor spreads from the flame-girdled\nrock above.\n\n\"Go back thyself, thou babbler! There where the fires are blazing,--to\nBr\u00fcnnhilde now must I hie!\" And Siegfried pushes forward.\n\nThe Wanderer bars the way to the mountain: \"Once already that sword of\nthine, Nothung, has broken on the haft of this sacred spear!\"\n\n\"'Tis, then, my father's slayer!\" thinks Siegfried; and nothing loath\nto face that foe, he raises the new-forged sword and strikes to pieces\nthe All-father's spear!\n\n\"Fare on,\" says Wotan, quietly picking up the fragments, \"I cannot\nwithstand thee.\"\n\nThe god vanishes in darkness. The hero, light-hearted, blowing his\nhorn, scales the cliffs, passes the fire,--wakes Br\u00fcnnhilde. She, at\nfirst, with maidenly might struggles against his passion for her and\nher growing tenderness for him. She deplores the byrnie, shield and\nhelm, symbols of her godhead, that he has torn from her. But, mortal\nnow, she surrenders to a mortal's love:\n\n \"O Siegfried, Siegfried, child of delight,\n Love thyself,--and turn thee from me;\n Oh, bring not thine own to naught!\"\n\nAnd Siegfried:\n\n \"I--love thee: didst thou but love me!\n Mine am I no more: oh, would that thou wert mine!...\n Waken, O maid; live in laughter:\n Sweetest delight, be mine, be mine!\"\n\nThen she, with a joyful cry:\n\n \"Oh, child of delight! Oh, glorious hero!\n Thou foolish lord of loftiest deeds!\n Laughing must I love thee,\n Laughing welcome my blindness;\n Laughing let us be lost,\n With laughter go down to death....\n Farewell, Valhalla's light-giving world:\n Thy stately towers let fall in dust!\n Farewell, O glittering pomp of the gods!\n Complete your bliss, eternal host!\n Now rend, ye Norns, your rope of runes:\n Dusk of Gods in darkness arise;\n Night of downfall dawn in mist!\"\n\nAnd thus, turning their backs on Valhalla, and radiant with the light\nof human love, the twain, laughing, face toward death.\n\n=288. The Twilight of the Gods.= The play opens with a prelude. By the\nValkyrie's rock sit the three Norns and sing of past, present, and\nfuture, weaving through the night their rope of runes. As they foretell\nthe burning of Valhalla and the end of the gods, the rope breaks, and\nthe Norns disappear into the earth.\n\nThe sun rises, and in the first act of the play Siegfried and\nBr\u00fcnnhilde enter from their cave. She sends him forth in quest of\nheroic adventures in the world, giving him her horse, Grane, and\nreceiving from him the Ring as a pledge of his love.\n\nThe scene changes, and we behold the interior of the Gibichungs' hall\non the Rhine. Gunther and Gutrune, his sister, are in converse with\nHagen, their half brother,--dark and treacherous son of Grimhilde,\ntheir mother, and of Alberich the Nibelung, erstwhile owner of the\nRing. Hagen alone knows, it would seem, that Siegfried has already\nridden through the flames and won Br\u00fcnnhilde. The others know merely\nthat that hero has slain Fafner and is lord of the Tarnhelm, hoard, and\nRing. Hagen, anxious to regain the heritage of the Nibelungs, urges\nmarriage on Gunther, naming Br\u00fcnnhilde as a fitting bride for him. As,\nhowever, Siegfried alone can pass through the fire to come at her,\nhe proposes that Gutrune shall win Siegfried's love and induce him\nto serve Gunther. Siegfried's horn is heard, and he presently enters\nand is made welcome. Gutrune, at the instigation of Hagen, brings\nSiegfried a potion which causes him to love her, and drives clean out\nof his mind all memory of Br\u00fcnnhilde. In the madness of his passion for\nGutrune, Siegfried swears blood-brotherhood with Gunther, and promises\nby the aid of the Tarnhelm to make Br\u00fcnnhilde Gunther's wife, if only\nin return Gutrune shall be his. The newly sworn \"brothers\" depart for\nBr\u00fcnnhilde's rock.\n\nIn the next scene we are again before the home of Br\u00fcnnhilde.\nWaltraute, a Valkyrie, comes to beg Br\u00fcnnhilde to give back the Ring to\nthe Rhine-maidens, and so avert the doom of the gods.\n\n\"What, then, aileth the immortals?\" cries Br\u00fcnnhilde in alarm.\n\n\"Since Wotan doomed thee, no more hath he sent us to war,\" replies\nWaltraute. \"No more hath he gathered the souls of the slain about him\nin Valhalla. Alone he has ridden unceasing through the world. But,\none day, home he came bearing his spear all splintered in his hand.\nWordless, with a sign he bade Valhalla's heroes hew the world ash tree\nin pieces and pile it like firewood around the Hall of the Blest. And\nfrom that hour silent he sits on his throne, about him the awe-struck\ngods and heroes, the war-maids cowering at his knees. None tastes the\napples of youth. To-day Wotan remembered thee; his eye grew soft and,\nas dreaming, he spake:\n\n 'If once more the daughters of Rhine\n Should win from her finger the Ring,\n Of the load of the curse\n Were the world and immortals made free.'\n\nBr\u00fcnnhilde, yield up the Ring, and end all the grief of the world!\"\n\n\"The Ring?\" wails Br\u00fcnnhilde. \"Knowest thou what 'tis to me? One flash\nof its fire outvalues all heaven's delight; for the gleam of that Ring\nis Siegfried's love!\n\n \"From love I never shall turn;\n Of his love they never shall rob me,\n Though into ruins\n Valhalla's splendor should fall!\"\n\nThus Br\u00fcnnhilde refuses, and sends Waltraute away to take her defiance\nto Valhalla.\n\nBut retribution is swift, for on the moment Siegfried, changed to\nGunther's shape by the Tarnhelm, comes and claims Br\u00fcnnhilde as his\nbride. She resists and threatens him with the Ring. But now Siegfried,\nforgetful of the past, struggles for another with his own dear wife,\novercomes her, and wrests the Ring from her. He then commands her to go\ninto the cave, whither, after drawing his sword to lay between them as\nsymbol of his loyalty to Gunther, he follows her.\n\nThe second act is outside the Gibichungs' hall. It is early morning of\nthe next day. After a short scene in which the ever-plotting Alberich\nurges Hagen to get the Ring, Siegfried returns and tells Hagen and\nGutrune of the winning of Br\u00fcnnhilde and her approach with Gunther.\nHagen calls together the vassals to welcome Gunther and his bride.\nThe royal pair presently arrive and are received with loud acclaim.\nStraightway Br\u00fcnnhilde recognizes Siegfried (who, however, does not\nknow her) and, seeing the Ring on Siegfried's finger, she asks Gunther\nwhat he has done with the ring he took from her. His confusion reveals\nthe truth to her, and she proclaims that she is wedded to Siegfried and\nnot to Gunther. Siegfried swears on the point of Hagen's spear that her\naccusation is false. She repeats it, taking the same oath. Siegfried,\nGutrune, and their vassals go out to prepare for the double wedding\ncelebration; Gunther, Hagen, and Br\u00fcnnhilde remaining solemnly condemn\nSiegfried to death for what seems treachery to one and all. Hagen, left\nalone, glories in the prospect of regaining the Ring.\n\nThe third act discloses an open place on the banks of the Rhine. The\nthree Rhine-maidens pray to the sun for the return of the Rhine-gold.\nSiegfried, who has strayed from his companions on a hunting expedition,\ncomes to the river bank. The maidens unsuccessfully attempt, by wiles\nand warnings of ill fate, to get the Ring from him, and finally swim\naway, foretelling his death that very day. Gunther, Hagen, and their\nvassals come to the place, and all sit down to rest. At Hagen's\nsuggestion Siegfried relates the story of his life. But, lo! when he\ncomes to the episode of his first passage through the fire, a draft\ngiven him by Hagen restores his memory, and innocently he tells of the\nwaking and winning of Br\u00fcnnhilde. All start up in amaze; Hagen stabs\nSiegfried in the back with his spear, and steals away. Siegfried falls,\nand after a few words sung to Br\u00fcnnhilde, whom he sees as in a vision,\nhe dies. His body is placed on a bier and borne away by the vassals\nwith great pomp and state as the sun sets.\n\nIn the last scene we have the interior of the Gibichungs' hall as\nbefore. It is night. Gutrune comes from her chamber anxious for\nSiegfried. Presently Hagen's voice is heard calling for torches to\nlight the returning hunters. He enters and, in reply to Gutrune's\nquestions, tells her that Siegfried has been slain by a wild boar. Then\ncome the vassals, bearing Siegfried's body. It is placed on a bier in\nthe center of the hall. Hagen claims the Ring as his right for slaying\nSiegfried, but Gunther defies him to touch Gutrune's heritage. They\nfight and Gunther falls. As Hagen approaches the corpse to take the\nRing, the dead Siegfried raises his arm threateningly. All start back\nin horror, and just then Br\u00fcnnhilde enters and comes down to the bier.\nHere, after ordering a pyre to be built on the river bank, she sings\na funeral song over Siegfried. The body, from which she has taken the\nRing, is then placed on the pyre. Setting the Ring on her own finger,\nBr\u00fcnnhilde calls on the Rhine-maidens to take it in turn from her ashes:\n\n \"Let fire, burning this hand\n Cleanse, too, the Ring from its curse.\"\n\nShe applies the torch:\n\n \"So cast I the brand\n On Valhall's glittering walls.--\n When ye see in the kindling fire,\n Siegfried and Br\u00fcnnhild' consumed;\n When ye see the river-daughters\n Bear the Ring away to the deep:\n To northward then\n Look through the night!\n When the heaven there gleams\n With a holy glow,\n Then know ye all\n That Valhall's end ye behold!\"\n\nHer horse is brought. She mounts it and springs into the flames, which\nflare up and seize on the hall itself. The river overflows and rolls\nover the fire. The Rhine-maidens swim up and regain the Ring. Hagen\nrushes into the flood to get it from them, but is dragged down to the\ndepths by their arms as they swim away. In the sky is seen a vision of\nValhalla in flames.\n\nThe breed of the gods is gone like breath. The loveless Ring has\nworked its curse. Each in his turn its lords have bitten the dust. And\nBr\u00fcnnhilde reads the moral:\n\n \"Not goods nor gold\n Nor glory of gods\n Can fashion a blessing for weal,\n Can win a blessing from woe,--\n But Love alone!\"\n\nFOOTNOTES:\n\n[374] For the translations of the Ring, especially the verse, I am\nindebted to the edition of Frederick Jameson (Schott & Co., London).\n\n\n\n\nPART II\n\nTHE HISTORY OF MYTH.\n\n\n\n\nCHAPTER XXX\n\nTHE ORIGIN AND ELEMENTS OF MYTH\n\n\n=289. Kinds of Myth.= If we classify the preceding stories according\nto the reason of their existence, we observe that they are of two\nkinds,--explanatory and \u00e6sthetic.\n\n(1) _Explanatory myths_ are the outcome of na\u00efve guesses at the truth,\nof mistaken and superstitious attempts to satisfy the curiosity of\nprimitive and unenlightened peoples, to unveil the mysteries of\nexistence, make clear the facts of the universe and the experiences\nof life, to account for religious rites and social customs of which\nthe origin is forgotten, to teach the meaning and the history of\nthings. There are certain questions that nearly every child and\nevery savage asks: What is the world and what is man? Who made them?\nWhat else did the maker do? and what the first men? Whence came the\ncommodities of life? Why do we celebrate certain festivals, practice\ncertain ceremonials, observe solemnities, and partake of sacraments,\nand bow to this or the other god? What is death, and what becomes\nof us after death? The answers to such questions crystallized\nthemselves gradually into stories of the creation, of the gods, and\nof the heroes--forefathers of men, but magnified, because unfamiliar,\nmysterious, and remote.\n\nOld literatures abound in explanatory myths of so highly imaginative\na character that we moderns are tempted to read into them meanings\nwhich probably they never possessed. For the diverse and contradictory\nsignifications that have in recent years been proposed for one and the\nsame myth could not all, at any one time, have been entertained by the\nmyth-makers. On the other hand, the current explanations of certain\nmyths are sufficiently apparent to be probable. \"To the ancients,\"\nsays John Fiske,[375] \"the moon was not a lifeless body of stones and\nclods; it was the horned huntress Artemis, coursing through the upper\nether, or bathing herself in the clear lake; or it was Aphrodite,\nprotectress of lovers, born of the sea foam in the East, near Cyprus.\nThe clouds were not bodies of vaporized water; they were cows, with\nswelling udders, driven to the milking by Hermes, the summer wind;\nor great sheep with moist fleeces, slain by the unerring arrows of\nBellerophon, the sun; or swan-maidens, flitting across the firmament;\nValkyries hovering over the battle field to receive the souls of\nfalling heroes; or, again, they were mighty mountains, piled one above\nanother, in whose cavernous recesses the divining wand of the storm-god\nThor revealed hidden treasures. The yellow-haired sun, Ph[oe]bus, drove\nwesterly all day in his flaming chariot; or, perhaps, as Meleager,\nretired for awhile in disgust from the sight of men; wedded at eventide\nthe violet light ([OE]none, Iole) which he had forsaken in the morning;\nsank as Hercules upon a blazing funeral pyre, or, like Agamemnon,\nperished in a blood-stained bath; or, as the fish-god, Dagon, swam\nnightly through the subterranean waters to appear eastward again at\ndaybreak. Sometimes Pha\u00ebthon, his rash, inexperienced son, would take\nthe reins and drive the solar chariot too near the earth, causing\nthe fruits to perish, and the grass to wither, and the wells to dry\nup. Sometimes, too, the great all-seeing divinity, in his wrath at\nthe impiety of men, would shoot down his scorching arrows, causing\npestilence to spread over the land.\"\n\n(2) _\u00c6sthetic myths_ have their origin in the universal desire for\namusement, in the revulsion of the mind from the humdrum of actuality.\nThey furnish information that may not be practical, but is delightful;\nthey elicit emotion--sympathy, tears, and laughter--for characters and\nevents remote from our commonplace experience but close to the heart of\nthings, and near and significant and enchanting to us in the atmosphere\nof imagination that embraces severed continents, inspires the dead\nwith life, bestows color and breath upon the creatures of a dream, and\nwraps young and old in the wonder of hearing a new thing. The \u00e6sthetic\nmyth, first, removes us from the sordid world of immediate and selfish\nneeds, and then unrolls a vision of a world where men and things exist\nsimply for the purpose of delighting us. And the enduring measure of\ndelight which the \u00e6sthetic myth affords is the test of what we call its\n_beauty_.\n\nA myth, whether explanatory or \u00e6sthetic, is of unconscious growth,\nalmost never concocted with a view to instruction.\n\nAccording to their subjects, \u00e6sthetic myths are either historic or\nromantic. (_a_) If _historic_, they utilize events which have a\nskeleton of fact. They supply flesh and sinew of divine or heroic\nadventure and character, blood and breath of probability and\nimagination. In historic myths the dependence of gods, heroes, and\nevents upon the stern necessity of an overruling power, of fate or\nprovidence, is especially to be observed. Of this class is the Iliad of\nHomer.\n\n(_b_) If _romantic_, the myths are characterized by bolder selection or\ncreation of fundamental events; indeed, events appear to be chosen with\na view to displaying or developing the character of the hero. In such\nmyths circumstances are not so important as what the hero does with\ncircumstances. The hero is more independent than in the historic myth;\nhis liberty, his choice,--in judgment, in conduct, and in feeling,--his\nresponsibility, are the center of interest. In romantic myths like the\nOdyssey this sense of freedom does not impel the poet to capricious\nuse of his material. But lesser bards than Homer have permitted their\nheroes to run riot in adventures that weary the imagination and offend\nthe moral judgment.\n\n=290. Divisions of Inquiry.= We are next led to ask how these myths\ncame into existence, and how it is that the same myth meets us under\nvarious forms in literatures and among peoples widely separate in time\nand place. These are questions of the _Origin_ and _Distribution_ of\nmyths; and in this chapter we shall discuss the former.\n\n=291. Elements of the Myth.= The myths preserved in the literatures of\nmany civilized nations, such as the Greek, present to the imaginative\nand the moral sense aspects fraught with contradiction. In certain\nmyths the gods display themselves as beautiful, wise, and beneficent\nbeings; in others they indulge in cruel, foolish, and unbeautiful\npractices and adventures. These contradictory elements have been called\nthe reasonable and the senseless. A myth of Mother Earth (Demeter)\nmourning the loss of her daughter, the Springtide, is reasonable; a\nmyth of Demeter devouring, in a fit of abstraction, the shoulder of\nthe boy Pelops, and replacing it with ivory, is capricious, apparently\nsenseless. \"It is this silly, senseless, and savage element,\" as Max\nM\u00fcller says, \"that makes mythology the puzzle which men have so long\nfound it.\"\n\n=292. Reasonable Myths.= If myths were always reasonable, it would not\nbe difficult to reach an agreement concerning some way by which they\nmay have come into existence.\n\n_Imagination._ If we assume that the peoples who invented these\nstories of supernatural beings and events had, with due allowance\nfor the discrepancy in mental development, imaginations like our\nown, there is nothing in the history of reasonable myths to baffle\nour understanding. For, at the present time, not only children and\nsimple-minded men, like sailors or mountaineers, but cultivated men of\nordinary poetic sensibility, bestow attributes of life upon inanimate\nthings and abstract ideas. The sun is nowadays thirsty, the ship is\na woman, the clouds threaten, charity suffereth long, the waves are\nangry, time will tell, and death swallows all things. The sun still\nrises, and, as Mr. Jasper maintains, \"do move.\" By personification we,\nevery day, bestow the attributes of human beings upon inanimate nature,\nanimals, and abstractions. By our metaphors we perpetuate and diffuse\nthe poetic illusion; we talk not perhaps of the arrows of Apollo, but\nof a sunstroke; our poetry abounds in symbols of the moon, of the\nswift-wing\u00e8d wind, of the ravening sea. In our metonymies we use the\nsign for the thing signified, the crown for the king, the flag for the\nhonor of the country; and the crown and the flag are to-day possessed\nof attributes and individuality just as efficient as those that endowed\nthe golden handmaids of Vulcan or the eagle of Jove. Nor is hyperbole\nany less in use among us than it was among the ancients; we glorify\nour political heroes with superlatives, they dignified theirs with\ndivinity.\n\n_Belief._ But this resemblance in habits of imagination, while it\nmay help us to appreciate the mental condition of primitive peoples,\naccentuates the distinction between our imagination and theirs. They,\nat some time or other, believed in these personifications. We do not\nbelieve. But their belief is easier to comprehend when we remember\nthat the myths of savages are not a deliberate invention of any one\nindividual, but are constructed by generations of people, and that\nmany of them cluster about beings who were actually worshiped. Among\nprimitive nations the sense of awe in the presence of magnificent\nobjects of nature--mountains, the sky, the sun, the sea--is universal.\nIt springs from the fact that savages do not deem themselves superior\nto nature. They are not conscious of souls whose flight is higher\nthan that of nature. On the contrary, since sun, sea, and winds move,\nthe savage invests them with free will and personality like man's. In\nproportion, however, as their size is grander or their movement more\ntremendous, these objects must be possessed of freedom, personality,\nand power exceeding those of man. Why, then, should not the savage\nbelieve, of beings worthy of worship and fear and gratitude, all and\nmore than all that is accredited to man? Why not confer upon them human\nand superhuman passions and powers? If we were living, like the Greek\nof old, close to the heart of nature, such personification of natural\npowers would be more easy for us to appreciate.\n\n\"If for us also, as for the Greek,\" says Ruskin,[376] \"the sunrise\nmeans daily restoration to the sense of passionate gladness and of\nperfect life--if it means the thrilling of new strength through every\nnerve,--the shedding over us of a better peace than the peace of night,\nin the power of the dawn,--and the purging of evil vision and fear by\nthe baptism of its dew;--if the sun itself is an influence, to us also,\nof spiritual good,--and becomes thus in reality, not in imagination,\nto us also, a spiritual power,--we may then soon overpass the narrow\nlimit of conception which kept that power impersonal, and rise with the\nGreek to the thought of an angel who rejoiced as a strong man to run\nhis course, whose voice, calling to life and to labor, rang round the\nearth, and whose going forth was to the ends of heaven.\"\n\nRegarding thus the religious condition of the savage, we may comprehend\nthe existence of myths and his acceptance of them.\n\n=293. Unreasonable Myths.= But he would maintain this attitude of\nacceptance only in the matter of good and beneficent gods and of\nrighteous or reasonable myths.\n\nFor how could a human being believe of the god whom he worshiped and\nrevered, deeds and attributes more silly and more shameful than man\ncan conceive of his fellow man? When, therefore, we find senseless\nand shameless myths existing side by side with stories of the justice\nand righteousness of the same god, we must conclude that, since the\nworshiper could not believe both sets of attributes, he preserved his\nreligious attitude before the good god only by virtue of rejecting the\nsenseless myth.\n\nA man's religious belief would assist him to entertain only the\nreasonable myths. How, then, did the senseless and cruel stories come\ninto existence? And were they ever believed?\n\nThere are many answers to these questions. They may, however, be\nclassified according to the theory of civilization that they assume.\n\nAccording to the _Theory of Deterioration_, or Human Depravity, man,\nalthough he had in the beginning knowledge of common facts, pure moral\nand religious ideas, and true poetic conceptions, has forgotten, with\nthe lapse of time, the significance of words, facts, men, and events,\nadopted corrupt moral and religious notions, and given license to the\ndiseased imagining of untrue and unlovely conceptions.\n\nAccording to the _Theory of Improvement_, or Progress, man, beginning\nwith crude dreams and fancies about experience, life, the world, and\nGod, has gradually developed truer and higher conceptions of his own\nnature, of his relation to the world about him, of duty, of art, and of\nreligion.\n\n=294. Theory of Deterioration.= Let us consider first the\ninterpretations of mythology that assume a backward tendency in early\ncivilization. They are:\n\n(1) The _Historical_, or better called after its author, Euhemerus\n(B.C. 316), the _Euhemeristic_. This explanation assumes that myths\nof the gods are exaggerated adventures of historic individuals,\nchieftains, medicine men, heroes; and that supernatural events\nare distortions of natural but wonderful occurrences. In fact, it\nattributes to our forefathers a disease of the memory which prompted\nthem to pervert facts. Jupiter, Odin, and Hercules were accordingly men\nwho, after death, had been glorified, then deified, then invested with\nnumerous characteristics and adventures appropriate to their exalted\nconditions of existence.\n\nThe custom of worshiping ancestors, still existent in China and other\ncountries, is adduced in support of this method of investigating myths,\nand it is undoubtedly true that the method explains the origin and\ngrowth of some myths. But it accounts rather for the reasonable than\nthe senseless element of mythical adventure, while it fails to show how\nsavages come to exaggerate their heroes into beings entirely out of the\nrealm of that actual experience which is the basis of the historical\nassumption.\n\n(2) _The Philological Interpretation_[377] assumes also a disease\nof the memory by reason of which men misunderstand and confuse the\nmeanings of words, and misapply the words themselves. Professor Max\nM\u00fcller calls this affection a disease of language. In ancient languages\nevery such word as _day_, _night_, _earth_, _sun_, _spring_, _dawn_,\nhad an ending expressive of gender, which naturally produced the\ncorresponding idea of sex. These objects accordingly became in the\nprocess of generations not only persons, but male and female. As, also,\nthe phrases expressing the existence or the activity of these natural\nobjects lost their ancient signification under new colloquial coloring,\nprimitive and simple statements of natural events acquired the garb and\ndignity of elaborate and often incongruous narratives, no longer about\nnatural events, but about persons. Ancient language may, for instance,\nhave said _sunrise_ follows the _dawn_. The word for sun was masculine;\nthe word for dawn, feminine. In time the sentence came to mean,\nApollo, the god of the sun, _chases_ Daphne, the maiden of the glowing\ndawn. But the word, _Daphne_, meant also a laurel that burned easily,\nhence might readily be devoted to the god of the sun. So Daphne, the\nmaiden, assuming the form of Daphne, the laurel, escaped the pursuit\nof her ardent lover, by becoming the tree sacred to his worship.[378]\nThe merit of the philological method is, that, tracing the name of a\nmythical character through kindred languages, it frequently ascertains\nfor us the family of the myth, brings to light kindred forms of the\nmyth, discovers in what language the name was born, and sometimes,\ngiving us the original meaning of the divine name, \"throws light on the\nlegend of the bearer of the name and on its origin and first home.\"[379]\n\nBut unfortunately there is very often no agreement among scholars\nabout the original meaning of the names of mythical beings. The same\nname is frequently explained in half a dozen different ways. The same\ndeity is reduced by different interpreters to half a dozen elements of\nnature. A certain goddess represents now the upper air, now light, now\nlightning, and yet again clouds. Naturally the attempts at construing\nher adventures must terminate in correspondingly dissimilar and\nunconvincing results. In fine, the philological explanation assumes\nas its starting point masculine and feminine names for objects of\nnature. It does not attempt to show how an object like the ocean came\nto be male and not female, or how it came to be a person at all. And\nthis latter, in studying the origin of myths, is what should first be\nascertained. We must not, however, fall into the error of supposing\nthat the philologists look for the origin and growth of all myths in\nwords and the diseases of words. Max M\u00fcller grants that mythology does\nnot always create its own heroes, but sometimes lays hold of real\nhistory. He insists that mythologists should bear in mind that there\nmay be in every mythological riddle elements which resist etymological\nanalysis, for the simple reason that their origin was not etymological,\nbut historical.\n\n(3) _The Allegorical Interpretation_ is akin to the philological in its\nresults. It leads us to explain myths as embodiments in symbolic guise\nof hidden meaning: of physical, chemical, or astronomical facts; or of\nmoral, religious, philosophical truth. The stories would at first exist\nas allegories, but in process of time would come to be understood\nliterally. Thus Cronus, who devours his own children, is identified\nwith the power that the Greeks called Chronos (Time), which may truly\nbe said to destroy whatever it has brought into existence. The story\nof Io is interpreted in a similar manner. Io is the moon, and Argus\nthe starry sky, which, as it were, keeps sleepless watch over her. The\nfabulous wanderings of Io represent the continual revolutions of the\nmoon. This method of explanation rests upon the assumption that the\nmen who made the allegories were proficient in physics, chemistry,\nastronomy, etc., and clever in allegory; but that, for some unknown\nreason, their descendants becoming stupid, knowledge as well as wit\ndeserted the race. In some cases the myth was, without doubt, from the\nfirst an allegory; but where the myth was consciously fashioned as\nan allegory, in all probability it was preserved as such. It is not,\nhowever, likely that allegories of deep scientific or philosophical\nimport were invented by savages. Where the myth has every mark of\ngreat antiquity,--is especially silly and senseless and savage,--it\nis safe to believe that any profound allegorical meaning, read into\nit, is the work of men of a later generation, who thus attempted to\nmake reasonable the divine and heroic narratives which they could not\notherwise justify and of whose existence they were ashamed. We find,\nmoreover, in some cases a great variety of symbolic explanations of the\nsame myth, one with as great claim to credence as another, since they\nspring from the same source,--the caprice or fancy of the expounder.\n\nAmong the ancients Theagenes of Rhegium, six hundred years before\nChrist, suggested the allegorical theory and method of interpretation.\nIn modern times he has been supported by Lord Bacon, whose \"Wisdom of\nthe Ancients\" treats myths as \"elegant and instructive fables,\" and by\nmany Germans, especially Professor Creuzer.\n\n(4) _The Theological Interpretation._ This premises that mankind,\neither in general or through some chosen nationality, received from\nGod an original revelation of pure religious ideas, and that, with the\nsystematic and continued perversion of the moral sense, this knowledge\nof truth, morality, and spiritual religion fell into corruption.\nSo in Greek mythology the attributes of the various gods would be\nimperfect irradiations of the attributes of the one God. A more limited\nconception is, that all mythological legends are derived from the\nnarratives of Scripture, though the real facts have been disguised\nand altered. Thus, Deucalion is only another name for Noah, Hercules\nfor Samson, Arion for Jonah, etc. Sir Walter Raleigh, in his \"History\nof the World,\" says, \"Jubal, Tubal, and Tubal-Cain were Mercury,\nVulcan, and Apollo, inventors of pasturage, smithing, and music. The\ndragon which kept the golden apples was the serpent that beguiled Eve.\nNimrod's tower was the attempt of the giants against heaven.\" There\nare doubtless many curious coincidences like these, but the theory\ncannot, without extravagance, be pushed so far as to account for any\ngreat proportion of the stories. For many myths antedate the scriptural\nnarratives of which they are said to be copies; many more, though\nresembling the scriptural stories, originated among peoples ignorant\nof the Hebrew Bible. The theory rests upon two unproved assumptions:\none, that all nations have had a chance to be influenced by the same\nset of religious doctrines; the other, that God made his revelation in\nthe beginning once for all, and has done nothing to help man toward\nrighteousness since then. The theological theory has been advocated by\nVoss and other Germans in the seventeenth century, by Jacob Bryant in\n1774, and in this century most ably by Gladstone.[380]\n\n=295.= We are now ready for the explanation of myth-making based upon\nthe =Theory of Progress=. This is best stated by Mr. Andrew Lang,[381]\nwhose argument is, when possible, given in his own language. To the\nquestion how the senseless element got into myths, the advocates\nof this theory answer that it was in the minds and in the social\ncondition of the savages who invented the myths. But since we cannot\nput ourselves back in history thousands of years to examine the habits\nof thought and life of early savages, we are constrained to examine\nwhether anywhere nowadays there may exist \"any stage of the human\nintellect in which these divine adventures and changes of men into\nanimals, trees, stars, this belief in seeing and talking with the dead,\nare regarded as possible incidents of daily human life.\" As the result\nof such scientific investigation, numerous races of savages have been\nfound who at this present day accept and believe just such silly and\nsenseless elements of myth as puzzle us and have puzzled many of the\ncultivated ancients who found them in their inherited mythologies.\nThe theory of development is, then, that \"the savage and senseless\nelement in mythology is, for the most part, a legacy from ancestors\nof civilized races who, at the time that they invented the senseless\nstories, were in an intellectual state not higher than that of our\ncontemporary Australians, Bushmen, Red Indians, the lower races of\nSouth America, and other worse than barbaric people of the nineteenth\ncentury.\" But what are the characteristics of the mental state of\nour contemporary savages? First and foremost, _curiosity_ that leads\nthem to inquire into the causes of things; and second, _credulity_\nthat impels them to invent or to accept childish stories that may\nsatisfy their untutored experience. We find, moreover, that savages\nnowadays think of everything around them as having life and the parts\nand passions of persons like themselves. \"The sky, sun, wind, sea,\nearth, mountains, trees, regarded as persons, are mixed up with men,\nbeasts, stars, and stones on the same level of personality and life.\"\nThe forces of nature, animals, and things have for these Polynesians\nand Bushmen the same powers and attributes that men have; and in their\nopinion men have the following attributes:\n\n\"1. Relationship to animals and ability to be transformed, and to\ntransform others, into animals and other objects.\n\n\"2. Magical accomplishments, such as power to call up ghosts, or to\nvisit ghosts and the region of the dead; power over the seasons, the\nsun, moon, stars, weather, and so forth.\"[382]\n\nThe stories of savages to-day abound in adventures based upon qualities\nand incidents like these. If these stories should survive in the\nliterature of these nations after the nations have been civilized,\nthey would appear senseless and silly and cruel to the descendants of\nour contemporary savages. In like manner, \"as the ancient Greeks,\nEgyptians, and Norsemen advanced in civilization, their religious\nthought and artistic taste were shocked by myths which were preserved\nby local priesthoods, or in ancient poems, or in popular religious\nceremonials.... We may believe that ancient and early tribes framed\ngods like themselves in action and in experience, and that the\nallegorical element in myths is the addition of later peoples who had\nattained to purer ideas of divinity, yet dared not reject the religion\nof their ancestors.\"[383] The senseless element in the myths would,\nby this theory, be, for the most part, a \"survival.\" Instead, then,\nof deteriorating, the races that invented senseless myths are, with\nups and downs of civilization, intellectually and morally improved,\nto such extent that they desire to repudiate the senseless element in\ntheir mythical and religious traditions, or to explain it as reasonable\nby way of allegory. This method of research depends upon the science\nof mind--psychology, and the science of man--anthropology. It may be\ncalled the _Anthropological Method_. The theory is that of \"survival.\"\n\nAccording to this theory many of the puzzling elements of myth resolve\nthemselves into survivals of primitive philosophy, science, or history.\nFrom the first proceed the cruder systems of physical and spiritual\nevolution, the generations of gods and the other-world of ghosts; from\nthe second, the cruder attempts at explaining the phenomena of the\nnatural and animal world by endowing them with human and frequently\nmagical powers; from the third, the narratives invented to account for\nthe sanctity of certain shrines and rituals, and for tribal customs and\nceremonials, the origin of which had been forgotten. These last are\nknown as _\u00e6tiological_ myths; they pretend to assign the _ait\u00eda_, or\n_reason_, why Delphi, for instance, should have the oracle of Apollo,\nor why the ritual of Demeter should be celebrated at Eleusis and in a\ncertain dramatic manner.\n\nIt is of course probable that occasionally the questionable element of\nthe myth originated in germs other than savage curiosity and credulity:\nfor instance, in the adventures of some great hero, or in a disease of\nlanguage by which statements about objects came to be understood as\nstories about persons, or perhaps in a conscious allegory, or, even,\nin the perversion of some ancient purer form of moral or religious\ntruth. But, in general, the root of myth-making is to be found in the\nmental and social condition of primitive man, the confused personality\nthat he extended to his surroundings, and the belief in magical powers\nthat he conferred upon those of his tribesmen who were shrewdest and\nmost influential. This mental condition of the myth-maker should be\npremised in all scientific explanations of myth-making.\n\nThe transition is easy from the personification of the elements of\nnature and the acceptance of fictitious history to the notion of\nsupernatural beings presiding over, and governing, the different\nobjects of nature--air, fire, water, the sun, moon, and stars, the\nmountains, forests, and streams--or possessing marvelous qualities of\naction, passion, virtue, foresight, spirituality, and vice.\n\nThe Greeks, whose imagination was lively, peopled all nature with such\ninvisible inhabitants and powers. In Greece, says Wordsworth,[384]\n\n In that fair clime the lonely herdsman, stretched\n On the soft grass through half a summer's day,\n With music lulled his indolent repose:\n And, in some fit of weariness, if he,\n When his own breath was silent, chanced to hear\n A distant strain, far sweeter than the sounds\n Which his poor skill could make, his fancy fetched,\n Even from the blazing chariot of the sun,\n A beardless Youth, who touched a golden lute,\n And filled the illumined groves with ravishment.\n The nightly hunter, lifting a bright eye\n Up towards the crescent moon, with grateful heart\n Called on the lovely wanderer who bestowed\n That timely light, to share his joyous sport:\n And hence, a beaming Goddess with her Nymphs,\n Across the lawn and through the darksome grove,\n Not unaccompanied with tuneful notes\n By echo multiplied from rock or cave,\n Swept in the storm of chase; as moon and stars\n Glance rapidly along the clouded heaven,\n When winds are blowing strong. The traveler slaked\n His thirst from rill or gushing fount, and thanked\n The Naiad. Sunbeams, upon distant hills\n Gliding apace, with shadows in their train,\n Might, with small help from fancy, be transformed\n Into fleet Oreads sporting visibly.\n The Zephyrs, fanning, as they passed, their wings,\n Lacked not, for love, fair objects whom they wooed\n With gentle whisper. Withered boughs grotesque,\n Stripped of their leaves and twigs by hoary age,\n From depth of shaggy covert peeping forth\n In the low vale, or on steep mountain side;\n And, sometimes, intermixed with stirring horns\n Of the live deer, or goat's depending beard,--\n These were the lurking Satyrs, a wild brood\n Of gamesome deities; or Pan himself,\n The simple shepherd's awe-inspiring God.\n\nThe phases of significance and beauty through which the physical or\nnatural myth may develop are expressed with poetic grace by Ruskin, in\nhis \"Queen of the Air.\"[385] The reader must, however, guard against\nthe supposition that any myth has sprung into existence fully equipped\nwith physical, religious, and moral import. Ruskin himself says, \"To\nthe mean person the myth always meant little; to the noble person,\nmuch.\" Accordingly, as we know, to the savage the myth was savage;\nto the devotee it became religious; to the artist, beautiful; to the\nphilosopher, recondite and significant--in the course of centuries.\n\n\"If we seek,\" says Ruskin, \"to ascertain the manner in which the\nstory first crystallized into its shape, we shall find ourselves\nled back generally to one or other of two sources--either to actual\nhistorical events, represented by the fancy under figures personifying\nthem, or else to natural phenomena similarly endowed with life by the\nimaginative power, usually more or less under the influence of terror.\nThe historical myths we must leave the masters of history to follow;\nthey, and the events they record, being yet involved in great, though\nattractive and penetrable, mystery. But the stars and hills and storms\nare with us now, as they were with others of old; and it only needs\nthat we look at them with the earnestness of those childish eyes to\nunderstand the first words spoken of them by the children of men. And\nthen, in all the most beautiful and enduring myths, we shall find not\nonly a literal story of a real person--not only a parallel imagery of\nmoral principle--but an underlying worship of natural phenomena, out\nof which both have sprung, and in which both forever remain rooted.\nThus, from the real sun, rising and setting; from the real atmosphere,\ncalm in its dominion of unfading blue and fierce in its descent of\ntempest--the Greek forms first the idea of two entirely personal and\ncorporeal gods (Apollo and Athena), whose limbs are clothed in divine\nflesh, and whose brows are crowned with divine beauty; yet so real that\nthe quiver rattles at their shoulder, and the chariot bends beneath\ntheir weight. And, on the other hand, collaterally with these corporeal\nimages, and never for one instant separated from them, he conceives\nalso two omnipresent spiritual influences, of which one illuminates,\nas the sun, with a constant fire, whatever in humanity is skillful and\nwise; and the other, like the living air, breathes the calm of heavenly\nfortitude and strength of righteous anger into every human breast that\nis pure and brave.\n\n\"Now, therefore, in nearly every [natural] myth of importance, ...\nyou have to discern these three structural parts--the root and the\ntwo branches. The root, in physical existence, sun, or sky, or cloud,\nor sea; then the personal incarnation of that, becoming a trusted and\ncompanionable deity, with whom you may walk hand in hand, as a child\nwith its brother or its sister; and lastly, the moral significance of\nthe image, which is in all the great myths eternally and beneficently\ntrue.\"\n\nWhat Ruskin calls, above, the historical myth may be the euhemeristic\ntransformation of real events and personages, as of a flood and those\nconcerned in it; or it may be the \u00e6tiological invention of a story\nto account for rituals of which the origin has been forgotten, as\nof the Dionysiac revels, with their teaching of liberation from the\nsordid limits of mortality. In either case, especially the latter,\nthe imaginative and moral significance of the historical myth has in\ngeneral developed with the advance of civilization.\n\nMyth, in fine, whether natural, historical, or spiritual, \"is not to be\nregarded as mere error and folly, but as an interesting product of the\nhuman mind. It is sham history, the fictitious narrative of events that\nnever happened.\"[386] But that is not the full statement of the case.\nMyth is also actual history of early and imperfect stages of thought\nand belief; it is the true narrative of unenlightened observation,\nof infantine gropings after truth. Whatever reservations scholars\nmay make on other points, most of them will concur in these: that\nsome myths came into existence by a \"disease of language\"; that some\nwere invented to explain names of nations and of places, and some to\nexplain the existence of fossils and bones that suggested prehistoric\nanimals and men; that many were invented to gratify the ancestral pride\nof chieftains and clans and to justify the existence of religious\nand tribal ceremonials, and the common cult of departed souls, and\nthat very many obtained consistency and form as explanations of the\nphenomena of nature, as expressions of the reverence felt for the\npowers of nature, and as personifications, in general, of the passions\nand the ideals of primitive mankind.[387]\n\nFOOTNOTES:\n\n[375] Myths and Myth-Makers, p. 18. Proper nouns have been anglicized.\n\n[376] Ruskin, Queen of the Air.\n\n[377] See Max M\u00fcller's Chips from a German Workshop, Science of\nReligion, etc.; Cox's Aryan Myths, and numerous articles by the learned\nauthors of Roscher's Ausf\u00fchrliches Lexikon.\n\n[378] Max M\u00fcller, Essay on Comparative Mythology, Oxford Essays, 1856;\nScience of Religion, 2, 548 _n_.\n\n[379] Andrew Lang, Myth, Ritual, and Religion, 1, 24-25, and Professor\nC. P. Tiele, as cited by Lang.\n\n[380] W. E. Gladstone, Homer and the Homeric Age; Juventus Mundi; The\nOlympian Religion, _North American Review_, Feb.-May, 1892.\n\n[381] Andrew Lang, Myth, Ritual, and Religion, 2 vols., London, 1887;\nand Encyc. Brit., 9th ed., article, _Mythology_. Mannhardt, Antike\nWald-und Feldkultus, Berlin, 1877. E. B. Tylor, Anthropology; Primitive\nCulture.\n\n[382] Encyc. Brit., _Mythology_.\n\n[383] Chr. A. Lobeck, Aglaophamus: On the Causes of Greek Mythology.\nCited by Lang.\n\n[384] Excursion, Bk. 4.\n\n[385] Concerning which may be accepted the verdict that Mr. Ruskin\npasses upon Payne Knight's Symbolical Language of Ancient Art, \"Not\ntrustworthy, being little more than a mass of conjectural memoranda;\nbut the heap is suggestive, if well sifted.\"\n\n[386] E. B. Tylor, Anthropology, p. 387. New York, 1881.\n\n[387] See also L. Preller, Griechische Mythologie, 1, 19. Max M\u00fcller,\nComparative Mythology, Oxford Essays, 1856, pp. 1-87; also Science of\nReligion, 1873, pp. 335-403; Philosophy of Mythology; and Science of\nLanguage, 7th ed., 2, 421-571. Hermann Paul, Grundriss der Germanischen\nPhilologie, Bd. 1, Lfg. 5, 982-995, Mythologie (von E. Mogk). W. Y.\nSellar, Augustan Poets. Louis Dyer, Studies of the Gods in Greece.\nTalfourd Ely, Olympus. A. H. Petiscus, The Gods of Olympus (translated\nby Katherine A. Raleigh). E. Rohde, Psyche. B. I. Wheeler, Dionysos and\nImmortality.\n\n\n\n\nCHAPTER XXXI\n\nTHE DISTRIBUTION OF MYTHS\n\n\n=296. Theories of Resemblance.= Several theories of the appearance of\nthe same explanatory or \u00e6sthetic myth under various guises, in lands\nremote one from another, have been advanced; but none of them fully\nunveils the mystery. The difficulty lies not so much in accounting for\nthe similarity of thought or material in different stories, as for the\nresemblance in isolated incidents and in the arrangement of incidents\nor plot. The principal theories of the distribution of myths are as\nfollows:\n\n(1) That the resemblances between the myths of different nations are\npurely _accidental_. This theory leaves us no wiser than we were.\n\n(2) That the stories have been _borrowed_ by one nation from another.\nThis will account for exchange only between nations historically\nacquainted with each other. It will not account for the existence of\nthe same arrangement of incidents in a Greek myth and in a Polynesian\nromance.\n\n(3) That all myths, if traced chronologically backward and\ngeographically from land to land, will be found _to have originated_\n_in India_.[388] This theory fails to account for numerous stories\ncurrent among the modern nationalities of Europe, of Africa, and of\nIndia itself. It leaves also unexplained the existence of certain myths\nin Egypt many centuries before India had any known history: such as, in\nall probability, the Egyptian myth of Osiris. The theory, therefore, is\nopen to the objection made to the theory of borrowing.\n\n(4) That similar myths are based upon _historical traditions_ similar\nin various countries or inherited from some mother country. But,\nalthough some historical myths may have descended from a mother race,\nit has already been demonstrated (\u00a7 294, (1)) that the historical\n(euhemeristic) hypothesis is inadequate. It is, moreover, not likely\nthat many historical incidents, like those related in the Iliad and\nthe Odyssey, happened in the same order and as actual history in Asia\nMinor, Ithaca, Persia, and Norway. But we find myths containing such\nincidents in all these countries.[389]\n\n(5) That the Aryan tribes (from which the Indians, Persians, Phrygians,\nGreeks, Romans, Germans, Norsemen, Russians, and Celts are descended)\n\"started from a common center\" in the highlands of Northern India, \"and\nthat from their ancient home they must have carried away, if not the\ndeveloped myth, yet the quickening germ from which might spring leaves\nand fruits, varying in form and hue according to the soil to which\nit should be committed and the climate under which the plant might\nreach maturity.\"[390] Against this theory it may be urged that stories\nhaving only the undeveloped germ or idea in common would not, with\nany probability, after they had been developed independently of each\nother, possess the remarkable resemblance in details that many widely\nseparated myths display. Moreover, the assumption of this common stock\nconsiders only Aryan tribes: it ignores Africans, Mongolians, American\nIndians, and other peoples whose myths resemble the Aryan, but are\nnot traceable to the same original germ. The _Aryan germ-theory_ has,\nhowever, the merit of explaining resemblances between many myths of\ndifferent Aryan nations.\n\n(6) That the existence of similar incidents or situations is to\nbe explained as resulting from the common facts of human thought,\nexperience, and sentiment. This may be called the _psychological_\n_theory_. It was entertained by Grimm, and goes hand in hand with the\nanthropological, or \"survivalist,\" explanation of the elements of\nmyth. \"In the long history of mankind,\" says Mr. Andrew Lang, \"it is\nimpossible to deny that stories may conceivably have spread from a\nsingle center, and been handed on from races like the Indo-European and\nSemitic to races as far removed from them in every way as the Zulus,\nthe Australians, the Eskimos, the natives of the South Sea Islands.\nBut while the possibility of the diffusion of myths by borrowing and\ntransmission must be allowed for, the hypothesis of the origin of myths\nin the savage state of the intellect supplies a ready explanation of\ntheir wide diffusion.\" Many products of early art--clay bowls and stone\nweapons--are peculiar to no one national taste or skill, they are\nwhat might have been expected of _human_ conditions and intelligence.\n\"Many myths may be called 'human' in this sense. They are the rough\nproduct of the early human mind, and are not yet characterized by\nthe differentiations of race and culture. Such myths might spring up\nanywhere among untutored men, and anywhere might survive into civilized\nliterature.\"[391]\n\nThe distribution of myth, like its origin, is inexplicable by any one\ntheory. The discovery of racial families and of family traditions\nnarrows the problem, but does not solve it. The existence of the\nsame story in unrelated nationalities remains a perplexing fact,\ntowards the explanation of which the theories of \"borrowing\" and of\n\"similar historic tradition,\" while plausible, are but unsubstantiated\ncontributions. And until we possess the earliest records of those\nunrelated nationalities that have similar myths, or until we discover\nmonuments and log books of some commercial nation that in prehistoric\ntimes circumnavigated the globe and deposited on remote shores and\nislands the seeds of the parent mythic plant, we must accept as our\nonly scientific explanation the psychological, or so-called _human_,\ntheory:--Given similar mental condition with similar surroundings,\nsimilar imaginative products, called myths, will result.[392]\n\nFOOTNOTES:\n\n[388] Benfey and Cosquin. See Lang's Myth, Ritual, and Religion, 2, 299.\n\n[389] Lang, Myth, Ritual, and Religion, 2, 300; Cox, Mythology of the\nAryan Nations, 1, 100.\n\n[390] The Rev. Sir G. W. Cox, Mythology of Aryan Nations, 1, 99; also,\nsame theory, Max M\u00fcller's Chips from a German Workshop; Andrew Lang,\nMyth, Ritual, and Religion, 2, 297.\n\n[391] Encyc. Brit., 9th ed. Article, _Mythology_. Cf. Tylor's Primitive\nCulture, 1, 369; Tylor's Anthropology, p. 397.\n\n[392] See T. C. Johnston's Did the Ph[oe]nicians Discover America? 1892.\n\n\n\n\nCHAPTER XXXII\n\nTHE PRESERVATION OF MYTHS\n\n\n=297. Traditional History.= Before the introduction of writing, myths\nwere preserved in popular traditions, in the sacred ceremonials\nof colleges of priests, in the narratives chanted by families of\nminstrels or by professional bards wandering from village to village\nor from court to court, and in occasional hymns sung by privileged\nharpists, like Demodocus of Ph\u00e6acia,[393] in honor of a chieftain, an\nancestor, or a god. Many of these early bards are mere names to us.\nMost of them are probably as mythical as the songs with which they are\naccredited. The following is a brief account of mythical prophets, of\nmythical musicians and poets, and of the actual poets and historians\nwho recorded the mythologies from which English literature draws its\nclassical myths,--the Greek, the Roman, the Norse, and the German.\n\n=298. In Greece.= (1) _Mythical Prophets._ To some of the oldest bards\nwas attributed the gift of prophecy. Indeed, nearly every expedition of\nmythology was accompanied by one of these seers, priests, or \"medicine\nmen,\" as we might call them.\n\n_Melampus_ was the first Greek said to be endowed with prophetic\npowers. Before his house there stood an oak tree containing a serpent's\nnest. The old serpents were killed by the slaves, but Melampus saved\nthe young ones. One day when he was asleep under the oak, the serpents\nlicked his ears with their tongues, enabling him to understand the\nlanguage of birds and creeping things.[394] At one time his enemies\nseized and imprisoned him. But Melampus, in the silence of the night,\nheard from the woodworms in the timbers that the supports of the house\nwere nearly eaten through and the roof would soon fall in. He told\nhis captors. They took his warning, escaped destruction, rewarded the\nprophet, and held him in high honor.\n\nOther famous soothsayers were Amphiara\u00fcs, who took part in the War\nof the Seven against Thebes; Calchas, who accompanied the Greeks\nduring the Trojan War; Helenus and Cassandra, of King Priam's family,\nwho prophesied for the Trojan forces; Tiresias, the blind prophet of\nThebes; and Mopsus, who attended the Argonauts. The stories of these\nexpeditions are given in preceding chapters.\n\n(2) _Mythical Musicians and Poets._ Since the poets of antiquity sang\ntheir stories or hymns to an accompaniment of their own upon the harp\nor lyre, they were skilled in the art of music as well as in that of\nverse.\n\n_Orpheus_, whose adventures have been narrated, passes in tradition for\nthe oldest of Greek lyrists, and the special favorite, even the son,\nof the god Apollo, patron of musicians. This Thracian bard is said to\nhave taught mysterious truths concerning the origin of things and the\nimmortality of the soul. But the fragments of Orphic hymns which are\nattributed to him are probably the work of philosophers of a much later\nperiod in Greek literature.\n\nAnother Thracian bard, _Thamyris_, is said in his presumption to have\nchallenged the Muses to a trial of skill. Conquered in the contest,\nhe was deprived of his sight. To _Mus\u00e6us_, the son of Orpheus, was\nattributed a hymn on the Eleusinian mysteries, and other sacred poems\nand oracles. Milton couples his name with that of Orpheus:\n\n But, O sad Virgin! that thy power\n Might raise Mus\u00e6us from his bower,\n Or bid the soul of Orpheus sing\n Such notes as, warbled to the string,\n Drew iron tears down Pluto's cheek,\n And made Hell grant what love did seek.[395]\n\nOther legendary bards or musicians were Linus, Marsyas, and Amphion.\n\n(3) _The Poets of Mythology._ _Homer_, from whose poems of the Iliad\nand Odyssey we have taken the chief part of our chapters on the Trojan\nWar and the return of the Grecians, is almost as mythical a personage\nas the heroes he celebrates. The traditionary story is that he was a\nwandering minstrel, blind and old, who traveled from place to place\nsinging his lays to the music of his harp, in the courts of princes or\nthe cottages of peasants,--a dependent upon the voluntary offerings of\nhis hearers. Byron calls him \"the blind old man of Scio's rocky isle\";\nand a well-known epigram, alluding to the uncertainty of the fact of\nhis birthplace, runs:\n\n Seven wealthy towns contend for Homer dead,\n Through which the living Homer begged his bread.\n\nThese seven places were Smyrna, Chios (now Scio), Colophon, Ithaca,\nPylos, Argos, and Athens.\n\nModern scholars have doubted whether the Homeric poems are the work of\nany single mind. This uncertainty arises, in part, from the difficulty\nof believing that poems of such length could have been committed to\nwriting in the age usually assigned to these, when materials capable of\ntransmitting long productions were not yet in use. On the other hand,\nit is asked how poems of such length could have been handed down from\nage to age by means of the memory alone. This question is answered by\nthe statement that there was a professional body of men whose business\nit was to commit to memory and rehearse for pay the national and\npatriotic legends.\n\nPisistratus of Athens ordered a commission of scholars (about 537 B.C.)\nto collect and revise the Homeric poems; and it is probable that at\nthat time certain passages of the Iliad and Odyssey, as we now have\nthem, were interpolated. Beside the Iliad and the Odyssey, many other\nepics passed in antiquity under Homer's name. The so-called Homeric\nHymns to the gods, which were composed by various poets after the\ndeath of Homer, are a source of valuable information concerning the\nattributes of the divinities addressed.\n\nThe date assigned to Homer, on the authority of Herodotus, is 850 B.C.\nThe preservation and further fashioning of myths fell, after Homer's\ntime, into the hands of the Rhapsodists, who chanted epic songs, and\nof the Cyclic poets, who elaborated into various epic _circles_, or\ncompleted wholes, neglected traditions of the Trojan War. Among these\ncyclic poems were the Cyprian Lays, which related the beginnings of\nthe Trojan War and the first nine years of the siege, thus leading up\nto the Iliad; the \u00c6thiopis, which continued the Iliad and told of the\ndeath of Achilles; the Little Iliad and the Iliupersis, which narrated\nthe fall of Troy and magnified the exploits of Ajax and Philoctetes;\nand the Nostoi, or Home-Comings, which told the adventures of various\nGreek heroes during the period of ten years between the end of the\nIliad and the beginning of the Odyssey. Most of these poems were once\nattributed to Homer. They are all lost, but the names of some of their\nauthors survive. There was also a cycle which told of the two wars\nagainst Thebes.\n\n_Hesiod_ is, like Homer, one of the most important sources of our\nknowledge of Greek mythology. He is thought by some to have been a\ncontemporary of Homer, but concerning the relative dates of the two\npoets there is no certainty. Hesiod was born in Ascra in B[oe]otia;\nhe spent his youth as a shepherd on Mount Helicon, his manhood in the\nneighborhood of Corinth, and wrote two great poems, the Works and\nDays, and the Theogony, or Genealogy of the Gods. From the former we\nobtain a connected account of Greek traditions concerning the primitive\ncommodities of life, the arts of agriculture and navigation, the sacred\ncalendar, and the various prehistoric ages. From the latter poem we\nlearn the Greek mythology of the creation of the world, the family of\nthe gods, their wars, and their attitude toward primeval man. While\nHesiod may have composed his works at a somewhat later period than\nHomer, it is noteworthy that his stories of the gods have more of the\nsavage or senseless element than those attributed to Homer. The artist,\nor artists, of the Iliad and the Odyssey seem to have refined the\nstories into poetic gold; Hesiod has gathered them in the ore, like so\nmany specimens for a museum.\n\nA company of _Lyric Poets_, of whom Stesichorus (620 B.C.), Alc\u00e6us\n(611 B.C.), Sappho (610 B.C.), Arion (600 B.C.), Simonides of Ceos\n(556 B.C.), Ibycus (540 B.C.), Anacreon (530 B.C.), and Pindar (522\nB.C.) are the most prominent, have contributed much to our knowledge of\nmythology. They have left us hymns to the gods, references to mythical\nheroes, and accounts of more or less pathetic legendary adventures.\n\nOf the works of _Sappho_ few fragments remain, but they establish her\nclaim to eminent poetical genius. Her story is frequently alluded\nto. Being passionately in love with a beautiful youth named Phaon,\nand failing to obtain a return of affection, she is said to have\nthrown herself from the promontory of Leucadia into the sea, under a\nsuperstition that those who should take that \"Lover's Leap\" would, if\nnot destroyed, be cured of their love.\n\nOf _Arion_ the greatest work was a dithyramb or choral hymn to the god\nof wine. It is said that his music and song were of such sweetness as\nto charm the monsters of the sea; and that when thrown overboard on\none occasion by avaricious seamen, he was borne safely to land by an\nadmiring dolphin. Spenser represents Arion, mounted on his dolphin,\naccompanying the train of Neptune and Amphitrite:\n\n Then was there heard a most celestial sound\n Of dainty music, which did next ensue\n Before the spouse: that was Arion crowned\n Who, playing on his harp, unto him drew\n The ears and hearts of all that goodly crew;\n That even yet the dolphin which him bore\n Through the \u00c6gean seas from pirates' view,\n Stood still by him astonished at his lore,\n And all the raging seas for joy forgot to roar.[396]\n\n_Simonides_ was one of the most prolific of the early poets of Greece,\nbut only a few fragments of his compositions have descended to us.\nHe wrote hymns, triumphal odes, and elegies, and in the last species\nof composition he particularly excelled. His genius was inclined to\nthe pathetic; none could touch with truer effect the chords of human\nsympathy. The Lamentation of Dana\u00eb, the most important of the fragments\nwhich remain of his poetry, is based upon the tradition that Dana\u00eb and\nher infant son were confined by order of her father Acrisius in a chest\nand set adrift on the sea. The myth of her son, Perseus, has already\nbeen narrated.\n\nMyths received their freest and perhaps most ideal treatment at the\nhands of the greatest lyric poet of Greece, _Pindar_ (522 B.C.). In his\nhymns and songs of praise to gods and in his odes composed for the\nvictors in the national athletic contests, he was accustomed to use the\nmythical exploits of Greek heroes as a text from which to draw morals\nappropriate to the occasion.[397]\n\nThe three great _Tragic Poets_ of Greece have handed down to us a\nwealth of mythological material. From the plays of _\u00c6schylus_ (525\nB.C.) we gather, among other noble lessons, the fortunes of the\nfamily of Agamemnon, the narrative of the expedition against Thebes,\nthe sufferings of Prometheus, benefactor of men. In the tragedies of\n_Sophocles_ (495 B.C.) we have a further account of the family of\nAgamemnon, myths of [OE]dipus of Thebes and his children, stories\nconnected with the Trojan War, and the last adventure and the death of\nHercules. Of the dramas of _Euripides_ (480 B.C.) there remain to us\nseventeen, in which are found stories of the daughters of Agamemnon,\nthe rare and beautiful narrative of Alcestis, and the adventures of\nMedea. All of these stories have been recounted in their proper places.\n\nThe _Comedies of Aristophanes_, also, are replete with matters of\nmythological import.\n\nOf the later poets of mythology, only two need be mentioned\nhere,--_Apollonius_ of Rhodes (194 B.C.), who wrote in frigid style\nthe story of Jason's Voyage for the Golden Fleece; and _Theocritus_ of\nSicily (270 B.C.), whose rural idyls are at once charmingly natural and\nromantic.[398]\n\n(4) _Historians of Mythology._ The earliest narrators in prose of\nthe myths, legends and genealogies of Greece lived about 600 B.C.\nHerodotus, the \"father of history\" (484 B.C.), embalms various myths\nin his account of the conflicts between Asia and Greece. Apollodorus\n(140 B.C.) gathers the legends of Greece later incorporated in the\nLibrary of Greek Mythology. That delightful traveler, Pausanias, makes\nspecial mention, in his Tour of Greece, of the sacred customs and\nlegends that had maintained themselves as late as his time (160 A.D.).\nLucian, in his Dialogues of the Gods and Dialogues of the Dead, awakens\n\"inextinguishable laughter\" by his satire on ancient faith and fable.\n\n=299. Roman Poets of Mythology.= _Virgil_, called also by his surname,\nMaro, from whose poem of the \u00c6neid we have taken the story of \u00c6neas,\nwas one of the great poets who made the age of the Roman emperor,\nAugustus, celebrated. Virgil was born in Mantua in the year 70 B.C.\nHis great poem is ranked next to those of Homer, in that noble class\nof poetical composition, the epic. Virgil is inferior to Homer in\noriginality and invention. The \u00c6neid, written in an age of culture and\nscience, lacks that charming atmosphere of belief which invests the\nna\u00efve, or _popular_, epic. The myths concerning the founding of Rome,\nwhich Virgil has received from earlier writers, he has here fused\ninto a _literary_ epic. But what the \u00c6neid lacks of epic simplicity,\nit makes up in patriotic spirit, in lofty moral and civic ideals, in\ncorrectness of taste, and in stylistic form.\n\n_Ovid_, often alluded to in poetry by his other name, Naso, was born\nin the year 43 B.C. He was educated for public life and held some\noffices of considerable dignity; but poetry was his delight, and he\nearly resolved to cultivate it. He accordingly sought the society of\ncontemporary poets and was acquainted with Horace and saw Virgil,\nthough the latter died when Ovid was yet too young and undistinguished\nto have formed his acquaintance. Ovid spent an easy life at Rome\nin the enjoyment of a competent income. He was intimate with the\nfamily of Augustus, the emperor; and it is supposed that some serious\noffense given to a member of that family was the cause of an event\nwhich reversed the poet's happy circumstances and clouded the latter\nportion of his life. At the age of fifty he was banished from Rome\nand ordered to betake himself to Tomi on the borders of the Black\nSea. His only consolation in exile was to address his wife and absent\nfriends. His letters were all in verse. They are called the \"Tristia,\"\nor Sorrows, and Letters from Pontus. The two great works of Ovid are\nhis \"Metamorphoses\" or Transformations, and his \"Fasti,\" or Poetic\nCalendar. They are both mythological poems, and from the former we have\ntaken many of our stories of Grecian and Roman mythology. These poems\nhave thus been characterized:\n\n\"The rich mythology of Greece furnished Ovid, as it may still furnish\nthe poet, the painter, and the sculptor, with materials for his art.\nWith exquisite taste, simplicity, and pathos he has narrated the\nfabulous traditions of early ages, and given to them that appearance of\nreality which only a master hand could impart. His pictures of nature\nare striking and true; he selects with care that which is appropriate;\nhe rejects the superfluous, and when he has completed his work, it is\nneither defective nor redundant. The 'Metamorphoses' are read with\npleasure by the young and old of every civilized land.\"\n\nIn an incidental manner, _Horace_, the prince of Roman lyric poets,\nand the lyric and elegiac writers, _Catullus_, _Tibullus_, and\n_Propertius_, have liberally increased our knowledge of Greek and Roman\nmyth.[399]\n\n_Seneca_, the teacher of Nero, is best known for his philosophical\ntreatises; but he wrote, also, tragedies, the materials of which\nare well-known Greek legends. _Apuleius_, born in Africa, 114 A.D.,\ninterests us as the compiler of a clever romance, The Golden Ass;[400]\nthe most pleasing episode of which, the story of Cupid and Psyche, has\nbeen elsewhere related.[401]\n\n=300. Records of Norse Mythology.=[402] A system of mythology of\nespecial interest,--as belonging to the race from which we, through\nour English ancestors, derive our origin,--is that of the Norsemen,\nwho inhabited the countries now known as Sweden, Denmark, Norway, and\nIceland. Their mythological lore has been transmitted by means of\nRunes, Skaldic poems, the Eddas, and the Sagas.\n\n_The Runes._ The earliest method of writing prevalent among the\nNorsemen was by runes. The word means _hidden lore_, or _mystery_.\nThe earliest runes were merely fanciful signs supposed to possess\nmysterious power. As a synonym for _writing_, the term was first\napplied to the Northern alphabet, itself derived from ancient Greek\nand Roman coins. Of the old Scandinavian runes several specimens have\nbeen found--one an inscription on a golden horn of the third or fourth\ncentury A.D., which was dug up in Schleswig a hundred and sixty years\nago; another, on a stone at Tune in Norway. From such an alphabet the\nAnglo-Saxon runes were derived. Inscriptions in later Scandinavian\nrunes have been discovered in Sweden, Denmark, and the Isle of Man.\nThe characters are of the stiff and angular form necessitated by the\nmaterials on which they were inscribed,--tombstones, spoons, chairs,\noars, and so forth.[403] It is doubtful whether mythological poems were\never written in this way; dedications to pagan deities, ditties of the\neleventh century, and love-spells have, however, been found.\n\n_The Skaldic Poems._ The bards and poets of the Norsemen were the\nSkalds. They were the depositaries of whatever historic lore there\nwas; and it was their office to mingle something of intellectual\ngratification with the rude feasts of the warriors, by rehearsing,\nwith such accompaniments of poetry and music as their skill could\nafford, the exploits of heroes living or dead. Such songs were called\nDrapas. The origin of Skaldic poetry is lost in mythic or prehistoric\ndarkness, but the Skalds of Iceland continued to play a most important\npart in the literary development of the north as late as the end of the\nfourteenth century. Without their co\u00f6peration, the greater part of the\nsongs and sagas of genuine antiquity could hardly have reached us. The\nSkaldic diction, which was polished to an artistic extreme, with its\npagan metaphors and similes retained its supremacy over literary form\neven after the influence of Christianity had revolutionized national\nthought.[404]\n\n_The Eddas._ The chief mythological records of the Norse are the Eddas\nand the Sagas. The word _Edda_ has usually been connected with the\nIcelandic for _great-grandmother_;[405] it has also been regarded\nas a corruption of the High German _Erda_, Mother Earth, from whom,\naccording to the lay in which the word first occurs, the earliest\nrace of mankind sprang,[406]--or as the _point_ or _head_ of Norse\npoetry,[407] or as a tale concerned with _death_,[408] or as derived\nfrom Odde, the home of the reputed collector of the Elder Edda. But,\nof recent years, scholars have looked with most favor upon a derivation\nfrom the Icelandic _\u00f3\u00f0r_, which means mind, or poetry.[409] There are\ntwo Icelandic collections called Eddas: Snorri's and S\u00e6mund's. Until\nthe year 1643 the name was applied to a book, principally in prose,\ncontaining Mythical Tales, a Treatise on the Poetic Art and Diction, a\nPoem on Meters, and a Rhymed Glossary of Synonyms, with an appendix of\nminor treatises on grammar and rhetoric--the whole intended as a guide\nfor poets. Although a note in the Upsala manuscript, of date about 1300\nA.D., asserted that this work was \"put together\" by Snorri Sturlason,\nwho lived 1178-1241, the world was not informed of the fact until 1609,\nwhen Arngrim Johnsson made the announcement in his Constitutional\nHistory of Iceland.[410] While the main treatises on the poetic art\nare, in general, Snorri's, the treatises on grammar and rhetoric have\nbeen, with more or less certitude, assigned to other writers of the\ntwelfth and thirteenth centuries. It is probable, too, that in the\nMythical Tales, or the Delusion of Gylfi, Snorri merely enlarged and\nedited with poetical illustrations the work of earlier hands. The poets\nof the fourteenth and fifteenth centuries do not speak of Snorri, but\nthey refer continually to the \"rules of Edda,\" and frequently to the\nobscurity and the conventionality of Eddic phraseology, figures, and\nart. Even at the present day in Iceland it is common to hear the term\n\"void of Eddic art,\" or \"a bungler in Eddic art.\" A rearrangement of\nSnorri's Edda, by Magnus Olafsson (1574-1636), is much better known\nthan the original work.\n\nIn 1642, Bishop Bryniolf Sveinsson discovered a manuscript of the\nmythological poems of Iceland. Misled by theories of his own and\nby a fanciful suggestion of the famous antiquary Biorn of Scardsa,\nhe attributed the composition of these poems to S\u00e6mund the Wise, a\nhistorian who lived 1056-1133. Henceforth, consequently, Snorri's\nwork is called the Younger, or Prose Edda, in contradistinction to\nBryniolf's find, which is known as the Elder, the Poetical Edda, or the\nEdda of S\u00e6mund. The oldest manuscript of the Poetical Edda is of the\nthirteenth century. Its contents were probably collected not later\nthan 1150. The composition of the poems cannot well be placed earlier\nthan the ninth or tenth centuries after Christ; and a consideration\nof the habits, laws, geography, and vocabulary illustrated by the\npoems leads eminent scholars to assign the authorship to emigrants\nof the south Norwegian tribes who, sailing westward, \"won Waterford\nand Limerick, and kinged it in York and East England.\"[411] The poems\nare Icelandic, however, in their general character and history. They\nare principally of heroic and mythical import: such as the stories of\nBalder's Fate, of Skirnir's Journey, of Thor's Hammer, of Helgi the\nHunding's Bane, and the twenty lays that in fragmentary fashion tell\nthe eventful history of the Volsungs and the Nibelungs.[412]\n\n_The Sagas._ The Eddas contain many myths and mythical features that\ncontradict the national character of both Germans and Norsemen, but\nthe sagas have their roots in Norse civilization and are national\nproperty.[413] Of these mythic-heroic prose compositions the most\nimportant to us is the Volsunga Saga, which was put together probably\nin the twelfth century and is based in part upon the poems of the Elder\nEdda, in part upon floating traditions, and in part upon popular songs\nthat now are lost.[414]\n\n=301. Records of German Mythology.=[412] The story of the Volsungs\nand the Nibelungs springs from mythological sources common to the\nwhole Teutonic race. Two distinct versions of the saga survive,--the\nLow or North German, which we have already noticed in the lays of\nthe Elder Edda and in the Norse Volsunga Saga, and the High or South\nGerman, which has been preserved in German folk songs and in the\nNibelungenlied, or Lay of the Nibelungs, that has grown out of them.\nThe Norse form of the story exhibits a later survival of the credulous,\nor myth-making, mental condition. The Lay of the Nibelungs absorbed, at\nan earlier date, historical elements, and began sooner to restrict the\npersonality of its heroes within the compass of human limitations.[415]\n\nAlthough there are many manuscripts, or fragments of manuscripts, of\nthe Nibelungenlied that attest its popularity between the thirteenth\nand sixteenth centuries, it was not until the Swiss critic, J. J.\nBodmer, published, in 1757, portions of two ancient poems, \"The\nRevenge of Kriemhild\" and \"The Lament over the Heroes of Etzel,\"\nthat the attention of modern scholars was called to this famous\nGerman epic. Since that time many theories of the composition of the\nNibelungenlied have been advanced. It has been held by some that the\nGerman epic is an adaptation of the Norse version;[416] by others,\nthat the Scandinavians, not the Germans, borrowed the story; and by\nothers still, that the epics, while proceeding from a common cradle,\nare of independent growth. The last theory is the most tenable.[417]\nConcerning the history of the Nibelungenlied, it has been maintained\nthat since, during the twelfth century, when no poet would adopt\nany other poet's stanzaic form, the Austrian Von K\u00fcrenberg used the\nstanzaic form of the Nibelungenlied, the epic must be his.[418] It\nhas also been urged that the poem, having been written down about\n1140, was altered in metrical form by younger poets, until, in 1200 or\nthereabouts, it assumed the form preserved in the latest of the three\ngreat manuscripts.[419] But the theory advanced by Lachmann is still\nof great value: that the poem consists of a number of ancient ballads\nof various age and uneven worth; and that, about 1210, a collector,\nmending some of the ballads to suit himself, strung them together on a\nthread of his own invention.\n\nIn fine, the materials of the poem would persuade us not only of\nits origin in very ancient popular lays, but of their fusion and\nimprovement by the imaginative effort of at least one, and probably\nof several poets, who lived and wrote between 1120 and 1200 A.D. The\nmetrical structure, also, would indicate derivation from the German\nfolk song and modification due to multifarious handling on the part of\npopular minstrels and poets of written verse.[420]\n\n=302. Records of Oriental Mythology: Egyptian.=[421] Although\nthe myths of Egypt, India, and Persia are of intense interest and\nimportance, they have not materially affected English literature. The\nfollowing is, however, a brief outline of the means by which some of\nthem have been preserved.\n\nThe Egyptian records are (1) _The Hieroglyphs_, or sacred inscriptions\nin Tombs of the Kings, and other solemn places,--conveying ideas by\nsymbols, by phonetic signs, or by both; (2) _The Sacred Papyri_,\ncontaining hymns to the gods; (3) _The_ _Books of the Dead_ and of the\n_Lower Hemisphere_,--devoted to necromantic incantations, prayers for\nthe souls of the departed, and other rituals.\n\n=303. Indian Records.= (1) _The Vedas_, or Holy Scriptures of the\nHindus, which fall into four divisions. The most ancient, the Rig-Veda,\nconsists of hymns of an elevated and spiritual character composed by\nfamilies of Rishis, or psalmists, as far back, perhaps, as 3000 B.C.,\nnot later than 1400 B.C. They give us the religious conceptions of\nthe Aryans when they crossed the Himalayas and began to push toward\nSouthern Hindustan. The Sama-Veda is a book of solemn chants and\ntunes. The Yajur-Veda comprises prayers for sacrificial occasions,\nand interpretations of the same. The Atharva-Veda shows, as might be\nexpected of the youngest of the series, the influence upon the purer\nAryan creed of superstitions borrowed, perhaps, from the aboriginal\ntribes of India. It contains spells for exorcising demons and placating\nthem.\n\n(2) _The Indian Epics_ of classical standing. They are the Mah\u00e2bh\u00e2rata\nand the R\u00e2m\u00e2yana. Scholars differ as to the chronological precedence.\nThe Great Feud of the Bh\u00e2ratas has the air of superior antiquity\nbecause of the numerous hands and generations that have contributed\nto its composition. The Adventures of R\u00e2ma, on the other hand,\nrecalls a more primitive stage of credulity and of savage invention.\nThe Mah\u00e2bh\u00e2rata is a storehouse of mythical tradition. It contains\nseveral well-rounded epic poems, the most beautiful of which is the\nEpisode of Nala,--a prince who, succumbing to a weakness common to\nhis contemporaries, has gambled away his kingdom. The Great Feud of\nthe Bh\u00e2ratas is, indeed, assigned to an author--but his name, Vy\u00e2sa,\nmeans simply the Arranger. The R\u00e2m\u00e2yana purports to have been written\nby the poet V\u00e2lm\u00eeki. It tells how Sita, the wife of Prince R\u00e2ma, is\ncarried off to Ceylon by R\u00e2vana, king of the demons, and how R\u00e2ma, by\nthe aid of an army of monkeys, bridges the straits between India and\nCeylon and, slaying the demon, recovers his lovely and innocent wife.\nThe resemblance between the plot and that of the Iliad has inclined\nsome scholars to derive the Indian from the Greek epic. But, until the\nrelative antiquity of the poems is established, the Iliad might as well\nbe derived from the R\u00e2m\u00e2yana. The theory is unsubstantiated. These\nepics of India lack the artistic spirit and grace of the Iliad and the\nOdyssey, but they display a keener sympathy with nature and a more\nromantic appreciation of the loves and sorrows of mankind.\n\n=304. Persian Records.= _The Avesta_, or Sacred Book of the ancient\nPersians, composed in the Zend language and later translated into\nmedieval Persian,--or Pahlavi,--contains the G\u00e1th\u00e1s, or hymns of\nZoroaster and his contemporaries, and scriptures of as recent a date\nas the fifth century B.C. Zoroaster, a holy man of God, was the\nfounder or the reformer of the Persian religion. He lived as early\nas the fourteenth or fifteenth century B.C., and his system became\nthe dominant religion of Western Asia from the time of Cyrus (550\nB.C.) to the conquest of Persia by Alexander the Great. The teachings\nof Zoroaster are characterized by beautiful simplicity, and by an\nunwavering faith in the ultimate victory of righteousness (Ormuzd) over\nevil (Ahriman).\n\nFOOTNOTES:\n\n[393] Odyssey 8, 250.\n\n[394] Cf. the experience of Sigurd.\n\n[395] Il Penseroso, II. 103-108.\n\n[396] _Faerie Queene_, 4, 11, 23.\n\n[397] See E. B. Clapp, Greek Morality and Religion as Set forth by\nPindar (_Hibbert Journal_, 8, 283).\n\n[398] For other authorities and for a few standard translations of the\nGreek Classics, see Commentary, \u00a7 298.\n\n[399] With regard to translations of these and other Latin poets, see\nCommentary, \u00a7 299.\n\n[400] Based upon Lucian's Lucius or the Ass, and other Greek stories.\n\n[401] Translation in Walter Pater's Marius the Epicurean.\n\n[402] For literature, see Commentary.\n\n[403] Cleasby and Vigfusson's Icelandic-English Dictionary.\n\n[404] F. W. Horn's Geschichte d. Literatur d. Skandinavischen Nordens,\n27-42.\n\n[405] Cleasby and Vigfusson's Dictionary; L\u00fcning's Die Edda, 1859.\n\n[406] The Lay of Rig in Snorri's Edda; Vigfusson and Powell's Corpus\nPoeticum Boreale, 2, 514.\n\n[407] Jacob Grimm.\n\n[408] The Celtic _aideadh_: Professor Rhys, _Academy_, January 31, 1880.\n\n[409] Arne Magn\u00fasson, see Morley's English Writers, 2, 336, and\nMurray's New English Dictionary.\n\n[410] Corpus Poeticum Boreale, 1; xxvii, etc.\n\n[411] Corpus Poeticum Boreale, 1; lxxi; lxiii-lxiv.\n\n[412] For literature, see Commentary.\n\n[413] Paul's Grundriss d. Germanischen Philologie: Bd. 1, Lfg. 5,\n_Mythologie_.\n\n[414] Morris and Magnusson's The Story of the Volsungs and Nibelungs.\nHorn's Geschichte d. Literatur d. Skandinavischen Nordens, 27-42, 58,\netc.\n\n[415] Werner Hahn, Das Nibelungenlied.\n\n[416] The Grimm Brothers; v. d. Hagen; Vilmar.\n\n[417] Werner Hahn; Jas. Sime, Encyc. Brit. _Nibelungenlied_.\n\n[418] Pfeiffer.\n\n[419] Bartsch, see Encyc. Brit.\n\n[420] Werner Hahn, 18, 58-60.\n\n[421] For translations of Oriental Myths, see Commentary. For mythical\npersonages, see Index and Dictionary.\n\n\n\n\nCOMMENTARY[422]\n\n [It is hoped that this Commentary may be useful to general\n readers, to students of art, and to teachers in the secondary\n schools, as well as to pupils. The cross references are always to\n sections; and the section numbers correspond with those of the\n text in the body of the book. The letter C. prefixed to a number\n indicates Commentary.]\n\n\n=3. Chaos=: a gap. Compare the \"Beginning Gap\" of Norse mythology.\n=Eros=: a yearning. =Erebus=: black, from root meaning _to cover_.\n\n=4. Uranus= (Greek _Ouranos_) corresponds with the name of the Indian\ndivinity Varunas, root _var_, 'to cover.' Uranus is the starry vault\nthat covers the earth; Varunas became the rain-giving sky. =Titan=: the\nhonorable, powerful; the king; later, the signification was limited to\nthe sun. =Oceanus= probably means _flood_. =Tethys=: the nourisher,\nnurse. =Hyperion=: the wanderer on high;[423] the sun. =Thea=: the\nbeautiful, shining; the moon. She is called by Homer Eurypha\u00ebssa, the\nfar-shining. =Iapetus=: the sender, hurler, wounder. =Themis=: that\nwhich is established, law. =Mnemosyne=: memory. Other Titans were\nC[oe]us and Ph[oe]be, figurative of the radiant lights of heaven; Cre\u00fcs\nand Eurybi\u00eb, mighty powers, probably of the sea; Ophion, the great\nserpent, and Eurynome, the far-ruling, who, according to Apollonius\nof Rhodes, held sway over the Titans until Cronus cast them into the\nOcean, or into Tartarus.\n\n=Cronus= (Greek _Kronos_) is, as his name shows, the god of ripening,\nharvest, maturity. =Rhea= comes from Asia Minor, and was there\nworshiped as the Mother Earth, dwelling creative among the mountains.\nCronus (_Kronos_) has been naturally, but wrongly, identified with\nChronos, the personification of _Time_, which, as it brings all\nthings to an end, devours its own offspring; and also with the Latin\nSaturn, who, as a god of agriculture and harvest, was represented with\npruning-knife in hand, and regarded as the lord of an ancient golden\nage.\n\nThe three =Cyclopes= were Brontes, Steropes, and Arges. Cyclops means\nthe round-eyed. The =Hecatonchires= were Briareus, the strong, called\nalso \u00c6g\u00e6on; Cottus, the striker; Gyes, or Gyges, the vaulter, or\ncrippler. Gyges is called by Horace (Carm. 2, 17, 14) Centimanus,--the\nhundred-handed.\n\n=_Illustrative._= Milton, in Paradise Lost, 10, 581, refers to the\ntradition of Ophion and Eurynome, who \"had first the rule of high\nOlympus, thence by Saturn driven.\" =Hyperion=: see Shakespeare's\nHamlet, \"Hyperion's curls, the front of Jove himself.\" Also Henry V,\nIV, i; Troilus and Cressida, II, iii; Titus Andronicus, V, iii; Gray,\nProgress of Poesy, \"Hyperion's march they spy, and glittering shafts\nof war\"; Spenser, Prothalamion, \"Hot Titans beames.\" On =Oceanus=,\nBen Jonson, Neptune's Triumph. On =Saturn=, see Shakespeare, Much Ado\nAbout Nothing, I, iii; 2 Henry IV, II, iv; Cymbeline, II, v; Titus\nAndronicus, II, iii; IV, iii; Milton, Paradise Lost, 1. 512, 519, 583,\nand Il Penseroso, 24. See Robert Buchanan, Cloudland, \"One like a Titan\ncold,\" etc.; Keats, Hyperion; B. W. Procter, The Fall of Saturn.\n\n=_In Art._= Helios (Hyperion) rising from the sea: sculpture of eastern\npediment of the frieze of the Parthenon (British Museum). Mnemosyne: D.\nG. Rossetti (crayons and oil).\n\n=5.= Homer makes Zeus (Jupiter) the oldest of the sons of Cronus;\nHesiod makes him the youngest, in accordance with a widespread savage\ncustom which makes the youngest child heir in chief.--LANG, Myth,\nRitual, etc., 1, 297. According to other legends Zeus was born in\nArcadia, or even in Epirus at Dodona, where was his sacred grove. He\nwas in either case reared by the nymphs of the locality. According to\nHesiod, Theog. 730, he was born in a cave of Mount Dicte, in Crete.\n\n=6. Atlas=, according to other accounts, was not doomed to support the\nheavens until after his encounter with Perseus.\n\n=8.= See Milton's Hymn on the Nativity, \"Not =Typhon= huge ending in\nsnaky twine.\" The monster is also called Typhoeus (Hesiod, Theog.\n1137). The name means _to smoke_, _to burn_. The monster personifies\nfiery vapors proceeding from subterranean places. Other famous =Giants=\nwere Mimas, Polybotes, Ephialtes, Rh[oe]tus, Clytius. See Preller,\n1, 60. Briareus (really a Centimanus) is frequently ranked among the\ngiants.\n\n=_Illustrative._= Shakespeare, Troilus and Cressida, I, ii; Milton,\nParadise Lost, 1, 199, and Hymn on the Nativity, 226; M. Arnold,\nEmpedocles, Act 2; Pope, Dunciad, 4, 66. For giants, in general, see\nMilton, Paradise Lost, 3, 464; 11. 642, 688; Samson Agonistes, 148.\n\n=10-15. Prometheus=: forethought.[424] =Epimetheus=: afterthought.\nAccording to \u00c6schylus (Prometheus Bound) the doom of Zeus (Jupiter) was\nonly contingent. If he should refuse to set Prometheus free and should,\ntherefore, ignorant of the secret, wed Thetis, of whom it was known to\nPrometheus that her son should be greater than his father, then Zeus\nwould be dethroned. If, however, Zeus himself delivered Prometheus,\nthat Titan would reveal his secret and Zeus would escape both the\nmarriage and its fateful result. The Prometheus Unbound of \u00c6schylus\nis lost; but its name indicates that in the sequel the Titan is freed\nfrom his chains. And from hints in the Prometheus Bound we gather\nthat this liberation was to come about in the way mentioned above,\nPrometheus warning Zeus to marry Thetis to Peleus (whose son, Achilles,\nproved greater than his father,--see =191=); or by the intervention\nof Hercules who was to be descended in the thirteenth generation from\nZeus and Io (see =161= and =C. 149=); or by the voluntary sacrifice\nof the Centaur Chiron, who, when Zeus should hurl Prometheus and his\nrock into Hades, was destined to substitute himself for the Titan,\nand so by vicarious atonement to restore him to the life of the upper\nworld. In Shelley's great drama of Prometheus Unbound, the Zeus of\ntyranny and ignorance and superstition is overthrown by Reason, the\ngift of Prometheus to mankind. =Sicyon= (or Mecone): a city of the\nPeloponnesus, near Corinth.\n\n_=Illustrative.=_ Milton, Paradise Lost, \"More lovely than =Pandora=\nwhom the gods endowed with all their gifts.\" Shakespeare, Titus\nAndronicus, II, i, 16.\n\n_=Poems.=_ D. G. Rossetti, Pandora; Longfellow, Masque of Pandora,\nPrometheus, and Epimetheus; Thos. Parnell, Hesiod, or the Rise of\nWoman. =Prometheus=, by Byron, Lowell, H. Coleridge, Robert Bridges;\nPrometheus Bound, by Mrs. Browning; translations of \u00c6schylus,\nPrometheus Bound, Augusta Webster, E. H. Plumptre; Shelley, Prometheus\nUnbound; R. H. Horne, Prometheus, the Fire-bringer; E. Myers, The\nJudgment of Prometheus; George Cabot Lodge, Herakles, a drama. See\nByron's Ode to Napoleon Buonaparte. =The Golden Age=: Chaucer, The\nFormer Age (_\u00c6tas Prima_); Milton, Hymn on the Nativity.\n\n_=In Art.=_ Ancient: Prometheus Unbound, vase picture (Monuments\nIn\u00e9dits, Rome and Paris). Modern: Thorwaldsen's sculpture, Minerva and\nPrometheus. Pandora: Sichel (oil), Rossetti (crayons and oil), F. S.\nChurch (water colors).\n\n=16. Dante= (_Durante_) =degli Alighieri= was born in Florence, 1265.\nBanished by his political opponents, 1302, he remained in exile\nuntil his death, which took place in Ravenna, 1321. His Vita Nuova\n(New Life), recounting his ideal love for Beatrice Portinari, was\nwritten between 1290 and 1300; his great poem, the Divina Commedia\n(the Divine Comedy) consisting of three parts,--Inferno, Purgatorio,\nParadiso,--during the years of his exile. Of the Divine Comedy, says\nLowell, \"It is the real history of a brother man, of a tempted,\npurified, and at last triumphant human soul.\" =John Milton= (b. 1608)\nwas carried by the stress of the civil war, 1641-1649, away from\npoetry, music, and the art which he had sedulously cultivated, into\nthe stormy sea of politics and war. Perhaps the severity of his later\nsonnets and the sublimity of his Paradise Lost, Paradise Regained,\nand Samson Agonistes are the fruit of the stern years of controversy\nthrough which he lived, not as a poet, but as a statesman and a\npamphleteer. =Cervantes= (1547-1616), the author of the greatest\nof Spanish romances, Don Quixote. His life was full of adventure,\nprivation, suffering, with but brief seasons of happiness and renown.\nHe distinguished himself at the battle of Lepanto, 1571; but in 1575,\nbeing captured by Algerine cruisers, he remained five years in harsh\ncaptivity. After his return to Spain he was neglected by those in\npower. For full twenty years he struggled for his daily bread. Don\nQuixote was published in and after 1605. =Corybantes=: the priests of\nCybele, whose festivals were violent, and whose worship consisted of\ndances and noise suggestive of battle.\n\n=18. Astr\u00e6a= was placed among the stars as the constellation Virgo, the\nvirgin. Her mother was Themis (Justice). Astr\u00e6a holds aloft a pair of\nscales, in which she weighs the conflicting claims of parties. The old\npoets prophesied a return of these goddesses and of the Golden Age. See\nalso Pope's Messiah,--\n\n All crimes shall cease, and ancient fraud shall fail,\n Returning Justice lift aloft her scale:\n\nand Milton's Hymn on the Nativity, 14, 15. In Paradise Lost, 4, 998 _et\nseq._, is a different conception of the golden scales, \"betwixt Astr\u00e6a\nand the Scorpion sign.\" Emerson moralizes the myth in his Astr\u00e6a.\n\n=19-20. _Illustrative._= B. W. Procter, The Flood of Thessaly. See\nOvid's famous narrative of the Four Ages and the Flood, Metamorphoses,\n1, 89-415. =Deucalion=: Bayard Taylor, Prince Deukalion; Milton,\nParadise Lost, 11, 12.\n\n_=Interpretative.=_ This myth combines two stories of the origin of\nthe Hellenes, or indigenous Greeks,--one, in accordance with which the\nHellenes, as earthborn, claimed descent from Pyrrha (the red earth);\nthe other and older, by which Deucalion was represented as the only\nsurvivor of the flood, but still the founder of the race (Greek la\u00f3s),\nwhich he created by casting stones (Greek l\u00e2es) behind him. The myth,\ntherefore, proceeds from an unintended pun. Although, finally, Pyrrha\nwas by myth-makers made the wife of Deucalion, the older myth of the\norigin of the race from stones was preserved. See Max M\u00fcller, Sci.\nRelig., London, 1873, p. 64.\n\n=21.= For genealogy of the race of Inachus, Phoroneus, Pelasgus, and\nIo, see Table D. Pelasgus is frequently regarded as the grandson, not\nthe son, of Phoroneus. For the descendants of Deucalion and Hellen, see\nTable I of this commentary.\n\n=22.= In the following genealogical table (A), the names of the great\ngods of Olympus are printed in heavy-face type. Latin forms of names or\nLatin substitutes are used.\n\n_=Illustrative.=_ On the =Gods of Greece=, see E. A. Bowring's\ntranslation of Schiller's Die G\u00f6tter Griechenlands, and Bayard Taylor's\nMasque of the Gods. On =Olympus=, see Lewis Morris, The Epic of Hades.\nAllusions abound; _e.g._ Shakespeare, Troilus and Cressida, III, iii;\nJulius C\u00e6sar, III, i; IV, iii; Hamlet, V, i; Milton, Paradise Lost, 1,\n516; 7, 7; 10, 583; Pope, Rape of the Lock, 5, 48, and Windsor Forest,\n33, 234; E. C. Stedman, News from Olympia. See also E. W. Gosse, Greece\nand England (On Viol and Flute).\n\n=23. The Olympian Gods.= There were, according to Mr. Gladstone (_No.\nAm._ _Rev._ April, 1892), about twenty Olympian deities:[425] (1) The\nfive really great gods, Zeus, Hera, Poseidon, Apollo, and Athene; (2)\nHeph\u00e6stus, Ares, Hermes, Iris, Leto, Artemis, Themis, Aphrodite, Dione,\nP\u00e6\u00ebon (or P\u00e6on), and Hebe,--also usually present among the assembled\nimmortals; (3) Demeter, Persephone, Dionysus, and Thetis, whose\nclaims are more or less obscured. According to the same authority,\nthe =Distinctive Qualities of the Homeric Gods= were as follows: (1)\nthey were immortal; (2) they were incorporated in human form; (3) they\nenjoyed power far exceeding that possessed by mortals; (4) they were,\nhowever (with the possible exception of Athene, who is never ignorant,\nnever deceived, never baffled), all liable to certain limitations of\nenergy and knowledge; (5) they were subject also to corporeal wants and\nto human affections. The =Olympian= =Religion=, as a whole, was more\ncareful of nations, states, public affairs, than of individuals and\nindividual character; and in this respect, according to Mr. Gladstone.\nit differs from Christianity. He holds, however, that despite the\noccasional immoralities of the gods, their general government not only\n\"makes for righteousness,\" but is addressed to the end of rendering it\ntriumphant. Says Zeus, for instance, in the Olympian assembly, \"Men\ncomplain of us the gods, and say that we are the source from whence\nills proceed; but they likewise themselves suffer woes outside the\ncourse of destiny, through their own perverse offending.\" But, beside\nthis general effort for the triumph of right, there is little to be\nsaid in abatement of the general proposition that, whatever be their\ncollective conduct, the common speech of the gods is below the human\nlevel in point of morality.[426]\n\n=24-25. Zeus.= In Sanskrit _Dyaus_, in Latin _Jovis_, in German _Tiu_.\nThe same name for the Almighty (the Light or Sky) used probably\nthousands of years before Homer, or the Sanskrit Bible (the Vedas).\nIt is not merely the blue sky, nor the sky personified,--not merely\nworship of a natural phenomenon, but of the Father who is in Heaven.\nSo in the Vedas we find _Dyaus pitar_, in the Greek _Zeu_ _pater_, in\nLatin _Jupiter_ all meaning _father of light_.--MAX M\u00dcLLER, Sci. Relig.\n171, 172. =Oracle=: the word signifies also the answers given at the\nshrine.\n\n_=Illustrative.=_ Allusions to Jove on every other page of Milton,\nDryden, Pope, Prior, Gray, and any poet of the Elizabethan and Augustan\nperiods. On the =Love Affairs of Jupiter= and the other gods, see\nMilton, Paradise Regained, 2, 182. =Dodona=: Tennyson's Talking Oak:\n\n That Thessalian growth,\n On which the swarthy ringdove sat,\n And mystic sentence spoke....\n\nPoem: Lewis Morris, Zeus, in The Epic of Hades.\n\n_=In Art.=_ Beside the representations of Jupiter noted in the text may\nbe mentioned that on the eastern frieze of the Parthenon; the Jupiter\nOtricoli in the Vatican; also the Jupiter and Juno (painting) by\nAnnibale Carracci; the Jupiter (sculpture) by Benvenuto Cellini.\n\nTABLE A. THE GREAT GODS OF OLYMPUS\n\n Uranus\n =G\u00e6a\n +-- Cronus\n | =Rhea\n | +-- =Vesta=\n | +-- Ceres\n | +-- =Juno=\n | | +=Jupiter=\n | | +-- Hebe\n | | +-- =Mars=\n | | +-- =Vulcan=\n | +-- Pluto\n | +-- Neptune\n | +-- =Jupiter=\n | +-- Minerva\n | ==Juno=\n | +-- Hebe (see above)\n | +-- =Mars= (see above)\n | +-- =Vulcan= (see above)\n | =Latona\n | +-- =Apollo=\n | +-- =Diana=\n | =Dione\n | +-- =Venus=\n | =Maia\n | +-- =Mercury=\n | =Ceres\n | +-- Proserpina\n | =Semele\n | +-- Bacchus\n | =Alcmene\n | +-- Hercules\n +-- Rhea\n | =Cronus\n | +-- Vesta (see above)\n | +-- Ceres (see above)\n | +-- Juno (see above)\n | +-- Pluto (see above)\n | +-- Neptune (see above)\n | +-- Jupiter (see above)\n +-- C[oe]us\n | =Ph[oe]be\n | +-- Latona\n | =Jupiter\n | +-- Apollo (see above)\n | +-- Diana (see above)\n +-- Ph[oe]be\n | =C[oe]us\n | +-- Latona (see above)\n +-- Iapetus\n +-- Epimethius\n | +-- Dione\n | =Jupiter\n | +-- Venus (see above)\n +-- Prometheus\n +-- Atlas\n +-- Maia\n =Jupiter\n +-- Mercury (see above)\n\n=26. Juno= was called by the Romans Juno Lucina, the special goddess of\nchildbirth. In her honor wives held the festival of the Matronalia on\nthe first of March of each year. The Latin =Juno= is for _Diou-n-on_,\nfrom the stem _Diove_, and is the feminine parallel of Jovis, just as\nthe Greek Dione (one of the loves of Zeus) is the feminine of Zeus.\nThese names (and Diana, too) come from the root _div_, 'to shine,' 'to\nillumine.' There are many points of resemblance between the Italian\nJuno and the Greek Dione (identified with Hera, as Hera-Dione). Both\nare goddesses of the moon (?), of women, of marriage; to both the cow\n(with moon-crescent horns) is sacred. See Roscher, 21, 576-579. But\nOverbeck insists that the loves of Zeus are deities of the earth: \"The\nrains of heaven (Zeus) do not fall upon the moon.\"\n\n_=Illustrative.=_ W. S. Landor, Hymn of Terpander to Juno; Lewis\nMorris, Her\u00e9, in The Epic of Hades.\n\n=_In Art._= Of the statues of Juno the most celebrated was that made\nby Polyclitus for her temple between Argos and Mycen\u00e6. It was of gold\nand ivory. See Paus. 2, 17, 4. The goddess was seated on a throne of\nmagnificent proportions; she wore a crown upon which were figured\nthe Graces and the Hours; in one hand she held a pomegranate, in the\nother a scepter surmounted by a cuckoo. Of the extant representations\nof Juno the most famous are the Argive Hera (Fig. 9 in the text), the\ntorso in Vienna from Ephesus, the Hera of the Vatican at Rome, the\nbronze statuette in the Cabinet of Coins and Antiquities in Vienna, the\nFarnese bust in the National Museum in Naples, the Ludovisi bust in the\nvilla of that name in Rome, the Pompeian wall painting of the marriage\nof Zeus and Hera (given by Baumeister, Denkm\u00e4ler 1, 649; see also\nRoscher, 13, 2127), and the Juno of Lanuvium.\n\n=27. Athen\u00eb= (Athena) has some characteristics of the warlike kind in\ncommon with the Norse Valkyries, but she is altogether a more ideal\nconception. The best description of the goddess will be found in\nHomer's Iliad, 5, 730 _et seq._\n\nThe derivation of =Athene= is uncertain (Preller). Related, say some,\nto _\u00e6th[=e]r_, #aith\u00ear#, the clear upper air; say others, to the word\n_anthos_, #anthos#, 'a flower'--virgin bloom; or (see Roscher, p. 684)\nto _ath[=e]r_, #ath\u00ear#, 'spear point.' Max M\u00fcller derives Athene from\nthe root _ah_, which yields the Sanskrit Ahan\u00e2 and the Greek Daphne,\nthe Dawn (?). Hence Athene is the Dawn-goddess; but she is also the\ngoddess of wisdom, because \"the goddess who caused people to wake was\ninvoluntarily conceived as the goddess who caused people to know\"\n(Science of Language, 1, 548-551). This is poor philology.\n\nEpithets applied to Athene are the bright-eyed, the gray-eyed, the\n\u00e6gis-bearing, the unwearied daughter of Zeus.\n\nThe festival of the =Panathen\u00e6a= was celebrated at Athens yearly in\ncommemoration of the union of the Attic tribes. See =C. 176-181=.\n\nThe name =Pallas= characterizes the goddess as the _brandisher_ of\nlightnings. Her Palladium--or sacred image--holds always high in air\nthe brandished lance.\n\n=Minerva=, or =Menerva=, is connected with Latin _mens_, Greek _m\u00e9nos_,\nSanskrit _manas_, 'mind'; not with the Latin _mane_, 'morning.' The\nrelation is not very plausible between the awakening of the day and\nthe awakening of thought (Max M\u00fcller, Sci. Lang, 1, 552).\n\nFor the meaning of the Gorgon, see Commentary on the myth of Perseus.\n\n_=Illustrative=_. Byron, Childe Harold, 4, 96, the eloquent passage\nbeginning,\n\n Can tyrants but by tyrants conquer'd be,\n And Freedom find no champion and no child\n Such as Columbia saw arise when she\n Sprung forth a Pallas, arm'd and undefiled?\n\nShakespeare, Tempest, IV, i; As You Like It, I, iii; Winter's Tale,\nIV, iii; Pericles, II, iii; Milton, Paradise Lost, 4, 500; Comus, 701;\nArcades, 23; Lewis Morris' Athene, in The Epic of Hades; Byron, Childe\nHarold, 2. 1-15, 87, 91; Ruskin's Lectures entitled \"The Queen of the\nAir\" (Athene); Thomas Woolner's Pallas Athene, in Tiresias.\n\n_=In Art.=_ The finest of the statues of this goddess was by Phidias,\nin the Parthenon, or temple of Athena, at Athens. The Athena of the\nParthenon has disappeared; but there is good ground to believe that we\nhave, in several extant statues and busts, the artist's conception.\n(See Frontispiece, the Lemnian Athena, and Fig. 53, the Hope Athena,\nancient marble at Deepdene, Surrey.) The figure is characterized by\ngrave and dignified beauty, and freedom from any transient expression;\nin other words, by repose. The most important copy extant is of the\nRoman period. The goddess was represented standing; in one hand a\nspear, in the other a statue of Victory. Her helmet, highly decorated,\nwas surmounted by a Sphinx. The statue was forty feet in height, and,\nlike the Jupiter, covered with ivory and gold. The eyes were of marble,\nand probably painted to represent the iris and pupil. The Parthenon, in\nwhich this statue stood, was also constructed under the direction and\nsuperintendence of Phidias. Its exterior was enriched with sculptures,\nmany of them from the hand of the same artist. The Elgin Marbles now\nin the British Museum are a part of them. Also remarkable are the\nMinerva Bellica (Capitol, Rome); the Athena of the Acropolis Museum;\nthe Athena of the \u00c6gina Marbles (Glyptothek, Munich); the Minerva\nMedica (Vatican); the Athena of Velletri in the Louvre. (See Fig. 10.)\nIn modern sculpture, especially excellent are Thorwaldsen's Minerva\nand Prometheus, and Cellini's Minerva (on the base of his Perseus). In\nmodern painting, Tintoretto's Minerva defeating Mars.\n\n=28.= While the Latin god =Mars= corresponds with Ares, he has also\nnot a few points of similarity with the Greek Ph[oe]bus; for both\nnames, Mars and Ph[oe]bus, indicate the quality _shining_. In Rome, the\nCampus Martius (field of Mars) was sacred to this deity. Here military\nmaneuvers and athletic contests took place; here Mars was adored by\nsacrifice, and here stood his temple, where his priests, the Salii,\nwatched over the sacred spear and the shield, _Ancile_, that fell from\nheaven in the reign of Numa Pompilius. Generals supplicated Mars for\nvictory, and dedicated to him the spoils of war. See Roscher, pp. 478,\n486, on the fundamental significance, philosophical and physical, of\n_Ares_. On the derivation of the Latin name _Mars_, see Roscher (end of\narticle on Apollo).\n\n_=Illustrative in Art.=_ Of archaic figures, that upon the so-called\nFran\u00e7ois Vase in Florence represents =Ares= bearded and with the armor\nof a Homeric warrior. In the art of the second half of the fifth\ncentury B.C., he is represented as beardless, standing with spear and\nhelmet and, generally, _chlamys_ (short warrior's cloak); so the marble\nAres statue (called the Borghese Achilles) in the Louvre. There is a\nlater type (preferred in Rome) of the god in Corinthian helmet pushed\nback from the forehead, the right hand leaning on a spear, in the left\na sword with point upturned, over the left arm a _chlamys_. The finest\nrepresentation of the deity extant is the _Ares Ludovisi_ in Rome,\nprobably of the second half of the fourth century B.C.,--a sitting\nfigure, beautiful in form and feature, with an Eros playing at his\nfeet. (See Fig. 11.) Modern sculpture: Thorwaldsen's relief, Mars and\nCupid. Modern painting, Raphael's Mars (text, Fig. 12).\n\n=29.= On the derivation of =Heph\u00e6stus=, see Roscher, p. 2037. From\nGreek _aph[=e]_, 'to kindle,' or _pha_, 'to shine,' or _spha_, 'to\nburn.' The Latin =Vulcan=, while a god of fire, is not represented by\nthe Romans as possessed of technical skill. It is said that Romulus\nbuilt him a temple in Rome and instituted the Vulcanalia,--a festival\nin honor of the god. The name _Vulcanus_, or _Volcanus_, is popularly\nconnected with the Latin _fulgere_, 'to flash' or 'lighten,' _fulgur_ a\n'flash of lightning,' etc. It is quite natural that, in many legends,\nfire should play an active part in the creation of man. The primitive\nbelief of the Indo-Germanic race was that the fire-god, descending to\nearth, became the first man; and that, therefore, the spirit of man was\ncomposed of fire. Vulcan is also called by the Romans Mulciber, from\n_mulceo_, 'to soften.'\n\n_=Illustrative.=_ Shakespeare, Twelfth Night, V, i; Much Ado About\nNothing, I, i; Troilus and Cressida, I, iii; Hamlet, III, ii; Milton,\nParadise Lost, 1, 740:\n\n From morn\n To noon he fell, from noon to dewy eve,\n A summer's day; and with the setting sun\n Dropt from the zenith, like a falling star,\n On Lemnos, the \u00c6gean isle.\n\n_=In Art.=_ Various antique illustrations are extant of the god as a\nsmith with hammer, or at the forge (text, Fig. 13); one of him working\nwith the Cyclopes; a vase painting of him adorning Pandora; one of him\nassisting at the birth of Minerva; and one of his return to Olympus\nled by Bacchus and Comus. Of modern paintings the following are\nnoteworthy: J. A. Wiertz, Forge of Vulcan; Velasquez, Forge of Vulcan\n(Museum, Madrid) (text, Fig. 56); the Forge of Vulcan by Tintoretto.\nThorwaldsen's piece of statuary, Vulcan forging Arrows for Cupid, is\njustly famous.\n\n=30. Castalia=: on the slopes of Parnassus, sacred to Apollo and the\nMuses. =Cephissus=: in Phocis and B[oe]otia. (Another Cephissus flows\nnear Athens.)\n\n_=Interpretative.=_ The birth, wanderings, return of =Apollo=, and\nhis struggle with the Python, etc., are explained by many scholars\nas symbolic of the annual course of the sun. Apollo is born of Leto,\nwho is, according to hypothesis, the Night from which the morning\nsun issues. His conflict with the dragon reminds one of Siegfried's\ncombat and that of St. George, The =dragon= is variously interpreted\nas symbolical of darkness, mephitic vapors, or the forces of winter,\nwhich are overcome by the rays of the springtide sun. The dragon is\ncalled Delphyne, or Python. The latter name may be derived simply from\nthat part of Phocis (Pytho) where the town of Delphi was situate, or\nthat again from the Greek root _p[=u]th_, 'to rot,' because there the\nserpent was left by Apollo to decay; or from the Greek _p[)u]th_,\n'to inquire,' with reference to the consultation of the Delphian or\nPythian oracle. \"It is open to students to regard the =dolphin= as\nonly one of the many animals whose earlier worship is concentrated\nin Apollo, or to take the creature for the symbol of spring when\nseafaring becomes easier to mortals, or to interpret the dolphin as the\nresult of a _volks-etymologie_ (popular derivation), in which the name\n_Delphi_ (meaning originally a hollow in the hills) was connected with\n_delphis_, the dolphin.\"--LANG, Myth, Ritual, etc., 2, 197. Apollo is\nalso called =Lycius=, which means, not the wolf-slayer, as is sometimes\nstated, for the wolf is sacred to Apollo, but either the wolf-god\n(as inheriting an earlier wolf-cult) or the golden god of Light. See\nPreller and Roscher. This derivation is more probable than that from\n_Lycia_ in Asia Minor, where the god was said originally to have been\nworshiped. To explain certain rational myths of Apollo as referring to\nthe annual and diurnal journeys of the sun is justifiable. To explain\nthe savage and senseless survivals of the Apollo-myth in that way is\nimpossible.\n\n=Festivals.= The most important were as follows: (1) The =Delphinia=,\nin May, to celebrate the genial influence of the young sun upon\nthe waters, in opening navigation, in restoring warmth and life to\nthe creatures of the wave, especially to the dolphins, which were\nhighly esteemed by the superstitious seafarers, fishermen, merchants,\netc. (2) The =Thargelia=, in the Greek month of that name, our May,\nwhich heralded the approach of the hot season. The purpose of this\nfestival was twofold: to propitiate the deity of the sun and forfend\nthe sickness of summer; to celebrate the ripening of vegetation\nand return thanks for first-fruits. These festivals were held in\nAthens, Delos, and elsewhere. (3) The =Hyacinthian= fast and feast\nof Sparta, corresponding in both features to the Thargelian. It was\nheld in July, in the oppressive days of the Dog Star, Sirius. (4) The\n=Carnean= of Sparta, celebrated in August. It added to the propitiatory\nfeatures of the Hyacinthian, a thanksgiving for the vintage. (5)\nAnother vintage-festival was the =Pyanepsian=, in Athens. (6) The\n=Daphnephoria=: \"Familiar to many English people from Sir Frederick\nLeighton's picture. This feast is believed to have symbolized the\nyear.... An olive branch supported a central ball of brass, beneath\nwhich was a smaller ball, and thence little globes were hung.\" \"The\ngreater ball means the sun, the smaller the moon, the tiny globes\nthe stars, and the three hundred and sixty-five laurel garlands used\nin the feast are understood to symbolize the days.\" (_Proclus and\nPausanias._)--LANG, Myth, Ritual, etc., 2. 194, 195. Apollo is also\ncalled the =Sminthian=, or Mouse-god, because he was regarded either\nas the protector or as the destroyer of mice. In the Troad mice were\nfed in his temple; elsewhere he was honored as freeing the country\nfrom them. As Mr. Lang says (Myth, Ritual, etc., 2, 201), this is\nintelligible \"if the vermin which had once been sacred became a pest in\nthe eyes of later generations.\"\n\n=Oracle of Delphi.= It had been observed at a very early period that\nthe goats feeding on Parnassus were thrown into convulsions when they\napproached a certain long deep cleft in the side of the mountain. This\nwas owing to a peculiar vapor arising out of the cavern, and a certain\ngoatherd is said to have tried its effects upon himself. Inhaling the\nintoxicating air, he was affected in the same manner as the cattle\nhad been; and the inhabitants of the surrounding country, unable to\nexplain the circumstance, imputed the convulsive ravings to which he\ngave utterance while under the power of the exhalations to a divine\ninspiration. The fact was speedily spread abroad, and a temple was\nerected on the spot. The prophetic influence was at first variously\nattributed to the goddess Earth, to Neptune, Themis, and others, but\nit was at length assigned to Apollo, and to him alone. A priestess was\nappointed whose office it was to inhale the hallowed air, and she was\nnamed the Pythia. She was prepared for this duty by previous ablution\nat the fountain of Castalia, and being crowned with laurel was seated\nupon a tripod similarly adorned, which was placed over the chasm whence\nthe divine afflatus proceeded. Her inspired words while thus situated\nwere interpreted by the priests.\n\nOther famous oracles were that of =Trophonius= in B[oe]otia and that of\nthe Egyptian =Apis=. Since those who descended into the cave at Lebadea\nto consult the oracle of Trophonius were noticed to return dejected\nand melancholy, the proverb arose which was applied to a low-spirited\nperson, \"He has been consulting the oracle of Trophonius.\"\n\nAt Memphis the sacred bull Apis gave answer to those who consulted him,\nby the manner in which he received or rejected what was presented to\nhim. If the bull refused food from the hand of the inquirer, it was\nconsidered an unfavorable sign, and the contrary when he received it.\n\nIt used to be questioned whether oracular responses ought to be\nascribed to mere human contrivance or to the agency of evil spirits.\nThe latter opinion would of course obtain during ages of superstition,\nwhen evil spirits were credited with an influence over human affairs.\nA third theory has been advanced since the phenomena of mesmerism\nhave attracted attention: that something like the mesmeric trance was\ninduced in the Pythoness, and the faculty of clairvoyance called into\naction.\n\nScholars have also sought to determine when the pagan oracles ceased\nto give responses. Ancient Christian writers assert that they became\nsilent at the birth of Christ, and were heard no more after that date;\nMilton adopts this view in his Hymn on the Nativity, and in lines of\nsolemn and elevated beauty pictures the consternation of the heathen\nidols at the advent of the Saviour:\n\n The Oracles are dumb;\n No voice or hideous hum\n Runs through the arch\u00e8d roof in words deceiving.\n Apollo from his shrine\n Can no more divine,\n With hollow shriek the steep of Delphos leaving.\n No nightly trance, or breath\u00e8d spell\n Inspires the pale-eyed priest from the prophetic cell.\n\n_=Illustrative.=_ Spenser, Faerie Queene, 1, 2, 2; 1, 2, 29; 1, 11, 31;\n1, 12, 2. Sir Philip Sidney, Astrophel and Stella; as, for instance,\nthe pretty conceit beginning\n\n Ph[oe]bus was judge between Jove, Mars, and Love,\n Of those three gods, whose arms the fairest were.\n\nDekker, The Sun's Darling; Burns (as in the Winter Night) and other\nScotch song-writers find it hard to keep Ph[oe]bus out of their verses;\nSpenser, Epithalamion; Shakespeare, Midsummer Night's Dream, II, i\n(Apollo and Daphne); Cymbeline (Cloten's Serenade); Love's Labour's\nLost, IV, iii; Taming of the Shrew, Induction ii; Winter's Tale, II, i;\nIII, i; III, ii; Titus Andronicus, IV, i; Drayton, Song 8; Tickell, To\nApollo making Love; Swift, Apollo Outwitted; Pope, Essay on Criticism,\n34; Dunciad, 4, 116; Prologue to Satires, 231; Miscellaneous, 7, 16;\nArmstrong, The Art of Preserving Health.\n\n_=Poems.=_ Drummond of Hawthornden, Song to Ph[oe]bus; Keats, Hymn\nto Apollo; A. Mary F. Robinson, A Search for Apollo, and In Apollo's\nGarden; Shelley, Homer's Hymn to Apollo; Aubrey De Vere, Lines under\nDelphi; Lewis Morris, Apollo, in The Epic of Hades; R. W. Dixon, Apollo\nPythius.\n\n=The Python.= Milton, Paradise Lost, 10, 531; Shelley, Adonais.\n=Oracles.= Milton, Paradise Lost, 1. 12, 515; 5, 382; 10, 182; Paradise\nRegained, 1. 395, 430, 456, 463; 3, 13; 4, 275; Hymn on the Nativity,\n173. In Cowper's poem of Yardley Oak there are mythological allusions\nappropriate to this subject. On Dodona, Byron, Childe Harold, 2, 53;\nTennyson, The Talking Oak. Byron alludes to the oracle of Delphi when\nspeaking of Rousseau, whose writings he conceives did much to bring on\nthe French Revolution: Childe Harold, 3, 81,--\n\n For then he was inspired, and from him came,\n As from the Pythian's mystic cave of yore,\n Those oracles which set the world in flame,\n Nor ceased to burn till kingdoms were no more.\n\n_=In Art.=_ One of the most esteemed of all the remains of ancient\nsculpture is the statue of Apollo, called the Belvedere from the name\nof the apartment of the Pope's palace at Rome in which it is placed\n(see Fig. 15). The artist is unknown. It is conceded to be a work of\nRoman art, of about the first century of our era (and follows a type\nfashioned by a Greek sculptor of the Hellenistic period, probably\nin bronze). A variation of the type has been discovered in a bronze\nstatuette which represents Apollo holding in the left hand an \u00e6gis.\nSome scholars have therefore surmised that the Apollo of the original\nwas similarly equipped. The Belvedere Apollo, however, is a standing\nfigure, in marble, more than seven feet high, naked except for the\ncloak which is fastened around the neck and hangs over the extended\nleft arm. It is restored to represent the god in the moment when he\nhas shot the arrow to destroy the monster Python. The victorious\ndivinity is in the act of stepping forward. The left arm which seems\nto have held the bow is outstretched, and the head is turned in the\nsame direction. In attitude and proportion the graceful majesty of the\nfigure is unsurpassed. The effect is completed by the countenance,\nwhere, on the perfection of youthful godlike beauty, there dwells the\nconsciousness of triumphant power. To this statue Byron alludes in\nChilde Harold, 4, 161:\n\n Or view the Lord of the unerring bow,\n The God of life, and poetry, and light,--\n The Sun, in human limbs arrayed, and brow\n All radiant from his triumph in the fight;\n The shaft hath just been shot--the arrow bright\n With an immortal's vengeance; in his eye\n And nostril, beautiful disdain, and might\n And majesty flash their full lightnings by,\n Developing in that one glance the Deity.\n\nThe standing figure in our text reproduces this conception.[427] Also\nfamous in sculpture are the \"Adonis\" Apollo of the Vatican (Fig. 14,\ntext); the Greek bronze from Thessaly (Fig. 16, text); the Palatine\nApollo in the Vatican (Fig. 66, text); the Apollo Cithar[oe]dus of\nthe National Museum, Naples, and the Glyptothek, Munich; the Lycian\nApollo; the Apollo Nomios; Apollo of Thera; the Apollo of Michelangelo\n(National Museum, Florence). A painting of romantic interest is Paolo\nVeronese's St. Christina refusing to adore Apollo. Of symbolic import\nis the Apollo (Sunday) by Raphael in the Vatican. Ph[oe]bus and Boreas\nby J. F. Millet.\n\n=32. Latona.= A theory of the numerous =love-affairs= of Jupiter\nis given in =24= of the text. =Delos= is the central island of\nthe Cyclades group in the \u00c6gean. With its temple of Apollo it was\nexceedingly prosperous.\n\n_=Interpretative.=_ Latona (Leto), according to ancient interpreters,\nwas night,--the shadow, therefore, of Juno (Hera), if Hera be the\nsplendor of heaven. But the early myth-makers would hardly have\nreasoned so abstrusely. It is not at all certain that the name _Leto_\nmeans darkness (Preller 1, 190, note 4); and even if light is born of\nor after darkness, the sun (Apollo) and the moon (Artemis, or Diana)\ncan hardly be considered to be twins of Darkness (Leto), for they do\nnot illuminate the heavens at the same time.--LANG, Myth, Ritual, etc.,\n2, 199.\n\n_=Illustrative.=_ Byron's allusion to Delos in Don Juan, 3, 86:\n\n The isles of Greece! the isles of Greece!\n Where burning Sappho loved and sung,\n Where grew the arts of war and peace,\n Where Delos rose, and Ph[oe]bus sprung!\n Eternal summer gilds them yet,\n But all, except their sun, is set.\n\nSee Milton's Sonnet, \"I did but prompt the age to quit their clogs,\"\nfor allusion to Latona.\n\n_=In Art.=_ In the shrine of Latona in Delos there was, in the days of\nAthen\u00e6us, a shapeless wooden idol.\n\n=Diana.= The Latin =Diana= means either \"goddess of the bright\nheaven,\" or \"goddess of the bright day.\" She is frequently identified\nwith Artemis, Hecate, Luna, and Selene. According to one tradition,\nApollo and Diana were born at =Ortygia=, near Ephesus. =Diana of the\nEphesians=, referred to (Acts xix, 28), was a goddess of not at all the\nmaidenly characteristics that belonged to the Greek Artemis (Roscher,\np. 591; A. Lang, 2, 217). Other titles of Artemis are Munychia, the\nmoon-goddess; Calliste, the _fair_, or the _she-bear_; Orthia, the\n_severe_, worshiped among the Taurians with human sacrifices; Agrotera,\nthe _huntress_; Pythia; Eileithyia, goddess of childbirth; Cynthia,\nborn on Mount Cynthus.\n\n_=Illustrative.=_ Spenser, Faerie Queene, 1, 7, 5; 1, 12, 7;\nShakespeare, Merchant of Venice, V, i, \"Come, ho, and wake Diana\nwith a hymn,\" etc.; Twelfth Night, I, iv; Midsummer Night's Dream,\nI, iv; All's Well that Ends Well, I, iii; IV, ii; IV, iv; Butler,\nHudibras, 3, 2, 1448. _=Poems=_: B. W. Procter, The Worship of Dian;\nW. W. Story, Artemis; E. W. Gosse, The Praise of Artemis; E. Arnold,\nHymn of the Priestess of Diana; Wordsworth, To Lycoris; Lewis Morris,\nArtemis, in The Epic of Hades; A. Lang, To Artemis. =Ph[oe]be= (Diana):\nSpenser, Epithalamion; Keats, To Psyche. =Cynthia= (Diana): Spenser,\nProthalamion, Epithalamion; Milton, Hymn on the Nativity; H. K. White,\nOde to Contemplation.\n\n_=In Art.=_ In art the goddess is represented high-girt for the chase,\neither in the act of drawing an arrow from her quiver or watching her\nmissile in its flight. She is often attended by the hind. Sometimes,\nas moon-goddess, she bears a torch. Occasionally she is clad in a\n_chiton_, or robe of many folds, flowing to her feet. The Diana of the\nHind (_\u00e0 la Biche_), in the Palace of the Louvre (see Fig. 18), may be\nconsidered the counterpart of the Apollo Belvedere. The attitude much\nresembles that of Apollo, the sizes correspond and also the styles of\nexecution. The Diana of the Hind is a work of a high order, though\nby no means equal to the Apollo. The attitude is that of hurried and\neager motion, the face that of a huntress in the excitement of the\nchase. The left hand of the goddess is extended over the forehead of\nthe hind which runs by her side, the right arm reaches backward over\nthe shoulder to draw an arrow from the quiver. Fig. 19 in the text is\nthe Artemis Knagia (Diana Cnagia), named after Cnageus, a servant of\nDiana who assisted in transferring the statue from Crete to Sparta. In\nDresden there is a statue of Artemis in the style of Praxiteles (Fig.\n68, text); and in the Louvre an ancient marble called the Artemis of\nGabii (Fig. 77, text).\n\nIn modern painting, noteworthy are the Diana and her Nymphs of Rubens;\nCorreggio's Diana (Fig. 17); Jules Lefebvre's Diana and her Nymphs;\nDomenichino's Diana's Chase. Note also the allegorical Luna (Monday) of\nRaphael in the Vatican; and D. G. Rossetti's Diana, in crayons.\n\n=34. _Interpretative._= The worship of =Aphrodite= was probably of\nSemitic origin, but was early introduced into Greece. The Aphrodite of\nHesiod and Homer displays both Oriental and Grecian characteristics.\nAll Semitic nations, except the Hebrews, worshiped a supreme goddess\nwho presided over the moon (or the Star of Love), and over all animal\nand vegetable life and growth. She was the Istar of the Assyrians,\nthe Astarte of the Ph[oe]nicians, and is the analogue of the Greek\nAphrodite and the Latin Venus. See Roscher, p. 390, etc. The native\nGreek deity of love would appear to have been, however, =Dione=,\ngoddess of the moist and productive soil (=C. 26=), who passes in the\nIliad (5. 370, 428) as the mother of Aphrodite, is worshiped at Dodona\nby the side of Zeus, and is regarded by Euripides as _Thyone_, mother\nof Dionysus (Preller I, 259).\n\nThe epithets and names most frequently applied to Aphrodite are the\nPaphian, Cypris (the Cyprus-born), Cytherea, Erycina (from Mount Eryx),\nPandemos (goddess of vulgar love), Pelagia (Aphrodite of the sea),\nUrania (Aphrodite of ideal love), Anadyomene (rising from the water);\nshe is, also, the sweetly smiling, laughter-loving, bright, golden,\nfruitful, winsome, flower-faced, blushing, swift-eyed, golden-crowned.\n\nShe had temples and groves in Paphos, Abydos, Samos, Ephesus, Cyprus,\nCythera, in some of which--for instance, Paphos--gorgeous annual\nfestivals were held. See Childe Harold, I, 66.\n\n=Venus= was a deity of extreme antiquity among the Romans, but not\nof great importance until she had acquired certain attributes of the\nEastern Aphrodite. She was worshiped as goddess of love, as presiding\nover marriage, as the goddess who turns the hearts of men, and, later,\neven as a goddess of victory. A festival in her honor, called the\nVeneralia, was held in Rome in April.\n\n=_Illustrative._= See Chaucer's Knight's Tale for frequent references\nto the goddess of love; also the Court of Love; Spenser's Prothalamion,\nand Epithalamion, \"Handmaids of the Cyprian queen\"; Shakespeare,\nTempest, IV, i; Merchant of Venice, II, vi; Troilus and Cressida,\nIV, v; Cymbeline, V, v; Romeo and Juliet, II, i; Milton, L'Allegro;\nParadise Regained, 2, 214; Comus, 124; Pope, Rape of the Lock 4, 135;\nSpring, 65; Summer, 61; Thomas Woolner, Pygmalion (Cytherea).\n\n=_Poems._= Certain parts of Shakespeare's Venus and Adonis and\noccasional stanzas in Swinburne's volume, Laus Veneris, may be adapted\nto illustrative purposes. Chaucer, The Complaint of Mars and Venus;\nThomas Wyatt, The Lover prayeth Venus to conduct him to the Desired\nHaven. See the melodious chorus to Aphrodite in Swinburne's Atalanta in\nCalydon; Lewis Morris, Aphrodite, in The Epic of Hades; Thomas Gordon\nHake, The Birth of Venus, in New Symbols; D. G. Rossetti, Sonnets;\nVenus Verticordia, Venus Victrix.\n\n=35. _In Art._= One of the most famous of ancient paintings was the\nVenus rising from the foam, of Apelles. The Venus found (1820) in the\nisland of Melos, or of Milo (see text, opp. p. 32), now to be seen in\nthe Louvre in Paris, is the work of some sculptor of about the fourth\ncentury B.C. Some say that the left hand uplifted held a mirrorlike\nshield; others, an apple; still others, a trident; and that the goddess\nwas Amphitrite. A masterpiece of Praxiteles was the Venus of Cnidos,\nbased upon which are the Venus of the Capitoline in Rome and the Venus\nde' Medici in Florence. Also the Venus of the Vatican, which is, in\nmy opinion, superior to both. The Venus of the Medici was in the\npossession of the princes of that name in Rome when, about two hundred\nyears ago, it first attracted attention. An inscription on the base\nassigns it to Cleomenes, an Athenian sculptor of 200 B.C., but the\nauthenticity of the inscription is doubtful. There is a story that the\nartist was employed by public authority to make a statue exhibiting the\nperfection of female beauty, and that to aid him in his task the most\nperfect forms the city could supply were furnished him for models. Note\nThomson's allusion in the Summer:\n\n So stands the statue that enchants the world;\n So bending tries to veil the matchless boast,\n The mingled beauties of exulting Greece.\n\nAnd Byron's\n\n There too the goddess loves in stone, and fills\n The air around with beauty.--Childe Harold, 4, 49-53.\n\nOne of the most beautiful of the Greek Aphrodites is the Petworth (opp.\np. 126, text).\n\nOf modern paintings the most famous are: the Sleeping Venus and other\nrepresentations of Venus by Titian; the Birth of Venus by Bouguereau;\nTintoretto's Cupid, Venus, and Vulcan; Veronese's Venus with Satyr and\nCupid. Modern sculpture: Thorwaldsen's Venus with the Apple; Venus and\nCupid; Cellini's Venus; Canova's Venus Victrix, and the Venus in the\nPitti Gallery; Rossetti's Venus Verticordia (crayons, water colors,\noil).\n\n=36. _Interpretative._= Max M\u00fcller traces =Hermes=, child of the Dawn\nwith its fresh breezes, herald of the gods, spy of the night, to the\nVedic Saram\u00e2, goddess of the Dawn. Others translate Saram\u00e2, _storm_.\nRoscher derives from the same root as Sarameyas (son of Saram\u00e2), with\nthe meaning _Hastener_, the _swift wind_. The invention of the syrinx\nis attributed also to Pan.\n\n=_Illustrative._= To Mercury's construction of the lyre out of a\ntortoise shell, Gray refers (Progress of Poesy), \"Parent of sweet and\nsolemn-breathing airs, Enchanting shell!\" etc. See Shakespeare, King\nJohn, IV, ii; Henry IV, IV, i; Richard III, II, i; IV, iii; Hamlet,\nIII, iv; Milton, Paradise Lost, 3, \"Though by their powerful art they\nbind Volatile Hermes\"; 4, 717; 11, 133; Il Penseroso, 88; Comus, 637,\n962. =_Poems_=: Sir T. Martin, Goethe's Ph[oe]bus and Hermes; Shelley's\ntranslation of Homer's Hymn to Mercury.\n\n=_In Art._= The Mercury in the Central Museum, Athens; Mercury\nBelvedere (Vatican); Mercury in Repose (National Museum, Naples). The\nHermes by Praxiteles, in Olympia (text, opp. p. 150), and the Hermes\nPsychopompos leading to the underworld the spirit of a woman who has\njust died (text, Fig. 20; from a relief sculptured on the tomb of\nMyrrhina), are especially fine specimens of ancient sculpture.\n\nIn modern sculpture: Cellini's Mercury (base of Perseus, Loggia del\nLanzi, Florence); Giov. di Bologna's Flying Mercury (bronze, Bargello,\nFlorence: text, opp. p. 330); Thorwaldsen's Mercury. In modern\npainting: Tintoretto's Mercury and the Graces; Francesco Albani's\nMercury and Apollo; Claude Lorrain's Mercury and Battus; Turner's\nMercury and Argus; Raphael's allegorical Mercury (Wednesday), Vatican,\nRome; and his Mercury with Psyche (Farnese Frescoes).\n\n=37. _Interpretative._= The name =Hestia= (Latin _Vesta_) has been\nvariously derived from roots meaning _to sit_, _to stand_, _to burn_.\nThe two former are consistent with the domestic nature of the goddess;\nthe latter with her relation to the hearth-fire. She is \"first of the\ngoddesses,\" the holy, the chaste, the sacred.\n\n=_Illustrative._= Milton, Il Penseroso (Melancholy), \"_Thee_\nbright-haired Vesta long of yore To solitary Saturn bore,\" etc.\n\n=38.= (1) =Cupid= (Eros). References and allusions to Cupid throng our\npoetry. Only a few are here given. Shakespeare, Romeo and Juliet, I,\niv; Merchant of Venice, II, vi; Merry Wives, II, ii; Much Ado About\nNothing, I, i; II, i; III, ii; Midsummer Night's Dream, I, i; II,\nii; IV, i; Cymbeline, II, iv; Milton, Comus, 445, 1004; Herrick, The\nCheat of Cupid; Pope, Rape of the Lock, 5, 102; Dunciad, 4, 308; Moral\nEssays, 4, 111; Windsor Forest,--on Lord Surrey, \"In the same shades\nthe Cupids tuned his lyre To the same notes of love and soft desire.\"\n\n=_Poems._= Chaucer, The Cuckow and Nightingale, or Boke of Cupid (?);\nOccleve, The Letter of Cupid; Beaumont and Fletcher, Cupid's Revenge,\nand the Masque, A Wife for a Month; J.G. Saxe, Death and Cupid, on\ntheir exchange of arrows, \"And that explains the reason why Despite\nthe gods above, The young are often doomed to die, The old to fall in\nlove\"; Thomas Ashe, The Lost Eros; Coventry Patmore, The Unknown Eros.\nAlso John Lyly's Campaspe:\n\n Cupid and my Campaspe playd,\n At cardes for kisses, Cupid payd;\n He stakes his quiver, bow, and arrows,\n His mother's doves, and teeme of sparows;\n Looses them too; then, downe he throwes\n The corrall of his lippe, the rose\n Growing on's cheek (but none knows how),\n With these, the cristall of his brow,\n And then the dimple of his chinne:\n All these did my Campaspe winne.\n At last hee set her both his eyes;\n Shee won, and Cupid blind did rise.\n O love! has shee done this to thee?\n What shall (alas!) become of mee?\n\nSee also Lang's translation of Moschus, Idyl I, and O. Wilde, The\nGarden of Eros.\n\n=_In Art._= Antique sculpture: the Eros in Naples, ancient marble from\nan original perhaps by Praxiteles (text, Fig. 21); Eros bending the\nBow, in the Museum at Berlin; Cupid bending his Bow (Vatican); Eros\nwith his Bow, in the Capitoline (text, opp. p. 136).\n\nModern sculpture: Thorwaldsen's Mars and Cupid. Modern paintings:\nBouguereau's Cupid and a Butterfly; Raphael's Cupids (among drawings in\nthe Museum at Venice); Burne-Jones' Cupid (in series with Pyramus and\nThisbe); Raphael Mengs' Cupid sharpening his Arrow; Guido Reni's Cupid;\nVan Dyck's Sleeping Cupid. See also under _Psyche_, =C. 101=.\n\n=Hymen.= See Sir Theodore Martin's translations of the _Collis O\nHeliconii_, and the _Vesper adest, juvenes_, of Catullus (LXI and\nLXII); Milton, Paradise Lost, 11, 591; L'Allegro, 125; Pope, Chorus of\nYouths and Virgins.\n\n(2) =Hebe.= Thomas Lodge's Sonnet to Phyllis, \"Fair art thou, Phyllis,\nay, so fair, sweet maid\"; Milton, Vacation Exercise, 38; Comus, 290;\nL'Allegro, 29; Spenser, Epithalamion. =_Poems_=: T. Moore, The Fall of\nHebe; J. R. Lowell, Hebe. =_In Art_=: Ary Scheffer's painting of Hebe;\nN. Schiavoni's painting.\n\n=Ganymede.= Chaucer, Hous of Fame, 81; Tennyson, in the Palace of Art,\n\"Or else flushed Ganymede, his rosy thigh Half-buried in the Eagle's\ndown,\" etc.; Shelley in the Prometheus (Jove's order to Ganymede);\nMilton, Paradise Regained, 2,353; Drayton, Song 4, \"The birds of\nGanymed.\" =_Poems_=: Lord Lytton, Ganymede; Bowring, Goethe's Ganymede;\nRoden No\u00ebl, Ganymede; Edith M. Thomas, Homesickness of Ganymede; S.\nMargaret Fuller, Ganymede to his Eagle; Drummond on Ganymede's lament,\n\"When eagle's talons bare him through the air.\" =_In Art_=: The Rape of\nGanymede, marble in the Vatican, probably from the original in bronze\nby Leochares (text, Fig. 22). Gr\u00e6co-Roman sculpture: Ganymede and\nthe Eagle (National Museum, Naples). Modern sculpture: Thorwaldsen's\nGanymede.\n\n(3) =The Graces.= Rogers, Inscription for a Temple; Matthew Arnold,\nEuphrosyne. These goddesses are continually referred to in poetry. Note\nthe painting by J. B. Regnault (Louvre), also the sculpture by Canova.\n\n(4) =The Muses.= Spenser, The Tears of the Muses; Milton, Il Penseroso;\nByron, Childe Harold, 1, 1, 62, 88; Thomson, Castle of Indolence,\n2, 2; 2, 8; Akenside, Pleasures of Imagination, 3. 280, 327; Ode\non Lyric Poetry; Crabbe, The Village, Bk. 1; Introductions to the\nParish Register, Newspaper, Birth of Flattery; M. Arnold, Urania.\n=Delphi=, =Parnassus=, etc.: Gray, Progress of Poesy, 2, 3. =Vale of=\n=Tempe=: Keats, On a Grecian Urn; Young, Ocean, an ode. =_In Art._=\nSculpture: Polyhymnia, ancient marble in Berlin (text, Fig. 23); Clio\nand Calliope, in the Vatican in Rome; Euterpe, Melpomene, Polyhymnia,\nand Urania, in the Louvre, Paris; Terpsichore by Thorwaldsen.\nPainting: Apollo and the Muses, by Raphael Mengs and by Giulio Romano;\nTerpsichore (picture), by Sch\u00fctzenberger.\n\n(5) =The Hours=, in art: Raphael's Six Hours of the Day and Night.\n\n(6) =The Fates.= Refrain stanzas in Lowell's Villa Franca, \"Spin, spin,\nClotho, spin! Lachesis, twist! and Atropos, sever!\" =_In Art_=: The\nFates, painting attributed to Michelangelo, but now by some to Rosso\nFiorentino from Michelangelo's design (text, Fig. 24, Pitti Gallery,\nFlorence); painting by Paul Thumann.\n\n(7) =Nemesis.= For genealogy see Table B, =C. 49=.\n\n(8) =\u00c6sculapius.= Spenser, Faerie Queene, 1, 5, 36-43; Milton, Paradise\nLost, 9, 507.\n\n(9) (10) =The Winds=, =Helios=, =Aurora=, =Hesper=, etc. =\u00c6olus=:\nChaucer, Hous of Fame, 480. See =C. 125= and genealogical tables H and\nI. =Hippotades= is \u00c6olus (son of Hippotes). In Lycidas, 96, Milton\ncalls the king of the winds Hippotades, because, following Homer\n(Odyssey, 10, 2) and Ovid (Metam. 14, 224), he identifies \u00c6olus II with\n\u00c6olus III. =Boreas and Orithyia=: Akenside, Pleasures of Imagination,\n1, 722.\n\n=_In Art._= The fragment, Helios rising from the Sea, by Phidias, south\nend, east pediment of the Parthenon. Boreas and Zetos, Greek reliefs\n(text, Figs. 25 and 26); Boreas and Orithyia (text, Fig. 27), on a vase\nin Munich.\n\n(11) =Hesperus.= Milton, Paradise Lost, 4, 605; 9, 49; Comus, 982;\nAkenside, Ode to Hesper; Campbell, Two Songs to the Evening Star,\nTennyson, The Hesperides.\n\n(12) \"=Iris= there with humid bow waters the odorous banks,\" etc.,\nComus, 992. See also Milton's Paradise Lost, 4, 698; 11, 244. =_In\nArt_=: Fig. 28, text; and painting by Guy Head (Gallery, St. Luke's,\nRome). She is the swift-footed, wind-footed, fleet, the Iris of the\ngolden wings, etc.\n\n=39. Hyperborean.= _Beyond the North_. Concerning the Elysian Plain,\nsee =46.= =_Illustrative_=: Milton, Comus, \"Now the gilded car of day,\"\netc.\n\n=40. Ceres. _Illustrative._= Pope, Moral Essays, 4, 176, \"Another age\nshall see the golden ear Imbrown the slope ... And laughing Ceres\nreassume the land\"; Spring, 66; Summer, 66; Windsor Forest, 39; Gray,\nProgress of Poesy; Warton, First of April, \"Fancy ... Sees Ceres grasp\nher crown of corn, And Plenty load her ample horn\"; Spenser, Faerie\nQueene, 3, 1, 51; Milton, Paradise Lost, 4, 268; 9, 395.\n\n=_Poems_.= Tennyson, Demeter and Persephone; Mrs. H. H. Jackson,\nDemeter. =_Prose_=: W. H. Pater, The Myth of Demeter (_Fortn. Rev._\nVol. 25, 1876); S. Colvin, A Greek Hymn (_Cornh. Mag._ Vol. 33, 1876);\nSwinburne, At Eleusis.\n\nThe name _Ceres_ is from the stem _cer_, Sanskrit _kri_, 'to make.' By\nmetonomy the word comes to signify _corn_ in the Latin. Demeter (#G\u00ea\nm\u00eat\u00ear#, #da mat\u00ear#) means _Mother Earth_. The goddess is represented\nin art crowned with a wheat-measure (or _modius_), and bearing a horn\nof plenty filled with ears of corn. Demeter (?) appears in the group\nof deities on the eastern frieze of the Parthenon. Also noteworthy are\nthe Demeter from Knidos (text, Fig. 29, from the marble in the British\nMuseum); two statues of Ceres in the Vatican at Rome, and one in the\nGlyptothek at Munich; and the Roman wall painting (text, Fig. 30).\n\n=41. Rhea= was worshiped as =Cybele=, the Great Mother, in Phrygia\nand at Pessinus in Galatia. During the Second Punic War, 203 _B.C._,\nher image was brought from the latter place to Rome. In 191 B.C.\nthe Megalesian Games were first celebrated in her honor, occupying\nsix days, from the fourth of April on. Plays were acted during this\nfestival. The Great Mother was also called Cybebe, Berecyntia, and\nDindymene.\n\n=The Cybele of Art.= In works of art, Cybele exhibits the matronly air\nwhich distinguishes Juno and Ceres. Sometimes she is veiled, and seated\non a throne with lions at her side; at other times she rides in a\nchariot drawn by lions. She wears a mural crown, that is, a crown whose\nrim is carved in the form of towers and battlements. Rhea is mentioned\nby Homer (Iliad, 15, 187) as the consort of Cronus.\n\n=_Illustrative._= Byron's figure likening Venice to Cybele, Childe\nHarold, 4, 2, \"She looks a sea-Cybele, fresh from ocean,\" etc. Also\nMilton's Arcades, 21.\n\n=42. _Interpretative._= It is interesting to note that Homer (Iliad\nand Odyssey) recognizes Dionysus neither as inventor, nor as exclusive\ngod of wine. In Iliad, 6, 130 he refers, however, to the Dionysus cult\nin Thrace. Hesiod is the first to call wine the gift of Dionysus.\n=Dionysus= means the Zeus or _god_ of Nysa, an imaginary vale of\nThrace, B[oe]otia, or elsewhere, in which the deity spent his youth.\nThe name =Bacchus= owes its origin to the _enthusiasm_ with which the\nfollowers of the god lifted up their voices in his praise. Similar\nnames are Iacchus, Bromius, Evius (from the cry _evoe_). The god was\nalso called Ly\u00e6us, the _loosener_ of care, Liber, the _liberator_. His\nfollowers are also known as Edonides (from Mount Edon, in Thrace,\nwhere he was worshiped), Thyiades, the _sacrificers_, Len\u00e6a and\nBassarides. His festivals were the Lesser and Greater Dionysia (at\nAthens), the Len\u00e6a, and the Anthesteria, in December, March, January,\nand February, respectively. At the first, three dramatic performances\nwere presented.\n\n_=Illustrative.=_ A few references and allusions worth consulting:\nSpenser, Epithalamion; Fletcher, Valentinian, \"God Ly\u00e6us, ever young\";\nRandolph, To Master Anthony Stafford (1632); Milton, L'Allegro, 16;\nParadise Lost, 4, 279; 7, 33; Comus, 46, 522; Shakespeare, Midsummer\nNight's Dream, V, i; Love's Labour's Lost, IV, iii; Antony and\nCleopatra, II, vii, song; Shelley, Ode to Liberty, 7, Rome--\"like a\nCadm\u00e6an M\u00e6nad\"; Keats, To a Nightingale, \"Not charioted by Bacchus and\nhis pards.\" On =Semele=, Milton, Paradise Regained, 2, 187; Spenser,\nFaerie Queene, 3, 11, 33.\n\n_=Poems.=_ Ben Jonson, Dedication of the King's New Cellar; Thomas\nParnell, Bacchus, or the Drunken Metamorphosis; Landor, Sophron's Hymn\nto Bacchus; Swinburne, Prelude to Songs before Sunrise; Roden No\u00ebl, The\nTriumph of Bacchus; Robert Bridges, The Feast of Bacchus; others given\nin text. See Index.\n\n_=In Art.=_ Of ancient representations of the Bacchus, the best\nexamples are the marble in the British Museum (text, Fig. 31); the\nSilenus holding the child Bacchus (in the Louvre); the head of Dionysus\nfound in Smyrna (now in Leyden--see text, Fig. 143), from an original\nof the school of Scopas; the head (now in London) from the Baths of\nCaracalla, of the later Attic school; the Faun and Bacchus (Museum,\nNaples); a standing bronze figure in Vienna, and the statue of the\nVilla Tiburtina (Rome). The bearded or Indian Bacchus is represented as\nadvanced in years, grave, dignified, crowned with a diadem and robed to\nthe feet. See also Figs. 82-87, in text.\n\nIn modern sculpture note especially the Drunken Bacchus of\nMichelangelo. Among modern paintings worthy of notice are Bouguereau's\nYouth of Bacchus, and C. Gleyre's Dance of the Bacchantes. See also\nunder _Ariadne_.\n\n=43.= The invention of the syrinx is attributed also to Mercury. For\npoetical illustrations of Pan see =C. 129-138=. So also for Nymphs and\nSatyrs.\n\n_=In Art.=_ Pan the Hunter (text, Fig. 32); the antique, Pan and\nDaphnis (with the syrinx) in the Museum at Naples. See references above.\n\n=44-46.= It was only in rare instances that mortals returned from\nHades. See the stories of Hercules, Orpheus, Ulysses, \u00c6neas. On the\ntortures of the condemned and the happiness of the blessed, see\n=254-257= in The Adventures of \u00c6neas.\n\n_=Illustrative.=_ Lowell, addressing the Past, says:\n\n Whatever of true life there was in thee\n Leaps in our age's veins; ...\n Here, 'mid the bleak waves of our strife and care\n Float the green Fortunate Isles\n Where all thy hero-spirits dwell, and share\n Our martyrdom and toils;\n The present moves attended\n With all of brave and excellent and fair\n That made the old time splendid.\n\nMilton, Paradise Lost, 3, 568, \"Like those Hesperian gardens,\" etc.\nSee also the same, 2, 577 ff.,--\"Abhorr\u00e8d =Styx=, the flood of deadly\nhate,\"--where the rivers of Erebus are characterized according to\nthe meaning of their Greek names; and L'Allegro, 3. =Charon=: Pope,\nDunciad, 3, 19; R. C. Rogers, Charon. =Elysium=: Cowper, Progress of\nError, Night, \"The balm of care, Elysium of the mind\"; Milton, Paradise\nLost, 3, 472; Comus, 257; L'Allegro; Shakespeare, 3 Henry VI, I, ii;\nCymbeline, V, iv; Twelfth Night, I, ii; Two Gentlemen of Verona, II,\nvii; Shelley, To Naples. =Lethe=: Shakespeare, Twelfth Night, IV, i;\nJulius C\u00e6sar, III, i; Hamlet, I, v; 2 Henry IV, V, ii; Milton, Paradise\nLost, 2, 583. =Tartarus=: Milton, Paradise Lost, 2, 858; 6, 54.\n\n=47. _Interpretative._= The name =Hades= means \"the invisible,\" or\n\"he who makes invisible.\" The meaning of Pluto (_Plouton_), according\nto Plato (Cratylus), is _wealth_,--the giver of treasure which lies\nunderground. Pluto carries the cornucopia, symbol of inexhaustible\nriches; but careful discrimination must be observed between him\nand Plutus (_Ploutos_), who is merely an allegorical figure,--a\npersonification of wealth and nothing more. =Hades= is called also\nthe Illustrious, the Many-named, the Benignant, _Polydectes_ or the\nHospitable.\n\n_=Illustrative.=_ Milton, L'Allegro, and Il Penseroso; Paradise Lost,\n4, 270; Thomas Kyd, Spanish Tragedy (Andrea's descent to Hades;--this\npoem deals extensively with the Infernal Regions); Shakespeare, 2 Henry\nIV, II, iv; Troilus and Cressida, IV, iv; V, ii; Coriolanus, I, iv;\nTitus Andronicus, IV, iii.\n\n_=Poems.=_ Buchanan, Ades, King of Hell; Lewis Morris, Epic of Hades.\n\n=48. Proserpina.= Not from the Latin _pro-serpo_, 'to creep forth'\n(used of herbs in spring), but from the Greek form Persephone, _bringer\nof death_. The later name =Pherephatta= refers to the doves (_phatta_),\nwhich were sacred to her as well as to Aphrodite. She carries ears\nof corn as symbol of vegetation, poppies as symbol of the sleep of\ndeath, the pomegranate as the fruit of the underworld of which none\nmight partake and return to the light of heaven. Among the Romans her\nworship was overshadowed by that of =Libitina=, a native deity of the\nunderworld.\n\n_=Illustrative.=_ Keats, Melancholy, 1; Spenser, Faerie Queene, 1, 2,\n2; Milton, Paradise Lost, 4, 269; 9, 396.\n\n_=Poems.=_ Aubrey De Vere, The Search after Proserpine; Jean Ingelow,\nPersephone; Swinburne, Hymns to Proserpine; L. Morris, Persephone (Epic\nof Hades); D. G. Rossetti, Proserpina. (Also in crayons, in water\ncolors, and in oil.)\n\n_=In Art.=_ Sculpture: Eastern pediment of Parthenon frieze. Painting:\nLorenzo Bernini's Pluto and Proserpine; P. Schobelt's Abduction of\nProserpine.\n\n=49. _Textual._= (1) For \u00c6acus, son of \u00c6gina, see =61= and =C. 190=,\nTable O; for Minos and Rhadamanthus, see =59. Eumenides=: euphemistic\nterm, meaning the _well-intentioned_. =Hecate= was descended through\nher father Perses from the Titans, Cre\u00fcs and Eurybi\u00eb; through her\nmother Asteria from the Titans, C[oe]us and Ph[oe]be. She was\ntherefore, on both sides, the granddaughter of Uranus and G\u00e6a.\n\nThe following table is based upon Hesiod's account of =The Family of\nNight=. (Theogony.)\n\nAccording to other theogonies, the Fates were daughters of Jove and\nThemis, and the Hesperides daughters of Atlas. The story of the true\nand false =Dreams= and the horn and ivory gates (Odyssey, 19, 560)\nrests on a double play upon words: (1) #elephas# (_elephas_),\n'ivory,' and #elephairomai# (_elephairomai_), 'to cheat with false\nhope'; (2) #keras# (_keras_), horn, and #krainein# (_krainein_), 'to\nfulfill.' See Mortimer Collins, The Ivory Gate, a poem.\n\n=_Illustrative._ Hades=: Milton, Paradise Lost, 2, 964; L. Morris,\nEpic of Hades. =Styx=: Shakespeare, Troilus and Cressida, V, iv; Titus\nAndronicus, I, ii; Milton, Paradise Lost, 2, 577; Pope, Dunciad, 2,\n338. =Erebus=: Shakespeare, Merchant of Venice, V, i; 2 Henry IV, II,\niv; Julius C\u00e6sar, II, i. =Cerberus=: Spenser, Faerie Queene, 1, 11, 41;\nShakespeare, Love's Labour's Lost, V, ii; 2 Henry IV, II, iv; Troilus\nand Cressida, II, i; Titus Andronicus, II, v; Maxwell, Tom May's Death;\nMilton, L'Allegro, 2. =Furies=: Milton, Lycidas; Paradise Lost, 2, 597,\n671; 6, 859; 10, 620; Paradise Regained, 9, 422; Comus, 641; Dryden,\nAlexander's Feast, 6; Shakespeare, Midsummer Night's Dream, V, i;\nRichard III, I, iv; 2 Henry IV, V, iii. =Hecate=: Shakespeare, Macbeth,\nIV, i. =Sleep and Death=: Shelley, To Night; H. K. White, Thanatos.\n\n=_In Art._= Vase-painting of Canusium of the Underworld (text, Fig.\n34); painting of a =Fury= by Michelangelo (Uffizi, Florence); also\nFigs. 35-39 in text.\n\n=50-52.= See next page for Genealogical Table, Divinities of the Sea.\n\nFor stories of the Gr\u00e6\u00e6, Gorgons, Scylla, Sirens, Pleiades, etc.,\nconsult Index.\n\n=_Illustrative._ Oceanus=: Milton, Comus, 868. =Neptune=: Spenser,\nFaerie Queene, 1, 11, 54; Shakespeare, Tempest, I, ii; Midsummer\nNight's Dream, II, ii; Macbeth, II, ii; Cymbeline, III, i; Hamlet, I,\ni; Milton, Lycidas; Paradise Regained, 1, 190; Paradise Lost, 9, 18;\nComus, 869; Prior, Ode on Taking of Namur; Waller's Panegyric to the\nLord Protector. =Panope=: Milton, Lycidas, 99.\n\n=Harpies.= Milton, Paradise Lost, 3, 403. =Sirens=: Wm. Morris, Life\nand Death of Jason--Song of the Sirens. =Scylla= and Charybdis (see\nIndex): Milton, Paradise Lost, 2, 660; Arcades, 63; Comus, 257; Pope,\nRape of the Lock, 3, 122. =Sirens=: Rossetti, A Sea-Spell; A. Lang,\n\"They hear the Sirens for the second time.\"\n\nTABLE B. THE FAMILY OF NIGHT\n\n =Night=\n +-- Goddesses of Destiny and Fate (_Clotho, Lachesis, Atropos_)\n +-- Death (_Thanatos_)\n +-- Sleep\n | +-- Morpheus\n | +-- Icelus\n | +-- Phantasus\n +-- Dreams\n +-- Momus (god of ridicule--adverse criticism)\n +-- Care\n +-- Hesperides\n +-- Nemesis\n\n=Naiads.= Landor, To Joseph Ablett; Shelley, To Liberty, 8; Spenser,\nProthalamion, 19; Milton, Lycidas; Paradise Regained, 2, 355; Comus,\n254; Buchanan, Naiad (see =134=); Drummond of Hawthornden, \"Nymphs,\nsister nymphs, which haunt this crystal brook, And happy in these\nfloating bowers abide,\" etc.; Pope, Summer, 7; Armstrong, Art of\nPreserving Health, \"Come, ye Naiads! to the fountains lead.\"\n\nTABLE C. DIVINITIES OF THE SEA\n\n G\u00e6a\n =Uranus\n +-- =Oceanus=\n | ==Tethys=\n | +-- Inachus and other river-gods\n | +-- Oceanids\n | +-- Doris (the Oceanid)\n | =Nereus\n | +-- =Amphitrite=\n | | ==Neptune=\n | | +-- Proteus (_acc. to Apollodorus_)\n | | +-- Triton\n | +-- =Galatea=\n | +-- Thetis\n | =Peleus\n | +-- Achilles\n +-- Cronus\n | =Rhea\n | +-- =Neptune=\n | ==Amphitrite=\n | +-- Proteus (_acc. to Apollodorus_) (see above)\n | +-- Triton (see above)\n +-- Rhea\n =Cronus\n +-- =Neptune= (see above)\n\n G\u00e6a\n =Pontus\n +-- Nereus\n | =Doris (the Oceanid)\n | +-- Amphitrite (see above)\n | +-- Galatea (see above)\n | +-- Thetis (see above)\n +-- Thaumas\n | +-- Iris\n | +-- Harpies\n +-- Phorcys\n | =Ceto\n | +-- Gr\u00e6\u00e6\n | +-- Gorgons\n | +-- Sirens\n | +-- Scylla\n +-- Ceto\n =Phorcys\n +-- Gr\u00e6\u00e6 (see above)\n +-- Gorgons (see above)\n +-- Sirens (see above)\n +-- Scylla (see above)\n\n=Proteus.= Shakespeare, Two Gentlemen of Verona, I, i; II, ii; III, ii;\nIV, iv; Pope, Dunciad, 1, 37; 2, 109. The Water Deities are presented\nin a masque contained in Beaumont and Fletcher's Maid's Tragedy.\n\n=_In Art._= Poseidon: see text, Figs. 40 and 41 (originals in the\nBritish Museum and the Glyptothek, Munich); also the Isthmian Poseidon,\nFig. 95. The Atlas (Gr\u00e6co-Roman sculpture) in National Museum, Naples;\nthe Triton in Vatican (text, Fig. 42). Modern painting: J. Van Beers,\nThe Siren; D. G. Rossetti, The Siren.\n\n=_Textual._ Consus=, from _condere_, 'to stow away.' The sisters of\n=Carmenta=, the forward-looking Antevorta and the backward-looking\nPostvorta, were originally but different aspects of the function of the\nMuse.\n\n=54. _Illustrative._ Saturn=: Milton, Il Penseroso; Keats, Hyperion;\nPeele, Arraignment of Paris. =Janus=, as god of civilization: Dryden,\nEpistle to Congreve, 7. =Fauns=: Milton, Lycidas; R. C. Rogers, The\nDancing Faun. See Hawthorne's Marble Faun. =Bellona=: Shakespeare,\nMacbeth, \"Bellona's bridegroom, lapp'd in proof\"; Milton, Paradise\nLost, 2, 922. =Pomona=: Randolph, To Master Anthony Stafford; Milton,\nParadise Lost, 9, 393; 5, 378; Thomson, Seasons, Summer, 663. =Flora=:\nMilton, Paradise Lost, 5, 16; Spenser, Faerie Queene, 1, 4, 17; R. H.\nStoddard, Arcadian Hymn to Flora; Pope, Windsor Forest, 38. =Janus=:\nJonathan Swift, To Janus, on New Year's Day, 1726; =Egeria=, one of the\nCamen\u00e6; Childe Harold, 4, 115-120; Tennyson, Palace of Art, \"Holding\none hand against his ear,\" etc. =Pan=, etc.: Milton, Paradise Lost, 4,\n707; 4, 329.\n\n=_In Sculpture._= The Satyr, or so-called Faun, of Praxiteles in the\nVatican (text, Fig. 106); Dancing Faun (Lateran, Rome); Dancing Faun,\nDrunken Faun, Sleeping Faun, and Faun and Bacchus (National Museum,\nNaples); The Barberini Faun, or Sleeping Satyr (Glyptothek, Munich).\n\n=Flora.= Painting by Titian (Uffizi, Florence).\n\n=55.= The first love of Zeus was =Metis=, daughter of Oceanus and\nTethys. She is Prudence or Foreknowledge. She warned Zeus that if\nshe bore him a child, it would be greater than he. Whereupon Zeus\nswallowed her; and, in time, from his head sprang Athene, \"the virgin\nof the azure eyes, Equal in strength, and as her father wise\" (Hesiod,\nTheog.). On =Latona=, see =32=, =73=, and Commentary.\n\n=56.= For Dana\u00eb see =151=; for Alemene, =156=; for Leda, =194=.\n\n=57.= In the following general table of the =Race of Inachus= (see p.\n488), marriages are indicated in the usual manner (by the sign =, or by\nparentheses); the more important characters mentioned in this work are\nprinted in heavy-faced type. While numerous less important branches,\nfamilies, and mythical individuals have been intentionally omitted,\nit is hoped that this reduction of various relationships, elsewhere\nexplained or tabulated, to a general scheme, may furnish the reader\nwith a clearer conception of the family ties that motivate many of the\nincidents of mythical adventure, and that must have been commonplaces\nof information to those who invented and perpetuated these stories. It\nshould be borne in mind that the traditions concerning relationships\nare by no means consistent, and that consequently the collation of\nmythical genealogies demands the continual exercise of discretion, and\na balancing of probabilities. Notice that from the union of Jupiter and\nIo (Table D), Hercules is descended in the thirteenth generation.\n\n=Inachus= is the principal river of Argolis in the Peloponnesus.\n\n_=Interpretative.=_ =Io= is explained as the horned moon, in its\nvarious changes and wanderings. =Argus= is the heaven with its myriad\nstars, some of them shut, some blinking, some always agleam. The wand\nof Hermes and his music may be the morning breeze, at the coming of\nwhich the eyes of heaven close (Cox, 2, 138; Preller 2, 40). The\nexplanation would, however, be just as probable if Mercury (Hermes)\nwere a cloud-driving wind. =Pan and the Syrinx=: naturally the wind\nplaying through the reeds, if (with M\u00fcller and Cox) we take Pan to be\nthe all-purifying, but yet gentle, wind. But see p. 181.\n\n_=Illustrative.=_ Shelley, To the Moon, \"Art thou pale for weariness\nOf climbing heaven and gazing on the earth, Wandering companionless\nAmong the stars that have a different birth?\" Milton's \"To behold the\nwandering moon, Riding near her highest noon, Like one that had been\nled astray, Through the heaven's wide pathless way\" (Il Penseroso).\nSee also for Io, Shelley's Prometheus Bound. =Argus=: Milton, Paradise\nLost, 11, 131; Pope, Dunciad, 2, 374; 4, 637.\n\n=_In Art._= Fig. 47 in the text, from a wall-painting of Herculaneum\n(Museum, Naples). Correggio's painting, Jupiter and Io; not a pleasant\nconception.\n\n=58. _Interpretative._= The myth of =Callisto= and =Arcas= is of\nArcadian origin. If the Arcadians, in very remote times, traced their\ndescent from a she-bear, and if they also, like other races, recognized\na bear in a certain constellation, they might naturally mix the fables\nand combine them later with the legend of the all-powerful Zeus (Lang,\n2, 181). According to another account, Callisto was punished for her\nlove of Jupiter by Diana (Artemis). Her name has been identified with\nthe adjective _Calliste_, 'most fair,' which was certainly applied to\nArtemis herself. That Artemis was protectress of she-bears is known;\nalso that, in Attica, she was served by girls who imitated, while\ndancing, the gait of bears. It is quite possible, therefore, that\nArtemis inherited a more ancient worship of the bear that may have\nbeen the _totem_, or sacred animal, from which the Arcadians traced a\nmythological descent. Others hold that the word _arksha_, 'a star,'\nbecame confused with the Greek _arktos_, 'a bear.' So the myth of the\nson Arcas (the star and the bear) may have arisen (Max M\u00fcller). The\nlast star in the tail of the Little Bear is the Polestar, or =Cynosure=\n(dog's tail).\n\nTABLE D. THE RACE OF INACHUS AND ITS BRANCHES\n\n =Oceanus=\n +-- =Inachus=\n +-- Phoroneus\n | +-- Apis\n | +-- Niobe\n | ==Jupiter=\n | +-- Argus\n | | +-- (Tiryns, Epidaurus, and other founders of\n | | Peloponnesian cities)\n | +-- Pelasgus\n | +-- Lycaon\n | +-- Sons destroyed for impiety\n | +-- =Callisto=\n | ==Jupiter=\n | +-- =Arcas= (ancestor of The Arcadians)\n | +-- Elatus\n | +-- Pereus\n | +-- Ne\u00e6ra\n | +-- Lycurgus\n | +-- =Anc\u00e6us= (Calyd. Hunt)\n | +-- Amphidamas\n | | | (an Argonaut)\n | | +-- Antimache\n | | ==Eurystheus=\n | +-- Jasus\n | +-- =Atalanta= of\n | Arcadia (Calyd. Hunt)\n +-- =Argus= Panoptes (slain by Mercury)\n +-- Phegeus\n | +-- Arsino\u00eb\n | =Alcm\u00e6on\n +-- =Io=\n ==Jupiter=\n +-- Epaphus\n +-- Libya\n =Neptune\n +-- Agenor\n | +-- =Cadmus=\n | | =Harmonia\n | | +-- =Semele=\n | | | ==Jupiter=\n | | | +-- =Bacchus=\n | | +-- =Ino=\n | | | =Athamas\n | | | +-- =Melicertes=\n | | +-- =Autono\u00eb=\n | | | =Arist\u00e6us\n | | | +-- =Act\u00e6on=\n | | +-- =Agave=\n | | | =Echion\n | | | +-- =Pentheus=\n | | | +-- Men[oe]ceus\n | | | +-- =Creon=\n | | | | +-- Men[oe]ceus II\n | | | | +-- H\u00e6mon\n | | | +-- =Jocasta=\n | | | ==La\u00efus=\n | | | +-- =[OE]dipus=\n | | | +-- =Eteocles=\n | | | +-- =Polynices=\n | | | | +-- Thersander\n | | | +-- =Antigone=\n | | | +-- =Ismene=\n | | +-- Polydorus\n | | +-- Labdacus\n | | +-- =La\u00efus=\n | | ==Jocasta=\n | | +-- =[OE]dipus= (see above)\n | +-- Ph[oe]nix\n | +-- Cilix\n | +-- Phineus (the Soothsayer)\n | +-- =Europa=\n | ==Jupiter=\n | +-- =Minos I=\n | | +-- Lycastus\n | | +-- =Minos II=\n | | =Pasipha\u00eb\n | | +-- Crateus\n | | | +-- A\u00ebrope\n | | | =Atreus\n | | | +-- =Agamemnon=\n | | | | =Clytemnestra\n | | | +-- =Menela\u00fcs=\n | | | =Helen\n | | +-- =Ph\u00e6dra=\n | | | =Theseus\n | | +-- =Ariadne=\n | | =Theseus\n | +-- =Rhadamanthus=\n | +-- =Sarpedon=\n +-- Belus\n +-- \u00c6gyptus\n | +-- 49 sons\n | +-- =Lynceus=\n | ==Hypermnestra=\n | +-- Abas\n | +-- Acrisius\n | | +-- =Dana\u00eb=\n | | ==Jupiter=\n | | +-- =Perseus=\n | | ==Andromeda=\n | | +-- Perses\n | | +-- Electryon\n | | | +-- Alcmene\n | | | ==Jupiter=\n | | | +-- =Hercules=\n | | | =Amphitryon\n | | | +-- =Iphicles=\n | | +-- Alc\u00e6us\n | | | +-- Amphitryon\n | | | =Alcmene\n | | | +-- =Iphicles=\n | | | (see above)\n | | +-- Sthenelus\n | +-- Pr[oe]tus\n | +-- Megapenthes\n +-- Dana\u00fcs\n | +-- =Hypermnestra=\n | ==Lynceus=\n | +-- Abas (see above)\n +-- Cepheus\n =Cassiopea\n +-- =Andromeda=\n ==Perseus=\n +-- Perses (see above)\n +-- Electryon (see above)\n +-- Alc\u00e6us (see above)\n +-- Sthenelus (see above)\n\n_=Illustrative.=_ Milton's \"Let my lamp, at midnight hour, Be seen\nin some high lonely tower, Where I may oft _outwatch the Bear_\" (Il\nPenseroso); and his \"Where perhaps some beauty lies The cynosure of\nneighbouring eyes\" (L'Allegro); also his \"And thou shalt be our star\nof Arcady, Or Tyrian Cynosure\" (Comus). Note Lowell's \"The Bear, that\nprowled all night about the fold Of the North-star, hath shrunk into\nhis den\" (Prometheus). See also the song beginning, \"Hear ye, ladies,\nthat despise What the mighty Love had done,\" in Beaumont and Fletcher's\ndrama, Valentinian,--for Callisto, Leda, and Dana\u00eb.\n\n=59. The Descendants of Agenor.= For further details, see Table D.\n\nTABLE E\n\n Mars\n =Venus\n +-- Harmonia\n ==Cadmus=\n +-- =Semele=\n | =Jupiter\n | +-- Bacchus\n +-- Ino\n | =Athamas\n | +-- Melicertes\n +-- Autono\u00eb\n | =Arist\u00e6us\n | +-- Act\u00e6on\n +-- Agave\n | +-- Pentheus\n +-- Polydorus\n +-- Labdacus\n +-- La\u00efus\n +-- [OE]dipus (royal family of Thebes)\n\n =Agenor=\n +-- =Cadmus=\n | =Harmonia\n | +-- =Semele= (see above)\n | +-- Ino (see above)\n | +-- Autono\u00eb (see above)\n | +-- Agave (see above)\n | +-- Polydorus (see above)\n +-- =Europa=\n | =Jupiter\n | +-- Minos\n | +-- Rhadamanthus\n | +-- Sarpedon\n +-- Ph[oe]nix\n +-- Cilix\n\n=_Textual._ Moschus= lived about the close of the third century B.C.\nin Syracuse. He was a grammarian and an idyllic poet. He calls himself\na pupil of Bion,--whose Lament for Adonis is given in =100=. Both Bion\nand Moschus belong to the School of Theocritus--the Idyllic or Pastoral\nSchool of Poetry. =Cypris=: Venus, by whom the island of Cyprus was\nbeloved. =Mygdonian flutes=: the ancients had three species or modes\nof music, depending, respectively, upon the succession of musical\nintervals which was adopted as the basis of the system. The Lydian\nmeasures were shrill and lively; the Dorian deep in tone, grave, and\nsolemn; the Mygdonian, or Phrygian, were supposed by some to have been\nthe same as the Lydian, but more probably they were a combination of\nLydian and Dorian. =Shaker of the World=: Neptune. =Crete=: where\nJupiter had been concealed from his father Cronus, and nourished by the\ngoat Amalthea.\n\n=_Interpretative._= Herodotus says that =Europa= was a historical\nprincess of Tyre, carried off by Hellenes to Crete. =Taurus= (the bull)\nwas euhemeristically conceived to be a king of Crete who carried off\nthe Tyrian princess as prize of war. Others said that probably the\nfigurehead of the ship in which Europa was conveyed to Crete was a\n_bull_. It is not improbable that the story indicates a settlement of\nPh[oe]nicians in Crete and the introduction by them of cattle. Modern\ncritics, such as Preller and Welcker, make Europa a goddess of the moon\n= Diana or Astarte, and translate her name \"the dark, or obscured one.\"\nBut she has undoubtedly a connection with the earth, perhaps as wife\nof Jupiter (the Heaven). H. D. M\u00fcller connects both Io and Europa with\nthe wandering Demeter (or Ceres), and considers Demeter to be a goddess\nboth of the moon and of the earth (Helbig, in Roscher). Cox, after\nhis usual method, finds here the Dawn borne across the heaven by the\nlord of the pure ether. Europa would then be the broad-spreading flush\nof dawn, seen first in the purple region of morning (Ph[oe]nicia).\nHer brother Cadmus, who pursues her, would be the sun searching for\nhis lost sister or bride. Very fanciful, but inconclusive. =The bull=\noccurs not infrequently in myth as an incarnation of deity.\n\n=_Illustrative._= W. S. Landor, Europa and her Mother; Aubrey De Vere,\nThe Rape of Europa; E. Dowden, Europa; W. W. Story, Europa (a sonnet).\nSee also a graceful picture in Tennyson's Palace of Art.\n\n=_In Art._= Fig. 48, in text, from vase found at Cum\u00e6; the marble group\nin the Vatican, Europa riding the Bull; painting by Paolo Veronese, The\nRape of Europa; Europa, by Claude Lorrain.\n\n=60.= See Tables D and E.\n\n=_Interpretative._= According to Preller, =Semele= is a personification\nof the fertile soil in spring, which brings forth the productive vine.\nIn the irrational part of the myth, Jove takes the child Dionysus\n(Bacchus), after Semele's death, and sews him up in his thigh for\nsafe-keeping. Preller finds here \"the wedlock of heaven and earth,\nthe first day that it thunders in March.\" Exactly why, might be easy\nto guess, but hard to demonstrate. The thigh of Jupiter would have to\nbe the cool moist clouds brooding over the youthful vine. The whole\nexplanation is altogether too conjectural. See A. Lang's Myth, Ritual,\netc., 2, 221-225, for a more plausible but less poetic theory.\n\n=_Illustrative._= Milton, Paradise Regained, 2, 187; Bowring's\ntranslation of Schiller's Semele; E. R. Sill, Semele, of which a part\nis given in the text.\n\n=_In Art._= Fig. 50, in text.\n\n=61. _Textual._= The son of \u00c6gina and Jove was \u00c6acus (for genealogy,\nsee Table O (1)). =\u00c6gina=: an island in the Saronic Gulf, between\nAttica and Argolis. =Asopus=: the name of two rivers, one in Achaia,\none in B[oe]otia, of which the latter is the more important. The Greek\ntraveler, Pausanias, tells us that Asopus was the discoverer of the\nriver which bears his name. =Sisyphus=, see =255=. This description\nof the plague is copied by Ovid from the account which Thucydides\ngives of the plague of Athens. That account, much fuller than is here\ngiven, was drawn from life and has been the source from which many\nsubsequent poets and novelists have drawn details of similar scenes.\nThe =Myrmidons= were, during the Trojan War, the soldiers of Achilles,\ngrandson of this king \u00c6acus.\n\n=_Interpretative._= The name =\u00c6gina= may imply either the shore on\nwhich the waves break (Preller), or the sacred goat (_\u00c6geus_) which was\nthe _totem_ of the \u00c6geus family of Attica. The worship of Athene was\nintroduced into Athens by this family. In sacrifices the goddess was\nclad in the skin of the sacred goat, but no goat might be sacrificed to\nher. Probably another example of the survival of a savage ritual (Lang,\nMyth, Ritual, etc., 1, 280).\n\n=_Illustrative._ Myrmidons=:\n\n No, no, said Rhadamant, it were not well,\n With loving souls to place a martialist;\n He died in war, and must to martial fields,\n Where wounded Hector lives in lasting pain,\n And Achilles' Myrmidons do scour the plain.\n\n Kyd, Spanish Tragedy\n\nOn =Sisyphus=, read Lewis Morris' poem in The Epic of Hades.\n\n=62. _Textual._ M\u00e6nad=: the M\u00e6nades, from #mainomai# (_mainomai_), 'to\nrage,' were women who danced themselves into a frenzy in the orgies or\nfestivals of Bacchus. =Cith\u00e6ron=: a mountain range south of Thebes and\nbetween B[oe]otia and Attica.\n\n=_Interpretative._ Antiope=, philologically interpreted, may\nindicate the moon with face turned full upon us. That Antiope is a\npersonification of some such natural phenomena would also appear\nfrom the significance of the names associated with hers in the myth:\n=Nycteus=, the _night-man_; =Lycus=, the _man of light_. Amphion and\nZethus are thought, in like fashion, to represent manifestations\nof light; see also Castor and Pollux. Perhaps the method employed\nby Zethus and Amphion in building Thebes may merely symbolize the\nadvantage of combining mechanical force with well-ordered or harmonious\nthought.\n\n=_In Art_=: The Farnese Bull group (text, opp. p. 74): marble, maybe\nby Tauriscus and Tralles, in Naples Museum. Fig. 51: a relief in the\nPalazzo Spada, Rome. Modern painting: Correggio's Antiope.\n\n=63. _Textual._ Phrygia=: a province in Asia Minor. For =Minerva's=\nprotection of the olive, see =65=. =Tyana= is a town in Cappadocia,\nAsia Minor.\n\n=64. _Textual._ Argos=: the capital of Argolis in the Peloponnesus. Of\n=Cydippe=, it is told, in Ovid's Heroides and elsewhere, that, when\na girl sacrificing in the temple of Diana in Delos, she was seen and\nloved by a youth, Acontius. He threw before her an apple, on which\nthese words were inscribed, \"I swear by the sanctuary of Diana to\nmarry Acontius.\" The maiden read aloud the words and threw the apple\naway. But the vow was registered by Diana, who, in spite of many\ndelays, brought about the marriage of Cydippe and her unknown lover.\n=Polyclitus= =the Elder=, of Argos, lived about 431 B.C., and was a\ncontemporary of two other great sculptors, Phidias and Myron. His\ngreatest work was the chryselephantine statue of Hera for her temple\nbetween Argos and Mycen\u00e6.\n\n=_Illustrative._= Beside Gosse's Sons of Cydippe, see verses by L. J.\nRichardson, in _The Inlander_, Ann Arbor, Vol. 2, p. 2. For the story\nof Acontius and Cydippe, see William Morris' Earthly Paradise; and\nLytton's Cydippe, or The Apples, in The Lost Tales of Miletus.\n\n=_In Art._= The severe design in clay by Teignmouth, of which prints\nmay be obtained, was made to illustrate Gosse's poem.\n\n=65-66. _Textual._= For =Cecrops=, see =174=. He named the city that\nhe founded Cecropia,--a name which afterwards clung to Athens. For an\nexcellent description of ancient weaving, see Catullus, LXIV, 304-323\n(The Peleus and Thetis). For translation, see =191. Leda=, mother of\nCastor, Pollux, Helen, and Clytemnestra (see =194= and Commentary).\n=Dana\u00eb=, mother of Perseus (see =151=).\n\n=_Interpretative._= The waves were the coursers of Neptune,--the horses\nwith which he scours the strand. =Arachne=: a princess of Lydia. It is\nprobable that the myth symbolizes the competition in products of the\nloom between Attica and Asia Minor and the superior handicraft of the\nAthenian weavers.\n\n=_Illustrative._ Arachne=: Shakespeare, Troilus and Cressida, V, ii;\nPope, Dunciad, 4, 590. =_Poem_=: Garrick, Upon a Lady's Embroidery.\n\n=_In Art._= Fig. 52, in text: from a vase in St. Petersburg.\n\n=68. _Textual._ Diomede=: for his genealogy, see Table K. =Taslets=:\narmor worn about the thighs. =Cyprian=: Venus. =P\u00e6an= (P\u00e6on, or\nPai\u00ebon), classed by Homer among the Olympian gods, of whom he is,\nas his name implies, the \"healer.\" Later, the name was applied to\n\u00c6sculapius, then to any god who might repair or avert evil of any kind,\nas, for instance, to Apollo and to Thanatos (Death). See Armstrong's\nArt of Health, \"So P\u00e6an, so the powers of Health command,\" etc., and\n\"the wise of ancient days Adored one power of physic, melody, and\nsong.\" =P\u00e6ans= were chants in honor of Apollo, sung to deprecate\nmisfortune in battle or to avert disease. =Lower than the sons of\nHeaven=: lower than the Titans, sons of Uranus (Heaven), who were\nplunged into Tartarus.\n\n=69. _Textual._= Lessing points out in his Laoco\u00f6n the skill with which\nHomer, stating the size of the stone hurled by Minerva and the measure\nof the space covered by Mars, suggests the gigantic proportions of the\nwarring divinities.\n\n=70. _Textual._= Family of =Cadmus=: see Tables D and E. =Castalian\nCave= of Mount Parnassus, Phocis; here was the famous Delphic oracle\nof Apollo. =Cephissus=: a river running through Doris, Phocis, and\nB[oe]otia into the Eub[oe]an Gulf; the valley of the Cephissus was\nnoted for its fertility. =Panope=: a town on the Cephissus. =Tyrians=:\nCadmus and his followers came from Tyre in Ph[oe]nicia. The =Necklace\nof Harmonia= was a fateful gift. It brought evil to whomsoever it\nbelonged: to all the descendants of Cadmus; to Eriphyle, wife of\nAmphiara\u00fcs of Argos, to whom Polynices gave it; and to the sons of\nEriphyle. It was finally dedicated to Apollo in Delphi. Harmonia's\nrobe possessed the same fatality, =187, 189. Enchelians=: a people\nof Illyria. For the myths of =Semele=, see =60=; of =Ino, 144=;\nof =Autono\u00eb= and her son, =Act\u00e6on, 95=; of =Agave= and her son,\n=Pentheus,= =112=; of =Polydorus=, the =Labdacid\u00e6=, =[OE]dipus=, etc.,\n=182=. =Eight years=: the usual period of penance. Apollo, after\nslaying the Python, had to clear himself of defilement by a period of\npurification.\n\n=_Interpretative._ Cadmus and his Tyrians=: according to the usual\nexplanation, this myth is based upon an immigration of Ph[oe]nicians,\nwho settled B[oe]otia and gave laws, the rudiments of culture\n(alphabet, etc.), and industrial arts to the older races of Greece.\nMany Theban names, such as Melicertes, Cadmus, point to a possible\nPh[oe]nician origin; _cf._ Semitic Melkarth, and Kedem, the _East_.\nBut Preller holds that two mythical personages, a Greek Cadmus and\na Ph[oe]nician Cadmus, have been confounded; that the Theban Cadmus\nis merely the representative of the oldest Theban state; that the\nselection of the spot on which a heifer had lain down was a frequent\npractice among settlers, superstitious about the site of their new\ntown; that the dragon typifies the cruel and forbidding nature of the\nuncultivated surroundings; and that the story of the dragon's teeth was\nmanufactured to flatter the warlike spirit of the Thebans, the teeth\nthemselves being spear points.\n\n=Harmonia=, daughter of the patron deities of Thebes, is the symbol of\nthe peace and domesticity that attend the final establishment of order\nin the State.\n\nAccording to the Sun-and-Cloud theory of Cox, Cadmus, the Sun, pursues\nhis sister, Europa, the broad-flushing light of Dawn, who has been\ncarried off on a spotless cloud (the Bull). The Sun, of course, must\njourney farther west than Crete. The heifer that he is to follow is,\ntherefore, still another cloud (like the cattle of the Sun,--clouds).\nThe dragon of Mars is still a third cloud; and this the Sun dissipates.\nA storm follows, after which new conflicts arise between the clouds\nthat have sprung up from the moistened earth (the harvest of armed\nmen!). This kind of explanation, indiscriminately indulged, delights\nthe fancy of the inventor and titillates the risibles of the reader.\n\n=_Illustrative._= Milton, Paradise Lost, 9, 506. The serpent that\ntempted Eve compared with the serpents Cadmus and \"Hermione.\" See\nByron, Don Juan, 3, 86, \"You have the letters Cadmus gave--Think you he\nmeant them for a slave?\"\n\n=_In Art._= Fig. 54, in text: from a vase in the Naples Museum. Fig. 55\nis of a vase-painting from Eretria.\n\n=71. _Textual._ Eurynome= is represented by some as one of the Titans,\nthe wife of Ophion. Ophion and Eurynome, according to one legend, ruled\nover heaven before the age of Saturn (Cronus). So Milton, Paradise\nLost, 10, 580, \"And fabled how the Serpent, whom they called Ophion,\nwith Eurynome (the wide-Encroaching Eve perhaps), had first the rule Of\nhigh Olympus, thence by Saturn driven.\" According to Vulcan's statement\n(Iliad, 18), Eurynome was daughter of Oceanus and Tethys. She was\nmother, by Jupiter, of the Graces. =Thetis=: see =50=. =Xanthus=: the\nprincipal river of Lycia in Asia Minor.\n\n=72-73. _Interpretative._ Latona= (=Leto=): according to Homer, one of\nthe deities of Olympus; a daughter of the Titans C[oe]us and Ph[oe]be,\nwhose names indicate phenomena of radiant light. She belonged, perhaps,\nto an ancient theogony of Asia Minor. At any rate she held at one time\nthe rank of lawful wife to Zeus. Preller and, after him, Cox take Leto\nas _the dusk_ or _darkness_. Cox traces the word to the root of Lethe\n(the forgetful), but Preller is doubtful. Possibly Leto and Leda, the\nmother of the bright Castor and Pollux, have something in common. The\nwanderings of Latona may be the weary journey of the night over the\nmountain tops, both before and after the Sun (Apollo) is born in Delos\n(the land of Dawn).\n\n=_Illustrative._= Milton, Arcades, 20, and Sonnet XII, \"On the\ndetraction which followed upon my writing certain treatises.\"\n\n=74. _Textual._ Hyperboreans=: those who dwell in the land beyond the\nNorth. P\u00e6an, see =C. 68=. =Tityus=: an earthborn giant; condemned to\nthe underworld, he lay stretched over nine acres while two vultures\ndevoured his liver.\n\n=_Interpretative._ Python=: in many savage myths, a serpent, a frog,\nor a lizard that drinks up all the waters, and is destroyed by some\nnational hero or god. As Mr. Lang says: \"Whether the slaying of the\nPython was or was not originally an allegory of the defeat of winter by\nsunlight, it certainly, at a very early period, became mixed up with\nancient legal ideas and local traditions. It is almost as necessary\nfor a young god or hero to slay monsters as for a young lady to be\npresented at court; and we may hesitate to explain all these legends of\na useful feat of courage as nature myths\" (Myth, Ritual, etc., 2, 196).\nCompare the feats of Hercules, Jason, Bellerophon, Perseus, St. George\nand the Dragon, Sigurd, and Jack the Giant Killer. Commentators take\nPython to be the rigor of winter, or the darkness of night, or a \"black\nstorm-cloud which shuts up the waters\" (Cox). It is not impossible that\nthe Python was the sacred snake of an older animal worship superseded\nby that of Apollo. (See also =C. 38=.)\n\n=75. _Textual._= The Tyrian hue is purple, made from the juice of\nthe _murex_, or purple shellfish. On the leaves of the hyacinth were\ninscribed characters like Ai, Ai, the Greek exclamation of woe. It is\nevidently not our modern hyacinth that is here described, but perhaps\nsome species of iris, or of larkspur, or pansy. The meaning of the\nname is also uncertain, but the best authorities favor _youthful_.\nA festival called the =Hyacinthia= was celebrated, in commemoration\nof the myth, over a large part of the Peloponnesus. It lasted three\ndays, probably in the first half of July. It consisted of chants of\nlamentation and fasting during the first and last days; during the\nsecond day, of processions, a horse race, joyous choral songs, dances,\nfeasting, and sacrifice.\n\n=_Interpretative._= Most scholars consider Hyacinthus to be the\npersonification of the blooming vegetation of spring, which withers\nunder the heats of summer. The Hyacinthian festival seems to have\ncelebrated--like the Linus festival and the Eleusinian--the transitory\nnature of life and the hope of immortality.\n\n=_Illustrative._= Keats, Endymion, \"Pitying the sad death Of\nHyacinthus, when the cool breath Of Zephyr slew him\" (see context);\nMilton, Lycidas, \"Like to that sanguine flower inscribed with woe\"; On\nthe Death of a Fair Infant, 4.\n\n=_In Art._= Fig. 58, in text, is of a marble group in the Hope\nCollection.\n\n=76. _Textual._ Clymene=: a daughter of Oceanus and Tethys.\n=Chrysolite=: or _gold stone_, our topaz. =Daystar=: Phosphor,\nsee =38= (II). =Ambrosia= (#ambrosios#, #ambrotos#, #a-brotos#),\n_immortal_,--here, \"food for the immortals.\" =Turn off to the= =left=:\nindicating the course of the sun, west by south. The =Serpent=, or\n=Dragon=: a constellation between the Great and Little Bears. =Bo\u00f6tes=:\nthe constellation called the Wagoner. The limits of the =Scorpion=\nwere restricted by the insertion of the sign of the Scales. =Athos=: a\nmountain forming the eastern of three peninsulas south of Macedonia.\n=Mount Taurus=: in Armenia. =Mount Tmolus=: in Lydia. =Mount [OE]te=:\nbetween Thessaly and \u00c6tolia, where Hercules ascended his funeral pile.\n=Ida=: the name of two mountains,--one in Crete, where Jupiter was\nnurtured by Amalthea, the other in Phrygia, near Troy. =Mount Helicon=:\nin B[oe]otia, sacred also to Apollo. =Mount H\u00e6mus=: in Thrace. =\u00c6tna=:\nin Sicily. =Parnassus=: in Phocis; one peak was sacred to Apollo, the\nother to the Muses. The Castalian Spring, sacred to the Muses, is at\nthe foot of the mountain; Delphi is near by. =Rhodope=: part of the\nH\u00e6mus range of mountains. =Scythia=: a general designation of Europe\nand Asia north of the Black Sea. =Caucasus=: between the Black and\nCaspian seas. =Mount Ossa=: associated with =Mount Pelion= in the story\nof the giants, who piled one on top of the other in their attempt\nto scale Olympus. These mountains, with =Pindus=, are in Thessaly.\n=Libyan= desert: in Africa. Libya was fabled to have been the daughter\nof Epaphus, king of Egypt. =Tana\u00efs=: the Don, in Scythia. =Ca\u00efcus=: a\nriver of Greater Mysia, flowing into the sea at Lesbos. =Xanthus= and\n=M\u00e6ander=: rivers of Phrygia, flowing near Troy. =Ca ster=: a river\nof Ionia, noted for its so-called \"tuneful\" swans. For Nereus, Doris,\nNere\u00efds, etc., see =50= and =52=. =Eridanus=: the mythical name of the\nriver Po in Italy (amber was found on its banks). =Naiads=, see =52=\n(6).\n\n_=Interpretative.=_ Apollo assumed many of the attributes of Helios,\nthe older divinity of the sun, who is ordinarily reputed to be\nthe father of Pha\u00ebthon (ordinarily anglicized Pha\u00ebton). The name\n_Pha\u00ebthon_, like the name _Ph[oe]bus_, means _the radiant one_. The sun\nis called both Helios Pha\u00ebthon and Helios Ph[oe]bus in Homer. It was\nan easy feat of the imagination to make Pha\u00ebthon the incautious son of\nHelios, or Apollo, and to suppose that extreme drought is caused by his\ncareless driving of his father's chariot. The drought is succeeded by a\nthunderstorm; and the lightning puts an end to Pha\u00ebthon. The rain that\nsucceeds the lightning is, according to Cox, the tears of the Heliades.\nIt is hardly wise to press the analogy so far, unless one is prepared\nto explain the _amber_ in the same way.\n\n_=Illustrative.=_ Milman in his Samor alludes to the story. See\nalso Chaucer, Hous of Fame, 435; Spenser, Faerie Queene, 1, 4, 9;\nShakespeare, Richard II, III, iii; Two Gentlemen of Verona, III, i; 3\nHenry VI, I, iv; II, vi; Romeo and Juliet, III, ii. _=Poems=_: Prior,\nFemale Pha\u00ebton; J. G. Saxe, Pha\u00ebton; and G. Meredith, Pha\u00ebton. For\ndescription of the palace and chariot of the Sun, see Landor, Gebir,\nBk. I.\n\n_=In Art=_: Fig. 59, in text: a relief on a Roman sarcophagus in the\nLouvre.\n\n=77. _Textual._= For the siege of Troy, see Chap. XXII. =Atrides=\n(=Atreides=): the son of Atreus, Agamemnon. The ending _-ides_ means\n_son of_, and is used in patronymics; for instance, Pelides (Peleides),\nAchilles; Tydides, Diomede, son of Tydeus. The ending _-is_, in\npatronymics, means _daughter of_; as Tyndaris, daughter of Tyndarus\n(Tyndareus), Helen; Chryse\u00efs, daughter of Chryses.\n\n_=Interpretative.=_ Of this incident Gladstone, in his primer on Homer,\nsays: \"One of the greatest branches and props of morality for the\nheroic age lay in the care of the stranger and the poor.... Sacrifice\ncould not be substituted for duty, nor could prayer. Such, upon the\nabduction of Chryse\u00efs, was the reply of Calchas the Seer: nothing would\navail but restitution.\"\n\n=78. The Dynasty of Tantalus and its Connections.= (See also Table I.)\n\nTABLE F\n\n =Jupiter=\n +-- =Tantalus= (k. of Phrygia)\n =Dione\n +-- =Niobe=\n | ==Amphion=\n | +-- 7 sons and 7 daughters\n +-- =Pelops=\n =Hippodamia\n +-- =Atreus=\n | =A\u00ebrope\n | +-- =Agamemnon=\n | +-- =Menela\u00fcs=\n +-- Thyestes\n | +-- \u00c6gisthus\n +-- Pittheus (k. of Tr[oe]zen)\n +-- \u00c6thra\n =\u00c6geus\n +-- Theseus\n =Antiope\n +-- =Amphion=\n ==Niobe=\n +-- 7 sons and 7 daughters (see above)\n\n =Atlas=\n +-- Dione\n | ==Tantalus= (k. of Phrygia)\n | +-- =Niobe= (see above)\n | +-- =Pelops= (see above)\n +-- Sterope II\n =Mars\n +-- [OE]noma\u00fcs\n +-- Hippodamia\n ==Pelops=\n +-- =Atreus= (see above)\n +-- Thyestes (see above)\n +-- Pittheus (k. of Tr[oe]zen) (see above)\n\n Minos II\n +-- A\u00ebrope\n ==Atreus=\n +-- =Agamemnon= (see above)\n +-- =Menela\u00fcs= (see above)\n\n=Pelops.= It is said that the goddess Demeter in a fit of\nabsent-mindedness ate the shoulder of Pelops. The part was replaced\nin ivory when Pelops was restored to life. =Mount Cynthus=: in Delos,\nwhere Apollo and Diana were born.\n\n=_Interpretative._= Max M\u00fcller derives =Niobe= from the root _snu_,\nor _snigh_, from which come the words for _snow_ in the Indo-European\nlanguages. In Latin and Greek, the stem is _Niv_, hence Nib, Niobe. The\nmyth, therefore, would signify the melting of snow and the destruction\nof its icy offspring under the rays of the spring sun (Sci. Relig.\n372). According to Homer (Iliad, 24, 611), there were six sons and\nsix daughters. After their death no one could bury them, since all\nwho looked on them were turned to stone. The burial was, accordingly,\nperformed on the tenth day after the massacre, by Jupiter and the other\ngods. This petrifaction of the onlookers may indicate the operation of\nthe frost. Cox says that Niobe, the snow, compares her golden-tinted,\nwintry mists or clouds with the splendor of the sun and moon. Others\nlook upon the myth as significant of the withering of spring vegetation\nunder the heats of summer (Preller). The latter explanation is as\nsatisfactory, for spring is the child of winter (Niobe).\n\n=_Illustrative._= Pope, Dunciad, 2, 311; Lewis Morris, Niobe on Sipylus\n(Songs Unsung); Byron's noble stanza on fallen Rome, \"The Niobe of\nnations! there she stands, Childless and crownless, in her voiceless\nwoe,\" etc. (Childe Harold, 4, 79); W. S. Landor, Niobe; Frederick\nTennyson, Niobe. On =Tantalus=, see Lewis Morris, Tantalus, in The Epic\nof Hades. On Sir Richard Blackmore, a physician and poor poet, Thomas\nMoore writes the following stanza:\n\n 'T was in his carriage the sublime\n Sir Richard Blackmore used to rhyme,\n And, if the wits don't do him wrong,\n 'Twixt death and epics passed his time,\n Scribbling and killing all day long;\n Like Ph[oe]bus in his car at ease,\n Now warbling forth a lofty song,\n Now murdering the young Niobes.\n\n=_In Art._= The restoration of the statue of Niobe, Mount Sipylus; of\nextreme antiquity. The St. Petersburg relief (Fig. 61, in text) is\nprobably the best group. Figs. 60 and 62 are from the ancient marbles\nin the Uffizi, Florence. The fragments of the latter group were\ndiscovered in 1583 near the Porta San Giovanni, Rome. The figure of the\nmother, clasping the little girl who has run to her in terror, is one\nof the most admired of the ancient statues. It ranks with the Laoco\u00f6n\nand the Apollo Belvedere among the masterpieces of art. The following\nis a translation of a Greek epigram supposed to relate to this statue:\n\n To stone the gods have changed her, but in vain;\n The sculptor's art has made her breathe again.\n\nThere is also a fine figure of a daughter of Niobe in the Vatican,\nRome; and there are figures in the Louvre. Reinach in his _Apollo_\nattributes the originals to Scopas.\n\n=79. _Interpretative._= The month in which the festival of =Linus= took\nplace was called the =Lambs' Month=: the days were the =Lambs' Days=,\non one of which was a massacre of dogs. According to some, Linus was a\nminstrel, son of Apollo and the Muse Urania, and the teacher of Orpheus\nand Hercules.\n\n=80. Centaurs.= Monsters represented as men from the head to the loins,\nwhile the remainder of the body was that of a horse. Centaurs are the\nonly monsters of antiquity to which any good traits were assigned. They\nwere admitted to the companionship of men. =Chiron= was the wisest and\njustest of the Centaurs. At his death he was placed by Jupiter among\nthe stars as the constellation Sagittarius (the Archer). =Messenia=:\nin the Peloponnesus. =\u00c6sculapius=: there were numerous oracles of\n\u00c6sculapius, but the most celebrated was at Epidaurus. Here the sick\nsought responses and the recovery of their health by sleeping in the\ntemple. It has been inferred from the accounts that have come down to\nus that the treatment of the sick resembled what is now called animal\nmagnetism or mesmerism.\n\nSerpents were sacred to \u00c6sculapius, probably because of a superstition\nthat those animals have a faculty of renewing their youth by a change\nof skin. The worship of \u00c6sculapius was introduced into Rome in a\ntime of great sickness. An embassy, sent to the temple of Epidaurus\nto entreat the aid of the god, was propitiously received; and on the\nreturn of the ship \u00c6sculapius accompanied it in the form of a serpent.\nArriving in the river Tiber, the serpent glided from the vessel and\ntook possession of an island, upon which a temple was soon erected to\nhis honor.\n\n=_Interpretative._= The healing powers of nature may be here\nsymbolized. But it is more likely that the family of Asclepiad\u00e6 (a\nmedical clan) invented Asklepios as at once their ancestor and the son\nof the god of healing, Apollo.\n\n=_Illustrative._= Milton, Paradise Lost, 9, 506; Shakespeare, Pericles,\nIII, ii; Merry Wives, II, iii.\n\n=_In Art._= \u00c6sculapius (sculpture), Vatican; also the statue in the\nUffizi, Florence (text, Fig. 63). Thorwaldsen's (sculpture) Hygea\n(Health) and \u00c6sculapius, Copenhagen.\n\n=81. _Interpretative._= Perhaps the unceasing and unvarying round of\nthe sun led to the conception of him as a servant. Max M\u00fcller cites the\nPeruvian Inca who said that if the sun were free, like fire, he would\nvisit new parts of the heavens. \"He is,\" said the Inca, \"like a tied\nbeast who goes ever round and round in the same track\" (Chips, etc.,\n2, 113). Nearly all Greek heroes had to undergo servitude,--Hercules,\nPerseus, etc. No stories are more beautiful or more lofty than those\nwhich express the hope, innate in the human heart, that somewhere and\nat some time some god has lived as a man among men and for the good of\nmen. Such stories are not confined to the Greeks or the Hebrews.\n\n=_Illustrative_=. R. Browning, Apollo and the Fates; Edith M. Thomas,\nApollo the Shepherd; Emma Lazarus, Admetus; W. M. W. Call, Admetus.\n\n=83. _Textual._ Alcestis= was a daughter of the Pelias who was killed\nat the instigation of Medea (=167=). In that affair Alcestis took no\npart. For her family, see Table G. She was held in the highest honor\nin Greek fable, and ranked with Penelope and Laodamia, the latter of\nwhom was her niece. To explain the myth as a physical allegory would be\neasy, but is it not more likely that the idea of _substitution_ finds\nexpression in the myth?--that idea of atonement by sacrifice, which\nis suggested in the words of [OE]dipus at Colonus (=185=), \"For one\nsoul working in the strength of love Is mightier than ten thousand to\natone.\" =Kor\u00e9= (the daughter of Ceres): Proserpina. =Larissa=: a city\nof Thessaly, on the river Pene\u00fcs.\n\n=_Illustrative._= Milton's sonnet, On his Deceased Wife:\n\n Methought I saw my late espous\u00e8d saint\n Brought to me like Alcestis from the grave,\n Whom Jove's great son to her glad husband gave,\n Rescued from death by force, though pale and faint.\n\nChaucer, Legende of Good Women, 208 _et seq._; Court of Love (?), 100\n_et seq._\n\n=_Poems._= Robert Browning's noble poem, Balaustion's Adventure,\npurports to be a paraphrase of the Alcestis of Euripides, but while it\nmaintains the classical spirit, it is in execution an original poem.\nThe Love of Alcestis, by William Morris; Mrs. Hemans, The Alcestis of\nAlfieri, and The Death Song of Alcestis; W. S. Landor, Hercules, Pluto,\nAlcestis, and Admetus; Alcestis: F. T. Palgrave, W. M. W. Call, John\nTodhunter (a drama).\n\n=_In Art._= Fig. 64, in text, Naples Museum; also the relief on a Roman\nsarcophagus in the Vatican.\n\n=84. _Textual._= This Laomedon was descended, through Dardanus (the\nforefather of the Trojan race), from Jupiter and the Pleiad Electra.\nFor further information about him, see =119=, =161=, and Table I.\n\n=_Interpretative._= Apollo evidently fulfills, under Laomedon, his\nfunction as god of colonization.\n\n=85-86. _Textual._= For Pan, see =43=; for Tmolus, =76=. =Pene\u00fcs=: a\nriver in Thessaly, which rises in Mount Pindus and flows through the\nwooded valley of Tempe. =D\u00e6dal=: variously adorned, variegated. Midas\nwas king of Phrygia (see =113=).\n\n=_Illustrative._= The story of King Midas has been told by others with\nsome variations. Dryden, in the Wife of Bath's Tale, makes Midas' queen\nthe betrayer of the secret:\n\n This Midas knew, and durst communicate\n To none but to his wife his ears of state.\n\n=87. _Illustrative._= M. Arnold, Empedocles (Song of Callicles); L.\nMorris, Marsyas, in The Epic of Hades; Edith M. Thomas, Marsyas; E.\nLee-Hamilton, Apollo and Marsyas.\n\n=_In Art._= Raphael's drawing, Apollo and Marsyas (Museum, Venice);\nBordone's Apollo, Marsyas, and Midas (Dresden); the Gr\u00e6co-Roman\nsculpture, Marsyas (Louvre); Marsyas (or Dancing Faun), in the Lateran,\nRome.\n\n=89. _Textual._= Daphne was a sister of Cyrene, another sweetheart of\nApollo's (=145=). =Delphi=, in Phocis, and =Tenedos=, an island off\nthe coast of Asia Minor, near Troy, were celebrated for their temples\nof Apollo. The latter temple was sacred to =Apollo Smintheus=, the\nMouse-Apollo, probably because he had rid that country of mice as St.\nPatrick rid Ireland of snakes and toads. =Dido=: queen of Carthage\n(=252=), whose lover, \u00c6neas, sailed away from her.\n\n=_Interpretative._= Max M\u00fcller's explanation is poetic though not\nphilologically probable. \"Daphne, or Ahan\u00e2, means the Dawn. There is\nfirst the appearance of the dawn in the eastern sky, then the rising of\nthe sun as if hurrying after his bride, then the gradual fading away of\nthe bright dawn at the touch of the fiery rays of the sun, and at last\nher death or disappearance in the lap of her mother, the earth.\" The\nword _Daphne_ also means, in Greek, a _laurel_; hence the legend that\nDaphne was changed into a laurel tree (Sci. Relig., 378, 379). Others\nconstrue Daphne as the _lightning_. It is, however, very probable that\nthe Greeks of the myth-making age, finding certain plants and flowers\nsacred to Apollo, would invent stories to explain why he preferred the\nlaurel, the hyacinth, the sunflower, etc. \"Such myths of metamorphoses\"\nare, as Mr. Lang says, \"an universal growth of savage fancy, and spring\nfrom a want of a sense of difference between men and things\" (Myth,\nRitual, etc., 2, 206).\n\n=_Illustrative._= Shakespeare, Midsummer Night's Dream, II, ii; Taming\nof the Shrew, Induction ii; Troilus and Cressida, I, i; Milton,\nComus, 59, 662; Hymn on the Nativity, II. 176-180, Vacation, 33-40;\nParadise Lost, 4, 268-275; Paradise Regained, 2, 187; Lord de Tabley\n(Wm. Lancaster), Daphne, \"All day long, In devious forest, Grove, and\nfountain side, The god had sought his Daphne,\" etc.; Lyly, King Mydas;\nApollo's Song to Daphne; Frederick Tennyson, Daphne. Waller applies\nthis story to the case of one whose amatory verses, though they did not\nsoften the heart of his mistress, yet won for the poet widespread fame:\n\n Yet what he sung in his immortal strain,\n Though unsuccessful, was not sung in vain.\n All but the nymph that should redress his wrong,\n Attend his passion and approve his song.\n Like Ph[oe]bus thus, acquiring unsought praise,\n He caught at love and filled his arms with bays.\n\n=_In Art._= Fig. 67, in text; Bernini's Apollo and Daphne, in the Villa\nBorghese, Rome (see text, opp. p. 112). Painting: G. F. Watts' Daphne.\n\n=91. _Illustrative._= Hood, Flowers, \"I will not have the mad Clytia,\nWhose head is turned by the sun,\" etc.; W. W. Story, Clytie; Mrs. A.\nFields, Clytia. The so-called bust of Clytie (discovered not long ago)\nis possibly a representation of Isis.\n\n=93. _Textual._ Elis=: northwestern part of the Peloponnesus.\n=Alphe\u00fcs=: a river of Elis flowing to the Mediterranean. The river\nAlphe\u00fcs does in fact disappear under ground, in part of its course,\nfinding its way through subterranean channels, till it again appears\non the surface. It was said that the Sicilian fountain Arethusa was\nthe same stream, which, after passing under the sea, came up again in\nSicily. Hence the story ran that a cup thrown into the Alphe\u00fcs appeared\nagain in the Arethusa. It is, possibly, this fable of the underground\ncourse of Alphe\u00fcs that Coleridge has in mind in his dream of Kubla Khan:\n\n In Xanadu did Kubla Khan\n A stately pleasure-dome decree:\n Where Alph, the sacred river, ran\n Through caverns measureless to man,\n Down to a sunless sea.\n\nIn one of Moore's juvenile poems he alludes to the practice of throwing\ngarlands or other light objects on the stream of Alphe\u00fcs, to be carried\ndownward by it, and afterward reproduced at its emerging, \"as an\noffering To lay at Arethusa's feet.\"\n\n=The Acroceraunian Mountains= are in Epirus in the northern part of\nGreece. It is hardly necessary to point out that a river Arethusa\narising there could not possibly be approached by an Alphe\u00fcs of the\nPeloponnesus. Such a criticism of Shelley's sparkling verses would\nhowever be pedantic rather than just. Probably Shelley uses the word\n_Acroceraunian_ as synonymous with _steep_, _dangerous_. If so, he\nhad the practice of Ovid behind him (Remedium Amoris, 739). =Mount\nErymanthus=: between Arcadia and Achaia. The =Dorian= deep: the\nPeloponnesus was inhabited by descendants of the fabulous Dorus.\n=Enna=: a city in the center of Sicily. =Ortygia=: an island on which\npart of the city of Syracuse is built.\n\n=_Illustrative._= Milton, Arcades, 30; Lycidas, 132; Margaret J.\nPreston, The Flight of Arethusa; Keats, Endymion, Bk. 2, \"On either\nside out-gushed, with misty spray, A copious spring.\"\n\n=95.= See genealogical table =E= for =Act\u00e6on=. In this myth Preller\nfinds another allegory of the baleful influence of the dog days upon\nthose exposed to the heat. Cox's theory that here we have large masses\nof cloud which, having dared to look upon the clear sky, are torn\nto pieces and scattered by the winds, is principally instructive as\nillustrating how far afield theorists have gone, and how easy it is to\ninvent ingenious explanations.\n\n=_Illustrative._= Shakespeare, Merry Wives, II, i; III, ii; Titus\nAndronicus, II, iii; Shelley, Adonais, 31, \"Midst others of less note,\ncame one frail Form,\" etc., a touching allusion to himself; A. H.\nClough, Act\u00e6on; L. Morris, Act\u00e6on (Epic of Hades).\n\n=96. Chios=: an island in the \u00c6gean. =Lemnos=: another island in the\n\u00c6gean, where Vulcan had a forge.\n\n=_Interpretative._= The ancients were wont to glorify in fable\nconstellations of remarkable brilliancy or form. The heavenly\nadventures of =Orion= are sufficiently explained by the text.\n\n=_Illustrative._= Spenser, Faerie Queene, 1, 3, 31; Milton, Paradise\nLost, 1, 299, \"Natheless he so endured,\" etc.; Longfellow, Occultation\nof Orion; R. H. Horne, Orion; Charles Tennyson Turner, Orion (a sonnet).\n\n=97. Electra.= See genealogical table I. See same table for =Merope=,\nthe mother of Glaucus and grandmother of Bellerophon (=155=).\n\n=_Illustrative._ Pleiads=: Milton, Paradise Lost, 7, 374; Pope, Spring,\n102; Mrs. Hemans has verses on the same subject; Byron, \"Like the lost\nPleiad seen no more below.\"\n\nIn modern sculpture, The Lost Pleiad of Randolph Rogers is famous; in\npainting, the Pleiades of Elihu Vedder (Fig. 72, in text).\n\n=98. Mount Latmos=: in Caria. Diana is sometimes called =Ph[oe]be=, the\nshining one. For the descendants of Endymion, the \u00c6tolians, etc., see\nTable I.\n\n=_Interpretative._= According to the simplest explanation of the\n=Endymion= myth, the hero is the setting sun on whom the upward rising\nmoon delights to gaze. His fifty children by Selene would then be the\nfifty months of the Olympiad, or Greek period of four years. Some,\nhowever, consider him to be a personification of sleep, the king whose\ninfluence comes over one in the cool caves of Latmos, \"the Mount of\nOblivion\"; others, the growth of vegetation under the dewy moonlight;\nstill others, euhemeristically, a young hunter, who under the moonlight\nfollowed the chase, but in the daytime slept.\n\n=_Illustrative._= The Endymion of Keats. Fletcher, in the Faithful\nShepherdess, tells, \"How the pale Ph[oe]be, hunting in a grove, First\nsaw the boy Endymion,\" etc. Young, Night Thoughts, \"So Cynthia,\npoets feign, In shadows veiled, ... Her shepherd cheered\"; Spenser,\nEpithalamion, \"The Latmian Shepherd,\" etc.; Marvel, Songs on Lord\nFauconberg and the Lady Mary Cromwell (chorus, Endymion and Laura); O.\nW. Holmes, Metrical Essays, \"And, Night's chaste empress, in her bridal\nplay, Laughed through the foliage where Endymion lay.\"\n\n=_Poems._= Besides Keats' the most important are by Lowell, Longfellow,\nClough (Epi Latmo, and Selene), T. B. Read, Buchanan, L. Morris (Epic\nof Hades). John Lyly's prose drama, Endymion, contains quaint and\ndelicate songs.\n\n=_In Art._= Fig. 73, in text; Diana and the sleeping Endymion (Vatican).\n\n=_Paintings._= Carracci's fresco, Diana embracing Endymion (Farnese\nPalace, Rome); Guercino's Sleeping Endymion; G. F. Watts' Endymion.\n\n=100. _Textual._ Paphos= and =Amathus=: towns in Cyprus, of which the\nformer contained a temple to Venus. =Cnidos= (Cnidus or Gnidus): a\ntown in Caria, where stood a famous statue of Venus, attributed to\nPraxiteles. =Cytherea=: Venus, an adjective derived from her island\nCythera in the \u00c6gean Sea. =Acheron=, and =Persephone= or =Proserpine=:\nsee =44-48=. The wind-flower of the Greeks was of bloody hue, like that\nof the pomegranate. It is said the wind blows the blossoms open, and\nafterwards scatters the petals.\n\n=_Interpretative._= Among the P[oe]nicians Venus is known as Astarte,\namong the Assyrians as Istar. The =Adonis= of this story is the\nPh[oe]nician _Adon_, or the Hebrew _Adonai_, 'Lord.' The myth derives\nits origin from the Babylonian worship of Thammuz or Adon, who\nrepresents the verdure of spring, and whom his mistress, the goddess\nof fertility, seeks, after his death, in the lower regions. With\ntheir departure all birth and fruitage cease on the earth; but when he\nhas been revived by sprinkling of water, and restored to his mistress\nand to earth, all nature again rejoices. The myth is akin to those of\nLinus, Hyacinthus, and Narcissus. Mannhardt (Wald-und Feld-kulte, 274),\ncited by Roscher, supplies the following characteristics common to such\nreligious rites in various lands: (1) The spring is personified as a\nbeautiful youth who is represented by an image surrounded by quickly\nfading flowers from the \"garden of Adonis.\" (2) He comes in the early\nyear and is beloved by a goddess of vegetation, goddess sometimes of\nthe moon, sometimes of the star of Love. (3) In midsummer he dies,\nand during autumn and winter inhabits the underworld. (4) His burial\nis attended with lamentations, his resurrection with festivals. (5)\nThese events take place in midsummer and in spring. (6) The image and\nthe _Adonis_ plants are thrown into water. (7) Sham marriages are\ncelebrated between pairs of worshipers.\n\n=_Illustrative._= The realistic Idyl XV of Theocritus contains a\ntypical Psalm of Adonis, sung at Alexandria, for his resurrection.\nShakespeare's Venus and Adonis; Taming of the Shrew, Induction ii; 1\nHenry VI, I, vi. In Milton, Comus, 998:\n\n Beds of hyacinth and roses,\n Where young Adonis oft reposes,\n Waxing well of his deep wound,\n In slumber soft, and on the ground\n Sadly sits th' Assyrian queen.\n\nDrummond, The Statue of Adonis; Pope, Summer, 61; Winter, 24; Miscel.\n7, 10; Moral Essays, 3, 73; Dunciad, 5, 202. See C. S. Calverley, Death\nof Adonis (Theocritus); L. Morris, Adonis (Epic of Hades).\n\n=_In Art._= Fig. 74, in text, from a Roman sarcophagus. The Dying\nAdonis, (sculpture), Michelangelo; the Adonis of Thorwaldsen in the\nGlyptothek, Munich.\n\n=101-102. _Textual._ Psyche= does not eat anything in Hades, because,\nby accepting the hospitality of Proserpina, she would become an inmate\nof her household. The scene with the lamp and knife probably indicates\nthe infringement of some ancient matrimonial custom. =Erebus=: the land\nof darkness, Hades. For =Zephyr=, =Acheron=, =Cerberus=, =Charon=,\netc., see Index.\n\n=_Interpretative._= The fable of Cupid and Psyche is usually regarded\nas allegorical. The Greek name for _butterfly_ is Psyche, and the same\nword means the _soul_. There is no illustration of the immortality of\nthe soul so striking and beautiful as that of the butterfly, bursting\non brilliant wings from the tomb in which it has lain, after a dull,\ngroveling, caterpillar existence, to flutter in the blaze of day and\nfeed on the most fragrant and delicate productions of the spring.\nPsyche, then, is the human soul, which is purified by sufferings and\nmisfortunes, and is thus prepared for the enjoyment of true and pure\nhappiness. It is probable that the story allegorizes a philosophical\nconception concerning _three_ stages of the soul's life: first, a\nformer existence of bliss; second, an earthly existence of trial;\nthird, a heavenly future of fruition. Cox, by his usual method, finds\nhere a myth of the search for the Sun (Eros) by the Dawn (Psyche). Many\nof the incidents of the story will be found in modern fairy tales and\nromances, such as Beauty and the Beast, Grimm's Twelve Brothers; the\nGaelic stories: The Three Daughters of King O'Hara; Fair, Brown, and\nTrembling; The Daughter of the Skies; and the Norse tale--East of the\nSun and West of the Moon. See Cox 1, 403-411.\n\n=_Illustrative._= Thomas Moore, Cupid and Psyche; Mrs. Browning,\nPsyche, Paraphrase on Apuleius; L. Morris, in The Epic of Hades;\nFrederick Tennyson, Psyche; Robert Bridges, Eros and Psyche. Most\nimportant is W. H. Pater's Marius the Epicurean, which contains the\nstory as given by Apuleius.\n\n=_In Art._= Psyche is represented as a maiden with the wings of a\nbutterfly, in the different situations described in the allegory. The\nGr\u00e6co-Roman sculpture of Cupid and Psyche, in the Capitol at Rome, is\nof surpassing beauty; so also is Canova's Cupid and Psyche.\n\n=_Paintings._= Raphael's frescoes in the Farnesina Villa, twelve in\nnumber, illustrating the story; Fran\u00e7ois G\u00e9rard's Cupid and Psyche;\nPaul Thumann's nine illustrations of the story (see Figs. 75, 76, in\ntext); R. Beyschlag's Psyche with the Urn, Psyche Grieving, and Psyche\nand Pan; W. Kray's Psyche and Zephyr; Psyche: by A. de Curzon; by G.\nF. Watts, a series of three illustrations by H. Bates. The Charon and\nPsyche of E. Neide is a sentimental, simpering conception. A. Zick also\nhas a Psyche.\n\n=_103._= According to another tradition, =Atalanta's= love was\nMilanion. The nuptial vow was ratified by Hera (Juno). This, the\nB[oe]otian, Atalanta is sometimes identified with the Arcadian Atalanta\nof the Calydonian Hunt. (See =168= and Table D). It is better to\ndiscriminate between them. The genealogy of this Atalanta will be seen\nin Tables G and I.\n\n=_Illustrative._= W. Morris, Atalanta's Race (Earthly Paradise); Moore,\nRhymes on the Road, on Alpine Scenery,--an allusion to Hippomenes.\n\n=_In Art._= Painting by E. J. Poynter, Atalanta's Race (Fig. 78, in\ntext); and Guido Reni's brilliant picture of the same subject.\n\n=104. _Textual_= and =_Illustrative._= The story of =Hero and\nLeander= is the subject of a romantic poem by Mus\u00e6us, a grammarian\nof Alexandria, who lived in the fifth century A.D. This author, in\ndistinction from the mythical poet of the same name, is styled the\nPseudo-Mus\u00e6us. The _epyllion_ has been translated by Sir Robert\nStapylton, Sir Edwin Arnold, and others. The feat of swimming the\nHellespont was performed by Lord Byron. The distance in the narrowest\npart is not more than a mile, but there is a constant dangerous current\nsetting out from the Sea of Marmora into the Archipelago. For an\nallusion to the story see Byron, Bride of Abydos, Canto II. For Byron's\nstatement concerning the breadth of the water see footnote to \"Stanzas\nwritten after swimming from Sestos to Abydos.\"\n\n=_Poems._ Hero and Leander=: by Leigh Hunt, by Tom Hood, by Moore;\nsonnet by D. G. Rossetti, Hero's Lamp (House of Life); a poem not\nin later editions of Tennyson, Hero to Leander, 1830; Chapman's\ncontinuation of Marlowe's Hero and Leander.\n\n=_Paintings._= G. von Bodenhausen; F. Keller (Fig. 79, in text).\n\n=105. _Interpretative._= Another illustration of the vivifying\ninfluence of love. Preller deems Pygmalion's story nearly akin to\nthe Adonis myth. He regards the festival of Venus, during which\nthe statue of Galatea (or passive love) receives life, as the usual\nAdonis-festival.\n\nTABLE G. THE CONNECTIONS OF ATALANTA THE B[OE]OTIAN\n\n =Prometheus=\n +-- Deucalion\n =Pyrrha\n +-- Hellen\n +-- \u00c6olus\n | +-- Other sons (See Table I)\n | +-- Athamas\n | | =Nephele\n | | +-- =Helle=\n | | +-- Phryxus\n | | =Ino\n | | +-- Melicertes\n | | =Themisto\n | | +-- =Sch[oe]nus= of B[oe]otia\n | | +-- =Atalanta= (Hippomenes)\n | +-- Sisyphus (Merope)\n | | +-- =Glaucus=\n | | +-- =Bellerophon=\n | +-- Salmoneus\n | | +-- Tyro\n | | =Neptune\n | | +-- Neleus\n | | | +-- Nestor\n | | | | +-- Antilochus\n | | | +-- Pero\n | | | =Bias\n | | | +-- Tala\u00fcs\n | | | +-- Adrastus\n | | | +-- Eriphyle\n | | | =Amphiara\u00fcs\n | | | +-- Alcm\u00e6on\n | | | | =Arsino\u00eb\n | | | +-- Amphilochus\n | | +-- Pelias\n | | +-- =Evadne=\n | | +-- Acastus\n | | | +-- =Laodamia=\n | | | =Protesila\u00fcs\n | | +-- =Alcestis=\n | | ==Admetus=\n | | =Cretheus\n | | +-- Pheres\n | | | +-- =Admetus=\n | | | ==Alcestis=\n | | +-- \u00c6son\n | | | +-- =Jason=\n | | +-- Amythaon\n | | +-- Bias\n | | | =Pero\n | | | +-- Tala\u00fcs (see above)\n | | +-- Melampus (the Prophet)\n | | +-- Antiphates\n | | +-- O\u00efcles\n | | =Hypermnestra\n | | +-- Amphiara\u00fcs\n | | =Eriphyle\n | | +-- Alcm\u00e6on (see above)\n | | +-- Amphilochus (see above)\n | +-- Cretheus\n | =Tyro\n | +-- Pheres (see above)\n | +-- \u00c6son (see above)\n | +-- Amythaon (see above)\n +-- Dorus\n +-- Xuthus\n +-- Ach\u00e6us\n +-- Ion\n\n =Epimetheus=\n ==Pandora=\n +-- Pyrrha\n =Deucalion\n +-- Hellen (see above)\n\n=_Illustrative._= Thomson, Castle of Indolence, 2, 12; R. Buchanan,\nPygmalion the Sculptor; Morris, and Lang, as in text; Pygmalion: by\nT. L. Beddoes, by W. C. Bennett. The seventeenth-century satirist,\nMarston, wrote a Pygmalion, of no great worth. Frederick Tennyson,\nPygmalion (in Daphne and other Poems); Arthur Henry Hallam, Lines\nspoken in the Character of Pygmalion; Thomas Woolner, Pygmalion.\n\n=_In Art._= The Pygmalion series of four scenes, by E. Burne-Jones.\n\n=106. _Textual._ Semiramis=: wife of King Ninus and the queen of\nAssyria. Famous for her administrative and military ability. A mythical\ncharacter with features of historic probability.\n\n=_Illustrative._= Chaucer, Thisbe, the Martyr of Babylon (Legende of\nGood Women). Allusions in Surrey, Of the Death of Sir Thomas Wyatt;\nShakespeare, Midsummer Night's Dream, III, ii; V, i; Merchant of\nVenice, V, i. Moore, in the Sylph's Ball, draws a comparison between\nThisbe's wall and the gauze of Davy's safety lamp. Mickle's translation\nof the Lusiad (Island of Love).\n\n=_In Art._= Burne-Jones' three paintings, Cupid, Pyramus, and Thisbe\n(Fig. 80, in text); E. J. Paupion's painting, Thisbe.\n\n=107. _Textual._ Lesbos= and =Chios=: islands in the \u00c6gean. For\n=Sappho= see =298= (3).\n\n=_Illustrative._= The second lyric of Sappho, beginning \"Like to the\ngods he seems to me, The man that sits reclined by thee,\" has been\ntranslated by Phillips, by Fawkes, and by recent poets. The reference\nis probably to Phaon. Allusions in Pope, Moral Essays, 3, 121; 2,\n24; Prologue to Satires, 309, 101; Byron's Isles of Greece, already\nreferred to. Compare the translation in Catullus, LI.\n\n=_Poems_= on Sappho or on Phaon: Charles Kingsley, Sappho; Buchanan,\nSappho on the Leucadian Rock; Landor,--Sappho, Alc\u00e6us, Anacreon,\nand Phaon; Frederick Tennyson, Kle\u00efs or the Return (in the Isles of\nGreece). See also Lyly's amusing prose drama, Sappho and Phao.\n\n=109. _Textual._ Mount Cyllene=: between Arcadia and Ach\u00e6a. =Pierian\nMountains=: in Macedonia, directly north of Thessaly; the birthplace of\nthe Muses. =Pylos=: an ancient city of Elis.\n\n=_Interpretative._= On the supposition that the herds of Apollo are\nthe bright rays of the sun, a plausible physical explanation of the\nrelations of =Mercury= (Hermes) to Apollo is the following from Max\nM\u00fcller: \"Hermes is the god of the twilight, who betrays his equivocal\nnature by stealing, though only in fun, the herds of Apollo, but\nrestoring them without the violent combat that (in the analogous Indian\nstory) is waged for the herds between Indra, the bright god, and Vala,\nthe robber. In India the dawn brings the light; in Greece the twilight\nitself is supposed to have stolen it, or to hold back the light, and\nHermes, the twilight, surrenders the booty when challenged by the\nsun-god Apollo\" (Lect. on Lang., 2 Ser., 521-522). Hermes is connected\nby Professor M\u00fcller with the Vedic god _Sarameya_, son of the twilight.\nMercury, or Hermes, as morning or as evening twilight, loves the Dew,\nis herald of the gods, is spy of the night, is sender of sleep and\ndreams, is accompanied by the cock, herald of dawn, is the guide of\nthe departed on their last journey. To the conception of twilight, Cox\nadds that of _motion_, and explains Hermes as the _air in motion_ that\nsprings up with the dawn, gains rapidly in force, sweeps before it the\n_clouds_ (here the cattle of Apollo), makes soft music through the\ntrees (lyre), etc. Other theorists make Hermes the Divine Activity, the\ngod of the ether, of clouds, of storm, etc. Though the explanations of\nProfessor M\u00fcller and the Rev. Sir G. W. Cox are more satisfactory here\nthan usual, Roscher's _the swift wind_ is scientifically preferable.\n\n=_Illustrative._= See Shelley, Homeric Hymn to Mercury, on which the\ntext of this section is based, and passages in Prometheus Unbound;\nKeats, Ode to Maia.\n\n=_In Art._= The intent of the disguise in Fig. 81 (text) is to deceive\nDemeter with a sham sacrifice.\n\n=110-112. _Textual._= See Table E, for Bacchus, Pentheus, etc. =Nysa=\n\"has been identified as a mountain in Thrace, in B[oe]otia, in Arabia,\nIndia, Libya; and Naxos, as a town in Caria or the Caucasus, and as\nan island in the Nile.\" =Thebes=: the capital of B[oe]otia. =M\u00e6onia=:\nLydia, in Asia Minor. =Dia=: Naxos, the largest of the Cyclades Islands\nin the \u00c6gean. =Mount Cith\u00e6ron=: in B[oe]otia. The =Thyrsus= was a wand,\nwreathed with ivy and surmounted by a pine cone, carried by Bacchus\nand his votaries. =M\u00e6nads= and =Bacchantes= were female followers of\nBacchus. =Bacchanal= is a general term for his devotees.\n\n=_Interpretative._= \"=Bacchus= (Dionysus) is regarded by many as\nthe _spiritual form_ of the new vernal life, the sap and pulse of\nvegetation and of the new-born year, especially as manifest in the\nvine and juice of the grape.\"--LANG, Myth, Ritual, etc., 2, 221 (from\nPreller 1, 554). The =Hyades= (rain-stars), that nurtured the deity,\nperhaps symbolize the rains that nourish sprouting vegetation. He\nbecame identified very soon with the _spirituous effects_ of the vine.\nHis sufferings may typify the \"ruin of the summer year at the hands of\nstorm and winter,\" or, perhaps, the agony of the bleeding grapes in the\nwine press. The orgies would, according to this theory, be a survival\nof the ungoverned actions of savages when celebrating a festival in\nhonor of the deity of plenty, of harvest home, and of intoxication. But\nin cultivated Greece, Dionysus, in spite of the surviving orgiastic\nceremonies, is a poetic incarnation of blithe, changeable, spirited\nyouth. See Lang, Myth, Ritual, etc., 2, 221-241. That =Rhea= taught\nhim would account for the Oriental nature of his rites; for Rhea\nis an Eastern deity by origin. The opposition of =Pentheus= would\nindicate the reluctance with which the Greeks adopted his doctrine\nand ceremonial. The Dionysiac worship came from Thrace, a barbarous\nclime;--but wandering, like the springtide, over the earth, Bacchus\nconquered each nation in turn. It is probable that the Dionysus-Iacchus\ncult was one of evangelical enthusiasm and individual cleansing from\nsin, of ideals in this life and of personal immortality in the next. By\nintroducing it into Greece, Pisistratus reformed the exclusive ritual\nof the Eleusinian Mysteries.\n\nOf the =Festivals of Dionysus=, the more important in Attica were the\nLesser Dionysia, in December; the Len\u00e6a, in January; the Anthesteria,\nor spring festival, in February; and the Great Dionysia, in March.\nThese all, in greater or less degree, witnessed of the culture and\nthe glories of the vine, and of the reawakening of the spirits of\nvegetation. They were celebrated, as the case might be, with a\nsacrifice of a victim in reminiscence of the blood by which the spirits\nof the departed were supposed to be nourished, with processions of\nwomen, profusion of flowers, orgiastic songs and dances, or dramatic\nrepresentations.\n\n=_Illustrative._ Bacchus=: Milton, Comus, 46. =Pentheus=: Landor, The\nLast Fruit of an Old Tree; H. H. Milman, The Bacchanals of Euripides;\nCalverley's and Lang's translations of Theocritus, Idyl XXVI; Thomas\nLove Peacock, Rhododaphne: The Vengeance of Bacchus; B. W. Procter,\nBacchanalian Song. =Naxos=: Milton, Paradise Lost, 4, 275.\n\n_=In Art.=_ Figs. 31, 82-87, 143, in text.\n\n=113. _Textual._= Hesperides, see Index. =River Pactolus=: in Lydia.\n=Midas=: the son of one Gordius, who from a farmer had become king of\nPhrygia, because he happened to fulfill a prophecy by entering the\npublic square of some city just as the people were casting about for a\nking. He tied his wagon in the temple of the prophetic deity with the\ncelebrated =Gordian Knot=, which none but the future lord of Asia might\nundo. Alexander the Great undid the knot with his sword.\n\n_=Interpretative.=_ An ingenious, but not highly probable, theory\nexplains the golden touch of Midas as the rising sun that gilds\nall things, and his bathing in Pactolus as the quenching of the\nsun's splendor in the western ocean. =Midas= is fabled to have been\nthe son of the \"great mother,\" Cybele, whose worship in Phrygia\nwas closely related to that of Bacchus or Dionysus. The =Sileni=\nwere there regarded as tutelary _genii_ of the rivers and springs,\npromoting fertility of the soil. =Marsyas=, an inspired musician in\nthe service of Cybele, was naturally associated in fable with Midas.\nThe ass being the favorite animal of Silenus, the ass's ears of Midas\nmerely symbolize his fondness for and devotion to such habits as\nwere attributed to the Sileni. The ass, by the way, was reverenced\nin Phrygia; the acquisition of ass's ears may therefore have been\noriginally a glory, not a disgrace.\n\n_=Illustrative.=_ John Lyly, Play of Mydas, especially the song, \"Sing\nto Apollo, god of day\"; Shakespeare, Merchant of Venice, III, ii\n(casket scene); Pope, Dunciad, 3, 342; Prologue to Satires, 82; Swift,\nThe Fable of Midas; J. G. Saxe, The Choice of King Midas (a travesty).\n=Gordian Knot=: Henry V, I, i; Cymbeline, II, ii; Milton, Paradise\nLost, 4, 348; Vacation, 90. =Pactolus=: Pope, Spring, 61; allusions\nalso to the sisters of Pha\u00ebthon. =Silenus=, by W. S. Landor.\n\n=114-117. _Textual._ Mount Eryx=, the vale of =Enna=, and =Cyane= are\nin Sicily. =Eleusis=: in Attica. For =Arethusa= see Index.\n\n=_Interpretative._= The Italian goddess Ceres assumed the attributes\nof the Greek Demeter in 496 B.C. Proserpine signifies the seed-corn\nwhich, when cast into the ground, lies there concealed,--is carried\noff by the god of the underworld; when the corn reappears, Proserpine\nis restored to her mother. Spring leads her back to the light of day.\nThe following, from Aubrey De Vere's Introduction to his Search for\nProserpine, is suggestive: \"Of all the beautiful fictions of Greek\nMythology, there are few more exquisite than the story of Proserpine,\nand none deeper in symbolical meaning. Considering the fable with\nreference to the physical world, Bacon says, in his Wisdom of the\nAncients, that by the Rape of Proserpine is signified the disappearance\nof flowers at the end of the year, when the vital juices are, as it\nwere, drawn down to the central darkness, and held there in bondage.\nFollowing up this view of the subject, the Search of her Mother, sad\nand unavailing as it was, would seem no unfit emblem of Autumn and\nthe restless melancholy of the season; while the hope with which the\nGoddess was finally cheered may perhaps remind us of that unexpected\nreturn of fine weather which occurs so frequently, like an omen of\nSpring, just before Winter closes in. The fable has, however, its moral\nsignificance also, being connected with that great mystery of Joy and\nGrief, of Life and Death, which pressed so heavily on the mind of Pagan\nGreece, and imparts to the whole of her mythology a profound interest,\nspiritual as well as philosophical. It was the restoration of Man, not\nof flowers, the victory over Death, not over Winter, with which that\nhigh Intelligence felt itself to be really concerned.\" In Greece two\nkinds of =Festivals=, the =Eleusinia= and the =Thesmophoria=, were held\nin honor of Demeter and Persephone. The former was divided into the\nlesser, celebrated in February, and the greater (lasting nine days),\nin September. Distinction must be made between the Festivals and the\nMysteries of Eleusis. In the Festivals all classes might participate.\nThose of the Spring represented the restoration of Persephone to\nher mother; those of the Autumn the rape of Persephone. An image of\nthe youthful Iacchus (Bacchus) headed the procession in its march\ntoward Eleusis. At that place and in the neighborhood were enacted in\nrealistic fashion the wanderings and the sufferings of Demeter, the\nscenes in the house of Celeus, and finally the successful conclusion of\nthe search for Persephone. The =Mysteries= of Eleusis were witnessed\nonly by the initiated, and were invested with a veil of secrecy\nwhich has never been fully withdrawn. The initiates passed through\ncertain symbolic ceremonies from one degree of mystic enlightenment to\nanother till the highest was attained. The Lesser Mysteries were an\nintroduction to the Greater; and it is known that the rites involved\npartook of the nature of purification from passion, crime, and the\nvarious degradations of human existence. By pious contemplation of the\ndramatic scenes presenting the sorrows of Demeter, and by participation\nin sacramental rites, it is probable that the initiated were instructed\nin the nature of life and death, and consoled with the hope of\nimmortality (Preller). On the development of the Eleusinian Mysteries\nfrom the savage to the civilized ceremonial, see Lang, Myth, Ritual,\netc., 2, 275, and Lobeck, Aglaophamus, 133.\n\nThe =Thesmophoria= were celebrated by married women in honor of Ceres\n(Demeter), and referred to institutions of married life.\n\nThat Proserpine should be under bonds to the underworld because she\nhad partaken of food in Hades accords with a superstition not peculiar\nto the Greeks, but to be \"found in New Zealand, Melanesia, Scotland,\nFinland, and among the Ojibbeways\" (Lang, Myth, Ritual, etc., 2, 273).\n\n=_Illustrative._= Aubrey De Vere, as above; B. W. Procter, The Rape of\nProserpine; R. H. Stoddard, The Search for Persephone; G. Meredith,\nThe Appeasement of Demeter; Tennyson, Demeter and Persephone; Dora\nGreenwell, Demeter and Cora; T. L. Beddoes, Song of the Stygian\nNaiades; A. C. Swinburne, Song to Proserpine. See also notes under\nPersephone, =44=, Demeter and Pluto. =Eleusis=: Schiller, Festival of\nEleusis, translated by N. L. Frothingham; At Eleusis, by Swinburne.\nSee, for poetical reference, Milton, Paradise Lost, 4, 269, \"Not that\nfair field Of Enna,\" etc.; Hood, Ode to Melancholy:\n\n Forgive if somewhile I forget,\n In woe to come the present bliss;\n As frighted Proserpine let fall\n Her flowers at the sight of Dis.\n\n_=In Art.=_ Bernini's Pluto and Proserpine (sculpture); P. Schobelt's\nRape of Proserpine (picture). Eleusinian relief: Demeter, Cora,\nTriptolemus (Athens); and other figures, as in text.\n\n=118. _Textual._ T\u00e6narus=: in Laconia. For the crime of =Tantalus=,\nsee =78=. In Hades he stood up to his neck in water which receded when\nhe would drink; grapes hanging above his head withdrew when he would\npluck them; while a great rock was forever just about to fall upon him.\n=Ixion=, for an insult to Juno, was lashed with serpents or brazen\nbands to an ever-revolving wheel. =Sisyphus=, for his treachery to\nthe gods, vainly rolled a stone toward the top of a hill (see =255=).\nFor the =Dana\u00efds=, see =150=; =Cerberus=, =44=, =255=. =The Dynast's\nbond=: the contract with Pluto, who was Dynast or tyrant of Hades.\n=Ferry-guard=: Charon. =Strymon= and =Hebrus=: rivers of Thrace.\n=Libethra=: a city on the side of Mount Olympus, between Thessaly and\nMacedonia.\n\n=_Interpretative._ The loss of Eurydice= may signify (like the death of\nAdonis and the rape of Proserpine) the departure of spring. Max M\u00fcller,\nhowever, identifies _Orpheus_ with the Sanskrit _Arbhu_, used as a\nname for the Sun (Chips, etc., 2, 127). According to this explanation\nthe Sun follows Eurydice, \"the wide-spreading flush of the dawn who\nhas been stung by the serpent of night,\" into the regions of darkness.\nThere he recovers Eurydice, but while he looks back upon her she fades\nbefore his gaze, as the mists of morning vanish before the glory of the\nrising sun (Cox). It might be more consistent to construe _Eurydice_\nas the _twilight_, first, of evening which is slain by night, then,\nof morning which is dissipated by sunrise. Cox finds in the music of\nOrpheus the delicious strains of the breezes which accompany sunrise\nand sunset. The story should be compared with that of Apollo and\nDaphne, and of Mercury and Apollo. The Irish tale, The Three Daughters\nof King O'Hara, reverses the relation of Orpheus and Eurydice. See\nCurtin, Myths and Folk-Lore of Ireland, Boston, 1890.\n\n=_Illustrative._ Orpheus=: Shakespeare, Two Gentlemen of Verona,\nIII, ii; Merchant of Venice, V, i; Henry VIII, III, i (song);\nMilton, Lycidas, 58; L'Allegro, 145; Il Penseroso, 105; Pope, Ode\non St. Cecilia's Day (Eurydice); Summer, 81; Southey, Thalaba (The\nNightingale's Song over the Grave of Orpheus).\n\n=_Poems._= Wordsworth, The Power of Music; Shelley, Orpheus, a\nfragment; Browning, Eurydice and Orpheus; Wm. Morris, Orpheus and the\nSirens (Life and Death of Jason); L. Morris, Orpheus, Eurydice (Epic of\nHades); Lowell, Eurydice; E. Dowden, Eurydice; W.B. Scott, Eurydice;\nE.W. Gosse, The Waking of Eurydice; R. Buchanan, Orpheus, the Musician;\nJ.G. Saxe, Travesty of Orpheus and Eurydice. On =Tantalus= and\n=Sisyphus=, see Spenser, Faerie Queene, 1, 5, 31-35; L. Morris, Epic of\nHades.\n\n_=In Art.=_ A Relief on a tombstone in the National Museum, Naples,\nof Mercury, Orpheus, and Eurydice. There is also a copy in Paris of\nthe marble in the Villa Albani, Rome. (See Fig. 94, text.) Paintings:\nFig. 93, in text, by Sir Frederick Leighton; by Robert Beyschlag; by\nG.F. Watts; The Story of Orpheus, a series of ten paintings, by E.\nBurne-Jones.\n\n=119-120. _Textual._ Troy=: the capital of Troas in Asia Minor,\nsituated between the rivers Scamander and Simois. Famous for the\nsiege conducted by the Greeks under Agamemnon, Menela\u00fcs, etc. (See\nChap. XXII.) =Amymone=: a fountain of Argolis. =Enipeus=: a river of\nMacedonia.\n\n_=Interpretative.=_ The monsters that wreak the vengeance of Neptune\nare, of course, his destructive storms and lashing waves.\n\n=121.= For genealogy of Pelops, etc., see Tables F and I. For the\nmisfortunes of the Pelopid\u00e6, see =193=.\n\n_=Illustrative in Art.=_ Pelops and Hippodamia; vase pictures\n(Monuments in\u00e9dits, Rome, and Paris). East pediment, Temple of Zeus,\nOlympia.\n\n=123-124. _Textual._ Cephalus=, the son of Mercury (Hermes) and Herse,\nis irretrievably confounded with Cephalus, the son of De\u00efon and\ngrandson of \u00c6olus I. The former should, strictly, be regarded as the\nlover of Aurora (Eos); the latter is the husband of Procris, and the\ngreat-grandfather of Ulysses. (See Tables H, I, and O (4).)\n\n=_Interpretative._ Procris= is the dewdrop (from Greek _Pr[=o]x_,\n'dew') which reflects the shining rays of the sun. The \"head of the\nday,\" or the rising sun, Cephalus, is also wooed by Aurora, the Dawn,\nbut flies from her. The Sun slays the dew with the same gleaming darts\nthat the dew reflects, or gives back to him. According to Preller,\nCephalus is the morning-star beloved alike by Procris, the moon, and\nby Aurora, the dawn. The concealment of Procris in the forest and\nher death would, then, signify the paling of the moon before the\napproaching day. Hardly so probable as the former explanation.\n\n=_Illustrative._ Aurora=: Spenser, Faerie Queene, 1, 2, 7; 1, 4, 16;\nShakespeare, Midsummer Night's Dream, III, ii; Romeo and Juliet, I, i;\nMilton, Paradise Lost, 5, 6, \"Now Morn, her rosy steps in the eastern\nclime Advancing,\" etc.; L'Allegro, 19; Landor, Gebir, \"Now to Aurora\nborne by dappled steeds, The sacred gates of orient pearl and gold ...\nExpanded slow,\" etc. =Cephalus= and =Procris=: in Moore, Legendary\nBallads; Shakespeare, Midsummer Night's Dream, \"Shafalus and Procrus\";\nA. Dobson, The Death of Procris.\n\n=_In Art._ Aurora=: Figs. 97 and 99, as in text; paintings, by Guido\nReni, as Fig. 98 in text, and by J.L. Hamon, and Guercino. Procris and\nCephalus, by Turner. L'Aurore et C\u00e9phale, painted by P. Gu\u00e9rin, 1810,\nengraved by F. Forster, 1821.\n\n=125. _Textual._ Cimmerian= country: a fabulous land in the far\nwest, near Hades; or, perhaps, in the north, for the people dwell by\nthe ocean that is never visited by sunlight (Odyssey, 11, 14-19).\nOther sons of Somnus are =Icelus=, who personates birds, beasts, and\nserpents, and =Phantasus=, who assumes the forms of rocks, streams, and\nother inanimate things.\n\nThe accompanying table will indicate the connections and descendants of\nAurora.\n\n=_Interpretative._= According to one account, =Ceyx= and =Halcyone=, by\nlikening their wedded happiness to that of Jupiter and Juno, incurred\nthe displeasure of the gods. The myth springs from observation of\nthe habits of the Halcyone-bird, which nests on the strand and is\nfrequently bereft of its young by the winter waves. The comparison with\nthe glory of Jupiter and Juno is suggested by the splendid iris hues\nof the birds. Halcyone days have become proverbial as seasons of calm.\n=\u00c6olus I=, the son of Hellen, is here identified with =\u00c6olus III=, the\nking of the winds. According to Diodorus, the latter is a descendant,\nin the fifth generation, of the former. (See Genealogical Table I.)\n\n_=Illustrative.=_ Chaucer, The Dethe of Blaunche; E. W. Gosse, Alcyone\n(a sonnet in dialogue); F. Tennyson, Halcyone; Edith M. Thomas, The\nKingfisher; Margaret J. Preston, Alcyone. =Morpheus=: see Milton, Il\nPenseroso; Pope, Ode on St. Cecilia's Day.\n\n=126-127. _Interpretative._ Tithonus= may be the day in its\never-recurring circuit of morning freshness, noon heat, final withering\nand decay (Preller); or the gray glimmer of the heavens overspread by\nthe first ruddy flush of morning (Welcker); or, as a solar myth, the\nsun in his setting and waning,--_Tithonus_ meaning, by derivation, the\nilluminator (Max M\u00fcller). The sleep of Tithonus in his ocean-bed, and\nhis transformation into a grasshopper, would then typify the presumable\nweariness and weakness of the sun at night.\n\n=_Illustrative._= Spenser, Epithalamion; Faerie Queene, 1, 11, 51.\n\n=128. _Textual._ Mysia=: province of Asia Minor, south of the\nPropontis, or Sea of Marmora. There is some doubt about the\nidentification of the existing statue with that described by the\nancients, and the mysterious sounds are still more doubtful. Yet there\nis not wanting modern testimony to their being still audible. It has\nbeen suggested that sounds produced by confined air making its escape\nfrom crevices or caverns in the rocks may have given some ground for\nthe story. Sir Gardner Wilkinson, a traveler of the highest authority,\nexamined the statue itself, and discovered that it was hollow, and that\n\"in the lap of the statue is a stone, which, on being struck, emits a\nmetallic sound that might still be made use of to deceive a visitor who\nwas predisposed to believe its powers.\"\n\nTABLE H. THE ANCIENT RACE OF LUMINARIES AND WINDS\n\n =Hyperion=\n ==Thea=\n +-- Helios\n | =Perse\u00efs\n | +-- \u00c6etes\n | | =Hecate\n | | +-- Medea\n | | +-- Absyrtus\n | +-- Circe\n +-- Selene (Diana)\n | =Endymion\n +-- =Eos (Aurora)=\n =Astr\u00e6us\n +-- Zephyrus W. Winds\n +-- Boreas N. \"\n +-- Notus S. \"\n +-- Eurus E. \"\n ==Cephalus=\n +-- Phosphor (Morning Star)\n +-- =Ceyx=\n ==Halcyone=\n ==Tithonus=\n +-- =Memnon=\n\n Hermes\n =Herse\n +-- =Cephalus=\n ==Eos (Aurora)=\n +-- Phosphor (Morning Star) (see above)\n\n \u00c6olus I\n +-- =Halcyone=\n ==Ceyx=\n\n=_Interpretative._ Memnon= is generally represented as of dark\nfeatures, lighted with the animation of glorious youth. He is king of\nthe mythical \u00c6thiopians who lived in the land of gloaming, where east\nand west met, and whose name signifies \"dark splendor.\" His birth in\nthis borderland of light and darkness signifies either his existence\nas king of an eastern land or his identity with the young sun, and\nstrengthens the theory according to which his father Tithonus is the\ngray glimmer of the morning heavens. The flocks of birds have been\nexplained as the glowing clouds that meet in battle over the body of\nthe dead sun.\n\n=_Illustrative._= Milton, Il Penseroso; Drummond, Summons to Love,\n\"Rouse Memnon's mother from her Tithon's bed\"; Akenside, Pleasures\nof the Imagination (analogy between Memnonian music and spiritual\nappreciation of truth); Landor, Miscellaneous Poems, 59, \"Exposed and\nlonely genius stands, Like Memnon in the Egyptian sands,\" etc.\n\n=_In Art._= Fig. 101, from a vase in the Louvre.\n\n=129-130. _Textual._ Doric pillar=: the three styles of pillars\nin Greek architecture were Dorian, Ionic, Corinthian (see English\nDictionary). =Trinacria=: Sicily, from its _three promontories_. =\u00c6gon=\nand =Daphnis=: idyllic names of Sicilian shepherds (see Idyls of\nTheocritus and Virgil's Eclogues). =Na\u00efs=: a water-nymph. For Cyclops,\nGalatea, Silenus, Fauns, Arethusa, see Index. Compare, with the\nconception of Stedman's poem, Wordsworth's Power of Music.\n\n=_Illustrative._= Ben Jonson, =Pan's= anniversary; Milton, Paradise\nLost, 4. 266, 707; Paradise Regained, 2, 190; Comus, 176, 268;\nPope, Autumn, 81; Windsor Forest, 37, 183; Summer, 50; Dunciad, 3,\n110; Akenside, Pleasures of Imagination, \"Fair Tempe! haunt beloved\nof sylvan Powers,\" etc.; On Leaving Holland, 1, 2. =_Poems_=:\nFletcher, Song of the Priest of Pan, and Song of Pan (in The Faithful\nShepherdess); Landor, Pan and Pitys, \"Pan led me to a wood the other\nday,\" etc.; Landor, Cupid and Pan; R. Buchanan, Pan; Browning, Pan\nand Luna; Swinburne, Pan and Thalassius; Hon. Roden No\u00ebl, Pan, in the\nModern Faust. Of course Mrs. Browning's Dead Pan cannot be appreciated\nunless read as a whole; nor Schiller's Gods of Greece.\n\n=131. Fauns.= Milton, Paradise Lost, 4, 708; 10. 573, 597; 11. 472,\n788; Paradise Regained, 2, 257; Mrs. Browning, Flush or Faunus\n(sonnet). =Dryads=: Pope, Moral Essays, 4, 94; Winter, 12; Collins,\nThe Passions; Keats, Nightingale, Psyche. =Satyrs=: Milton, Lycidas;\nDryden, Mrs. Anne Killigrew, 6; Hawthorne, Marble Faun.\n\n=_In Art._ Fauns= (sculpture): The Barberini Faun (Munich); the Drunken\nFaun, Sleeping Faun, Faun and Bacchus, and Dancing Faun (National\nMuseum, Naples); the Dancing Faun (Lateran, Rome); the so-called Faun\nof Praxiteles or Marble Faun (Fig. 106 in text--a Satyr--best copy\nin the Capitoline, Rome). =Pan= and =Apollo=: Gr\u00e6co-Roman sculpture\n(Museum, Naples). =Pan=: Fig. 102, in text; and Fig. 103, from an\noriginal perhaps of the School of Scopas or Praxiteles (Florence).\nSilenus and Bacchus (Glyptothek, Munich). =Nymphs= (pictures):\nBouguereau, Nymphs and Satyr, and Nymphs; Burne-Jones, Nymphs;\nGiorgione, Nymphs pursued by a Satyr. =Satyrs=: Michelangelo (picture)\n(Uffizi, Florence), Mask of a Satyr; Rubens, Satyrs (Munich); Satyrs\n(sculpture), relief from theater of Dionysus; Satyr playing a flute\n(Vatican); and Figs. 103, 104, and 106-108 in the text.\n\n=132-133. _Textual._ Cephissus=: four rivers in Phocis, Attica, and\nArgolis bear this name. The most famous runs near Athens.\n\n=_Illustrative._ Echo=: Chaucer, Romaunt of the Rose, 1468 _et\nseq._; Spenser, Prothalamion; Milton, Comus, 237; Collins, The\nPassions. =_Poems_=: L. Morris (Epic of Hades), Narcissus; Goldsmith,\nOn a Beautiful Youth, etc.; Cowper, On an Ugly Fellow; Milton,\nParadise Lost, 4, 449-470 (illus.); and Comus. =_In Art_=: Narcissus\n(sculpture), and Fig. 109, in text (Museum, Naples).\n\n=137. Dryope= (poem), by W. S. Landor.\n\n=138. Rh[oe]cus.= Poems by Landor, The Hamadryad; Acon and Rhodope.\n\n=139. Pomona.= Phillips, a poem on Cider. See Index. =_In Art_=: the\npainting by J. E. Millais.\n\n=_Interpretative._= The various guises and transformations of Vertumnus\nsignify the succession of the seasons and the changing characteristics\nof each. The name itself implies _turning_, or _change_.\n\n=140. _Textual._= In order to understand the story of Ibycus, it is\nnecessary to remember, first, that the theaters of the ancients were\nimmense fabrics, capable of containing from ten to thirty thousand\nspectators, and as they were used only on festal occasions and\nadmission was free to all, they were usually filled. They were without\nroofs and open to the sky, and performances were in the daytime.\nSecondly, that the appalling representation of the Furies is not\nexaggerated in the story. It is fabled that \u00c6schylus, the tragic poet,\nhaving on one occasion represented the Furies in a chorus of fifty\nperformers, the terror of the spectators was such that many fainted\nand were thrown into convulsions, and the magistrates forbade a like\nrepresentation for the future (Pollux, 4, 110). Usually the chorus in a\nsingle tragedy consisted of only fifteen performers.\n\n=_Illustrative._= On the =Furies= see =C. 49=. On =Ibycus= see\ntranslation of Schiller's Cranes of Ibycus, by E. A. Bowring.\n\n=141. _Textual._= The adventures of the water-divinities turn largely\non the idea of metamorphosis, which would readily be suggested to\nthe imaginative mind by contemplation of the ever-changing aspect of\nfountain, stream, lake, or ocean. For genealogies of water-deities, see\nTable C.\n\n=_Interpretative._= The Cyclops, =Polyphemus=, does not possess much\nin common with Steropes, Brontes, and Arges, the offspring of Uranus\nand G\u00e6a, save his one eye and his monstrous size. The sons of G\u00e6a are\npersonifications of thunder and lightning; Polyphemus is the heavy\nvapor that rolls its clouds along the hillside. The clouds are the\nsheep that he pastures; the sun glowering through the vapor is his\nsingle eye (Cox). More probably he is a mere giant of folklore.\n\n=_Illustrative._= John Gay, Song of Polypheme (in Acis and Galatea); A.\nDobson, A Tale of Polypheme; R. Buchanan, Polypheme's Passion; Shelley,\nThe Cyclops of Euripides; Translations of Theocritus by Mrs. Browning\nand by Calverley; J. S. Blackie, Galatea; B. W. Procter, The Death of\nAcis. See also on the =Cyclops=, Shakespeare, Titus Andronicus, IV,\niii; Hamlet, II, ii.\n\n=_In Art._= Fig. 112, text; Carracci's frescoes in the Farnese Palace,\nRome, of Polyphemus, Acis and Galatea; Claude Lorrain's painting,\nEvening, Acis and Galatea; Raphael's Triumph of Galatea.\n\n=142. _Textual._= For descent of Glaucus, see Tables G and I. For\nScylla's descent, see Table C. See Keats, Endymion, Bk. 3.\n\n=_Interpretative._= Glaucus is explained by some as the calm gleaming\nsea; by others, as the angry sea that reflects the lowering heavens\n(see Roscher, p. 1690). Scylla is a personification of treacherous\ncurrents and shallows among jagged cliffs and hidden rocks.\n\n=144.= For genealogy of Ino, see Table E. \"Leucothea waked, and with\nfresh dews embalmed The Earth\" (Milton, Paradise Lost, 11, 135).\n\n=145. Cyrene= was sister to Daphne. Honey must first have been known\nas a wild product, the bees building their structures in hollow trees,\nor holes in the rocks, or any similar cavity that chance offered. Thus\noccasionally the carcass of a dead animal would be occupied by the bees\nfor that purpose. It was no doubt from some such incident that the\nsuperstition arose that bees were engendered by the decaying flesh of\nthe animal. Virgil assigns to Proteus the isle of Carpathus, between\nCrete and Rhodes; Homer, the isle of Pharus, near the river Nile.\n\n=_Illustrative._= See =C. 50=. Proteus, a poem by R. Buchanan. On\n=Arist\u00e6us=, Cowper's Task, comparison of the ice-palace of Empress Anne\nof Russia with Cyrene's palace. Milton probably thought of Cyrene in\ndescribing Sabrina (Comus). He calls Proteus \"the Carpathian Wizard.\"\n\n=146-147. _Textual._ Achelo\u00fcs=: the largest river in Greece, rose in\nMount Lacmon, flowed between Acarnania and \u00c6tolia, and emptied into\nthe Ionian Sea. It was honored over all Greece. =Calydon=: a city of\n\u00c6tolia, famed for the Calydonian Hunt. =Parthenope=, see =238. Ligea=\n(Ligeia): the _shrill-sounding maiden_; here a Siren; sometimes a Dryad.\n\n=_Interpretative._= Even among the ancients such stories as this\nwere explained on a physical basis: the river Achelo\u00fcs flows through\nthe realm of Dejanira, hence Achelo\u00fcs loves Dejanira. When the river\nwinds it is a snake, when it roars it is a bull, when it overflows its\nbanks it puts forth new horns. Hercules is supposed to have regulated\nthe course of the stream by confining it within a new and suitable\nchannel. At the same time the old channel, redeemed from the stream,\nsubjected to cultivation, and blossoming with flowers, might well be\ncalled a _horn of plenty_. There is another account of the origin of\nthe Cornucopia. Jupiter at his birth was committed by his mother Rhea\nto the care of the daughters of Melisseus, a Cretan king. They fed the\ninfant deity with the milk of the goat Amalthea. Jupiter, breaking off\none of the horns of the goat, gave it to his nurses, and endowed it\nwith the power of becoming filled with whatever the possessor might\nwish.\n\n=148.= (5)\n\nTABLE I. THE RACE OF IAPETUS, DEUCALION, ATLAS, AND HELLEN\n\n =Uranus=\n =G\u00e6a\n +-- =Iapetus=\n +-- =Epimethius=\n | ==Pandora=\n | +-- =Pyrrha=\n | =Deucalion\n | +-- =Hellen=\n | +-- =\u00c6olus I=\n | | +-- Calyce\n | | | +-- =Endymion=\n | | | +-- Eurycyde\n | | | | +-- Ele\u00fcs\n | | | | +-- =Augeas=\n | | | +-- =\u00c6tolus=\n | | | +-- Calydon\n | | | | +-- Epicaste\n | | | | =Agenor\n | | | | +-- Demonice\n | | | | | =Mars\n | | | | | +-- Thestius\n | | | | | +-- Hypermnestra\n | | | | | | =O\u00efcles\n | | | | | | +-- =Amphiara\u00fcs=\n | | | | | | ==Eriphyle=\n | | | | | | +-- =Alcm\u00e6on=\n | | | | | | | =Arsino\u00eb\n | | | | | | +--Amphilochus\n | | | | | +-- =Alth\u00e6a=\n | | | | | | ==[OE]neus=\n | | | | | | +-- =Meleager=\n | | | | | | +-- =Dejanira=\n | | | | | | =Hercules\n | | | | | | +-- Hyllus\n | | | | | +-- =Leda=\n | | | | | | ==Tyndareus=\n | | | | | | +-- =Castor=\n | | | | | | +-- =Clytemnestra=\n | | | | | | ==Agamemnon=\n | | | | | | =Jove\n | | | | | | +-- =Pollux=\n | | | | | | +-- =Helen=\n | | | | | | =Paris\n | | | | | +-- Plexippus\n | | | | | +-- Toxeus (?)\n | | | | +-- Porthaon\n | | | | +-- Agrius\n | | | | | +-- Melanippus\n | | | | | +-- Thersites\n | | | | +-- =[OE]neus=\n | | | | =Perib[oe]a\n | | | | +-- =Tydeus=\n | | | | +-- =Diomedes=\n | | | | ==Alth\u00e6a=\n | | | | +-- =Meleager=\n | | | | | (see above)\n | | | | +-- =Dejanira=\n | | | | (see above)\n | | | +-- Pleuron\n | | | +-- Agenor\n | | | =Epicaste\n | | | +-- Demonice (see above)\n | | | +-- Porthaon (see above)\n | | +-- =Alcyone=\n | | | ==Ceyx=\n | | +-- Canace\n | | | =Neptune\n | | | +-- Al[oe]us\n | | | =Iphimedia\n | | | +-- =Otus=\n | | | +-- =Ephialtes=\n | | +-- Perieres\n | | | +-- Icarius\n | | | | +-- =Penelope=\n | | | | ==Ulysses=\n | | | | +-- =Telemachus=\n | | | +-- =Tyndareus=\n | | | ==Leda=\n | | | +-- =Castor= (see above)\n | | | +-- =Clytemnestra= (see above)\n | | +-- Mimas\n | | | +-- Hippotes\n | | | +-- \u00c6olus II\n | | | +-- Arne\n | | | =Neptune\n | | | +-- =\u00c6olus III=\n | | | | (King of the Winds)\n | | | +-- 6 sons\n | | | +-- 6 daughters\n | | +-- Magnes\n | | | +-- Dictys\n | | | +-- Polydectes\n | | +-- De\u00efon\n | | | +-- =Cephalus=\n | | | | =Procris\n | | | | +-- Arcesius\n | | | | +-- La\u00ebrtes\n | | | | +-- =Ulysses=\n | | | | ==Penelope=\n | | | | +-- =Telemachus= (see above)\n | | | +-- Actor\n | | | +-- Men[oe]tius\n | | | +-- =Patroclus=\n | | +-- =Athamas=\n | | | =Nephele\n | | | +-- =Helle=\n | | | +-- =Phryxus=\n | | | =Ino\n | | | +-- =Melicertes=\n | | | =Themisto\n | | | +-- Sch[oe]neus of B[oe]tia\n | | | +-- =Atalanta=\n | | | =Hippomenes\n | | +-- =Sisyphus=\n | | | ==Merope=\n | | | +-- =Glaucus=\n | | | +-- =Bellerophon=\n | | | +-- Hippolochus\n | | | | +-- Glaucus (Iliad, 6, 155)\n | | | +-- Laodamia\n | | | =Jove\n | | | +-- =Sarpedon=\n | | +-- Salmoneus\n | | | +-- Tyro\n | | | =Neptune\n | | | +-- Neleus\n | | | | +-- =Nestor=\n | | | | | +-- Antilochus\n | | | | +-- Pero\n | | | | ==Bias=\n | | | | +-- Tala\u00fcs\n | | | | +-- =Adrastus=\n | | | | +-- =Eriphyle=\n | | | | ==Amphiara\u00fcs=\n | | | | +-- =Alcm\u00e6on= (see above)\n | | | | +-- Amphilochus\n | | | | (see above)\n | | | +-- =Pelias=\n | | | +-- Evadne\n | | | +-- Acastus\n | | | | +-- =Laodamia=\n | | | | =Protesila\u00fcs\n | | | +-- =Alcestis=\n | | | ==Admetus=\n | | | =Cretheus\n | | | +-- Pheres\n | | | | +-- =Admetus=\n | | | | ==Alcestis=\n | | | +-- \u00c6son\n | | | | +-- =Jason=\n | | | +-- Amythaon\n | | | +-- =Bias=\n | | | | =Pero\n | | | | +-- Tala\u00fcs (see above)\n | | | +-- =Melampus= (the Prophet)\n | | | +-- Antiphates\n | | | +-- O\u00efcles\n | | | =Hypermnestra\n | | | +-- =Amphiara\u00fcs=\n | | | (see above)\n | | +-- Cretheus\n | | =Tyro\n | | +-- Pheres (see above)\n | | +-- \u00c6son (see above)\n | | +-- Amythaon (see above)\n | +-- Xuthus\n | | +-- Diomede\n | | +-- Ach\u00e6us\n | | +-- Ion\n | +-- Dorus\n | +-- Tectamus\n +-- Prometheus\n | =Clymene\n | +-- Deucalion\n | ==Pyrrha=\n | +-- =Hellen= (see above)\n +-- Men[oe]tius\n +-- =Atlas=\n =Pleione\n +-- =Merope=\n | ==Sisyphus=\n | +-- =Glaucus= (see above)\n +-- Sterope II\n | =Mars\n | +-- =[OE]noma\u00fcs=\n | +-- =Hippodamia=\n | =Pelops\n | +-- =Atreus=\n | | =A\u00ebrope\n | | +-- =Agamemnon=\n | | | ==Clytemnestra=\n | | +-- =Menela\u00fcs=\n | | =Helen\n | +-- Thyestes\n | | +-- \u00c6gisthus\n | +-- Pittheus\n | +-- \u00c6thra\n | +-- =Theseus=\n +-- Electra\n | =Jove\n | +-- =Dardanus=\n | +-- Ilus I\n | +-- Erichthonius\n | +-- Tros\n | +-- Ilus II\n | +-- =Laomedon=\n | +-- =Priam=\n +-- The other =Pleiades=\n =\u00c6thra\n +-- =The Hyades=\n =Hesperis\n +-- =The Hesperides=\n =Sterope I\n +-- =Maia=\n =Jove\n +-- Mercury\n\n_=Illustrative.=_ The name _Amalthea_ is given also to the mother of\nBacchus. It is thus used by Milton, Paradise Lost, 4, 275:\n\n That Nyseian isle,\n Girt with the river Triton, where old Cham,\n Whom Gentiles Ammon call and Libyan Jove,\n Hid Amalthea, and her florid son,\n Young Bacchus, from his stepdame Rhea's eye.\n\nSee also Milton, Paradise Regained, 2, 356.\n\n=148.= For the general genealogy of the race of Inachus, see Table D.\nFor the general race of Iapetus, Deucalion, Hellen, \u00c6olus, \u00c6tolus,\netc., see below, Table I (based in part on the table given in Roscher,\narticle _Deukalion_). For the descendants of Agenor, see Table E.\nFor the houses of Minos and of Labdacus, see Tables L and N. For the\ndescendants of Belus (house of Dana\u00fcs), see Tables I and J; of Cecrops\nand Erechtheus, Table M.\n\n (1) =The race of Inachus=\n |\n +--------------------------+----------------------+\n | | |\n The descendants of Pelasgus, of Belus, of Agenor\n | |\n House of Dana\u00fcs Houses of Minos and Labdacus\n\n (2) =The race of Deucalion= (Table G), and of his son, Hellen\n |\n The descendants of \u00c6olus, of Dorus, of Xuthus,\n | |\n | (Ach\u00e6ans and Ionians)\n The descendants of Endymion, Perieres,\n De\u00efon, Sisyphus, Cretheus, Athamas\n\n (3) =The descendants of \u00c6tolus=, son of Endymion (Table K)\n |\n Houses of Porthaon and Thestius\n\n (4) =The race of Cecrops=\n |\n The descendants of Erichthonius\n |\n House of Pandion and \u00c6geus\n\n=149-154. _Textual._ Seriphus=: an island of the \u00c6gean.\n\nThe House of Dana\u00fcs is as follows:\n\nTABLE J. THE HOUSE OF DANA\u00dcS\n\n =Inachus=\n +-- Io\n =Jupiter\n +-- Epaphus\n +-- Libya\n =Poseidon (Neptune)\n +-- Agenor\n | +-- Cadmus\n | +-- Europa\n +-- Belus of Egypt\n +-- \u00c6gyptus\n | +-- 49 other sons\n | +-- Lynceus\n | =Hypermnestra\n | +-- Abas\n | +-- Acrisius\n | +-- =Dana\u00eb=\n | =Jupiter\n | +-- =Perseus=\n | ==Andromeda=\n | +-- Perses\n | +-- Electryon\n | | +-- =Alcmene=\n | | =Jupiter\n | | +-- =Hercules=\n | | ==Amphitryon=\n | | +-- Iphicles\n | +-- Alc\u00e6us\n | +-- =Amphitryon=\n | ==Alcmene=\n | +-- Iphicles\n | (see above)\n +-- =Dana\u00fcs=\n | +-- Hypermnestra\n | | =Lynceus\n | | +-- Abas (see above)\n | +-- 49 other drs.\n +-- Cepheus\n =Cassiopea\n +-- =Andromeda=\n ==Perseus=\n +-- Perses (see above)\n +-- Electryon (see above)\n +-- Alc\u00e6us (see above)\n\n=_Interpretative._= While =Dana\u00fcs= is, in fact, a native mythical hero\nof Argos, the story of his arrival from Egypt is probably an attempt\nto explain the influence of Egyptian civilization upon the Greeks. The\nname _Dana\u00fcs_ means _drought_, and may refer to the frequently dry\ncondition of the soil of Argos. The fifty daughters of Dana\u00fcs would\nthen be the nymphs of the many _springs_ which in season refresh the\nland of Argolis. Their suitors, the fifty sons of \u00c6gyptus, would be the\nstreams of Argolis that in the rainy months threaten to overflow their\nbanks. But the springs by vanishing during the hot weather deprive the\nstreams of water and consequently of life. That is to say, when the\nsources (Dana\u00efds) choose to stop supplies, the heads of the streams\n(the fifty youths of Argolis) are cut off. The reference to \u00c6gyptus and\nthe sons of \u00c6gyptus would indicate a reminiscence of the Nile and its\ntributaries, alternately overflowing and exhausted. The unsuccessful\ntoil of the Dana\u00efds in Tartarus may have been suggested by the sandy\nnature of the Argive soil, and the leaky nature of the springs, now\nhigh, now low. Or it may typify, simply, any incessant, fruitless\nlabor. The name =Hypermnestra= signifies _constancy_ and _love_.\n=Dana\u00eb=, the daughter of Acrisius, has been regarded as the dry earth,\nwhich under the rains of the golden springtime bursts into verdure and\nbloom; or as the dark depths of the earth; or as the dawn, from which,\nshot through with the golden rays of heaven, the youthful Sun is\nborn.[428] Advocates of the last theory would understand the voyage of\nDana\u00eb and Perseus as the tossing of the sunbeams on the waters of the\neastern horizon. The young Sun would next overcome the =Gray-women=,\nforms of the gloaming, and then slay with his sword of light the black\ncloud of the heavenly vault, the =Gorgon=, whose aspect is night and\ndeath.\n\nThe =Gr\u00e6\u00e6= and the Gorgons may, with greater probability, be taken as\npersonifications of the hidden horrors of the unknown night-enveloped\nocean and the misty horizon whence storms come. In that case the Gr\u00e6\u00e6\nwill be the gray clouds, and their one tooth (or one eye) the harmless\ngleam of the lightning; the Gorgons will be the heavy thunderclouds,\nand their petrifying gaze the swift and fatal lightning flash.\n\nBut there are still others who find in the Gorgon =Medusa= the wan\nvisage of the moon, empress of the night, slain by the splendor of\nmorning. The sandals of Hermes have, accordingly, been explained as\nthe morning breeze, or even as the chariot of the sun. The invisible\nhelmet may be the clouds under which the sun disappears. Compare the\ncloak of darkness in the Three Daughters of King O'Hara; and the Sword\nof Sharpness in the Weaver's Son and the Giant of White Hill (Curtin,\nMyths of Ireland).\n\n=Andromeda= is variously deciphered: the tender dawn, which a\nstorm-cloud would obscure and devour; the moon, which darkness, as\na dragon, threatens to swallow; or some historic character that has\npassed into myth. Compare the contests of Perseus and the Dragon,\nApollo and Pytho, Hercules and the Serpents, Cadmus and the Dragon of\nMars, St. George and the Dragon, Siegfried and the Worm (Fafnir). For\na Gaelic Andromeda and Perseus, see The Thirteenth Son of the King of\nErin (Curtin, Myths of Ireland).\n\nPerseus' flight to the =Gardens of the Hesperides= suggests, naturally,\nthe circuit of the sun toward the flushing western horizon; and, of\ncourse, he would here behold the giant =Atlas=, who, stationed where\nheaven and earth meet, sustains upon his shoulders the celestial vault.\n\nThe =Doom of Acrisius= reminds one of that of Hyacinthus. The quoit\nsuggests the rays of the sun, and the name _Acrisius_ may be construed\nto mean the \"confused or gloomy heavens\" (Roscher, Preller, M\u00fcller,\netc.).\n\n=_Illustrative._= \"The starred \u00c6thiope queen\": Cassiopea (Cassiepea,\nor Cassiope) became a constellation. The sea-nymphs, however, had her\nplaced in a part of the heavens near the pole, where she is half the\ntime held with her head downward to teach her humility.\n\n=Dana\u00eb.= Tennyson, Princess, \"Now lies the Earth all Dana\u00eb to the\nstars, And all thy heart lies open unto me.\" Translations of Simonides'\nLament of Dana\u00eb, by W. C. Bryant and by J. H. Frere. =Dana\u00efd=: Chaucer,\nLegende of Good Women, 2561 (Hypermnestra and Lynceus).\n\n=Gorgons= and =Medusa=. Spenser, Epithalamion, \"And stand astonished\nlike to those which read Medusa's mazeful head\"; Milton, Paradise\nLost, 2. 611, 628; Comus (on \u00c6gis and Gorgon); Drummond, The Statue\nof Medusa; Gray, Hymn to Adversity; Armstrong, The Art of Preserving\nHealth; D. G. Rossetti, Aspecta Medusa; L. Morris, in The Epic\nof Hades; Thomas Gordon Hake, The Infant Medusa (a sonnet); E.\nLee-Hamilton, The New Medusa; Lady Charlotte Elliot, Medusa.\n\n=Andromeda.= Milton, Paradise Lost, 3, 559 (the constellation); L.\nMorris in The Epic of Hades; W. Morris, Doom of King Acrisius; E.\nDowden, Andromeda (The Heroines).\n\n=Atlas.= Shakespeare, 3 Henry VI, 5, 1; Milton, Paradise Lost, 4, 987;\n11, 402, comparison of Satan and Atlas.\n\n=_In Art._= Fig. 116, in text: vase in the Hermitage, St. Petersburg.\nTitian's painting, Dana\u00eb and the Shower of Gold; Correggio's Dana\u00eb.\nAncient sculpture: a Dana\u00efd in the Vatican; the Dana\u00efds on an altar in\nthe Vatican (Fig. 115, in text).\n\n=Perseus and Andromeda.= Figs. 119-121, and opp. p. 212, in text;\npainting by Rubens (Berlin). Sculpture: Benvenuto Cellini's Perseus\n(Loggia de' Lanzi, Florence), and Perseus saving Andromeda; Canova's\nPerseus (Vatican).\n\n=Medusa.= Gr\u00e6co-Roman sculpture: Head of Dying Medusa (Villa Ludovisi,\nRome); the beautiful Medusa Rondanini in the Glyptothek, Munich (Figs.\n117 and 118, text); numerous illustrations of abhorrent Gorgons in\nRoscher, p. 1707 _et seq._, from vases, seals, marbles, etc.\n\n=_Modern Painting._= Leonardo da Vinci, Head of Medusa.\n\n=155. _Textual._= The descent of Bellerophon is as follows. (See also\nTable I.)\n\n Deucalion = Pyrrha\n |\n Hellen\n |\n \u00c6olus I Atlas\n | |\n Sisyphus = Merope (Pleiad)\n |\n Glaucus\n |\n Bellerophon\n\n=Lycia=: in Asia Minor. The fountain =Hippocrene=, on the Muses'\nmountain, Helicon, was opened by a kick from the hoof of Pegasus. This\nhorse belongs to the Muses, and has from time immemorial been ridden by\nthe poets. From the story of Bellerophon being unconsciously the bearer\nof his own death-warrant, the expression \"=Bellerophontic letters=\"\narose, to describe any species of communication which a person is\nmade the bearer of, containing matter prejudicial to himself. =Aleian\nfield=: a district in Cilicia (Asia Minor).\n\n=_Interpretative._ Bellerophon= is either \"he who appears in the\nclouds,\" or \"he who slays the cloudy monster.\" In either sense we\nhave another sun-myth and sun-hero. He is the son of Glaucus, who,\nwhether he be descended from Sisyphus or from Neptune, is undoubtedly\na sea-god. His horse, sprung from Medusa, the thundercloud, when she\nfalls under the sword of the sun, is =Pegasus=, the rain-cloud. In\nhis contest with the =Chim\u00e6ra= we have a repetition of the combat of\nPerseus and the sea monster. Bellerophon is a heavenly knight errant\nwho slays the powers of storm and darkness. The earth, struck by his\nhorse's hoof, bubbles into springs (Rapp in Roscher, and Max M\u00fcller).\nAt the end of the day, falling from heaven, this knight of the sun\nwalks in melancholy the pale fields of the twilight.\n\n=_Illustrative._= Wm. Morris, Bellerophon in Argos and in Lycia\n(Earthly Paradise); Longfellow, Pegasus in Pound; Bowring's translation\nof Schiller's Pegasus in Harness. Milton (=Bellerophon and Pegasus=),\nParadise Lost, 7, 1; Spenser, \"Then whoso will with virtuous wing assay\nTo mount to heaven, on Pegasus must ride, And with sweet Poet's verse\nbe glorified\"; also Faerie Queene, 1, 9, 21; Shakespeare, Taming of the\nShrew, IV, iv; 1 Henry IV, IV, i; Henry V, III, vii; Pope, Essay on\nCriticism, 150; Dunciad, 3, 162; Burns, To John Taylor; Young's Night\nThoughts, Vol. 2 (on Bellerophontic letters). =Hippocrene=: Keats, To a\nNightingale.\n\n=_In Art._= Bellerophon and Pegasus, vase picture (Monuments in\u00e9dits,\netc., Rome and Paris, 1839-1874); ancient relief, Fig. 122, in text.\n\n=156-162.= For genealogy of Hercules, see Table J. =Rhadamanthus=:\nbrother of Minos. (See Index.) =Thespi\u00e6= and =Orchomenos=: towns of\nB[oe]otia. =Nemea=: in Argolis, near Mycen\u00e6. =Stymphalian= lake: in\nArcadia.\n\n=Pillars of Hercules.= The chosen device of Charles V of Germany\nrepresented the Pillars of Hercules entwined by a scroll that bore his\nmotto, \"Plus Ultra\" (still farther). This device, imprinted upon the\nGerman dollar, has been adopted as the sign of the American dollar ($).\n_Dollar_, by the way, means _coin of the_ _valley_,--German _Thal_.\nThe silver of the first dollars came from Joachimsthal in Bohemia,\nabout 1518. =Hesperides=: the western sky at sunset. The apples may\nhave been suggested by stories of the oranges of Spain. The =Cacus=\nmyth is thoroughly latinized, but of Greek origin. The =Aventine=:\none of the hills of Rome. =Colchis=: in Asia, east of the Euxine and\nsouth of Caucasus. =Mysia=: province of Asia Minor, north of Lydia. The\nriver =Phasis= flows through Colchis into the Euxine. For genealogy\nof =Laomedon=, see Table O (5). =Pylos=: it is doubtful what city is\nintended. There were two such towns in Elis, and one in Messenia. The\nword means _gate_ (see Iliad, 5, 397), and in the case of Hercules\nthere may be some reference to his journey to the gate or _Pylos_\nof Hades. For =Alcestis=, see =83=; for =Prometheus=, =15=; for the\nfamily of Dejanira, Table K. =Alcides=: _i.e._ Hercules, descendant of\nAlc\u00e6us. =[OE]chalia=: in Thessaly or in Eub[oe]a. =Mount= =[OE]ta=: in\nThessaly. The =Pygmies=: a nation of dwarfs, so called from a Greek\nword meaning the cubit, or measure of about thirteen inches, which was\nsaid to be the height of these people. They lived near the sources of\nthe Nile, or, according to others, in India. Homer tells us that the\ncranes used to migrate every winter to the Pygmies' country, where,\nattacking the cornfields, they precipitated war. H. M. Stanley, in\nhis last African expedition, discovered a race of diminutive men that\ncorrespond fairly in appearance with those mentioned by Homer. The\n=Cercopes=: the subject of a comic poem by Homer, and of numerous\ngrotesque representations in Greek literature and sculpture.\n\n=_Interpretative._= All myths of the sun represent that luminary\nas struggling against and overcoming monsters, or performing other\nlaborious tasks in obedience to the orders of some tyrant of inferior\nspirit, but of legal authority. Since the life of Hercules is composed\nof such tasks, it is easy to class him with other sun-heroes. But to\nconstrue his whole history and all his feats as symbolic of the sun's\nprogress through the heavens, beginning with the labors performed\nin his eastern home and ending with the capture of Cerberus in the\nunderworld beyond the west, or to construe the subjects of the twelve\nlabors as consciously recalling the twelve signs of the Zodiac is not\nonly unwarranted, but absurd. To some extent Hercules is a sun-hero; to\nsome extent his adventures are fabulous history; to a greater extent\nboth he and his adventures are the product of generations of \u00e6sthetic,\nbut primitive and fanciful, invention. The same statement holds true\nof nearly all the heroes and heroic deeds of mythology. As a matter of\ninterest, it may be noted that the serpents that attacked Hercules in\nhis cradle are explained as powers of darkness which the sun destroys,\nand the cattle that he tended, as the clouds of morning. His choice\nbetween pleasure and duty at the outset of his career enforces, of\ncourse, a lesson of conduct. His lion's skin may denote the tawny\ncloud which the sun trails behind him as he fights his way through the\nvapors that he overcomes (Cox). The slaughter of the Centaurs may be\nthe dissipation of these vapors. His insanity may denote the raging\nheat of the sun at noonday. The Nemean lion may be a monster of cloud\nor darkness; the Hydra, a cloud that confines the kindly rains, or at\ntimes covers the heavens with numerous necks and heads of vapor. The\nCerynean Stag may be a golden-tinted cloud that the sun chases; and the\nCattle of the Augean stables, clouds that, refusing to burst in rain,\nconsign the earth to drought and filth. The Erymanthian boar and the\nCretan bull are probably varied forms of the powers of darkness; so\nalso the Stamphalian (Stymphalian) birds and the giant Cacus. Finally,\nthe scene of the hero's death is a \"picture of a sunset in wild\nconfusion, the multitude of clouds hurrying hither and thither, now\nhiding, now revealing the mangled body of the sun.\" In this way Cox,\nand other interpreters of myth, would explain the series. But while\nthe explanations are entertaining and poetic, their very plausibility\nshould suggest caution in accepting them. It is not safe to construe\nall the details of a mythical career in terms of any one theory.\nThe more noble side of the character of Hercules presents itself to\nthe moral understanding, as worthy of consideration and admiration.\nThe dramatist Euripides has portrayed him as a great-hearted hero,\nhigh-spirited and jovial, rejoicing in the vigor of manhood, comforting\nthe downcast, wrestling with Death and overcoming him, restoring\nhappiness where sorrow had obtained. No grander conception of manliness\nhas in modern times found expression in poetry than that of the\nHercules in Browning's transcript of Euripides, Balaustion's Adventure.\n\n=_Illustrative._= Lang's translation of the Lityerses song (Theocritus,\nIdyl X). The song, like the Linus song, is of early origin among the\nlaborers in the field. For =Hercules=, see Sir Philip Sidney, Astrophel\nand Stella; Spenser, Faerie Queene, 1, 11, 27; Shakespeare, Merchant of\nVenice, II, i; III, ii; Taming of the Shrew, I, ii; Coriolanus, IV, i;\nHamlet, I, ii; Much Ado About Nothing, II, i; III, iii; King John, II,\ni; Titus Andronicus, IV, ii; Antony and Cleopatra, IV, x; 1 Henry VI,\nIV, vii; Pope, Satires, 5, 17; Milton, Paradise Lost, 11, 410 (Geryon).\n=Amazons=: Shakespeare, King John, V, ii; Midsummer Night's Dream, II,\nii; 1 Henry VI, I, iv; 3 Henry VI, I, iv; Pope, Rape of the Lock, 3,\n67; =Hylas=: Pope, Autumn; Dunciad, 2, 336.\n\n=_Poems._= S. Rogers, on the Torso of Hercules; Browning, Balaustion's\nAdventure, and Aristophanes' Apology; L. Morris, Dejaneira (Epic of\nHades); William Morris, The Golden Apples (Earthly Paradise); J. H.\nFrere's translation of Euripides' Hercules Furens, and Plumptre's, or\nR. Whitelaw's (1883), of Sophocles' Women of Trachis; George Cabot\nLodge, Herakles. =Pygmies=: James Beattie, Battle of the Pygmies and\nthe Cranes. =Dejanira=: Fragment of Chorus of a \"Dejaneira,\" by M.\nArnold. =Hylas=: Moore (song), \"When Hylas was sent with his urn to the\nfount,\" etc.; Bayard Taylor, Hylas; R. C. Rogers, Hylas; translation of\nTheocritus, Idyl XIII, by C. S. Calverley, 1869. =Daphnis=: Theocritus,\nIdyl I. According to this, Daphnis so loves Na\u00efs that he defies\nAphrodite to make him love again. She does so, but he fights against\nthe new passion, and dies a victim of the implacable goddess. This song\nis sung by Thyrsis. Also on Daphnis, read E. Gosse's poem, The Gifts of\nthe Muses.\n\n=_In Art._= Fig. 65, of a statue reproducing the style of Scopas; figs.\n123-129, and opp. p. 226, in text; Heracles in the eastern pediment\nof the Parthenon (?); the Torso Belvedere; Farnese Hercules (National\nMuseum, Naples); Hercules in the metopes of the Temple of Silenus\n(Museum, Palermo); the Infant Hercules strangling a Serpent (antique\nsculpture), in the Uffizi at Florence; C. G. Gleyre's painting,\nHercules at the Feet of Omphale (Louvre); Bandinelli (sculpture),\nHercules and Cacus; Giovanni di Bologna (sculpture), Hercules and\nCentaur; Amazon (ancient sculpture), in the Vatican; and Figs. 162, 185\nand opp. p. 306, in text; Centaur (sculpture), Capitol, Rome; the Mad\nHeracles, vase picture (Monuments in\u00e9dits, Rome and Paris, 1839-1878).\n\n=163-167.= For the descent of Jason from Deucalion, see Table G.\n=Iolcos=: a town in Thessaly. =Lemnos=: in the \u00c6gean, near Tenedos.\n=Phineus=: a son of Agenor, or of Poseidon. For the family of Medea,\nsee Table H.\n\n=_Interpretative._ Argo= means _swift_, or _white_, or commemorates the\nship-builder, or the city of Argos. The Argo-myth rests upon a mixture\nof traditions of the earliest seafaring and of the course of certain\nphysical phenomena. So far as the tradition of primitive seafaring is\nconcerned, it may refer to some half-piratical expedition, the rich\nspoils of which might readily be known as the =Golden Fleece=. So far\nas the physical tradition is concerned, it may refer to the course of\nthe year (the =Ram= of the Golden Fleece being the fructifying clouds\nthat come and go across the \u00c6gean) or to the process of sunrise and\nsunset (?): =Helle= being the glimmering twilight that sinks into the\nsea; =Phrixus= (in Greek _Phrixos_), the radiant sunlight; the voyage\nof the Argo through the Symplegades, the nocturnal journey of the sun\ndown the west; the oak with the Golden Fleece, a symbol of the sunset\nwhich the dragon of darkness guards; the fire-breathing bulls, the\nadvent of morning; the offspring of the dragon's teeth, an image of the\nsunbeams leaping from eastern darkness. =Medea= is a typical wise-woman\nor witch; daughter of Hecate and granddaughter of Asteria, the starry\nheavens, she comes of a family skilled in magic. Her aunt Circe was\neven more powerful in necromancy than she. The robe of Medea is the\nfleece in another form. The death of =Cre\u00fcsa=, also called Glauce,\nsuggests that of Hercules (in the flaming sunset?). =Jason= is no more\nfaithful to his sweetheart than other solar heroes--Hercules, Perseus,\nApollo--are to theirs. The sun must leave the colors and glories,\nthe twilights and the clouds of to-day, for those of to-morrow. See\nRoscher, pp. 530-537. The physical explanation is more than commonly\nplausible. But the numerous adventures of the Argonauts are certainly\nsurvivals of various local legends that have been consolidated and\npreserved in the artistic form of the myth. Jason, Di\u00e1son, is another\nZeus, of the Ionian race, beloved by Medea, whose name, \"the counseling\nwoman,\" suggests a goddess. Perhaps Medea was a local Hera-Demeter,\ndegraded to the rank of a heroine. The =Symplegades= may be a\nreminiscence of rolling and clashing icebergs; the dove incident occurs\nin numerous ancient stories from that of Noah down. If Medea be another\npersonification of morning and evening twilight, then her dragons\nare rays of sunlight that precede her. More likely they are part of\nthe usual equipage of a witch, symbolizing wisdom, foreknowledge,\nswiftness, violence, and Oriental mystery.\n\n=_Illustrative._= The =Argo=, see Theodore Martin's translation of\nCatullus, LXIV (Peleus and Thetis), for the memorable launch; Pope, St.\nCecilia's Day. =Jason=: Shakespeare, Merchant of Venice, I, i; III,\nii; =\u00c6son=: Merchant of Venice, V, i; =Absyrtus=: 2 Henry VI, V, ii.\n_=Poems=_: Chaucer, Legende of Good Women, 1366 (Ysiphile and Medee);\nW. Morris, Life and Death of Jason; Frederick Tennyson, \u00c6son and King\nAthamas (in Daphne and Other Poems). Thos. Campbell's translation\nof the chorus in Euripides' Medea, beginning \"Oh, haggard queen! to\nAthens dost thou guide thy glowing chariot.\" Translations of the Medea\nof Euripides have been made by Augusta Webster, 1868; by W. C. Lawton\n(Three Dramas of Euripides) 1889; and by Wodhull.\n\n_=In Art.=_ The terra-cotta relief (Fig. 130, text) in the British\nMuseum; the relief from Naples, now in Vienna (Fig. 131). Figs. 132 and\n133 as explained in text. Also the splendid Vengeance of Medea in the\nLouvre; relief on a Roman sarcophagus.\n\n=168. _Textual._=\n\nTABLE K. THE DESCENDANTS OF \u00c6TOLUS (SON OF ENDYMION)\n\n =Endymion=\n +-- =\u00c6tolus=\n +-- Calydon\n | +-- Epicaste\n | =Agenor\n | +-- Porthaon\n | | +-- =[OE]neus=\n | | =Perib[oe]a\n | | +-- =Tydeus=\n | | +-- =Diomedes=\n | | ==Alth\u00e6a=\n | | +-- =Meleager=\n | | +-- =Dejanira=\n | | =Hercules\n | +-- Demonice\n | =Mars\n | +-- Thestius\n | +-- =Alth\u00e6a=\n | | ==[OE]neus=\n | | +-- =Meleager= (see above)\n | | +-- =Dejanira= (see above)\n | +-- Plexippus\n | +-- Toxeus (?)\n | +-- =Leda=\n | =Tyndareus (Sparta)\n | +-- Castor\n | +-- Clytemnestra\n | =Jupiter\n | +-- Pollux\n | +-- Helen\n +-- Pleuron\n +-- Agenor\n =Epicaste\n +-- Porthaon (see above)\n +-- Demonice (see above)\n\nAlso, in general, Table I.\n\nFor =Calydon=, see Index. The Arcadian =Atalanta= was descended from\nthe Arcas who was son of Jupiter and Callisto. (See Table D.)\n\n_=Interpretative.=_ Atalanta is the \"unwearied maiden.\" She is the\nhuman counterpart of the huntress Diana. The story has of course been\nallegorically explained, but it bears numerous marks of local and\nhistoric origin.\n\n_=Illustrative.=_ Swinburne, Atalanta in Calydon; Margaret J. Preston,\nThe Quenched Branch; Shakespeare, 2 Henry IV, II, ii; 2 Henry VI, I, i.\n\n_=In Art.=_ The Meleager (sculpture), in the Vatican; the Roman reliefs\nas in text. The original of Fig. 135 is in the Louvre.\n\n=169.= The =Merope= story has been dramatized by Maffei (1713),\nVoltaire (1743), Alfieri (1783), and by others.\n\n=170-171.= C. S. Calverley's The Sons of Leda, from Theocritus. =Leda=:\nSpenser, Prothalamion; Landor, Loss of Memory. =Talus=: the iron\nattendant of Artegal, Spenser, Faerie Queene, 5, 1, 12.\n\n=172. The Descendants of Minos I=. (See also Table D.)\n\nTABLE L\n\n Europa\n =Jupiter\n +-- =Minos I=\n =Itone\n +-- Lycastus\n +-- =Minos II=\n ==Pasipha\u00eb=\n +-- Crateus\n | +-- A\u00ebrope\n | =Atreus\n +-- Ph\u00e6dra\n | =Theseus\n +-- Ariadne\n =Theseus\n\n Helios\n =Perse\u00efs\n +-- =Pasipha\u00eb=\n | ==Minos II=\n | +-- Crateus (see above)\n | +-- Ph\u00e6dra (see above)\n | +-- Ariadne (see above)\n +-- Circe\n +-- \u00c6etes\n =Hecate\n +-- =Medea=\n\n Asteria\n =Perses\n +-- Hecate\n =\u00c6etes\n +-- =Medea= (see above)\n\n_=Interpretative.=_ Discrimination between Minos I and Minos II is\nmade in the text, but is rarely observed. =Minos=, according to\nPreller, is the solar king and hero of Crete; his wife, =Pasipha\u00eb=,\nis the moon (who was worshiped in Crete under the form of a cow);\nand the =Minotaur= is the lord of the starry heavens which are his\nlabyrinth. Others make Pasipha\u00eb, whose name means _shiner upon_ _all_,\nthe bright heaven; and Minos (in accordance with his name, the Man,\n_par_ _excellence_), the thinker and measurer. A lawgiver on earth,\nthe Homeric Minos readily becomes a judge in Hades. Various fanciful\ninterpretations, such as storm cloud, sun, etc., are given of the bull.\nCox explains the Minotaur as night, devouring all things. The tribute\nfrom Athens may suggest some early suzerainty in politics and religion\nexercised by Crete over neighboring lands. For =M\u00e6ander=, see Pope,\nRape of the Lock, 5, 65; Dunciad, 1, 64; 3, 55.\n\n=173. _Interpretative._ D\u00e6dalus= is a representative of the earliest\ntechnical skill, especially in wood-cutting, carving, and the plastic\narts used for industrial purposes. His flight from one land to another\nsignifies the introduction of inventions into the countries concerned.\nThe fall of Icarus was probably invented to explain the name of the\n=Icarian= Sea.\n\n=_Illustrative._ D\u00e6dalus=: Chaucer, Hous of Fame, 409. =Icarus=:\nShakespeare, 1 Henry VI, IV, vi; IV, vii; 3 Henry VI, V, vi; poem on\nIcarus by Bayard Taylor; travesty by J. G. Saxe.\n\n=_In Art._= Sculpture: Fig. 138, in text: Villa Albani, Rome; Canova's\nD\u00e6dalus and Icarus; painting by J. M. Vien; also by A. Pisano\n(Campanile, Florence).\n\n=174. The descendants of Erichthonius= are as follows:\n\nTABLE M\n\n Jupiter\n +-- Tantalus\n +-- Pelops\n +-- =Pittheus=\n | +-- =\u00c6thra=\n | ==\u00c6geus=\n | +-- =Theseus=\n | =Ariadne d. of Minos II\n | =Antiope (Hippolyta)\n | +-- =Hippolytus=\n | =Ph\u00e6dra d. of Minos II\n +-- Atreus\n +-- Thyestes\n\n =Erichthonius=\n +-- Pandion I\n +-- Erechtheus\n | +-- Pandion II\n | | +-- =\u00c6geus=\n | | ==\u00c6thra=\n | | +-- =Theseus= (see above)\n | +-- Cre\u00fcsa\n | =Apollo\n | +-- =Ion=\n | =Xuthus\n +-- =Procne=\n +-- =Philomela=\n\n=Cecrops= (see =65=). According to one tradition, Cecrops was\nautochthonous and had one son, Erysichthon, who died without issue,\nand three daughters, Herse, Aglauros, and Pandrosos (personifications\nof Dew and its vivifying influences). According to another, he was of\nthe line of Erichthonius, being either a son of Pandion I, or a son of\nErechtheus and a grandson of Pandion I. Apollodorus makes him father of\nPandion II. He was regarded as founder of the worship of Athene and of\nvarious civic institutions. He is probably a hero of the Pelasgian race.\n\n=Ion.= According to one tradition, the race of Erechtheus became\nextinct, save for Ion, a son of Apollo and Cre\u00fcsa, daughter of\nErechtheus. This son, having been removed at birth, was brought up\nin Apollo's temple at Delphi, and, in accordance with the oracle of\nApollo, afterwards adopted by Cre\u00fcsa and her husband Xuthus (see\nthe Ion of Euripides). Ion founded the new dynasty of Athens. But,\naccording to Pausanias and Apollodorus, the dynasty of Erechtheus\nwas continued by =\u00c6geus=, who was either a son, or an adopted son,\nof Pandion II. By \u00c6thra he became father of Theseus, in whose veins\nflowed, therefore, the blood of Pelops and of Erichthonius.\n\n_=Interpretative.=_ The story of =Philomela= was probably invented to\naccount for the sad song of the nightingale. With her the swallow is\nassociated as another much loved bird of spring. Occasionally Procne is\nspoken of as the nightingale, and Philomela as the swallow, and Tereus\nas taking the form of a red-crested hoopoe.\n\n_=Illustrative.=_ Chaucer, Legende of Good Women (Philomene of Athens);\nMilton, Il Penseroso; Richard Barnfield, Song, \"As it fell upon a day\";\nThomson, Hymn on the Seasons; Swinburne, Itylus; Oscar Wilde, The\nBurden of Itys; Sir Thomas Noon Talfourd's drama, Ion.\n\n=176-181. Tr[oe]zen=: in Argolis. According to some the Amazonian\nwife of Theseus was =Hippolyta=, but her Hercules had already killed.\n=Theseus= is said to have united the several tribes of Attica into\none state, of which Athens was the capital. In commemoration of this\nimportant event, he instituted the festival of =Panathen\u00e6a=, in honor\nof Athene, the patron deity of Athens. This festival differed from the\nother Grecian games chiefly in two particulars. It was peculiar to the\nAthenians, and its chief feature was a solemn procession in which the\nPeplus, or sacred robe of Athene, was carried to the Parthenon, and\nleft on or before the statue of the goddess. The Peplus was covered\nwith embroidery, worked by select virgins of the noblest families\nin Athens. The procession consisted of persons of all ages and both\nsexes. The old men carried olive branches in their hands, and the\nyoung men bore arms. The young women carried baskets on their heads,\ncontaining the sacred utensils, cakes, and all things necessary for the\nsacrifices. The procession formed the subject of the bas-reliefs which\nembellished the frieze of the temple of the Parthenon. A considerable\nportion of these sculptures is now in the British Museum among those\nknown as the \"Elgin Marbles.\" We may mention here the other celebrated\nnational games of the Greeks. The first and most distinguished were\nthe =Olympic=, founded, it was said, by Zeus himself. They were\ncelebrated at Olympia in Elis. Vast numbers of spectators flocked to\nthem from every part of Greece, and from Asia, Africa, and Sicily.\nThey were repeated every fifth year in midsummer, and continued five\ndays. They gave rise to the custom of reckoning time and dating\nevents by Olympiads. The first Olympiad is generally considered as\nbeginning with the year 776 B.C. The =Pythian= games were celebrated\nin the vicinity of Delphi, the =Isthmian= on the Corinthian isthmus,\nthe =Nemean= at Nemea, a city of Argolis. The exercises in these\ngames were chariot-racing, running, leaping, wrestling, throwing the\nquoit, hurling the javelin, and boxing. Besides these exercises of\nbodily strength and agility, there were contests in music, poetry, and\neloquence. Thus these games furnished poets, musicians, and authors the\nbest opportunities to present their productions to the public, and the\nfame of the victors was diffused far and wide.\n\n=_Interpretative._ Theseus= is the Attic counterpart of Hercules,\nnot so significant in moral character, but eminent for numerous\nsimilar labors, and pre\u00ebminent as the mythical statesman of Athens.\nHis story may, with the usual perilous facility, be explained as a\nsolar myth. =Periphetes= may be a storm cloud with its thunderbolts;\nthe =Marathonian Bull= and the =Minotaur= may be forms of the power\nof darkness hidden in the starry labyrinth of heaven. Like Hercules,\nTheseus fights with the =Amazons= (clouds, we may suppose, in some form\nor other), and, like him, he descends to the underworld. =Ariadne=\nmay be another twilight-sweetheart of the sun, and, like Medea and\nDejanira, she must be deserted. She is either the \"well-pleasing\" or\nthe \"saintly.\" She was, presumably, a local nature-goddess of Naxos and\nCrete, who, in process of time, like Medea, sank to the condition of a\nheroine. Probably from her goddess-existence the marriage with Bacchus\nsurvived, to be incorporated later with the Attic myth of Theseus. As\nthe female semblance of Bacchus, she appears to have been a promoter\nof vegetation; and, like Proserpina, she alternated between the joy of\nspring and the melancholy of winter. By some she is considered to be\nconnected with star-worship as a moon-goddess.\n\n=_Illustrative._= Chaucer, The Knight's Tale (for Theseus and Ypolita);\nThe Hous of Fame, 407, and the Legende of Good Women, 1884, for\nAriadne; Shakespeare, Two Gentlemen of Verona, IV, i; Midsummer Night's\nDream, II, ii (Hippolyta and Theseus); Shakespeare and Fletcher, Two\nNoble Kinsmen. In Beaumont and Fletcher's Maid's Tragedy, II, ii, a\ntapestry is ordered to be worked illustrating Theseus' desertion of\nAriadne. Landor, To Joseph Ablett, \"Bacchus is coming down to drink\nto Ariadne's love\"; Landor, Theseus, and Hippolyta; Mrs. Browning,\nParaphrase on Nonnus (Bacchus and Ariadne), Paraphrase on Hesiod;\nSir Theodore Martin, Catullus, LXIV. Other poems: B. W. Procter, On\nthe Statue of Theseus; Frederick Tennyson, Ariadne (Daphne and Other\nPoems); Mrs. Hemans, The Shade of Theseus; R. S. Ross, Ariadne in\nNaxos; J. S. Blackie, Ariadne; W. M. W. Call, Ariadne; Mrs. H. H.\nJackson, Ariadne's Farewell. =Ph\u00e6dra and Hippolytus=: The Hippolytus\nof Euripides; Swinburne, Ph\u00e6dra; Browning, Artemis Prologizes; M. P.\nFitzgerald, The Crowned Hippolytus; A. Mary F. Robinson, The Crowned\nHippolytus; L. Morris, Ph\u00e6dra (Epic of Hades). On =Cecrops=: J. S.\nBlackie, The Naming of Athens; Erechtheus, by A. C. Swinburne.\n\n=_In Art._= Theseus: the original of Fig. 140, text is in the\nHermitage, St. Petersburg; of Fig. 141 in the Naples Museum. The\nBattle with the Amazons frequently recurs in ancient sculpture. The\nsleeping Ariadne, of the Vatican, Fig. 142, text. Also the Revels as in\ntext, Fig. 144. Modern Sculpture: the Theseus of Canova (Volksgarten,\nVienna); the Ariadne of Dannecker. Paintings: Tintoretto's Ariadne and\nBacchus; Teschendorff's Ariadne; Titian's Bacchus and Ariadne.\n\n=182-189. The Royal Family of Thebes.=\n\nTABLE N\n\n Agenor\n +-- Cadmus\n +-- =Agave=\n | =Echion\n | +-- Pentheus\n | +-- Men[oe]ceus I\n | +-- =Creon=\n | | +-- Men[oe]ceus II\n | | +-- H\u00e6mon\n | +-- =Jocasta=\n | ==La\u00efus=\n | +-- =[OE]dipus=\n | ==Jocasta=\n | +-- =Eteocles=\n | +-- =Polynices=\n | +-- =Antigone=\n | +-- Ismene\n | ==[OE]dipus=\n | +-- =Eteocles= (see above)\n | +-- =Polynices= (see above)\n | +-- =Antigone= (see above)\n | +-- Ismene (see above)\n +-- Polydorus\n +-- =Labdacus=\n +-- =La\u00efus=\n ==Jocasta=\n +-- =[OE]dipus= (see above)\n\n=_Illustrative._ [OE]dipus=: Plumptre's translation of [OE]dipus the\nKing, [OE]dipus Coloneus, and Antigone; Shelley, Swellfoot the Tyrant;\nE. Fitzgerald, The Downfall and Death of King [OE]dipus; Sir F. H.\nDoyle, [OE]dipus Tyrannus; Aubrey De Vere, Antigone; Emerson, The\nSphinx; W. B. Scott, The Sphinx; M. Arnold, Fragment of an \"Antigone.\"\n=Tiresias=: by Swinburne, Tennyson, and Thomas Woolner.\n\n=_In Art._= Ancient: [OE]dipus and the Sphinx (in Monuments In\u00e9dits,\nRome and Paris, 1839-1878). Modern paintings: Teschendorff's [OE]dipus\nand Antigone, Antigone and Ismene, and Antigone; [OE]dipus and the\nSphinx, by J. D. A. Ingres; The Sphinx, by D. G. Rossetti.\n\nOf the stories told in these and the following sections no systematic,\nallegorical, or physical interpretations are here given, because (1)\nthe general method followed by the unravelers of myth has already been\nsufficiently illustrated; (2) the attempt to force symbolic conceptions\ninto the longer folk-stories, or into the artistic myths and epics of\nany country, is historically unwarranted and, in practice, is only too\noften capricious; (3) the effort to interpret such stories as the Iliad\nand the Odyssey must result in destroying those elements of unconscious\nsimplicity and romantic vigor that characterize the early products of\nthe creative imagination.\n\n=190-194. Houses concerned in the Trojan War.=\n\nTABLE O\n\n(1) =Family of Peleus= and its connections:\n\n Asopus\n +-- \u00c6gina\n =Jupiter\n +-- =\u00c6acus=\n +-- Telamon\n | =Erib[oe]a\n | +-- Ajax\n | =Hesione\n | +-- =Teucer=\n +-- =Peleus=\n =Thetis\n +-- =Achilles=\n +-- Pyrrhus (Neoptolemus)\n =Hermione _d._ of Menela\u00fcs and Helen\n\n Nereus\n =Doris\n +-- Thetis\n ==Peleus=\n +-- =Achilles= (see above)\n\n(2) =Family of Atreus= and its connections:\n\n Jupiter\n +-- Minos I\n | +-- Lycastus\n | +-- Minos II\n | +-- Crateus\n | +-- A\u00ebrope\n | ==Atreus=\n | +-- =Agamemnon=\n | | ==Clytemnestra=\n | | +-- =Iphigenia=\n | | +-- =Electra=\n | | +-- Chrysothemis\n | | +-- =Orestes=\n | | =Hermione\n | +-- =Menela\u00fcs=\n | ==Helen=\n | +-- Hermione\n | =Neoptolemus\n | ==Orestes=\n +-- Tantalus\n +-- Pelops\n =Hippodamia\n +-- =Atreus=\n | =A\u00ebrope\n | +-- =Agamemnon= (see above)\n | +-- =Menela\u00fcs= (see above)\n +-- Thyestes\n | +-- =\u00c6gisthus=\n +-- Pittheus\n +-- \u00c6thra\n =\u00c6geus\n +-- Theseus\n +-- Hippolytus\n\n(3) =Family of Tyndareus= and its connections:\n\n \u00c6olus\n +-- Perieres\n +-- Icarius\n | +-- =Penelope=\n +-- =Tyndareus=\n ==Leda=\n +-- Castor\n +-- =Clytemnestra=\n\n Thestius\n +-- =Leda=\n ==Tyndareus=\n +-- Castor (see above)\n +-- =Clytemnestra= (see above)\n =Jupiter\n +-- Pollux\n +-- =Helen=\n ==Menela\u00fcs=\n ==Paris=\n\nCastor and Pollux are called sometimes Dioscuri (sons of Jove),\nsometimes Tyndarid\u00e6 (sons of Tyndareus). Helen is frequently called\nTyndaris, daughter of Tyndareus.\n\n(4) =Descent of Ulysses and Penelope=:\n\n Hellen\n +-- \u00c6olus I\n +-- Perieres\n | +-- Icarius\n | | +-- =Penelope=\n | | ==Ulysses=\n | | +-- =Telemachus=\n | +-- =Tyndareus=\n | ==Leda=\n | +-- Castor\n | +-- =Clytemnestra=\n +-- De\u00efon\n +-- Cephalus\n | =Procris\n | +-- Arcesius\n | +-- La\u00ebrtes\n | +-- =Ulysses=\n | ==Penelope=\n | +-- =Telemachus= (see above)\n +-- Actor\n +-- Men[oe]tius\n +-- =Patroclus=\n\n(5) =The Royal Family of Troy=:\n\n Iapetus (Titan)\n +-- Atlas\n +-- Electra (Pleiad)\n =Jupiter\n +-- =Dardanus=\n =Batea\n +-- Erichthonius\n +-- Tros\n +-- Ilus II\n | +-- =Laomedon=\n | +-- Tithonus\n | | =Aurora\n | | +-- Memnon\n | +-- Hesione\n | | =Telamon\n | | +-- =Teucer=\n | +-- =Priam=\n | =Hecuba\n | +-- =Hector=\n | | =Andromache\n | | +-- Astyanax\n | +-- =Paris=\n | | =[OE]none\n | | ==Helen=\n | +-- Deiphobus\n | +-- Helenus\n | +-- Troilus\n | +-- Cassandra\n | +-- Cre\u00fcsa\n | | ==\u00c6neas=\n | | +-- =Ascanius=\n | | =Iulus\n | +-- Polyxena\n +-- Assaracus\n +-- Capys\n +-- Anchises\n =Venus\n +-- =\u00c6neas=\n =Cre\u00fcsa\n +-- =Ascanius= (see above)\n\n =Teucer=\n +-- Batea\n ==Dardanus=\n +-- Erichthonius (see above)\n\n=195.= On the =Iliad= and on =Troy=: Keats, Sonnet on Chapman's\nHomer; Milton, Paradise Lost, 1, 578; 9, 16; Il Penseroso, 100;\nHartley Coleridge, Sonnet on Homer; T. B. Aldrich, Pillared Arch and\nSculptured Tower; the Sonnets of Lang and Myers prefixed to Lang,\nLeaf, and Myers' translation of the Iliad. On the =Judgment of Paris=:\nGeorge Peele, Arraignment of Paris; James Beattie, Judgment of Paris;\nTennyson, Dream of Fair Women; J. S. Blackie, Judgment of Paris. See,\nfor allusions, Shakespeare, All's Well that Ends Well, I, ii, iii;\nHenry V, II, iv; Troilus and Cressida, I, i; II, ii; III, i; Romeo and\nJuliet, I, ii; II, iv; IV, i; V, iii. On =Helen=: A. Lang, Helen of\nTroy, and his translation of Theocritus, Idyl XVIII; Landor, Menela\u00fcs\nand Helen; John Todhunter, Helena in Troas; G. P. Lathrop, Helen at the\nLoom (_Atlantic Monthly_, Vol. 32, 1873). See Shakespeare, Midsummer\nNight's Dream, I, i; III, ii; IV, i; All's Well that Ends Well, I, i,\niii; II, ii; Romeo and Juliet, II, iv; Troilus and Cressida, II, ii;\nMarlowe, Faustus (Helen appears before Faust).\n\n=_In Art._ Homer=: the sketch by Raphael (in the Museum, Venice).\n=Paris and= =Helen.= Paintings: Helen of Troy, Sir Frederick Leighton;\nParis and Helen, by David; The Judgment of Paris, by Rubens; by\nWatteau. Sculpture: Canova's Paris. Crayons: D. G. Rossetti's Helen;\nsee also Fig. 150, as in text (ancient relief, Naples).\n\n=196. Iphigenia and Agamemnon.= Sometimes, in accordance with Goethe's\npractice, the name _Tauris_ is given to the land of the Tauri. To be\ncorrect one should say, \"Iphigenia among the Tauri,\" or \"Taurians.\"\n(See Index.) Iphigenia and Agamemnon by W. S. Landor; also his Shades\nof Agamemnon and Iphigenia; Dryden, Cymon and Iphigenia; Richard\nGarnett, Iphigenia in Delphi; Sir Edwin Arnold, Iphigenia; W. B. Scott,\nIphigenia at Aulis. Any translations of Goethe's Iphigenia in Tauris,\nand of Euripides' Iphigenia in Aulis and Among the Tauri; also of\n\u00c6schylus' Agamemnon,--such as those by Milman, Anna Swanwick, Plumptre,\nE. A. Morshead, J. S. Blackie, E. Fitzgerald, and Robert Browning.\nFor Agamemnon, see Shakespeare, Troilus and Cressida, I, iii; II, i,\niii; III, iii; IV, v; V, i; and James Thomson, Agamemnon (a drama).\nThe =Troilus and= =Cressida= story is not found in Greek and Latin\nclassics. Shakespeare follows Chaucer's Troilus and Criseyde, which is\nbased upon the Filostrato and the Filocolo of Boccaccio. =Pandarus=:\nthe character of this name, uncle of Cressida, to be found in Lydgate,\nChaucer's Troilus and Criseyde, and Shakespeare's play of the same\ntitle, enjoys an unsavory reputation for which medieval romance is\nresponsible. On =Menela\u00fcs=, see notes to Helen and Agamemnon.\n\n=_In Art._ Iphigenia.= Paintings: Fig. 152, text (Museum, Naples); E.\nH\u00fcbner; William Kaulbach; E. Teschendorff.\n\n=199. Achilles.= Chaucer, Hous of Fame, 398; Dethe of Blaunche, 329;\nLandor, Peleus and Thetis; Robert Bridges, Achilles in Scyros; Sir\nTheodore Martin, translation of Catullus, LXIV; translation by C. M.\nGayley as quoted in text. See also Shakespeare, Troilus and Cressida; 2\nHenry VI, V, i; Love's Labour's Lost, V, ii; Milton, Paradise Lost, 9,\n15.\n\n=_In Art._= In general, Figs. 151, 153, 155-156, 159-162, in text;\nWiertz, Fight for the Body of Achilles (Wiertz Museum, Brussels);\nBurne-Jones, The Feast of Peleus (picture).\n\n=204. Ajax.= Plumptre, Ajax of Sophocles; Shakespeare, Troilus and\nCressida, Love's Labour's Lost, IV, iii; V, ii; Taming of the Shrew,\nIII, i; Antony and Cleopatra, IV, ii; King Lear, II, ii; Cymbeline, IV,\nii; George Crabbe, The Village.\n\n_=In Art.=_ The ancient sculpture, Ajax (or Menela\u00fcs) of the Vatican.\nModern sculpture, The Ajax of Canova. Flaxman's outline drawings for\nthe Iliad.\n\n=207. Hector and Andromache.= Mrs. Browning, Hector and Andromache, a\nparaphrase of Homer; C. T. Brooks, Schiller's Parting of Hector and\nAndromache. See also Shakespeare, Troilus and Cressida; Love's Labour's\nLost, V, ii; 2 Henry IV, II, iv; Antony and Cleopatra, IV, viii.\n\n_=In Art.=_ Flaxman's outline sketches of the Fight for the Body of\nPatroclus, Hector dragged by Achilles, Priam supplicating Achilles,\nHector's Funeral, Andromache fainting on the Walls of Troy; Canova's\nHector (sculpture); Thorwaldsen's Hector and Andromache (relief) (Fig.\n154, text). Hector, Ajax, Paris, \u00c6neas, Patroclus, Teucer, etc., among\nthe \u00c6gina Marbles (Glyptothek, Munich). The Pasquino group (Fig. 158,\nin text) is from a copy in the Pitti, Florence.\n\n=216. Priam and Hecuba.= The translations of Euripides' Hecuba and\nTroades; Shakespeare, Troilus and Cressida; Coriolanus, I, iii;\nCymbeline, IV, ii; Hamlet, II, ii; 2 Henry IV, I, i.\n\n=219-220. Polyxena.= W. S. Landor, The Espousals of Polyxena.\n=Philoctetes=: translation of Sophocles by Plumptre; sonnet by\nWordsworth; drama by Lord de Tabley.\n\n=221. [OE]none.= See A. Lang, Helen of Troy; W. Morris, Death of Paris\n(Earthly Paradise); Landor, Corythos (son of [OE]none), the Death of\nParis, and [OE]none, Tennyson, [OE]none, also the Death of [OE]none,\nwhich is not so good.\n\nThe pathetic story of the death of Corythus, the son of [OE]none\nand Paris, at the hands of his father, who was jealous of Helen's\ntenderness toward the youth, is a later myth.\n\n=223. Sinon.= Shakespeare, 3 Henry VI, III, ii; Cymbeline, III, iv;\nTitus Andronicus, V, iii.\n\n=224. Laoco\u00f6n.= L. Morris, in The Epic of Hades. See Frothingham's\ntranslation of Lessing's Laoco\u00f6n (a most important discussion of\nthe Laoco\u00f6n group and of principles of \u00e6sthetics). See also Swift's\nDescription of a City Shower.\n\n_=In Art.=_ The original of the celebrated group (statuary) of Laoco\u00f6n\nand his children in the embrace of the serpents is in the Vatican in\nRome. (See text, opp. p. 310.)\n\n=226. Cassandra.= Chaucer, Troilus and Criseyde; Dethe of Blaunche,\n1246. Poems by W. M. Praed and D. G. Rossetti. See Troilus and\nCressida, I, i; II, ii; V, iii; Lord Lytton's translation of Schiller's\nCassandra.\n\n_=In Art.=_ The Cassandra of Dante Gabriel Rossetti (in ink).\n\n=228-230. Electra and Orestes.= Translations of the Electra of\nSophocles, the Libation-pourers and the Eumenides of \u00c6schylus, by\nPlumptre; and of the Orestes and Electra of Euripides, by Wodhull. Lord\nde Tabley, Orestes (a drama); Byron, Childe Harold, 4; Milton, sonnet,\n\"The repeated air Of sad Electra's poet,\" etc.\n\n=_In Art._= Gr\u00e6co-Roman sculpture: Fig. 169, in text, Orestes and\nPylades find Iphigenia among the Taurians. Pompeian Fresco; Orestes and\nElectra (Villa Ludovisi, Rome); Orestes and Electra (National Museum,\nNaples). Vase-paintings: Figs. 167-168 in text; also Orestes slaying\n\u00c6gisthus; Orestes at Delphi; Purification of Orestes. Modern paintings:\nElectra, by Teschendorff and by Seifert.\n\n=Clytemnestra=, The Death of, by W. S. Landor; Clytemnestra, by L.\nMorris, in The Epic of Hades.\n\n=Troy=: Byron, in his Bride of Abydos, thus describes the appearance of\nthe deserted scene where once stood Troy:\n\n The winds are high, and Helle's tide\n Rolls darkly heaving to the main;\n And Night's descending shadows hide\n That field with blood bedew'd in vain,\n The desert of old Priam's pride;\n The tombs, sole relics of his reign,\n All--save immortal dreams that could beguile\n The blind old man of Scio's rocky isle!\n\nOn Troy the following references will be valuable: H. W. Acland, The\nPlains of Troy, 2 vols. (London, 1839); H. Schliemann, Troy and its\nRemains (London, 1875); Ilios (London, 1881); Troja, results of latest\nresearches on the site of Homer's Troy (London, 1882); W. J. Armstrong,\n_Atlantic Monthly_, Vol. 33, p. 173 (1874), Over Ilium and Ida; R. C.\nJebb, _Jour. Hellenic Studies_, Vol. 2, p. 7, Homeric and Hellenic\nIlium; _Fortn. Review_, N. S. Vol. 35, p. 4331 (1884), Homeric Troy.\n\n=231-244.= The =Odyssey=: Lang, Sonnet, \"As one that for a weary space\nhas lain,\" prefixed to Butcher and Lang's Odyssey. Translations by\nW. Morris, G. H. Palmer, Chapman, Bryant, Pope. =Ulysses=: Tennyson;\nLandor, The Last of Ulysses. See also Shakespeare, Troilus and\nCressida; 3 Henry VI, III, ii; Coriolanus, I, iii; Milton, Paradise\nLost, 2, 1019; Comus, 637; R. Buchanan, Cloudland; Pope, Rape of the\nLock, 4, 182; Stephen Phillips, Ulysses; Robert Bridges, The Return of\nUlysses; R. C. Rogers, Odysseus at the Mast, Blind Polyphemus, Argus.\n\n=_In Art._= Statuettes, vase-paintings, and reliefs as in text, Figs.\n170-180; also Ulysses summoning Tiresias (in Monuments In\u00e9dits, Rome\nand Paris, 1839-1878); Meeting with Nausicaa (Gerhard's vase pictures);\noutline drawings of Ulysses weeping at the song of Demodocus, boring\nout the eye of Polyphemus, Ulysses killing the suitors, Mercury\nconducting the souls of the suitors, Ulysses and his dog, etc., by\nFlaxman.\n\n=Penelope=: Poems by R. Buchanan, E. C. Stedman, and W. S. Landor. In\nancient sculpture, the Penelope in the Vatican. Modern painting by C.\nF. Marchal. In crayons by D. G. Rossetti.\n\n=Circe=: M. Arnold, The Strayed Reveller; Hood, Lycus, the Centaur;\nD. G. Rossetti, The Wine of Circe; Saxe, The Spell of Circe. See\nShakespeare, Comedy of Errors, V, i; 1 Henry VI, V, iii; Milton, Comus,\n50, 153, 253, 522; Pope, Satire 8, 166; Cowper, Progress of Error; O.\nW. Holmes, Metrical Essay; Keats, Endymion, \"I sue not for my happy\ncrown again,\" etc. Circe and the Companions of Ulysses, a painting by\nBriton Rivi\u00e8re. Circe, in crayons.\n\nOn =Sirens= and =Scylla= see =C. 50-52=; S. Daniel, Ulysses and the\nSiren; Lowell, The Sirens. Scylla and Charybdis have become proverbial\nto denote opposite dangers besetting one's course. Siren, in crayons;\nSea-Spell, in oil, D. G. Rossetti.\n\n=Calypso=: Pope, Moral Essays, 2, 45; poem by Edgar Fawcett (_Putnam's\nMag._, 14, 1869). F\u00e9nelon, in his romance of Telemachus, has given us\nthe adventures of the son of Ulysses in search of his father. Among\nother places which he visited, following on his father's footsteps, was\nCalypso's isle; as in the former case, the goddess tried every art to\nkeep the youth with her, and offered to share her immortality with him.\nBut Minerva, who, in the shape of Mentor, accompanied him and governed\nall his movements, made him repel her allurements. Finally, when no\nother means of escape could be found, the two friends leaped from a\ncliff into the sea and swam to a vessel which lay becalmed offshore.\nByron alludes to this leap of Telemachus and Mentor in the stanza of\nChilde Harold beginning \"But not in silence pass Calypso's isles\" (2,\n29). Calypso's isle is said to be Goza.\n\nHomer's description of the ships of the Ph\u00e6acians has been thought to\nlook like an anticipation of the wonders of modern steam navigation.\nSee the address of Alcino\u00fcs to Ulysses, promising \"wondrous ships,\nself-moved, instinct with mind,\" etc. (Odyssey, 8).\n\nLord Carlisle, in his Diary in the Turkish and Greek Waters, thus\nspeaks of Corfu, which he considers to be the ancient Ph\u00e6acian island:\n\n\"The sites explain the Odyssey. The temple of the sea-god could not\nhave been more fitly placed, upon a grassy platform of the most elastic\nturf, on the brow of a crag commanding harbor, and channel, and ocean.\nJust at the entrance of the inner harbor there is a picturesque rock\nwith a small convent perched upon it, which by one legend is the\ntransformed pinnace of Ulysses.\n\n\"Almost the only river in the island is just at the proper distance\nfrom the probable site of the city and palace of the king, to justify\nthe princess Nausicaa having had resort to her chariot and to luncheon\nwhen she went with the maidens of the court to wash their garments.\"\n\n=245-254.= Poems: Tennyson, To =Virgil=, of which a few stanzas are\ngiven in the text; R. C. Rogers, Virgil's Tomb. =\u00c6neas= and =Anchises=:\nChaucer, Hous of Fame, 165; 140-470 (pictures of Troy); Shakespeare,\nTroilus and Cressida; Tempest, II, i; 2 Henry VI, V, ii; Julius C\u00e6sar,\nI, ii; Antony and Cleopatra, IV, ii; Hamlet, II, ii; Waller, Panegyric\nto the Lord-Protector (The Stilling of Neptune's Storm).\n\n=Dido=: Chaucer, Legende of Good Women, 923; Sir Thomas Wyatt, The Song\nof Iopas (unfinished); Marlowe, Tragedy of Dido, Queen of Carthage;\nShakespeare, Antony and Cleopatra, IV, xii; Titus Andronicus, II, iii;\nHamlet, II, ii. =Palinurus=: see Scott's Marmion, Introd. to Canto I\n(with reference to the death of William Pitt).\n\nThe =Sibyl=. The following legend of the Sibyl is fixed at a later\ndate. In the reign of one of the Tarquins there appeared before the\nking a woman who offered him nine books for sale. The king refused to\npurchase them, whereupon the woman went away and burned three of the\nbooks, and returning offered the remaining books for the same price\nshe had asked for the nine. The king again rejected them; but when the\nwoman, after burning three books more, returned and asked for the three\nremaining the same price which she had before asked for the nine, his\ncuriosity was excited, and he purchased the books. They were found to\ncontain the destinies of the Roman state. They were kept in the temple\nof Jupiter Capitolinus, preserved in a stone chest, and allowed to be\ninspected only by especial officers appointed for that duty, who on\ngreat occasions consulted them and interpreted their oracles to the\npeople.\n\nThere were various Sibyls; but the Cum\u00e6an Sibyl, of whom Ovid and\nVirgil write, is the most celebrated of them. Ovid's story of her\nlife protracted to one thousand years may be intended to represent\nthe various Sibyls as being only reappearances of one and the same\nindividual.\n\n=_Illustrative._= Young, in the Night Thoughts, alludes to the Sibyl.\nSee also Shakespeare, 1 Henry VI, II, ii; Othello, III, iv.\n\n=_In Art._= Figs. 181-183, in text. The Virgil of Raphael (drawing\nin the Museum, Venice); the \u00c6neas of the \u00c6gina Marbles (Glyptothek,\nMunich). P. Gu\u00e9rin's painting, \u00c6neas at the Court of Dido; Raphael,\nDido; Turner, Dido building Carthage. The Sibyls in Michelangelo's\nfrescoes in the Sistine Chapel, Rome; the Cum\u00e6an Sibyl of Domenichino;\nElihu Vedder's Cum\u00e6an Sibyl.\n\n=255-257. Rhadamanthus=: E. W. Gosse, The Island of the Blest.\n=Tantalus=: Cowper, The Progress of Error; L. Morris, Epic of Hades;\nW. W. Story, Tantalus. =Ixion=: poem by Browning in Jocoseria. See\nPope, St. Cecilia's Day, 67; Rape of the Lock, 2, 133. =Sisyphus=: Lord\nLytton, Death and Sisyphus; L. Morris, in The Epic of Hades.\n\n=The teachings of Anchises= to \u00c6neas, respecting the nature of the\nhuman soul, were in conformity with the doctrines of the Pythagoreans.\nPythagoras (born about 540 B.C.) was a native of the island of Samos,\nbut passed the chief portion of his life at Crotona in Italy. He is\ntherefore sometimes called \"the Samian,\" and sometimes \"the philosopher\nof Crotona.\" When young he traveled extensively and is said to have\nvisited Egypt, where he was instructed by the priests, and afterwards\nto have journeyed to the East, where he visited the Persian and\nChaldean Magi, and the Brahmins of India. He established himself at\nCrotona, and enjoined sobriety, temperance, simplicity, and silence\nupon his throngs of disciples. _Ipse dixit_ (Pythagoras said so) was to\nbe held by them as sufficient proof of anything. Only advanced pupils\nmight question. Pythagoras considered _numbers_ as the essence and\nprinciple of all things, and attributed to them a real and distinct\nexistence; so that, in his view, they were the elements out of which\nthe universe was constructed.\n\nAs the numbers proceed from the monad or unit, so he regarded the pure\nand simple essence of the Deity as the source of all the forms of\nnature. Gods, demons, and heroes are emanations of the Supreme, and\nthere is a fourth emanation, the human soul. This is immortal, and when\nfreed from the fetters of the body, passes to the habitation of the\ndead, where it remains till it returns to the world, to dwell in some\nother human or animal body; at last, when sufficiently purified, it\nreturns to the source from which it proceeded. This doctrine of the\ntransmigration of souls (metempsychosis), which was originally Egyptian\nand connected with the doctrine of reward and punishment of human\nactions, was the chief reason why the Pythagoreans killed no animals.\nOvid represents Pythagoras saying that in the time of the Trojan War he\nwas Euphorbus, the son of Panthus, and fell by the spear of Menela\u00fcs.\nLately, he said, he had recognized his shield hanging among the\ntrophies in the Temple of Juno at Argos.\n\nOn =Metempsychosis=, see the essay in the Spectator (No. 343) on the\nTransmigration of Souls; Shakespeare, Merchant of Venice (Gratiano to\nShylock).\n\n=Harmony of the Spheres.= The relation of the notes of the musical\nscale to numbers, whereby harmony results from proportional vibrations\nof sound, and discord from the reverse, led Pythagoras to apply\nthe word _harmony_ to the visible creation, meaning by it the just\nadaptation of parts to each other. This is the idea which Dryden\nexpresses in the beginning of his song for St. Cecilia's Day, \"From\nharmony, from heavenly harmony, This everlasting frame began.\"\n\nIn the center of the universe (as Pythagoras taught) there was a\ncentral fire, the principle of life. The central fire was surrounded\nby the earth, the moon, the sun, and the five planets. The distances\nof the various heavenly bodies from one another were conceived to\ncorrespond to the proportions of the musical scale. See Merchant of\nVenice, Act V (Lorenzo and Jessica), for the Music of the Spheres; also\nMilton, Hymn on the Nativity. See Longfellow's Verses to a Child, and\nOccultation of Orion, for Pythagoras as inventor of the lyre.\n\n=260. Camilla.= Pope, illustrating the rule that \"the sound should be\nan echo to the sense,\" says:\n\n When Ajax strives some rock's vast weight to throw,\n The line, too, labors and the words move slow;\n Not so when swift Camilla scours the plain,\n Flies o'er th' unbending corn, or skims along the main.\n\n Essay on Criticism.\n\n=268-281.= On Norse mythology, see R. B. Anderson, Norse Mythology,\nor the Religion of our Forefathers (Chicago, 1875); Anderson, Horn's\nScandinavian Literature (Chicago, S. C. Griggs & Co., 1884); Dasent,\nPopular Tales from the Norse (transl. from P. C. Asbj\u00f6rnsen, New\nYork, 1859); Thorpe's translation of S\u00e6mund's Edda, 2 vols. (London,\n1866); Icelandic Poetry or Edda of S\u00e6mund, transl. into English\nverse (Bristol, A. S. Cottle, 1797); Augusta Larned, Tales from\nthe Norse Grandmother (New York, 1881); H. W. Mabie, Norse Stories\n(Boston, 1882). A critical edition of the Elder Edda is Sophus Bugge's\n(Christiania, 1867). The Younger Edda: Edda Snorra Sturlasonar, 2\nvols. (Hafniae, 1848-1852); by Thorleif Jonsson (Copenhagen, 1875);\nTranslation: Anderson's Younger Edda (Chicago, S. C. Griggs & Co.,\n1880) (see references at foot of pp. 458-461 and in =C. 282=).\nIllustrative poems: Gray, Ode on the Descent of Odin, Ode on the Fatal\nSisters; Matthew Arnold, Balder Dead; Longfellow, Tegn\u00e9r's Drapa, on\nBalder's Death; William Morris, The Funeral of Balder, in The Lovers\nof Gudrun (Earthly Paradise); Robert Buchanan, Balder the Beautiful;\nW. M. W. Call, Balder; and Thor. Sydney Dobell's Balder does not\nrehearse the Norse myth. It is a poem dealing with the spiritual\nmaladies of the time, excellent in parts, but confused and uneven.\nLongfellow's Saga of King Olaf (the Musician's Tale, Wayside Inn) is\nfrom the Heimskri[.n]gla, or Book of Stories of the Kings, edited by\nSnorri Sturlason. Many of the cantos of the Saga throw light on Norse\nmythology. See also the Hon. Roden No\u00ebl's Ragnarok (in the Modern\nFaust), for an ethical modification of the ancient theme.\n\n=Anses= (the Asa-folk, \u00c6sir, etc.). The word probably means _ghost_,\n_ancestral_ _spirit_,--of such kind as the Manes of the Romans. The\nderivation may be from the root _AN_, 'to breathe,' whence _animus_\n(Vigfusson and Powell, Corp. Poet. Bor. 1, 515). According to Jordanes,\nthe Anses were demigods, ancestors of royal races. The main cult of the\nolder religion was ancestor-worship, Thor and Woden being worshiped by\na tribe, but each family having its own _anses_, or deified ancestors\n(Corp. Poet. Bor. 2, 413). =Elf= was another name used of spirits\nof the dead. Later it sinks to the significance of \"fairy.\" Indeed,\nsay Vigfusson and Powell, half our ideas about fairies are derived\nfrom the heathen beliefs as to the spirits of the dead, their purity,\nkindliness, homes in hillocks (cf. the Irish \"folk of the hills,\"\n_Banshees_, etc.) (Corp. Poet. Bor. 2, 418).\n\nThe =Norse Religion= consists evidently of two distinct strata: the\nlower, of gods, that are personifications of natural forces, or deified\nheroes, with regular sacrifices, with belief in ghosts, etc.; the\nupper, of doctrines introduced by Christianity. To the latter belong\nthe Last Battle to be fought by Warrior-Angels and the Elect against\nthe Beast, the Dragon, and the Demons of Fire (Corp. Poet. Bor. 2, 459).\n\n=Odin= or =Woden= was first the god of the heaven, or heaven itself,\nthen husband of earth, god of war and of wisdom, lord of the ravens,\nlord of the gallows (which was called Woden's tree or Woden's steed).\n=Frigga= is Mother Earth. =Thor= is the lord of the hammer--the\nthunderbolt, the adversary of giants and all oppressors of man. He is\ndear to man, always connected with earth,--the husband of _Sif_ (the\nNorse Ceres). His goat-drawn car makes the rumbling of the thunder.\n=Freyr= means _lord_; patron of the Swedes, harvest-god. =Balder= means\nalso _lord_ or _king_. On the one hand, his attributes recall those\nof Apollo; on the other hand, his story appeals to, and is colored\nby, the Christian imagination. He is another figure of that radiant\ntype to which belong all bright and genial heroes, righters of wrong,\nblazing to consume evil, gentle and strong to uplift weakness: Apollo,\nHercules, Perseus, Achilles, Sigurd, St. George, and many another.\n=H\u00f6der= is the \"adversary.\"\n\n=Nanna=, Balder's wife, is the ensample of constancy; her name is\n_maiden_.\n\n=282.= The =Volsunga Saga=. The songs of the Elder Edda, from\nwhich Eirikr Magn\u00fasson and William Morris draw their Story of the\nVolsungs and the Nibelungs (London, 1870), are The Lay of Helgi the\nHunding's-Bane, The Lay of Sigrdrifa, The Short Lay of Sigurd, The\nHell-Ride of Brynhild, The Lay of Brynhild, The Ancient Lay of Gudrun,\nThe Song of Atli, The Whetting of Gudrun, The Lay of Hamdir, The Lament\nof Oddrun. For translations of these fragments, see pp. 167-270 of the\nvolume mentioned above. For the originals and literal translations of\nthese and other Norse lays of importance, see Vigfusson and Powell's\nCorpus Poeticum Boreale; and Vigfusson's Sturlunga Saga, 2 vols. For\nthe story of Sigurd, read William Morris' spirited epic, Sigurd the\nVolsung. Illustrative of the Norse spirit are Motherwell's Battle-Flag\nof Sigurd, the Wooing Song of Jarl Egill Skallagrim, and the Sword\nChant of Thorstein Raudi; also Dora Greenwell's Battle-Flag of Sigurd;\nand Charles Kingsley's Longbeard's Saga, in Hypatia. Baldwin's Story of\nSiegfried (New York, 1888) is a good introduction for young people.\n\n=283.= The =Nibelungenlied=. The little book entitled Echoes from Mist\nLand, by Auber Forestier (Chicago, Griggs & Co., 1877) will be of value\nto the beginner. Other translations are made by A. G. Foster-Barham\n(London, 1887) and by W. N. Lettsom, The Fall of the Nibelungers\n(London, 1874), both in verse. See also T. Carlyle, Nibelungenlied\n(Crit. Miscell.), Essays, 2, 220. Modern German editions by Simrock,\nBartsch, Marbach, and Gerlach are procurable. The edition by Werner\nHahn (Uebersetzung d. Handschrift A, Collection Spemann, Berlin u.\nStuttgart) has been used in the preparation of this account. The\noriginal was published in part by Bodmer in 1757; later, in full by\nC. H. Myller, by K. K. Lachmann (Nibelunge N\u00f4t mit der Klage, 1826);\nby K. F. Bartsch (Der Nibelunge N\u00f4t, 2 vols. in 3, 1870-1880), and\nin Pfeiffer's Deutsch. Classik. des Mittelalt., Vol. 3, (1872); and\nby others (see James Sime's _Nibelungenlied_, Encyc. Brit.). Of some\neffect in stimulating interest were Dr. W. Jordan's Studies and\nRecitations of the Nibelunge, which comprised the Siegfried Saga, and\nHildebrandt's Return. Especially of value is Richard Wagner's series of\noperas, The Ring of the Nibelung, =284-288=. In painting, Schnorr von\nCarolsfeld's wall pictures illustrative of the Nibelungenlied, in the\nroyal palace at Munich, are well known; also the illustrations of the\nfour operas by J. Hoffmann, and by Th. Pixis.\n\n=282-283.= Historically, =Siegfried= has been identified, variously,\nwith (1) the great German warrior Arminius (or Hermann), the son\nof Sigimer, chief of the tribe of the Cherusci, who inhabited the\nsouthern part of what is now Hanover and Brunswick. Born 18 B.C. and\ntrained in the Roman army, in the year 9 A.D. he overcame with fearful\nslaughter the Roman tyrants of Germany, defeating the Roman commander\nVarus and his legions in the Teutoburg Forest in the valley of the\nLippe; (2) Sigibert, king of the Ripuarian Franks, who in 508 A.D.\nwas treacherously slain while taking a midday nap in the forest; (3)\nSigibert, king of the Austrasian Franks whose history recalls more\nthan one event of the Sigurd and Siegfried stories; for he discovered\na treasure, fought with and overcame foreign nations,--the Huns, the\nSaxons, the Danes,--and finally in consequence of a quarrel between\nhis wife Br\u00fcnhilde and his sister-in-law Fredegunde, was, in 576 A.D.,\nassassinated by the retainers of the latter; (4) Julius, or Claudius\nCivilis, the leader of the Batavi in the revolt against Rome, 69-70\nA.D. It is probable that in Sigurd and Siegfried we have recollections\ncombined of two or more of these historic characters.\n\nMythologically, =Sigurd= (of the shining eyes that no man might face\nunabashed) has been regarded as a reflection of the god Balder.\n\n=Gunnar= and =Gunther= are, historically, recognized in a slightly\nknown king of the Burgundians, Gundicar, who with his people was\noverwhelmed by the Huns in 437 A.D.\n\n=Atli= and =Etzel= are poetic idealizations of the renowned Hunnish\nchieftain, Attila, who united under his rule the German and Slavonic\nnations, ravaged the Eastern Roman Empire between 445 and 450 A.D.,\nand, invading the Western Empire, was defeated by the Romans in the\ngreat battle of Ch\u00e2lons-sur-Marne, 451. He died 454 A.D.\n\n=Dietrich of Berne= (Verona) bears some very slight resemblance to\nTheodoric, the Ostrogoth, who, between 493 and 526 A.D., ruled from\nItaly what had been the Western Empire. In these poems, however, his\nearlier illustrious career is overlooked; he is merely a refugee in the\ncourt of the Hunnish king, and, even so, is confounded with uncles of\nhis who had been retainers of Attila; for the historic Theodoric was\nnot born until two years after the historic Attila's death.\n\nThese historic figures were, of course, merely suggestions for, or\ncontributions to, the great heroes of the epics, not prototypes; the\nsame is true of any apparently confirmed historic forerunners of\nBrynhild, or Gudrun, or Kriemhild. The mythological connection of these\nepics with the Norse myths of the seasons, Sigurd being Balder of the\nspring, and Hogni H\u00f6der of winter and darkness, is ingenious; but,\nexcept as reminding us of the mythic material which the bards were\nlikely to recall and utilize, it is not of substantial worth.\n\nIn the Norse version, the name =Nibelung= is interchangeable with the\npatronymic =Giuking=,--it is the name of the family that ruins Sigurd.\nBut, in the German version, the name is of purely mythical import: the\nNibelungs are not a human race; none but Siegfried may have intercourse\nwith them. The land of the Nibelungs is equally vague in the German\npoem; it is at one time an island, again a mountain, and in one\nmanuscript it is confounded with Norway. But mythically it is connected\nwith Niflheim, the kingdom of Hela, the shadowy realm of death. The\nearth, that gathers to her bosom the dead, cherishes also in her bosom\nthe hoard of gold. Naturally, therefore, the hoard is guarded by\nAlberich, the dwarf, for dwarfs have always preferred the underworld.\nSo (according to Werner Hahn, and others) there is a deep mythical\nmeaning in the Lay of the Nibelungs: beings that dwell far from the\nlight of day; or that, possessing the riches of mortality, march toward\nthe land of death.\n\n=284-288.= Wagner finished this series of operas in 1876. For a\ntranslation the reader is referred to the four librettos, Englished by\nFrederick Jameson (Schott & Co., London); or to the series published by\nThomas Y. Crowell & Co., New York.\n\n=298. Homer= is also called Melesigenes, son of Meles--the stream on\nwhich Smyrna was built. The Homerid\u00e6, who lived on Chios, claimed to\nbe descended from Homer. They devoted themselves to the cultivation of\nepic poetry.\n\n=Arion.= See George Eliot's poem beginning\n\n Arion, whose melodic soul\n Taught the dithyramb to roll.\n\n=Other Greek Poets of Mythology= to be noted are =Callimachus= (260\nB.C.), whose Lock of Berenice is reproduced in the elegiacs of\nCatullus, and from whose Origins (of sacred rites) Ovid drew much of\nhis information. Also =Nicander= (150 B.C.), whose Transformations, and\n=Parthenius=, whose Metamorphoses furnished material to the Latin poet.\nWith Theocritus should be read =Bion= and =Moschus=, all three masters\nof the idyl and elegy. See Andrew Lang's translation of Theocritus,\nBion, and Moschus; and the verses by Dobson and Gosse with which Lang\nprefaces the translation. =Lycophron= (260 B.C.) wrote a poem called\nAlexandra, on the consequences of the voyage of Paris to Sparta. The\nLoves of Hero and Leander were probably written by a grammarian,\n=Mus\u00e6us=, as late as 500 A.D.\n\n=Translations of Greek Poets.= The best verse translations of Homer are\nthose of Chapman, Pope, the Earl of Derby, Cowper, and Worsley.\n\nAn excellent prose translation of the Iliad is that of Lang, Leaf, and\nMyers (London, Macmillan & Co., 1889); of the Odyssey, that by Butcher\nand Lang (London, Macmillan & Co., 1883); or the translation into\nrhythmical prose by G. H. Palmer (Boston, Houghton Mifflin Co., 1892).\n\n=The Tragic Poets.= Plumptre's translations of \u00c6schylus and Sophocles,\n2 vols. (New York, Routledge, 1882); A. S. Way's translation of\nEuripides, into verse (London, 1894); Wodhull, Potter, and Milman's\ntranslation of Euripides in Morley's Universal Library (London,\nRoutledge, 1888); Potter's \u00c6schylus, Francklin's Sophocles, Wodhull's\nEuripides, 5 vols. (London, 1809). Other translations of \u00c6schylus\nare J. S. Blackie's (1850); T. A. Buckley's (London, Bohn, 1848); E.\nA. A. Morshead's (1881); and Verrall's;--of Sophocles: Thos. Dale's,\ninto verse, 2 vols. (1824); R. Whitelaw's, into verse (1883); Lewis\nCampbell's Seven Plays, into verse (1883);--of Euripides: T. A.\nBuckley's, 2 vols. (London, Bohn, 1854-1858); and Verrall's.\n\n=Other Poets.= Lang's prose translation of Theocritus, Bion, and\nMoschus; C. S. Calverley's verse translation of Theocritus (Boston,\n1906). Pindar,--Odes, transl. by F. A. Paley (London, 1868); by Ernest\nMyers (London, 1874). Translations of Greek Lyric Poets,--Collections\nfrom the Greek Anthology, by Bland and Merivale (London, 1833); The\nGreek Anthology, by Lord Neaves, Ancient Classics for English Readers\nSeries (London, 1874); Bohn's Greek Anthology, by Burges (London, 1852).\n\nOn Homer, Hesiod, Theocritus, the tragic poets, Pindar, etc., see\nalso Collins' excellent series of Ancient Classics for English\nReaders, Philadelphia (Lippincott); and the series entitled \"English\nTranslations from Ancient and Modern Poems,\" by Various Authors, 3\nvols. (London, 1810). Also W. C. Wilkinson's College Greek Course,\nand College Latin Course, in English (1884-1886). Of \u00c6schylus read\nthe Prometheus Bound, to illustrate =15=; the Agamemnon, Cho\u00ebphori,\nand Eumenides, to illustrate =193=, =228-230=; and the Seven against\nThebes, for =187=. Of Sophocles read [OE]dipus Rex, [OE]dipus at\nColonus, Antigone, with =182-185=, etc.; Electra, with =228=; Ajax and\nPhiloctetes, with the Trojan War; Women of Trachis, with =162=. Of\nEuripides read Medea, Ion, Alcestis, Iphigenia in Aulis and in Tauris,\nElectra.\n\n=299. Roman Poets. Horace= (65 B.C.) in his Odes, Epodes, and Satires\nmakes frequent reference and allusion to the common stock of mythology,\nsometimes telling a whole story, as that of the daughters of Dana\u00fcs.\n=Catullus= (87 B.C.), the most original of Roman love-poets, gives\nus the Nuptials of Peleus and Thetis (for selections in English\nhexameters, see =177= and =191=), the Lock of Berenice, and the Atys.\n=Manilius= of the age of Augustus wrote a poem on Astronomy, which\ncontains a philosophic statement of star-myths. =Valerius Flaccus= (d.\n88 A.D.) based his Argonautics upon the poem of that name by Apollonius\nof Rhodes. =Statius= (61 A.D.) revived in the brilliant verses of\nhis Thebaid and his Achille\u00efd the epic myths and epic machinery,\nbut not the vigor and naturalness of the ancient style. To a prose\nwriter, =Hyginus=, who lived on terms of close intimacy with Ovid, a\nfragmentary work called the Book of Fables, which is sometimes a useful\nsource of information, and four books of Poetical Astronomy, have been\nattributed. The works, as we have them, could not have been written by\na friend of the cultivated Ovid.\n\n=Translations and Studies.= For a general treatment of the great\npoets of Rome, the student is referred to W. L. Collins' series of\nAncient Classics for English Readers (Philadelphia, Lippincott).\nFor the Cupid and Psyche of =Apuleius=, read Walter Pater's Marius\nthe Epicurean (London, 1885). Of translations, the following are\nnoteworthy: Ovid,--the Metamorphoses, by Dryden, Addison, and others;\ninto English blank verse by Ed. King (Edinburgh, 1871); prose by Riley\n(London, 1851); verse by Geo. Sandys (London, 1626). Virgil: complete\nworks into prose by J. Lonsdale and S. Lee (New York, Macmillan);\n\u00c6neid, translations,--into verse by John Conington (London, 1873);\ninto dactylic hexameter by Oliver Crane (New York, 1888); the \u00c6neids\ninto verse by Wm. Morris (London, 1876); and by Theodore C. Williams\n(Boston, Houghton Mifflin Co.); Bks. 1-4, by Stanyhurst (Arber's\nReprint) (1582); \u00c6neis, by Dryden. Catullus: transl. by Robinson Ellis\n(London, 1871); by Sir Theodore Martin (Edinburgh, 1875). Horace:\ntransl. by Theodore Martin (Edinburgh, 1881); by Smart (London, 1853);\nOdes and Epodes in Calverley's translations (London, 1886); Odes, etc.,\nby Conington (London, 1872); Odes and Epodes, by Lord Lytton (New York,\n1870); complete, by E. C. Wickham (Oxford, Clarendon Press); Odes, by\nA. S. Way (London, 1876) and Epodes (1898). Statius: Thebaid, transl.\nby Pope.\n\n=300.= For =Scandinavian literature=, see footnotes to =300=, and\nreferences in =C. 268-282=.\n\n=Runes= were \"the letters of the alphabets used by all the old Teutonic\ntribes.... The letters were even considered magical, and cast into\nthe air written separately upon chips or spills of wood, to fall, as\nfate determined, on a cloth, and then be read by the interpreters....\nThe association of the runic letters with heathen mysteries and\nsuperstition caused the first Christian teachers to discourage, and,\nindeed, as far as possible, suppress their use. They were therefore\nsuperseded by the Latin alphabet, which in First English was\nsupplemented by retention of two of the runes, named 'thorn' and 'wen,'\nto represent sounds of 'th' and 'w,' for which the Latin alphabet had\nno letters provided. Each rune was named after some object whose\nname began with the sound represented. The first letter was F, Feoh,\nmoney; the second U, Ur, a bull; the third Th, Thorn, a thorn; the\nfourth O, Os, the mouth; the fifth R, Rad, a saddle; the sixth C, Cen,\na torch; and the six sounds being joined together make Futhorc, which\nis the name given to the runic A B C.\"--MORLEY, English Writers, 1,\n267. See also Vigfusson and Powell's Corpus Poeticum Boreale, 2, 691,\nunder Runes and Rune-Stones; Cleasby and Vigfusson's Icelandic-English\nDictionary; and George Stephens' Old Northern Runic Monuments, 2 vols.\n(London, 1866-1868).\n\n=301.= For =Translations of the Nibelungenlied=, see =C. 283=. For\nother German lays of myth,--the Gudrun, the Great Rose Garden, the\nHorned Siegfried, etc.,--see Vilmar's Geschichte der deutschen\nNational-Litteratur, 42-101 (Leipzig, 1886). See also, in general,\nGrimm's Deutsche Mythologie (G\u00f6ttingen, 1855); Ludlow's Popular Epics\nof the Middle Ages, 2 vols. (London, 1865); George T. Dippold's Great\nEpics of Medi\u00e6val Germany (Boston, 1891).\n\n=302. Egyptian.= See Birch's Guide to the First and Second Egyptian\nRooms, British Museum; Miss A. B. Edwards' A Thousand Miles up the Nile\n(London, 1876).\n\n_For the principal divinities, see Index to this work._\n\n=303. Indian.= Max M\u00fcller's translation of the Rig-Veda-Sanhita; Sacred\nBooks of the East, 35 vols., edited by Max M\u00fcller,--the Upanishads,\nBhagavadgita, Institutes of Vishnu, etc., translated by various\nscholars (Oxford, 1874-1890); M\u00fcller's History of Sanskrit Literature\n(London, 1859); Weber's History of Indian Literature (London, 1878);\nH. H. Wilson's Rig-Veda-Sanhita, 6 vols. (London, 1850-1870), and\nhis Theatre of the Hindus, 2 vols. (London, 1871); Muir's Sanskrit\nTexts, and his Principal Deities of the Rig-Veda, 5 vols. (London,\n1868-1873); J. Freeman Clarke's Ten Great Religions (Boston, 1880); the\nMah\u00e2bh\u00e2rata, translated by Protap Chundra Roy, Nos. 1-76 (Calcutta,\n1883-1893). See Indian Idylls, by Edwin Arnold; The Episode of\nNala,--Nalop\u00e1khy\u00e1nam,--translated by Monier Williams (Oxford, 1879). Of\nthe R\u00e2m\u00e2yana, a paraphrase (in brief) is given by F. Richardson in the\nIliad of the East (London, 1870). Sir William Jones' translation of the\nSakuntala; E. A. Reed's Hindu Literature, with translations (Chicago,\n1891), W. Ward's History, Literature, and Mythology of the Hindoos, 3\nvols. (London, 1822). On Buddhism, read Arnold's Light of Asia.\n\n_For the chief divinities of the Hindus, see Index to this work._\n\n=304. Persian.= J. Freeman Clarke's Ten Great Religions; Johnson's\nOriental Religions; Haug's Essays on the Sacred Language, Literature,\netc., of the Parsis, by E. W. West (Boston, 1879). In illustration\nshould be read Moore's Fire-Worshipers in Lalla Rookh.\n\nFOOTNOTES:\n\n[422] For assistance in collecting references to English poetry the\nauthor is indebted to Miss M. B. Clayes, a graduate of the University\nof California.\n\n[423] Popular etymology. The suffix _[=i]on_ is patronymic.\n\n[424] Popular etymology. The root of the name indicates _Fire-god_.\n\n[425] For Latin names, see Index or Chapters II-V.\n\n[426] The Olympian Religion (_No. Am. Rev._ May, 1892). See his\nJuventus Mundi.\n\n[427] Furtw\u00e4ngler (Meisterw. d. gr. Plastik) condemns the \u00e6gis.\n\n[428] This _dawn_ theory is certainly far-fetched.\n\n\n\n\nA FEW RULES FOR THE ENGLISH PRONUNCIATION OF GREEK AND LATIN PROPER\nNAMES\n\n[These rules will cover most cases, but they are not intended to\nexhaust the subject. The reader is referred to the Latin grammars and\nthe English dictionaries.]\n\n\nI. _Quantity._ The reader must first ascertain whether the second last\nsyllable of the word is long. In general a syllable is long in quantity:\n\n(1) If it contains a diphthong, or a long vowel: _Bau_-cis,\nAc-_tae_-on, _M[=e]_-tis, O-_r[=i]_-on, _Fl[=o]_-ra.\n\n(2) If its vowel, whether long or short, is followed by _j_, _x_, or\n_z_, or by any two consonants except a mute and a liquid: _A\u00b4_-jax,\nMeg-a-_ba\u00b4_-zus, A-_dras\u00b4_-tus.\n\n_Note (a)._ Sometimes two vowels come together without forming a\ndiphthong. In such cases the di\u00e6resis is, in this volume, used to\nindicate the division: _e.g._ Men-e-l[=a]'-_\u00fcs_, Pe-n[=e]'-_\u00fcs_.\n\n_Note (b)._ The _syllable_ formed by a short vowel before a mute\nwith _l_ or _r_ is sometimes long and sometimes short: _e.g._\nCle-o-_p[=a]'_-tra, or Cle-op\u00b4-_[)a]_-tra; Pa-_tr[=o]'_-clus, or\nPat\u00b4-_r[)o]_-clus.\n\n\nII. _Accent._\n\n(1) The accent may be principal, or subordinate: Hel^{2}-les-pon\u00b4-tus.\n\n(2) =The principal accent falls on the second last syllable (_penult_):\nAm-phi-tri\u00b4-te; or on the third last syllable (_antepenult_):\nAm-phit\u00b4-ry-on.=\n\n_Note (a)_ In words of two syllables, it falls on the _penult_: Cir\u00b4-ce.\n\n_Note (b)_ =In words of more than two syllables, it falls on the\n_penult_ when that syllable is long; otherwise, on the _antepenult_:\n\u00c6-n[=e]'-as, Her\u00b4-c[)u]-les.=\n\n(3) The subordinate accent:\n\n_Note (a)_ If only two syllables precede the principal accent,\nthe subordinate accent falls on the first syllable of the word:\n_Hip^{2}-po_-cr[=e]'ne.\n\n_Note (b)_ If more than two syllables precede the principal accent, the\nlaws governing the principal accent apply to those preceding syllables:\n_Cas^2-s[)i]-o_-p[=e]'-a.\n\n=_Note._ In the Index of this work, when the _penult_ of a word is\nlong, it is marked with the accent; when the penult is short, the\n_antepenult_ is marked.= The reader should however bear in mind that a\n_syllable_ may be long even though it contain a short vowel, as by Rule\nI, (2), above.\n\n\nIII. _Vowels and Consonants._ These rules depend upon those of\nSyllabication:\n\n(1) A vowel generally has its _long_ English sound when it ends a\nsyllable: _He\u00b4-ro_, _I\u00b4-o_, _Ca\u00b4-cus_, _I-tho\u00b4-me_, _E-do\u00b4-ni_,\n_My-ce\u00b4-n\u00e6_.\n\n(2) A vowel generally has its _short_ English sound in a syllable that\nends in a consonant: _Hel\u00b4-en_, _Sis\u00b4_-y-_phus_, _Pol_-y-phe\u00b4-_mus_.\nBut _e_ in the termination _es_ has its long sound: Her\u00b4_mes_,\nA-tri\u00b4-_des_.\n\n(3) The vowel _a_ has an _obscure_ sound when it ends an unaccented\nsyllable: A-ch\u00e6\u00b4-_a_; so, also, the vowel _i_ or _y_, not final, after\nan accented syllable: Hes-per\u00b4-_i_-des; and sometimes _i_ or _y_ in an\nunaccented first syllable: _Ci_-lic\u00b4-i-a.\n\n(4) Consonants have their usual English sounds; but _c_ and _g_ are\nsoft before _e_, _i_, _y_, _\u00e6_, and _[oe]_: _Ce\u00b4_-to, _Ge\u00b4_-ry-on,\n_Gy\u00b4-ges_; _ch_ has the sound of _k_: _Chi\u00b4_-os; and _c_, _s_, and _t_,\nimmediately preceded by the accent and standing before _i_ followed by\nanother vowel, commonly have the sound of _sh_: _Sic\u00b4_-y-on (but see\nLatin grammars and English dictionaries for exceptions).\n\n\nIV. _Syllabication._\n\n(1) The penultimate syllable ends with a vowel: _e.g._ Pe-_ne\u00b4_-us,\nI-_tho\u00b4_-me, _A\u00b4_-treus, Hel\u00b4-_e_-nus;\n\n_Except when_ its vowel is followed by _x_ or by two consonants (not\na mute with _l_ or _r_), then the vowel is joined with the succeeding\nconsonant: _Nax_-os, _Cir_-ce, Aga-_mem_-non.\n\n(2) Other syllables (not ultimate or penultimate) end with a vowel:\n_e.g._ _Pi_-r\u00e6-us;\n\n_Except when (a)_ the vowel is followed by _x_ or any two consonants\n(not a mute with _l_ or _r_): _e.g._ _Ix_-i\u00b4-on, Pel-o-_pon_-ne\u00b4-sus;\n_and when (b)_ the syllable is accented and its vowel followed by one\nor more consonants: _e.g._ _An_^2-ax-_ag\u00b4_-o-ras, Am-_phic\u00b4_ty-on,\n[OE]d-'i-pus.\n\n_Note (a)._ But an accented _a_, _e_, or _o_ before a single consonant\n(or a mute with _l_ or _r_), followed by _e_, _i_, or _y_ before\nanother vowel, is not joined with the succeeding consonant, and\nconsequently has the long sound: Pau-_s[=a]'_-ni-as; De-_m[=e]'_-tri-us.\n\n_Note (b)._ An accented _u_ before a single consonant (or mute with _l_\nor _r_) is not joined with the succeeding consonant, and consequently\nhas the long sound: _J[=u]'_-pi-ter.\n\n(3) =All words have as many syllables as they have vowels and\ndiphthongs.=\n\n\n\n\nINDEX OF MYTHOLOGICAL SUBJECTS AND THEIR SOURCES\n\n[Ordinary figures refer to pages of the Text. Figures in italics\npreceded by _C._ refer to sections of the Commentary and incidentally\nto the corresponding sections in the Text.\n\nIn the case of words of which the correct pronunciation has not seemed\nto be clearly indicated by their accentuation and syllabication,\nthe sounds of the letters have been denoted thus: [=a], like _a_ in\n_gr[=a]y_; [='a], like _[=a]_, only less prolonged; [)a], like _a_ in\n_h[)a]ve_; \u00e4, like _a_ in _f\u00e4r_; [.a], like _a_ in _sof[.a]_; [a:]\nand au like _a_ in _[a:]ll_; \u00e6, [=e], and [oe], like _ee_ in _meet_;\n[='e], like _[=e]_, only less prolonged; [)e], like _e_ in _[)e]nd_;\n\u00ea, like _e_ in _th\u00eare_; [~e], like _e_ in _[~e]rr_; [=i], like _i_ in\n_p[=i]ne_; [)i], like _i_ in _p[)i]n_; [=o], like _[=o]_ in _n[=o]te_;\n[='o], like _[=o]_, only less prolonged; [)o], like _o_ in _n[)o]t_;\n\u00f4, like _o_ in _\u00f4rb_; [)oo], like _oo_ in _f[)oo]t_; [=oo], like _oo_\nin _m[=oo]n_; ou, as in _out_; [=u], like _u_ in _[=u]se_; \u00fc, like the\nFrench _u_; [-c] and [-c]h, like _k_; th, as in _the_; \u00e7, like _s_;\n[=g], like _g_ in _[=g]et_; [.g], like _j_; [s+], like _z_; [.c]h, as\nin German _ach_; G, small capital, as in German _Hamburg_.]\n\n\n A\u00b4bas, 207\n\n Ab-syr\u00b4tus, 232;\n _C. 163-167_ (Illustr.)\n\n [.A]-by\u00b4d[)o]s, 32, 142;\n _C. 34_\n\n Ab\u00b4y-la, 219\n\n [.A]-\u00e7es\u00b4t[=e][s+], 352, 368, 369\n\n [.A]-\u00e7e\u00b4t[=e][s+], 152; the vengeance of Bacchus, 154, 155\n\n [.A]-[-c]h\u00e6\u00b4[.a]ns, their origin, 16; 274, 288;\n _C. 148_ (2)\n\n [.A]-[-c]ha\u00b4t[=e][s+], 366\n\n [)A][-c]h-e-lo\u00b4us, myth of, 203, 204;\n _C. 146-147_\n\n [)A][-c]h\u00b4e-r[)o]n, 47, 127, 327\n\n [.A]-[-c]hil\u00b4l[=e][s+], 75, 91, 179, 237;\n his descent, 269, 272, 275, 276;\n character of, 274;\n in the Trojan War, 279-308;\n in Scyros, 279, 280;\n wrath of, 283;\n and Patroclus, 296;\n remorse of, 299;\n reconciliation with Agamemnon, 300;\n slays Hector and drags his body, 301-303;\n and Priam, 304-306;\n death of, 307, 308, 313, 328, 345, 453;\n _C. 190-194_ (1), _199, 207_\n\n A\u00b4\u00e7is, 198, 200;\n _C. 141_\n\n A\u00b4c[)o]n, _C. 138_\n\n Acontius ([.a]-con\u00b4sh[)i]-us), _C. 64_\n\n [.A]-cris\u00b4[)i]-us, 207;\n doom of, 208-214;\n _C. 149-154_\n\n Ac-ro-\u00e7e-rau\u00b4nian Mountains, 118;\n _C. 93_\n\n Ac-t\u00e6\u00b4on, 89;\n myth of, 120-122, 261;\n _C. 59_, table E; _95_\n\n Ad-me\u00b4ta, 218\n\n Ad-me\u00b4tus, 104, 230;\n Lowell's Shepherd of King A., 105, 106;\n and Alcestis, 106-110\n\n [.A]-do\u00b4nis, myth of, 126-128;\n Lang's translation of Bion's Lament for A., 126-128;\n _C. 100_\n\n Ad-ras-te\u00b4a, 5\n\n [.A]-dras\u00b4tus, 264, 265\n\n \u00c6-a\u00e7\u00b4[)i]-d[=e][s+], Achilles, 272\n\n \u00c6[.a]-cus, 51, 53, 246, 269;\n king of \u00c6gina, 73, 75;\n _C. 190-194_ (1)\n\n \u00c6-\u00e6\u00b4a, isle of, 318, 324, 328\n\n \u00c6-e\u00b4t[=e][s+], 230-232;\n genealogy, _C. 172_\n\n \u00c6\u00b4[.g]\u00e6, palace of Neptune near, 56\n\n \u00c6-[.g]\u00e6\u00b4[)o]n, _C. 4_\n\n \u00c6-[.g]e\u00b4[.a]n Sea, 177\n\n \u00c6geus (e\u00b4j[=u]s), 235, 250, 251, 252, 256;\n _C. 61, 148_ (4), _174_\n\n \u00c6-[.g]i\u00b4na, island of, 53;\n daughter of Asopus, myth of, 64, 73-75, 169;\n plague of the island, 73-75; _C. 61_\n\n \u00c6[.g]is, of Jupiter, 21;\n of Minerva, 23, 213\n\n \u00c6-[.g]is\u00b4thus, 275, 276, 314, 315;\n _C. 190-194_ (2), _228-230_ (In Art)\n\n \u00c6gl[=e], a nymph in pastoral poetry\n\n \u00c6g[)o]n, 185;\n _C. 129-130_\n\n \u00c6-[.g]yp\u00b4tus, 207;\n _C. 149-154_\n\n \u00c6-ne\u00b4[.a]s, 126, 168, 206, 265, 276, 280, 289, 290, 299-301;\n _C. 190-194_ (5), _207, 245-254_.\n See _\u00c6neid_\n\n \u00c6-ne\u00b4[.a]s Syl\u00b4vius, king of Alba Longa, third in descent from \u00c6neas\n\n \u00c6-ne\u00b4id, 456;\n the narrative of, 346-372;\n from Troy to Italy, 346;\n the departure from Troy, the promised empire, 347;\n the Harpies, 348;\n Epirus, the Cyclopes, 349;\n resentment of Juno, 350;\n sojourn at Carthage, Dido, 350-352;\n Palinurus, Italy, 352;\n the Sibyl of Cum\u00e6, 352-354, 361;\n the infernal regions, 354-358;\n the Elysian Fields, 358, 359;\n the valley of oblivion, 359;\n war between Trojans and Latins, 362-372;\n gates of Janus opened, 363;\n Camilla, 364;\n alliance with Evander, 365-367;\n site of future Rome, 366;\n Turnus' attack, 367;\n Nisus and Euryalus, 368-370;\n death of Mezentius, 370, 371;\n of Pallas and of Camilla, 371, 372;\n the final conflict, 372;\n _C. 245-260, 299_\n\n \u00c6-o\u00b4l[)i]-a, 39\n\n \u00c6o-lus, of Thessaly, 16, 206, 214;\n myths of his family, 229-236;\n quest of the Golden Fleece, 230-233;\n connection with Medea, 233-236;\n _C. 38_ (9), _125, 148_ (5), table I.\n\n \u00c6o-lus (wind god), 39, 170, 175, 177, 323, 324, 350;\n _C. 38_ (9), _125, 148_, (5), table I.\n See _Hippotades_\n\n \u00c6pytus (ep\u00b4[)i]-tus), 241\n\n [.A]-[)e]r\u00b4o-p[=e], 275;\n genealogy, _C. 172, 190-194_ (2)\n\n \u00c6schylus (es\u00b4k[)i]-lus), 455;\n references to, 265, 314-316, _C. 10-15_;\n translations, _C. 298_\n\n \u00c6sculapius (es-k[=u]-la\u00b4p[)i]-us), attributes of, 38;\n myth of, 104; 260, 296;\n _C. 38_ (8), _80_\n\n \u00c6-se\u00b4pus, 179\n\n \u00c6s[)o]n, 230, 233, 234;\n _C. 163-167_ (Illustr.)\n\n \u00c6sop, 2\n\n \u00c6ther, 3;\n or Light, 4\n\n \u00c6-th[)i]-o\u00b4p[)i]-a, 43, 97, 179, 211;\n _C. 128_\n\n \u00c6-th[=i]'o-pis, 453\n\n \u00c6thra, 250, 251;\n _C. 174, 190-194_ (2)\n\n \u00c6tna (et\u00b4na), Mount, 25, 96, 104, 159, 223;\n _C. 76_\n\n \u00c6-to\u00b4l[)i]-a, 237\n\n \u00c6-to\u00b4lus, 206;\n family of, 237-245;\n _C. 148_ (3), (5), table I; _168_\n\n Africa, 350, 447, 448\n\n Ag-[.a]-mem\u00b4n[)o]n, 99;\n family of, 275, 276, 455;\n in the Trojan War, 280-300;\n quarrel with Achilles, 284, 285;\n reconciliation, 300;\n return to Greece, and death, 314; 328;\n _C. 190-194_ (2), _196_\n\n [.A]-ga\u00b4v[=e], 89, 153, 156, 261;\n _C. 57_, table D; _182-189_, table N\n\n Age of Gold. See _Golden Age_\n\n [.A]-[.g]e\u00b4n[)o]r, father of Cadmus, 68, 87, 206, 207;\n genealogy, _C. 59, 148_ (1), _149-154_\n\n [.A]-[.g]e\u00b4n[)o]r, son of Priam, 301\n\n Aglaia ([.a]-gla\u00b4ya or [.a]-gla\u00b4[)i]-a), one of the Graces, 26, 36;\n wife of Vulcan, 26\n\n Aglauros ([.a]-gl\u00f4-r[)o]s), daughter of Cecrops, _C. 174_.\n See _Herse_\n\n Agni (ag\u00b4n[=e]). See _Hindu divinities_ (1)\n\n [.A]-grot\u00b4[~e]-ra, _C. 32_.\n See _Diana_\n\n \u00c4h\u00b4r[)i]-m[.a]n, 463\n\n A\u00b4jax the Great, son of Telamon, 237, 275, 276, 280, 286, 288,\n 293-299, 308, 328, 453;\n _C. 190-194_ (1), _204, 207_\n\n A\u00b4jax the Less, son of O\u00efleus, king of the Locrians, a leader in\n the Trojan War, 286\n\n Al\u00b4ba Lon\u00b4ga, 372\n\n Alberich (\u00e4l\u00b4b[~e]r-[)i]G), in Wagner's Ring, 410-414, 419-428.\n See also _Andvari_\n\n Al-\u00e7\u00e6\u00b4us, 216, 453\n\n Al-\u00e7es\u00b4tis, 106-110, 225, 282, 455;\n _C. 83_\n\n Al-\u00e7i\u00b4d[=e][s+], 216; _C. 156-162_;\n genealogy, _149-154_, table J\n\n Al-\u00e7in\u00b4o-us, 332-337\n\n Alc-m\u00e6\u00b4[)o]n, 268\n\n Alc-me\u00b4n[=e], 64, 107, 214, 215, 328\n\n Alcyoneus (al-si\u00b4o-n[=u]s), 7.\n See _Giants, Greek_\n\n [.A]-le[-c]'t[=o], 54, 363\n\n Aleian ([.a]-le\u00b4y[.a]n) field, 215;\n _C. 155_\n\n Alexander. See _Paris_\n\n [.A]-lex\u00b4is, a beautiful youth in Virgil's second Eclogue\n\n Alfadur (\u00e4l\u00b4f\u00e4-d[=oo]r), 375, 395, 404.\n See _Odin_\n\n [.A]-lo\u00b4[.a]-d\u00e6, or [)A]l-o-[=i]'d\u00e6. See _Aloeus_\n\n Aloeus ([.a]-lo\u00b4[=u]s), or [.A]-lo\u00b4as, 93\n\n Al-phe\u00b4n[)o]r, son of Niobe, 100\n\n Alphesib[oe]us (al-fes-[)i]-be\u00b4us), an ideal singer in pastorals\n\n Al-phe\u00b4us, 118, 119, 218;\n _C. 93_\n\n Alps, 97\n\n Al-th\u00e6\u00b4a, 237, 238, 240, 241, 242, 275;\n _C. 168_, table K\n\n Am-al-the\u00b4a, 5;\n _C. 146-147_\n\n Amaryllis (am-[.a]-ril\u00b4is), a fair shepherdess of pastoral poetry\n (Theocritus, Virgil)\n\n Am-[.a]-se\u00b4nus river, 364\n\n [.A]-ma\u00b4ta, 363\n\n Am\u00b4[.a]-thus, 126, 149, 182;\n _C. 100_\n\n Am\u00b4[.a]-zons, and Hercules, 219;\n and Theseus, 258;\n at Troy, 307;\n C. _156-162_ (Illustr.), _176-181_ (Interpret.)\n\n Ambrosia (am-bro\u00b4zh[)i]-a), 95;\n _C. 76_\n\n Am\u00b4m[)o]n (Jupiter Ammon), temple and oracle of, 20;\n _C. 146-147_.\n See _Egyptian divinities_ (2)\n\n A\u00b4mor. See _Cupid_\n\n Am-ph[)i]-[.a]-ra\u00b4us, 239, 265, 268, 451;\n _C. 148_ (5)\n\n Am-phil\u00b4o-[-c]hus, 268\n\n Am-phi\u00b4[)o]n, 99, 100, 206, 451;\n myth of, 75-77;\n from Tennyson's Amphion, 76, 77;\n _C. 62_\n\n Am-ph[)i]-tri\u00b4t[=e], the Nere\u00efd, wife of Neptune, 55, 198, 454\n\n Am-phit\u00b4ry-[)o]n, 216\n\n Amphrysus (am-fri\u00b4sus) river, 105\n\n Am-y-mo\u00b4n[=e], 170, 217;\n _C. 119-120_\n\n Amyntas ([.a]-min\u00b4t[.a]s), a lovely boy in pastoral poetry.\n See _Virgil, Bucolics 3_\n\n [.A]-nac\u00b4re-[)o]n, 453, 454\n\n An-[.a]-dy-om\u00b4[)e]-n[=e] (_rising_ from the water), _C. 34_.\n See _Venus_\n\n An-ax-[)a]r\u00b4e-t[=e], 195\n\n An-\u00e7\u00e6\u00b4us, 239\n\n Ancestor worship in China, 437\n\n An-[-c]hi\u00b4s[=e][s+], 125, 276, 280, 346-348, 353, 359, 360;\n _C. 190-194_ (5), _245-257_\n\n An-\u00e7i\u00b4l[=e], _C. 28_\n\n An-dr\u00e6\u00b4m[)o]n, 192\n\n An-dro\u00b4[.g]e-us, 252\n\n An-drom\u00b4[.a]-[-c]h[=e], 280, 291-293, 303, 313, 349;\n _C. 207_\n\n An-drom\u00b4e-da, 169;\n and Perseus, 211-214, 215, 216;\n lines from Kingsley's Andromeda, 212;\n _C. 149-154_\n\n Andvari (\u00e4nd\u00b4v\u00e4-r[=e]), 401-405;\n as Alberich, 410-414, 419-428;\n _C. 282-283_\n\n Angerbode (\u00e4ng\u00b4[~e]r-bo\u00b4d[~e]), 387\n\n An\u00b4s[=e][s+] (\u00c6\u00b4s[)i]r, \u00c4\u00b4s\u00e4-folk), 374, 376;\n _C. 268-281_\n\n An-t\u00e6\u00b4us, 170, 220\n\n An-te\u00b4a, 214\n\n An-te\u00b4n[)o]r, 288\n\n An\u00b4t[='e]-r[)o]s, 35\n\n An-thes-te\u00b4r[)i]-a, _C. 42, 110-112_\n\n Anthology, Greek, translations of, _C. 298_\n\n Anthropological method, 442\n\n An-ti[=g]'o-n[=e], 263, 264, 266, 267;\n _C. 182-189_\n\n An-til\u00b4o-[-c]hus, 179, 299\n\n An-tin\u00b4o-us, 343\n\n An-ti\u00b4o-p[=e], daughter of Asopus, 64, 328;\n myth of, 75-77;\n _C. 62_\n\n An-ti\u00b4o-p[=e], wife of Theseus, 258, 259;\n _C. 174_, table M\n\n An-to\u00b4r[=e][s+], 370\n\n [.A]-n[=u]'bis.\n See _Egyptian divinities_ (2)\n\n [.A]-pel\u00b4l[=e][s+], a Greek painter of the time of Alexander the Great.\n See _John Lyly's Alexander and Campaspe_\n\n Apennines, 97\n\n Aph-ro-di\u00b4t[=e] (foam-born). See _Venus_\n\n A\u00b4pis, oracle of, _C. 308_.\n See _Egyptian divinities_ (1)\n\n [.A]-pol\u00b4lo, Ph[oe]bus, and his lyre, 18;\n son of Latona, 19;\n meaning of names, 26;\n attributes, 26-29;\n among the Hyperboreans, the Delphians, his victory over Python, 26;\n the Pythian games, his oracles, patronage of music, etc., 27;\n favorite animals, 28;\n Shelley's Hymn of Apollo, 28;\n myths of, 91-117;\n the P\u00e6an of victory, 92;\n victory over Tityus and the Aload\u00e6, 92, 93;\n A. and Hyacinthus, 93, 94;\n and Pha\u00ebthon, 94-98;\n sends a plague upon the Greeks before Troy, 98, 99;\n A. and Niobe, 99-103;\n and Psamathe and Linus, 103, 104;\n and Coronis and \u00c6sculapius, 104;\n and the Cyclopes, 104;\n in exile, serves Admetus, 104-110;\n Lowell's Shepherd of King Admetus, 105, 106;\n serves Laomedon, 110;\n as a musician, Pan, Midas, Marsyas, 110-112;\n Shelley's Hymn of Pan, 111, 112;\n loves of A., Calliope, Cyrene, Daphne, 112-114;\n Lowell's lines upon Daphne, 114;\n Marpessa, 115, 116;\n quotations from Stephen Phillips' Marpessa, 115, 116;\n Clytie, 116, 117;\n quotation from Moore's Clytie, 117;\n A. and Orion, 122;\n and Mercury, 150, 151;\n and Neptune, 169;\n and Hercules, 216;\n and Daphnis, 223;\n in Trojan War, 283-285, 290, 296-304, 307, 308;\n Cassandra, 313;\n the Sibyl, 353, 361;\n interpretations of, 432, 434, 437, 440, 442, 445;\n _C. 30, 68, 72-73, 76-89, 109_\n\n [.A]-pol-lo-do\u00b4rus, 455;\n references to, 75, 115, 122, 125, 160, 169, 177, 201, 207, 208,\n 214, 215, 230, 241, 242, 246, and footnotes _passim_\n\n Ap-ol-lo\u00b4n[)i]-us (of Rhodes), 455;\n references to, 125, 193, 230, 242, 269;\n _C. 4_\n\n Apuleius (ap-[=u]-le\u00b4yus), 457;\n references to, 128, 137;\n translation of, _C. 298_\n\n Aquilo (ak\u00b4w[)i]-lo), 38\n\n [.A]-rach\u00b4n[=e], myth of, 82-84;\n _C. 65-66_\n\n \u00c4r-ca\u00b4di-a, 67, 110, 217, 218, 241, 265, 365, 366\n\n \u00c4r\u00b4c[)a]s, son of Callisto, 67, 241;\n _C. 58_ and table D\n\n [=A]-re-op\u00b4[.a]-gus, Mars' Hill, on which the highest Athenian\n tribunal held its meetings.\n See _St. Paul's address, Acts 17, 22_\n\n A\u00b4r[=e][s+]. See _Mars_\n\n [)A]r-e-th[=u]\u00b4sa, myth of, 117-120;\n Shelley's poem, 118-120;\n and Ceres, 162;\n _C. 93_\n\n \u00c4r\u00b4[.g][=e][s+], _C. 4_\n\n \u00c4r\u00b4[.g]ives, 308\n\n \u00c4r\u00b4go, the, 223, 230, 233;\n _C. 163-167_\n\n \u00c4r\u00b4go-lis, _C. 149-154_\n\n Ar-go-nau\u00b4tic expedition, 39, 222, 230-233, 269, 348;\n quotation from Dyer's Fleece, 230, 231\n\n Argonauts (\u00e4r\u00b4go-n\u00f4ts), the, 222, 230-233, 242;\n W. Morris' Life and Death of Jason, 232, 233;\n _C. 163-167_\n\n \u00c4r\u00b4g[)o]s (city and district), 22, 23, 103, 169, 206, 207, 214,\n 217, 264, 265, 268, 315, 370, 452;\n _C. 64, 149-154_\n\n \u00c4r\u00b4gus, builder of the Argo, 230\n\n \u00c4r\u00b4gus (Pan-op\u00b4tes), 34;\n myth of Io, Mercury, and A., 65-67, 439;\n _C. 57_\n\n \u00c4r\u00b4gus, Ulysses' dog, 341\n\n [=A]-r[)i]-ad\u00b4n[=e], 152;\n myth of, 156, 252-258, 259, 270;\n _C. 172_, table L, _176-181_\n\n [.A]-ri\u00b4[)o]n, identified with Jonah, 440;\n account of, 453, 454;\n _C. 298_\n\n [.A]-ri\u00b4[)o]n, the horse, 170\n\n [)A]r-is-t\u00e6\u00b4us, 112, 121, 165;\n myth of, 202, 203;\n _C. 145_\n\n [)A]r-is-toph\u00b4[.a]-n[=e][s+], 455\n\n [)A]r\u00b4is-t[)o]tle, reference to, 241\n\n \u00c4r\u00b4n[=e], 170\n\n \u00c4r-sin\u00b4o-[=e], 104, 150\n\n \u00c4r\u00b4te-mis. See _Diana_\n\n A\u00b4run[s+], 371, 372\n\n \u00c4r\u00b4y[.a]n germ-theory, 448\n\n \u00c4r\u00b4y[.a]n tribes and modern descendants, 448, 462\n\n \u00c4\u00b4s\u00e4-folk. See _Anses_\n\n As-ca\u00b4n[)i]-us, _C. 190-194_ (5).\n See _Iulus_\n\n As-cle-pi\u00b4[.a]-d\u00e6 (As-cle\u00b4pi-os), _C. 80_.\n See _\u00c6sculapius_\n\n As\u00b4cra, 453\n\n As\u00b4g\u00e4rd, 2, 374, 389-392, 396, 397\n\n Asia, 68, 153, 252, 448\n\n \u00c4sk, 374\n\n [.A]-so\u00b4pus, 73, 75;\n _C. 61_\n\n As\u00b4pho-del, the meads of, 49, 120\n\n As-s[)a]r\u00b4[.a]-cus, grandfather of Anchises, _C. 190-194_ (5)\n\n As-syr\u00b4i-ans, the, _C. 34_\n\n As-t\u00e4r\u00b4t[=e], _C. 34, 59_\n\n As-te\u00b4r[)i]-a, _C. 163-167_\n\n As-tr\u00e6\u00b4a, 15;\n _C. 18_\n\n As-ty\u00b4[.a]-nax, 291-293, 303;\n _C. 190-194_ (5)\n\n At-[.a]-lan\u00b4ta (the Arcadian), daughter of Iasius, in the\n Calydonian hunt, 237-241;\n selections from Swinburne's Atalanta in Calydon, 237-240;\n A. and Mars, 265;\n _C. 168_\n\n At-[.a]-lan\u00b4ta (daughter of Sch[oe]neus of B[oe]otia), 139-141;\n extract from Landor's Hippomenes and Atalanta, 140, 141;\n cousin of Jason, 230;\n genealogy, _C. 103_ and table G, _148_ (5), table I\n\n A\u00b4t[=e], 300\n\n Ath\u00b4[.a]-m[)a]s, 202, 229;\n _C. 103_, table G, _148_ (2), (5), table I\n\n [.A]-the\u00b4na or A-the\u00b4n[=e], 445;\n _C. 27_.\n See _Minerva_\n\n Ath\u00b4ens, 23, 81, 82, 235, 246, 249, 250, 252, 258, 263, 308, 317, 452\n\n A\u00b4th[)o]s, Mount, 96;\n _C. 76_\n\n At-lan\u00b4tis, legend of, 52.\n See _Plato's Tim\u00e6us_\n\n At\u00b4l[.a]s, 6, 41;\n described, 57;\n his offspring, the Atlantides, 57;\n and Perseus, 211;\n and Hercules, 220;\n _C. 6_; genealogy, _148_ (5), table I, and _149-154_\n\n Atli (\u00e4t\u00b4l[=e]). See _Attila_\n\n Atmu (\u00e4t\u00b4m[=oo]). See _Egyptian divinities_ (1)\n\n A\u00b4trax, 259\n\n Atreus (a\u00b4tr[=oo]s), house of, 269, 275, 276;\n _C. 78, 190-194_ (2)\n\n [.A]-tri\u00b4d[=e][s+], 98;\n _C. 77_\n\n At\u00b4ro-p[)o]s, a Fate, 38\n\n At\u00b4t[)i]-ca, 207, 243, 249, 256\n\n At\u00b4t[)i]-la, Atli, Etzel, 404, 409;\n _C. 282-283_\n\n Audhumbla (ou\u00b4th[=oo]m-bla), 373\n\n Au-[.g]e\u00b4[.a]s, Au-[.g]e\u00b4[.a]n stables, 218;\n _C. 156-162_ (Interpret.)\n\n Au-[.g]i\u00b4[.a]s. See _Augeas_\n\n Au-gus\u00b4tan Age, 2, 456\n\n Au-gus\u00b4tus, 61, 456\n\n Au\u00b4lis, 280\n\n Au\u00b4ra, 172, 173\n\n Au-ro\u00b4ra, 39, 40, 43, 95, 123, 125, 148, 160, 172, 175, 176, 269;\n and Tithonus, 177-179;\n mother of Memnon, 179, 180;\n _C. 38_ (10), _123-124_, and table H\n\n Au-ro\u00b4ra Bo-re-a\u00b4lis, 376\n\n Aus\u00b4ter, 38\n\n Australians, mental state of contemporary native, 441;\n myths among, 448\n\n Au-ton\u00b4o-[=e], 89, 121, 156, 261\n\n Av-[.a]-t\u00e4r\u00b4. See _Hindu divinities_ (2)\n\n Av\u00b4en-tine, Mount, 221;\n _C. 156-162_ (Textual)\n\n [.A]-v[~e]r\u00b4nus, Lake, 354\n\n [.A]-ves\u00b4ta, 463\n\n\n Bab-y-lo\u00b4ni-a, 147\n\n B[)a]c\u00b4[-c]h[.a]-n[.a]ls, 44, 154, 155;\n _C. 110-112_\n\n B[.a]c-[-c]h[)a]n\u00b4t[=e][s+], 44, 153, 258;\n _C. 110-112_\n\n Bac\u00b4[-c]hus (Dionysus), 20;\n descent and attributes, 44, 45;\n quotation from Dryden's Alexander's Feast, 45;\n worshipers of, 44;\n the Roman Liber, 59;\n his mother, Semele, 72;\n B. and Vulcan, 91;\n myths of, 152-158;\n his wanderings, 152, 153;\n Pentheus, 153-156;\n story of Acetes, 154, 155;\n lines from Edmund Gosse's Praise of Dionysus, 156, 157;\n choice of Midas, 157, 158;\n B. and Neptune, 169;\n Ariadne, 257, 258;\n interpretation of ritual, 445;\n _C. 42, 60, 110-112_\n\n Balaustion (b[.a]-l[a:]s\u00b4chon). See _Browning's Balaustion's\n Adventure_, Index of Authors\n\n B[a:]l\u00b4d[~e]r, 376, 460;\n death of, 387-393;\n extracts from M. Arnold's Balder Dead, 388-397;\n _C. 268-281, 282-283_\n\n Balmung (b\u00e4l\u00b4m[)oo]ng), 409\n\n Bards, 450, 458\n\n Bas-s[)a]r\u00b4[)i]-d[=e][s+], _C. 42_\n\n Bat\u00b4tus, a peasant who informed Apollo of Mercury's robbery of his\n cattle; or who, having promised secrecy to Mercury, told the whole\n story to Mercury disguised, and was petrified by the offended deity\n\n Bau\u00b4\u00e7is, 77-80\n\n Bear, Great and Little, 43, 96;\n myth of, 67, 68\n\n Beauty and the Beast, analogy of incident, _C. 101-102_\n\n Bel-l[)e]r\u00b4o-ph[)o]n, 230, 290, 298, 432;\n and the Chim\u00e6ra, 214, 215;\n _C. 155_\n\n Bel-lo\u00b4na, 61;\n _C. 54_\n\n Be\u00b4lus, king of Tyre, 206, 207, 351;\n genealogy, _C. 57_, table D, _148_ (1), _149-154_.\n Compare the deity Baal\n\n Belvedere (bel-v[='e]-d[=e]r\u00b4 or bel-v[='a]-d[=a]'r[=a]), the\n Apollo, _C. 30_\n\n Berecyntia (b[)e]r-[)e]-sin\u00b4sh[)i]-a), _C. 41_.\n See _Cybele_\n\n Berg-risar (b[)e]rG'r[=e]-s\u00e4r), 376\n\n B[)e]rne, Dietrich of, 409;\n _C. 282-283_\n\n B[)e]r\u00b4o-[=e], 71\n\n Bible, the Hebrew, 440\n\n Bifrost (b[=e]f\u00b4r[)o]st), 374, 377, 389, 395\n\n Bi\u00b4[)o]n, Lang's translation of his Lament for Adonis, 126-128;\n _C. 59, 298_\n\n Biorn (b[+e]-\u00f4rn\u00b4) of Sc\u00e4rd\u00b4sa, 459\n\n Bi\u00b4t[)o]n, 80, 81;\n _C. 64_\n\n B[oe]otia (be-o\u00b4sh[)i]-a), 139, 280, and _passim_\n\n B[oe]otians (be-o\u00b4sh[)i]-ans), 170\n\n Bo\u00b4na De\u00b4a, 61\n\n Books of the Dead and of the Lower Hemisphere, 462\n\n Bo-o\u00b4t[=e]s, 96;\n _C. 75_\n\n B[=o]r, 373\n\n Bo\u00b4re-as, 38, 350;\n _C. 38_ (9)\n\n Bori (bo\u00b4r[=e]), 373\n\n Bos\u00b4pho-rus (the heifer's ford), a Thracian strait, crossed by Io\n\n Bragi (br\u00e4\u00b4[=g][=e]), 376\n\n Br\u00e4h\u00b4ma and Br\u00e4h\u00b4m[.a]n-ism. See _Hindu divinities_ (2)\n\n Br\u00e4n\u00b4stock, 398-400, 405\n\n Brazen Age, the, 15\n\n Breidablick (br[=a]'d[.a]-blik or br[=i]t\u00b4ap-lik), the home of Balder\n\n Briareus (bri\u00b4[.a]-r[=oo]s or bri-a\u00b4re-us), 354;\n _C. 4, 8_\n\n Bri-se\u00b4is, 284;\n _C. 199_\n\n Bro\u00b4mi-us, _C. 42_. See _Bacchus_\n\n Bron\u00b4t[=e][s+], _C. 4_\n\n Brunhild (br[)oo]n\u00b4h[)i]lt), 405-409;\n _C. 282-283_\n\n Br\u00fcnnhilde (br\u00fcn-h[)i]l\u00b4d[~e]), in Wagner's Ring, 418-421, 424-430.\n See also _Brunhild_, _Brynhild_\n\n Bru\u00b4tus, a mythical grandson of \u00c6neas; fabled to have colonized the\n island called, after him, Britain\n\n Brynhild (br\u00fcn\u00b4h[)i]lt), 402-404;\n _C. 282-283_\n\n Buddha (b[)oo]d\u00b4[~e]). Family name, Gautama; given names,\n Siddartha (\"in whom wishes are fulfilled\") and Buddha (\"he\n who knows\"). Born 628 B.C., son of the king of Kapilavastu,\n north of Oude, India; died in his eighty-fifth year. Founder\n of Buddhism, which, in opposition to the dead creed and\n forms of Brahmanism, taught: \"(1) Existence is only pain or\n sorrow. (2) The cause of pain or sorrow is desire. (3) In\n Nirvana all pain and sorrow cease. (4) Nirvana is attainable\n by the 'noble path\u00b4 of virtuous self-discipline.\" _Nirvana_\n is both a means and an end. As a means, it is the process\n of renunciation by which the love of life and self are\n extinguished; as an end, it is the heaven of the Buddhist, a\n negative bliss consisting in absorption of the soul into the\n Infinite. The soul is the _Karma_, the sum total of a man's\n deeds, good and evil,--his character, by which is determined\n his state of future existence. The Karma passes through\n various earthly existences in the process of renunciation\n described above.\n See _Edward Clodd's Childhood of Religions_, _John Caird's\n Oriental Religions_ (Humboldt Library), _Encyc. Brit._, _Sir\n Edwin Arnold's Light of Asia_\n\n Budlung (b[)oo]d\u00b4l[)oo]ng), 404, 405\n\n Bull, Jupiter as the, 69;\n _C. 59_\n\n Bur\u00b4gun-dy, 405, 407\n\n Bush\u00b4men, mental state of, 441\n\n B[=u]-si\u00b4ris, an Egyptian despot, who sacrificed all\n strangers entering his realm, but was put to death by Hercules\n\n B[=u]'t[=o], an Egyptian goddess, identified by the Greeks with Leto\n\n Byrsa (b[~e]r\u00b4sa), 351\n\n\n Ca\u00b4cus, myth of, 221;\n _C. 156-162_\n\n Cad\u00b4mus, 17, 71, 206, 207;\n and the dragon, 87-90, 231;\n builds Thebes, 87, 89;\n marries Harmonia, 89;\n curse upon his family, 89, 90, 120, 153, 202, 229, 261, 265, 268;\n _C. 57_, table D, _59_, table E, _70_\n\n Ca-d[=u]'\u00e7e-us, the, 34, 151\n\n Ca-i\u00b4cus, 97;\n _C. 76_\n\n Cal\u00b4a-is, 39, 230\n\n Cal\u00b4[-c]h[.a]s, 281, 294, 311, 451\n\n Cal-lim\u00b4[.a]-[-c]hus, _C. 298_\n\n Cal-li\u00b4o-p[=e], the muse of epic poetry, 37;\n mother of Orpheus, 112, 165;\n _C. 38_ (4)\n\n Cal-l[)i]r\u00b4rho-[=e]. See _Chrysaor_\n\n Cal-lis\u00b4t[=e], _C. 32, 58_\n\n Cal-lis\u00b4t[=o], 64, 237, 241;\n myth of, 67, 68;\n _C. 58_\n\n Cal\u00b4p[=e], 219\n\n Cal\u00b4y-d[)o]n, 203, 225, 237, 265, 275;\n _C. 146-147_\n\n Cal-y-do\u00b4ni-an Boar, the, 206, 237\n\n Cal-y-do\u00b4ni-an Hunt, the, 225, 237-240\n\n Calypso (c[.a]-lip\u00b4so), 331;\n _C. 231-244_\n\n C[.a]-me\u00b4n\u00e6 (Antevorta, Postvorta, Carmenta, and Egeria). The\n name comes from the root of _carmen_, song of prophecy, 62\n\n C[.a]-mil\u00b4la, 364, 371, 372;\n _C. 260_\n\n Cam\u00b4pus Martius (mar\u00b4sh[)i]-us), _C. 28_\n\n Capaneus (cap\u00b4[.a]-n[=u]s), 265, 266\n\n Cap\u00b4[)i]-to-line Hill, 114\n\n Capys (ca\u00b4pis), father of Anchises, _C. 190-194_ (5)\n\n Ca\u00b4r[)i]-a, 125\n\n C\u00e4r-men\u00b4ta, 62, 90;\n _C. 50-52_\n\n C\u00e4r-ne\u00b4a, _C. 30_\n\n C\u00e4r\u00b4p[.a]-th[)o]s, 203, 204;\n _C. 145_\n\n C\u00e4r\u00b4thage, 350, 351\n\n Cas-san\u00b4dra, 276, 313, 314, 451;\n _C. 190-194_ (5), _226_\n\n Cas-s[)i]-o-pe\u00b4a, Cas-s[)i]-e-pe\u00b4a, or Cas-s[=i]'o-p[=e], 211;\n quotation from Milton's Il Penseroso, 211;\n _C. 149-154_\n\n Cas-ta\u00b4l[)i]-a, 26, 87;\n _C. 30, 70, 76_\n\n Cas\u00b4tor, 206, 230, 237, 242-245, 275, 289;\n _C. 190-194_ (3), (4)\n\n C[.a]-tul\u00b4lus, 457;\n translations of his Peleus and Thetis, 253-258, 269-273;\n note and translations, _C. 299_;\n of poems LXI and LXII, _38_ (under _Hymen_);\n of poem LI, _107_\n\n Cau\u00b4c[.a]-sus, 11, 97, 192;\n _C. 76_\n\n Ca\u00ffster (ca-is\u00b4ter), 97;\n _C. 76_\n\n \u00c7e-bri\u00b4o-n[=e][s+], 298\n\n \u00c7e-cro\u00b4p[)i]-a, _C. 65-66_\n\n \u00c7e\u00b4crops, 17, 82, 207, 249;\n _C. 65-66, 176-181_ (Illustr.); genealogy, _148_ (4); _174_\n\n \u00c7e-da\u00b4l[)i]-[)o]n, 122\n\n \u00c7e-l\u00e6\u00b4n[=o], (1) a Pleiad;\n (2) a Harpy\n\n \u00c7e\u00b4le-us, 160, 161, 164\n\n Celts, 448\n\n \u00c7en\u00b4taurs, the, 104, 259, 274;\n _C. 80, 156-162_ (Interpret.)\n\n \u00c7en-tim\u00b4[.a]-nus, _C. 4_\n\n \u00c7e\u00b4[)o]s, an island in the \u00c6gean\n\n \u00c7eph\u00b4[.a]-lus, 40;\n and Procris, 172-175;\n father of Phosphor, 175;\n _C. 123-124, 190-194_ (4)\n\n \u00c7epheus (\u00e7[=e]'f[=u]s), 211, 213\n\n \u00c7e-phis\u00b4sus, 26, 88, 188, 250;\n _C. 30, 70, 132-133_\n\n \u00c7[~e]r\u00b4b[~e]r-us, 47, 135, 167, 355;\n and Hercules, 220;\n _C. 49, 156-162_ (Interpret.)\n\n \u00c7[~e]r-co\u00b4p[=e][s+], 222;\n _C. 156-162_\n\n \u00c7e\u00b4r[=e][s+], 5;\n or Demeter, 19;\n attributes of, 43, 44;\n favorite animals, etc., 44;\n Eleusinian mysteries, 44, 165;\n the Roman, 59;\n and Psyche, 133;\n wanderings of, 152, 160-165;\n C. and Neptune, 170;\n Erysichthon, 191, 192;\n _C. 40, 59, 114-117_\n\n \u00c7[)e]r-y-ne\u00b4an stag, 218;\n _C. 156-162_ (Interpret.)\n\n \u00c7es-tus, the, 295\n\n \u00c7e\u00b4t[=o], 57\n\n Ceylon, 463\n\n Ceyx (se\u00b4[)i]x), 175-177;\n _C. 125._\n See _Halcyone_\n\n [-C]ha\u00b4[)o]s, 3, 4;\n _C. 3_\n\n [-C]ha\u00b4ris, youngest of the Charites, called also Aglaia\n (Agla\u00efa), wife of Vulcan\n\n [-C]h[)a]r\u00b4[)i]-t[=e][s+]. See _Graces_\n\n [-C]ha\u00b4r[)o]n, 47, 135, 354, 355, 377;\n _C. 44-46_\n\n Charybdis ([-c]h[.a]-rib\u00b4dis), 255, 329, 330, 350;\n _C. 50-52_\n\n [-C]h[)i]-m\u00e6\u00b4ra, 214, 215, 354;\n _C. 155_\n\n [-C]hi\u00b4[)o]s (Scio), 122, 149, 452;\n _C. 96, 107_\n\n [-C]hi\u00b4r[)o]n, 104, 231, 269, 271, 274;\n _C. 10-15, 80, 199_\n\n [-C]ho\u00b4rus, 196\n\n Christ, 1, 181\n\n [-C]hro\u00b4nus or [-C]hro\u00b4n[)o]s, 439;\n _C. 4_\n\n Chrysaor ([-c]hr[=i]-sa\u00b4[)o]r or [-c]hr[)i]s\u00b4a-\u00f4r), son of\n Poseidon; sprang with Pegasus from the head of Medusa; by\n Callirrho\u00eb he was father of Geryones and Echidna.\n See Michael Field's _Callirrho\u00eb_, a drama, 1884\n\n Chryse\u00efs ([-c]hri-se\u00b4is), 98, 283, 284;\n _C. 77_\n\n Chryses ([-c]hri\u00b4s[=e][s+]), 98, 283, 284\n\n Chrysothemis ([-c]hris-oth\u00b4e-mis), daughter of Agamemnon, 275;\n _C. 190-194_ (2)\n\n Cic\u00b4e-ro, references to the works of, 104, 196\n\n \u00c7[)i]-co\u00b4ni-ans, the, 318\n\n \u00c7i\u00b4lix, son of Agenor; brother of Cadmus and Ph[oe]nix;\n settled in Cilicia\n\n \u00c7im-me\u00b4ri-an, 176, 338;\n _C. 125_\n\n \u00c7im-me\u00b4ri-ans, the, 47, 328\n\n \u00c7in\u00b4y-r[.a]s, 126\n\n \u00c7ir\u00b4\u00e7[=e], 201, 318, 324-330;\n _C. 172, 231-244_\n\n Cir\u00b4cus Max\u00b4i-mus, 60\n\n \u00c7[)i]-th\u00e6\u00b4r[)o]n, Mount, 75, 155, 261;\n _C. 62, 110-112_\n\n Cla\u00b4r[)o]s, 175\n\n Cle\u00b4o-bis, 80, 81;\n _C. 64_\n\n Cle-om\u00b4e-n[=e][s+], a sculptor of about 200 B.C., _C. 35_\n\n Cli\u00b4o, the muse of history, 37;\n _C. 38_ (4)\n\n Clo\u00b4tho, a Fate, 38\n\n Clymene (clim\u00b4[)e]-n[=e]), 94;\n _C. 76_\n\n Cly-tem-nes\u00b4tra, 237, 242, 275, 314, 315;\n _C. 190-194_ (3), _228-230_\n\n Clyti\u00eb (cl[)i]sh\u00b4[)i]-[=e] or cl[=i]'t[)i]-[=e]), 116, 117;\n Thomas Moore's verses, Believe me, if all ..., 117;\n _C. 91_\n\n Clytius (clish\u00b4[)i]-us), _C. 8_\n\n Cnageus (na\u00b4j[=u]s), _C. 32_\n\n Cnidos (ni\u00b4d[)o]s), 32, 126;\n _C. 35, 100_\n\n Cnosus (n[=o]\u00b4sus) or Cnossus (n[)o]s\u00b4us).\n See _Gnossus_\n\n C[)o][-c]'[.a]-lus, 247\n\n Cocytus (co-si\u00b4tus), 47, 327, 354\n\n C[oe]us (se\u00b4us), a Titan, 64;\n _C. 4_\n\n Col\u00b4[-c]his, 222, 229, 231, 242;\n _C. 156-162_ (Textual)\n\n Co-lo\u00b4nus, 263\n\n Col\u00b4o-ph[)o]n, 452\n\n Co\u00b4mus, in later mythology a god of festivity, drunkenness, and mirth.\n See _Milton's Masque of Comus_\n\n Con-siv\u00b4i-us, 60\n\n Con\u00b4sus, 59, 60, 88;\n _C. 50-52_\n\n Co\u00b4ra (Ko\u00b4r[=e]). See _Proserpina_\n\n Cor\u00b4inth, 32, 124, 169, 196, 214, 235, 252, 261, 453\n\n Cor-nu-co\u00b4pi-a, 53, 204;\n _C. 146-147_\n\n Cor[oe]bus (co-re\u00b4bus), 103\n\n Co-ro\u00b4nis, 104.\n See _\u00c6sculapius_\n\n Cor-y-ban\u00b4t[=e][s+], references to, 14, 44;\n _C. 16_\n\n Cor\u00b4y-d[)o]n, an ideal singer of pastoral poetry.\n _See Theocritus, Idyl 4_; _Virgil, Bucolics 7_\n\n Cor\u00b4y-thus, _C. 221_\n\n C[)o]s, an island off the coast of Caria\n\n Cot\u00b4tus, _C. 4_\n\n Cra\u00b4n[)o]n or Cran\u00b4n[)o]n, a town in the vale of Tempe, in Thessaly\n\n Creation, Greek myths of, 3;\n Virgil's account of, 360;\n the Norse account of, 373, 374\n\n Cre\u00b4[)o]n, 263, 266, 267;\n _C. 182-189_, table N\n\n Cres-phon\u00b4t[=e][s+], 241, 242\n\n Cres\u00b4s[)i]-da, _C. 196_\n\n Cre\u00b4tan Bull, the, 218, 246;\n _C. 156-162_ (Interpret.)\n\n Crete, Cre\u00b4ta, 53, 70, 71, 132, 201, 207, 242, 246, 249, 252,\n 256, 275, 286, 288, 348;\n _C. 59_\n\n Cretheus (cre\u00b4th[=u]s), _C. 148_ (2), (5)\n\n Cre\u00b4us, _C. 4_\n\n Cre-[=u]\u00b4sa, mother of Ion, _C. 174_\n\n Cre-[=u]\u00b4sa, wife of \u00c6neas, 347;\n _C. 190-194_ (5)\n\n Cre-[=u]\u00b4sa, wife of Jason, 235\n\n Croc\u00b4[.a]-l[=e], 120\n\n Cro\u00b4nus, 4, 5, 6, 8, 19;\n rule of, 5, 10;\n in the Fortunate Isles, 52;\n confounded with Chronos, 439;\n _C. 4_\n\n C[=u]'m\u00e6, 352\n\n C[=u]-m\u00e6\u00b4an Sibyl, 352-361\n\n C[=u]'pid or C[=u]-pi\u00b4d[=o] (Eros), attributes of, 35, 36, 126;\n Edmund Gosse's Eros, 36;\n Lyly's Cupid and Campaspe, _C. 38_;\n in the story of Apollo and Daphne, 112, 113;\n C. and Psyche, 128-139, 457;\n extracts from Wm. Morris' Earthly Paradise, 131, 135;\n from Bridges' Eros and Psyche, 132;\n from Pater's Marius, 133;\n T. K. Hervey's Cupid and Psyche, 136, 137;\n Keats' Ode to Psyche, 137-139;\n in the story of Hero and Leander, 142-144;\n Pluto and Proserpine, 159;\n _C. 38_ (1), _101-102_\n\n C[=u]-re\u00b4t[=e][s+], inhabitants of Crete, noisy worshipers of\n Jupiter; later identified with the Corybantes (worshipers of\n Cybele)\n\n Cy\u00b4[.a]-n[=e] river, 160, 162;\n _C. 114-117_\n\n Cy\u00b4[.a]-n[=e], a Sicilian nymph\n\n Cybele (sib\u00b4e-l[=e]) or Cybebe (si-be\u00b4b[=e]), attributes and\n worship of, 44, 141;\n the Roman Magna Mater, 59;\n _C. 16, 41_.\n See also _Rhea_\n\n Cyclic (sik\u00b4lik) Poets, the, 452\n\n \u00c7y-clo\u00b4p[=e][s+], \u00c7y\u00b4cl[)o]ps, 4, 6, 7, 53, 122, 170, 185, 198-200, 332;\n and Apollo, 104;\n and Ulysses, 320-323;\n and \u00c6neas, 349;\n _C. 4, 141_\n\n \u00c7y[-c]'nus. (1) Son of Apollo. With his mother, Thyri[.a], he\n leaped into lake Canope, where both were changed into swans.\n (2) Son of Poseidon, a king of Colon\u00e6 in Troas. He assisted\n the Trojans, but was killed by Achilles; changed into a swan.\n (3) Son of Ares, killed by Hercules; changed into a swan.\n (4) A friend of Pha\u00ebthon. While lamenting his friend's fate,\n Cycnus was changed by Apollo into a swan, and placed among\n the stars.\n\n \u00c7y-dip\u00b4p[=e] and her sons, 80, 81;\n quotation from Edmund Gosse's The Sons of Cydippe, 81;\n _C. 64_\n\n \u00c7yl-le\u00b4n[=e], Mount, 34, 150;\n _C. 109_\n\n Cynosure (s[=i]'no-sh[=oo]r or s[)i]n\u00b4o-sh[=oo]r), the, _C. 58_\n\n \u00c7yn\u00b4th[)i]-a (Diana), 31, 118, 125, 139;\n _C. 32_\n\n \u00c7yn\u00b4thus, Mount, in Delos, _C. 32, 78_\n\n \u00c7yp\u00b4ri-an, the, 85;\n _C. 68_\n\n \u00c7yp\u00b4ri-an Lays, 452\n\n \u00c7y\u00b4pris (Venus), 68, 69, 126, 127, 133, 140;\n _C. 34, 59_\n\n \u00c7y\u00b4prus, island of, 31, 32, 140, 145, 314, 432;\n _C. 34_\n\n \u00c7yp\u00b4se-lus, 241\n\n \u00c7y-re\u00b4n[=e], 112, 202, 203;\n _C. 145_\n\n \u00c7y-the\u00b4ra, island of, 31, 32;\n _C. 100_\n\n \u00c7yth-[~e]r-e\u00b4a (Venus), 127, 128, 134;\n _C. 34, 100_\n\n \u00c7yz\u00b4[)i]-cus, King of Cyzicus on the Propontis. Received the\n Argonauts, but by mistake was slain by Hercules or Jason.\n\n\n D\u00e6dalus (d[)e]d\u00b4[.a]-lus or d[=e]'d[.a]-lus) and Icarus, 246-248;\n _C. 85-86, 173_\n\n Da\u00b4g[)o]n, 432\n\n Dam[oe]tas (d[.a]-me\u00b4t[.a]s), a herdsman in pastoral poetry.\n See _Virgil, Bucolics 3_\n\n Da\u00b4m[)o]n, an ideal singer of love in pastorals.\n See _Virgil, Bucolics 8_\n\n Dan\u00b4a-[.a]ns or Dan\u00b4a-[=i], 98, 99\n\n Dan\u00b4a-[=e], 64;\n myth of, 208, 213;\n woven by Arachne, 84;\n Lamentation of Dana\u00eb, 454;\n _C. 149-154_\n\n Dan\u00b4a-[)i]ds or Da-na\u00b4[)i]-d[=e][s+], 207;\n _C. 149-154_\n\n Dan\u00b4a-us, daughters of, 166, 170;\n house of, 206-228;\n _C. 57_, table D, _148_ (1) _149-154_\n\n Daphne (daf\u00b4n[=e]), myth of, 112-114;\n explanations of myth, 437;\n _C. 89_\n\n Daph-ne-pho\u00b4r[)i]-a, _C. 30_\n\n Daphnis (daf\u00b4nis), 185, 222, 223-225, 240;\n lines from M. Arnold's Thyrsis, 224, 225;\n _C. 129-130, 156-162_\n\n D\u00e4r\u00b4d[.a]-nus, 124, 348;\n _C. 190-194_ (5)\n\n Darkness, 3, 4\n\n Daughter of the Skies, story of;\n analogy of incident, _C. 101-102_\n\n Dau\u00b4lis, 249, 250\n\n Dawn, goddess of, _C. 36_.\n See _Aurora_\n\n Day, 4\n\n Death (Than\u00b4a-tos), 54, 298;\n Hercules' struggle with, 107-110;\n _C. 49_\n\n De-[)i]d-[.a]-mi\u00b4a. (1) Also called Laodam[=i]'a, daughter of\n Bellerophon, and mother of Sarpedon.\n (2) Daughter of Lycomedes of Scyros, and mother of Pyrrhus by Achilles.\n (3) Also called Hippodam[=i]'a, wife of Piritho\u00fcs, and\n daughter of Atrax\n\n Deimos (d[=i]'m[)o]s), Dread, a son and attendant of Mars, 24\n\n De\u00b4[)i]-[)o]n, _C. 123-124_; genealogy, _148_ (2), (5)\n\n De\u00efphobus (de-if\u00b4o-bus), 280, 302;\n _C. 190-194_ (5)\n\n De-j[.a]-ni\u00b4ra or Deianira (de-y[.a]-ni\u00b4ra), 203, 225, 227, 237, 275;\n _C. 146-147, 168_\n\n De\u00b4l[)i]-a, a name for Diana of Delos\n\n De\u00b4l[)o]s, 29, 247, 347;\n _C. 32_\n\n Del\u00b4phi, 5, 113, 169, 262;\n oracle of, 27, 268, 315, 317, 442;\n center of the world, 42;\n _C. 30, 38_ (4), _89_\n\n Del-phin\u00b4i-a, _C. 30_\n\n Del-phy\u00b4n[=e], _C. 30_\n\n Delusion of Gylfi ([=g]il\u00b4f[=e]), 459\n\n De-me\u00b4ter, 263, 442;\n and Pelops, 434;\n and Springtide, 434;\n _C. 40_.\n See _Ceres_\n\n Demigods and Heroes, age of, 16, 17;\n in the Theban and Trojan Wars, 17\n\n De-mod\u00b4o-cus of Ph\u00e6acia, 337, 450\n\n Destinies. See _Fates_\n\n Deterioration, theory of, 436-440\n\n Deucalion (d[=u]-ca\u00b4l[)i]-[)o]n), with Pyrrha repeoples the world, 16;\n descendants of, 16, 206, 207, 229;\n interpretation of myth, 440;\n _C. 19-20, 148_ (2), (5)\n\n Devas (d[=a]'v[.a][s+]). See _Hindu divinities_ (1)\n\n Di\u00b4a, island of, 154, 254;\n old name for Naxos, _C. 110-112_\n\n Di-[=a]'na, usually pronounced Di-[)a]n\u00b4a (Artemis),\n moon-goddess, 2, 432;\n daughter of Latona, 19, 29;\n meaning of names, 29;\n attributes, 29-31;\n identified with Selene, 29, 39, 117;\n her vengeance on Agamemnon, Orion, and Niobe, 30, 117, and _ad loc._;\n favorite animals, 31;\n Ben Jonson's Hymn to Cynthia (Diana), 31;\n among the Romans, 59;\n Lucina, 61;\n D. and Syrinx, 66;\n punishes Niobe, 99-103;\n myths of, 117-125;\n Tityus, Python, Daphne, Callisto, 117 and _ad loc._;\n [OE]neus, 117, 237;\n Alphe\u00fcs and Arethusa, 117-120;\n the fate of Act\u00e6on, 120-122;\n of Orion, 122, 123;\n the Pleiads, 123, 124;\n Endymion, 124, 125;\n Procris, 172;\n Echo, 188;\n the Naiads, 189-191;\n Hippolytus, 260;\n Agamemnon and Iphigenia, 280, 281, 316;\n \u00c6neas, 290;\n Camilla, 364, 372;\n _C. 32, 58, 95-98_\n\n Di[-c]'t[=e], _C. 5_\n\n Di[-c]-tyn\u00b4na: Diana (Artemis) as protectress of fishermen\n\n Di[-c]'tys, a fisherman of Seriphus who rescued Dana\u00eb and\n Perseus from the waves, and intrusted them to Polydectes, his\n brother\n\n Di\u00b4d[=o], 114, 346, 350-352, 356;\n _C. 89, 245-254_\n\n Dietrich (de\u00b4triG), 409;\n _C. 282-283_\n\n Di\u00b4k[=e], personification of justice\n\n Din-dy-me\u00b4n[=e], a surname of Cybele;\n from Mount Dindymus in Phrygia;\n _C. 41_\n\n Di\u00b4-o-m[=e]de, son of Tydeus;\n contest with Mars, 84-86;\n in Trojan War, 280, 289, 290, 297, 309, 310, 314;\n _C. 68_\n\n Di-o-me\u00b4d[=e][s+], son of Mars, owner of the man-eating mares, 218\n\n Di-o\u00b4n[=e], mother of Venus (Aphrodite), 19, 290;\n _C. 26, 34_\n\n Dionysia (di-o-nish\u00b4[)i]-a), _C. 42, 110-112_\n\n Dionysus (di-o-ni\u00b4sus). See _Bacchus_\n\n Di-os-c[=u]'r[=i]. See _Tyndarid\u00e6_\n\n Di\u00b4r\u00e6. See _Furies_\n\n Dir\u00b4\u00e7[=e], 75\n\n D[)i]s, 83. See _Pluto_\n\n Discord, Dis-cor\u00b4d[)i]-a (Eris), 24, 41;\n apple of, 277, 278\n\n Dith\u00b4y-ramb, of Arion, 454\n\n Division of the world among Greek gods, 6\n\n Do-do\u00b4na, oracle of, 19, 20;\n _C. 24-25, 30_\n\n Dol\u00b4phin and Apollo, _C. 30_\n\n D[='o]n\u00b4n[~e]r, Th\u00f4r, 412, 415\n\n Do\u00b4ris, 55, 97, 198, 269\n\n Do\u00b4rus, Do\u00b4r[)i]-an, 16, 119, 120;\n _C. 93_; genealogy, 103, table G, _148_ (2), (5)\n\n Dr\u00e4\u00b4p[.a][s+], the, 458\n\n Dreams, gates of, 54;\n _C. 49_\n\n Dry\u00b4ads, the, 45, 138, 186;\n myths of, 191-195;\n _C. 131_\n\n Dry\u00b4o-p[=e], 191, 192;\n _C. 137_\n\n Dwarfs, 401\n\n Dyaus (_cf._ Zeus, Jupiter). See _Hindu divinities_ (1)\n\n Dy\u00b4nast, the (Pluto), 167;\n _C. 118_\n\n\n Earth, 3, 4, 5, 8, 97;\n Greek gods of, 42-46;\n Greek conception of world, 42, 43;\n myths of great divinities of, 152-158;\n of divinities of earth and the underworld, 159-168;\n of lesser divinities of, 181-197.\n See also _G\u00e6a_\n\n East of the Sun and West of the Moon, story of; analogy of\n incident, _C. 101-102_\n\n E-[-c]hid\u00b4na, half serpent, half woman, who by Typhon bore\n Cerberus, the Nemean lion, and the Lern\u00e6an Hydra\n\n E[-c]h\u00b4o (according to rule, [=E]'[-c]ho), 188, 189;\n _C. 132-133_\n\n Ed\u00b4d[.a][s+], 373, 394;\n derivation of name, history of poems, 458-460;\n translations and authorities, 458-460, notes, and _C. 268-282_\n\n E-don\u00b4[)i]-d[=e][s+], Mount E\u00b4don, _C. 42_.\n See _Bacchus_\n\n E\u00ebtion (e-e\u00b4sh[)i]-[)o]n or e-et\u00b4[)i]-[)o]n), 291\n\n E-[.g]e\u00b4r[)i]-a, 63, 260;\n _C. 54_\n\n Egypt, 207, 249, 447;\n _C. 149-154_\n\n Egyptians, 442;\n records of myths, 462;\n studies on, _C. 302_\n\n Egyptian divinities, (1) Those of Memphis were Phtha, Ra, Shu\n and Tefnet, Seb and Nut, Osiris and Isis, Seth and Nephthys,\n Horus and Hathor.\n (2) Those of Thebes were Amen (Ammon), Mentu, Atmu, Shu and\n Tefnet, Seb and Nut, Osiris and Isis, Seth and Nephthys,\n Horus and Hathor, Sebek, Tennet, and Penit.\n See _Encyc. Brit._, and authorities referred to in _C. 302_.\n The following lists are genealogically arranged:\n (1) Phtha, Seb, Ra;\n (2) Amen, etc.\n (1) _Phtha_ or _Ptah_: chief deity of Memphis; perhaps\n of foreign origin. His name means the \"opener,\" or the\n \"carver.\" He is called \"the Father of the Beginning,\" and\n as the prime architect, or artificer, recalls the Greek\n Heph\u00e6stus. He is the activity of the \"Spirit,\" Neph,\n Chnuphis. He is represented as a mummy or a pygmy.\n _Pakht_ and _Bast_: a goddess of two forms, lioness-headed\n or cat-headed. At Memphis, Pakht was worshiped as wife of\n Phtha; at Bubastis, Bast was adored as daughter of Isis.\n _Nefer Atum_: worshiped at Heliopolis as the son of Phtha.\n Like Osiris (see below), he is the sun of the underworld.\n _Seb_: the father of the Osirian gods. He is the god of\n earth and its vegetation; represented as a man with the\n head of a goose; he corresponds with the Greek Cronus; his\n consort was Nut.\n _Nut_: wife of Seb, mother of the Osirian gods; the vault\n of heaven; she may be likened to the Greek Rhea.\n _Osi\u00b4ris_, or _Hesiri_: the good principle. Identified with\n the vivifying power of the sun and of the waters of the\n Nile. In general, the most human and most beneficent of the\n Egyptian deities. He is the son of Seb (or, according to\n some, of Neph, Chnuphis). He may be likened to the Greek\n Apollo, as a representative of spiritual light; to Dionysus\n in his vivifying function. He wages war with his brother\n Seth (Set), the principle of Evil, but is vanquished by\n him, boxed in a chest, drowned, and finally cut into small\n pieces. His sister-wife, Isis, recovers all but one piece\n of the body of O., and buries them. He becomes protector of\n the shades, judge of the underworld, the sun of the night,\n the tutelary deity of the Egyptians. He is avenged by his\n son Horus, who, with the aid of Thoth (reason), temporarily\n overcomes Seth. The myth may refer to the daily struggle of\n the sun with darkness, and also to the unending strife of\n good with evil, the course of human life, and of the life\n after death. O. is represented as a mummy crowned with the\n Egyptian miter.\n _I\u00b4sis_, or _Hes_: the wife and feminine counterpart of\n Osiris. Represented as a woman crowned with the sun's disk\n or cow's horns, bearing also upon her head her emblem, the\n throne.\n _Ho\u00b4rus_, or _Har_: son of Osiris and Isis, who, as the\n strong young sun of the day, avenges his father, the sun\n of the underworld. He is Horus the child, Horus the elder\n (as taking the place of his father on earth), or sometimes\n Horus Harpocrates, the god of silence. As the latter, he\n holds a finger to his lips. He may be compared with the\n Greek Apollo.\n _Harpoc\u00b4ra-tes_: see _Horus_\n _Ha\u00b4thor_, or _Athor_: a goddess often identified with\n Isis. She had the head of a cow and wears the sun's disk,\n and plumes. Her name means \"Home of Horus.\" She has\n characteristics of the Greek Aphrodite.\n _Seth_, or _Set_: the principle of physical, and later\n of moral, darkness and evil. He is the opponent of his\n brother, or father, Osiris. Represented as a monster with\n ass's body, jackal's ears and snout, and the tail of a lion.\n _Nephthys_: a goddess of the dead; the sister of Isis, and\n wife of Seth. She aided Isis to recover the drowned Osiris.\n _A\u00b4pis_: the sacred bull, into which the life of Osiris was\n supposed to have passed. The name also indicates the Nile.\n The bull Apis must have certain distinguishing marks; he\n was treated like a god; and on his death (he was drowned\n at twenty-five years of age) the land went into mourning\n until his successor was found. He was worshiped with pomp\n in Memphis.\n See _Serapis_\n _Sera\u00b4pis_ (or _Ser\u00b4apis_; see _Milton, Paradise Lost, 1,\n 720_): as Apis represents the living Osiris, so S. the\n Osiris who had passed into the underworld.\n _Ra_: originally the deity of the physical attributes of\n the sun; but ultimately the representative of supreme\n godhead. Worshiped through all Egypt, and associated with\n other gods who are then manifestations of his various\n attributes. He is the victorious principle or light, life,\n and right, but rules over, rather than sympathizes with,\n mankind. He is of human form, sometimes hawk-headed, always\n crowned with the sun's disk. His Greek counterpart is not\n Apollo, but Helios.\n _Mentu_: Ra, as the rising sun\n _Atmu_: Ra, as the setting sun\n _Shu_: the solar light; son of Ra, Mentu, or Atmu\n (2) _Ammon_, or _Amen_: \"the hidden,\" a deity of the\n Egyptian Thebes; generally associated in attributes with\n some other god. As Amen-Ra he is the king of Theban gods,\n the divinity of the sun. He is of human form; rarely\n with a goat's head, as represented by the Greeks. He\n corresponds to the Greek Zeus. As Amen-Khem he is the god\n of productivity, and is represented with a flail in his\n hand. His consort is Mut, or Maut, and their son is Khuns.\n _Mut_, or _Maut_: the mother; the Theban goddess of\n womanhood, wife of Amen-Ra. She corresponds to the Greek\n Demeter.\n _Khuns_: son of Ammon and Maut; a divinity of the moon. He\n is sometimes hawk-headed; generally invested with the disk\n and crescent of the moon.\n _Neph_, _Chnuphis_, _Khnum_, _Num_, or _Nu_: the soul of\n the universe; the word or will of Ammon-Ra; the creator.\n Represented with the head of a ram.\n _Khem, Chem_ (_cf._ Milton's _Cham_), called also _Min_:\n the energizing principle of physical life. Associated\n with both Ammon and Osiris. His counterpart in classical\n mythology is Pan, or, as god of gardens, Priapus.\n _Neith_: goddess of the upper heaven; self-produced;\n mother of the sun; goddess, consequently, of wisdom, the\n arts of peace and of war. Likened by the Greeks to Athena.\n Worshiped in Lower Egypt as a woman in form, with bow and\n arrows in her hand.\n _Ma-t_: goddess of truth; her emblem is the ostrich\n feather, which signifies truth. She is the wife of Thoth.\n _Thoth_: the chief moon-god; characterized by his wisdom,\n and his patronage of letters. Husband of Ma-t\n _Anubis_: son of Osiris. Guide of ghosts\n\n Eileithyia ([=i]-l[=i]-th[=i]'ya) or Ilithyia\n ([)i]l-[)i]-th[=i]'ya), the name of a goddess, or of\n goddesses, of childbirth; later identified with Diana;\n _C. 32_\n\n E-lec\u00b4tra, daughter of Agamemnon, 275, 276, 315;\n _C. 190-194_ (2), _228-230_\n\n E-lec\u00b4tra, a Pleiad, 123, 124;\n _C. 97, 148_ (5), _190-194_ (5)\n\n E-lec\u00b4try-[)o]n, 214, 215\n\n Elegiac ([)e]-le\u00b4j[)i]-ak or el-e-ji\u00b4ak) poets of Rome, 457\n\n Eleusinia (el-[=u]-sin\u00b4[)i]-a), Eleusinian mysteries;\n Eleusis (e-l[=u]\u00b4sis), 44, 165, 442;\n _C. 114-117_\n\n Eleusis. See _Eleusinia_\n\n Eleutho (e-l[=u]'th[=o]). See _Eileithyia_\n\n Elfheim (elf\u00b4h[=a]m or elf\u00b4h[=i]m), 377, 394\n\n Elgin Marbles, _C. 27, 176-181_\n\n E\u00b4l[)i]s, 117, 170, and _passim_;\n _C. 93_\n\n Eliudnir ([)e]l-[)i]-[)oo]d\u00b4n[=e]r), 377\n\n Elli ([)e]l\u00b4l[=e]), 384, 386\n\n Elves, 394;\n _C. 268-281_\n\n Elysium (e-lizh\u00b4[)i]-[)u]m or e-liz\u00b4[)i]-[)u]m), Elysian\n (e-lizh\u00b4[.a]n or e-liz\u00b4[)i]-[.a]n) Plain, 43, 274, 356, 360;\n description of Elysian Fields, 51, 52, 358, 359;\n Andrew Lang's Fortunate Islands, 52;\n _C. 44-46_\n\n E-ma\u00b4th[)i]-a: Thessaly, or Pharsalia\n\n Em\u00b4bla, 374\n\n En-\u00e7el\u00b4[.a]-dus, a Giant, 7\n\n En-[+c]he\u00b4l[)i]-ans, country of the, 89;\n _C. 70_\n\n Endymion (en-dim\u00b4[)i]-[)o]n), 2, 117, 237;\n myth of, 124, 125, 201;\n _C. 98_; genealogy, _148_ (3), (5), _168_\n\n Enipeus (e-ni\u00b4p[=u]s), 170;\n _C. 119-120_\n\n En\u00b4na, 120, 160, 163;\n _C. 93, 114-117_\n\n En-y-a\u00b4l[)i]-us: the horrible, the warlike;\n an epithet of Mars\n\n Enyo (e-ni\u00b4o), mother, daughter, sister, or wife of Mars; the horror, 24;\n also one of the three Gr\u00e6\u00e6\n\n E\u00b4[)o]s, 39.\n See also _Aurora_\n\n Ep\u00b4[.a]-phus, 94, 207;\n _C. 76_\n\n E-pe\u00b4us, the artificer of the Wooden Horse\n\n Eph\u00b4esus, Diana of, _C. 32_;\n Venus of, _C. 34_\n\n Eph-[)i]-al\u00b4t[=e][s+], 93;\n _C. 8_\n\n Ep\u00b4ics. See _Homer_, _Virgil_, _V[.o]lsunga Saga_,\n _Nibelungenlied_, _Mah\u00e2bh\u00e2rata_, _R\u00e2m\u00e2yana_\n\n Ep-[)i]-dau\u00b4rus, 251\n\n Ep-ig\u00b4o-n[=i], 268\n\n Ep-[)i]-men\u00b4[)i]-d[=e][s+], a Cretan herdsman, who awoke from\n a sleep of fifty-seven years to find himself endowed with\n gifts of prophecy, purification, and priestcraft\n\n Epimetheus (ep-[)i]-me\u00b4th[=u]s), 9;\n marries Pandora, 11;\n _C. 10-15_\n\n E-pi\u00b4rus, 349\n\n [)E]r\u00b4[.a]-t[=o], the muse of love poetry, 37\n\n [)E]r\u00b4da, in Wagner's Ring, 415, 418, 419, 424, 425\n\n [)E]r\u00b4e-bus, 4, 135, 162, 259, 363;\n _C. 3, 49, 101-102_\n\n Erechtheus (e-rek\u00b4th[=u]s), 249;\n _C. 174_\n\n [)E]r-i[-c]h-tho\u00b4n[)i]-us, 207;\n descendants of, 249-260;\n _C. 148_ (4), _174_\n\n [)E]r-i[-c]h-tho\u00b4n[)i]-us, son of Dardanus and fourth king of\n Troy, _C. 190-194_ (5)\n\n E-r[)i]d\u00b4[.a]-nus, 98;\n _C. 76_\n\n Erinys (e-rin\u00b4is or e-ri\u00b4nis), E-rin\u00b4y-[=e][s+]. See _Furies_\n\n [)E]r-[)i]-phy\u00b4l[=e], 265, 266, 268;\n _C. 70_\n\n E\u00b4ris, 24, 41. See _Discord_\n\n E\u00b4r[)o]s, 3, 4;\n _C. 3, 38_ (1).\n See _Cupid_\n\n [)E]r-y-\u00e7i\u00b4na, Venus, to whom Mount Eryx and the city of that\n name, with its temple of Venus, were sacred, 255;\n _C. 34_\n\n [)E]r-y-man\u00b4thus, Mount, 119;\n boar of, 217;\n _C. 93, 156-162_\n\n [)E]r-y-si[-c]h\u00b4th[)o]n, myth of, 191, 192\n\n [)E]r-y-the\u00b4a, island of, 219\n\n [)E]r-y-the\u00b4is, one of the Hesperides\n\n E\u00b4ryx, Mount, 32, 159;\n _C. 114-117_\n\n Eskimos, 449\n\n E-te\u00b4o-cl[=e][s+], 264, 266;\n _C. 182-189_, table N\n\n Etruscans, 63, 367\n\n Etzel (et\u00b4sel), Lament over the Heroes of, 461.\n See _Attila_\n\n Eub[oe]a ([=u]-be\u00b4a), 56\n\n Eu-he\u00b4m[~e]r-us or Eu-hem\u00b4[~e]r-us (Eue-merus),\n Eu-he-m[~e]r-is\u00b4tic or Eu-hem-[~e]r-is\u00b4tic, 436\n\n Eu-m\u00e6\u00b4us, 339, 340, 343\n\n Eu-men\u00b4[)i]-d[=e][s+], 256;\n _C. 49_.\n See _Furies_\n\n Eu-mol\u00b4pus, Eu-mol\u00b4p[)i]-d\u00e6, a Thracian singer and his\n descendants, priests of Demeter in the Eleusinian mysteries\n\n Eu-phra\u00b4t[=e][s+], 97\n\n Eu-phros\u00b4y-n[=e], one of the Graces, 36\n\n Eu-rip\u00b4[)i]-d[=e][s+], 455;\n references to, 110, 215, 242, 261, 265, 266, 281, 313, 315, 316;\n translations, _C. 298_\n\n Eu-ro\u00b4pa, 64, 207, 246;\n myth of, 68-71;\n portrayed by Arachne, 84;\n _C. 57_, table D;\n _59_ and table E\n\n Eu-ro\u00b4t[)a]s, 253\n\n Eu\u00b4rus, 38\n\n Eu-ry\u00b4[.a]-l[=e], one of the Gorgons\n\n Eu-ry\u00b4[.a]-lus, 368-370\n\n Eu-ryb\u00b4[)i]-[=e], a Titan, wife of Cre\u00fcs, _C. 4_\n\n Eu-ry-cle\u00b4a, 341\n\n Eu-ryd\u00b4[)i]-\u00e7[=e], 165-168, 202, 203;\n _C. 118_\n\n Eu-ryl\u00b4o-[-c]hus, 324, 325\n\n Eu-ryn\u00b4o-m[=e], 36, 90;\n _C. 4, 71_\n\n Eu-ry-ph[.a]-es\u00b4sa, _C. 4_\n\n Eurystheus ([=u]-ris\u00b4th[=u]s), 216-220\n\n Eurytion ([=u]-rish\u00b4[)i]-[)o]n or [=u]-rit\u00b4[)i]-[)o]n), 219, 259\n\n Eu-t[~e]r\u00b4p[=e], the muse of lyric poetry, 37;\n _C. 38_ (4)\n\n Euxine ([=u]k\u00b4s[)i]n) Sea, 231\n\n E-vad\u00b4n[=e], 266\n\n E-van\u00b4der, 365-367\n\n Eve and the apple, 440\n\n E-ve\u00b4nus, 115\n\n E\u00b4v[)i]-us, _C. 42_.\n See _Bacchus_\n\n\n Fable, definition of, 1;\n distinguished from myth, 1-2;\n some writers of, 2\n\n Fafner (f\u00e4v\u00b4n[~e]r), Fafnir, 412, 415, 419, 420, 422, 423, 427\n\n Fafnir (f\u00e4v\u00b4n[=e]r), Fafner, 400, 401.\n In Wagner's Ring, see _Fafner_\n\n Fair, Brown, and Trembling, story of;\n analogy of incident, _C. 101-102_\n\n Famine, personified, 192\n\n Farbauti (f\u00e4r\u00b4bou-te), 377\n\n F\u00e4\u00b4[s+][=\u00f3]lt, 412, 415\n\n Fas\u00b4t[=i], Ovid's, 456\n\n Fate (Greek _A-nan\u00b4ke_, Latin _Fa\u00b4tum_), the necessity above\n and behind gods as well as men\n\n Fates, the (Greek _M[oe]'r\u00e6_, Latin _Par\u00b4c\u00e6_), subject to Jupiter;\n their office, 38, 106, 107, 163, 167, 237, 240, 269;\n daughters of Themis, or of Night, 38;\n song of, 272;\n _C. 38_ (6), _49_\n\n Fau\u00b4na, 61\n\n Fau\u00b4n[=i], Fauns, 61, 153, 185, 186, 190, 195;\n _C. 54, 131_\n\n Fau\u00b4nus, 61, 198, 362\n\n F[.a]-vo\u00b4n[)i]-us, 38\n\n Fen\u00b4ris, 377, 378, 387, 395, 396\n\n Fensalir (fen-s\u00e4-l[=e]r\u00b4), 387, 389\n\n Fe-ro\u00b4n[)i]-a, 63; also worshiped in the mart as a goddess of\n commerce; a Sabine deity\n\n Fi\u00b4d[=e][s+], 63\n\n Flood, the, in Greece, 15\n\n Flo\u00b4ra, 61;\n loved by Zephyrus, 39;\n _C. 54_\n\n Fon-t[)i]-na\u00b4l[)i]-a, 62\n\n Fon\u00b4tus, 62\n\n For-t[=u]'na, 63\n\n Fox and Grapes, reference to, 1\n\n Freia (fr[=e]'a), Freya, 412-415.\n See _Freya_\n\n Freki (fr[=a]'k[=e]), 375\n\n Freya (fr[=a]'a), Freia, 377-380, 393\n See _Freia_\n\n Freyr (fr[=a]''r) or Froh (fr[=o]), 377, 386, 387, 393-395, 412;\n _C. 268-281_\n\n Frick\u00b4a or Frig\u00b4ga, 412, 415, 418, 420\n\n Frig\u00b4ga or Frick\u00b4a, 374, 387, 389, 393;\n _C. 268-281_\n\n Froh (fr[=o]) or Freyr (fr[=a]''r), 412, 413, 415\n\n Frost giant (Ymir), 373\n\n Frost giants, 376, 378, 380, 393, 395\n\n Furies, F[=u]'r[)i]-\u00e6 (E-rin\u00b4y-[=e][s+], Di\u00b4r\u00e6,\n Eu-men\u00b4[)i]-d[=e][s+], Sem\u00b4n\u00e6: A-lec\u00b4to, T[)i]-siph\u00b4-o-n[=e],\n Me-[.g]\u00e6\u00b4ra), 5, 51, 354, 357;\n attendants of Proserpine, 53, 54;\n mollified by Orpheus, 166;\n avengers of Ibycus, 196, 197;\n Orestes pursued by, 316;\n _C. 49, 140_\n\n\n G\u00e6a (je\u00b4a), [.G][=e], or T[)e]r\u00b4ra, 4, 5, 6, 44, 220;\n the Roman Tellus, 59.\n See _Earth_\n\n Gal-[.a]-te\u00b4a, the Nereid, 55, 185;\n myth of Acis, Polyphemus, and G., 198-200;\n _C. 141_\n\n Gal-[.a]-te\u00b4a and Pyg-m[=a]'l[)i]-[)o]n, 147;\n _C. 105_\n\n Gandharvas (gund-hur\u00b4w[.a][s+]). See _Hindu divinities_ (2)\n\n Gan\u00b4[.g][=e][s+], 97\n\n Gan-y-me\u00b4da, a name of Hebe\n\n Gan\u00b4y-m[=e]de, 36;\n _C. 38_ (2)\n\n Gardens of the Hesperides, _C. 149-154_\n\n G\u00e1th\u00e1s (g\u00e4\u00b4t\u00e4[s+]), 463\n\n Gautama (gou\u00b4t[.a]-m[.a]). See _Buddha_\n\n [.G]e. See _G\u00e6a_ and _Earth_\n\n [.G]el\u00b4l[)i]-us, reference to, 60\n\n [.G]em\u00b4[)i]-n[=i]. See _Tyndarid\u00e6_\n\n [.G]e\u00b4nius, the Roman tutelary spirit, 62, 181\n\n [=G][)e]r\u00b4da, 387\n\n Geri ([=g][=a]'r[=e]), 374\n\n German heroes, myths, and lays, 2, 405-409;\n _C. 283-288, 301_\n\n German mythology, narrative of, 405-409;\n records of, 448, 460, 461;\n translations and authorities, _C. 283-288_\n\n [=G][)e]r\u00b4n[=\u00f3]t, 407\n\n Geryon (je\u00b4r[)i]-[)o]n), son of Chrysaor and Callirrho\u00eb, 219\n\n Giallar ([=g][)i]\u00e4l\u00b4l\u00e4r), 395\n\n Giants, Greek ([.G][=i]-gan\u00b4t[=e][s+]), 2, 5;\n war of, 7, 8, 159;\n interpretation of, 440;\n _C. 8_\n\n Giants, Norse, 373, 376, 412\n\n Gibichungs ([=g][=e]'biG-[)oo]ng[s+]), 426-429\n\n Ginnungagap ([=g]in\u00b4n[=oo]n-g\u00e4-g\u00e4p\u00b4), 373\n\n Giselher ([=g][=e]'zel-h[)e]r), 407\n\n Giuki ([=g][)i][=u]'k[=e]), 403\n\n Gladsheim (gl\u00e4ts\u00b4h[=a]m or gl\u00e4ts\u00b4h[=i]m), 374\n\n Glau\u00b4\u00e7[=e] (or Cre-[=u]\u00b4sa), 235;\n _C. 163-167_ (Interpret.)\n\n Glau\u00b4cus, formerly a fisherman of B[oe]otia, afterward a\n sea-god, 58, 204;\n _C. 142_.\n Sometimes confused in mythology with the following:\n\n Glau\u00b4cus of Corinth, son of Sisyphus and father of\n Bellerophon, 200, 201, 214\n\n Glau\u00b4cus, grandson of Bellerophon, in the Trojan War, 280, 290\n\n Gleipnir (gl[=a]p\u00b4n[=e]r), 378\n\n Glis\u00b4ten-heath, 401\n\n Glyptothek (glip-to-t[=a]k\u00b4) at Munich, of King Louis I of\n Bavaria; one of the finest collections of ancient statuary in\n the world\n\n Gnossus (nos\u00b4us), Cnosus, Cnossus, the ancient capital of\n Crete; home of Minos, 256\n\n Gods, the Egyptian. See _Egyptian divinities_\n\n Gods, the great, of Greece, origin of, 4, 8;\n home of, 18;\n enumerated, 19;\n number of, discussed by Gladstone, _C. 23_;\n attributes of gods of Olympus, 19-41;\n lesser divinities of Olympus, 35-41;\n Greek gods of the earth, 42-46;\n Greek gods of the underworld, 47-54;\n Greek gods of the waters, 55-58;\n gods common to Greece and Italy, 59;\n distinctively Roman, 59-63;\n derived from the Etruscans, 63;\n myths of the great Greek divinities of heaven, 64-151;\n of earth, 152-158;\n of earth and underworld, 159-168;\n of waters, 169-171;\n of lesser divinities of heaven, 172-180;\n of lesser divinities of earth and underworld, 181-197;\n of lesser divinities of waters, 198-205;\n _C. 22, 23_\n\n Gods, the Hindu. See _Hindu divinities_\n\n Gods, the Norse, 373-397\n\n Golden Age, the, 10, 11, 59, 366;\n _C. 10-15_\n\n Golden Ass, the, 457\n\n Golden Fleece, quest of, 206, 229-233, 455;\n _C. 163-167_\n\n Gol\u00b4[.g][=i], a city of Cyprus, beloved by Venus, 253\n\n Gor\u00b4d[)i]-an Knot (Gor\u00b4d[)i]-us), _C. 113_\n\n Gor\u00b4gons (Sthe\u00b4no, Eu-ry\u00b4[.a]-l[=e], Me-d[=u]\u00b4sa), described, 57;\n _C. 149-154_.\n See _Medusa_\n\n Goth\u00b4land, Goths, 398, 399\n\n Graces, Grati\u00e6 (gra\u00b4sh[)i]-[=e]), [-C]h[)a]r\u00b4[)i]-t[=e][s+],\n 30, 31, 40, 69, 181;\n attributes of, and names, 36;\n lines by Spenser on the Graces, 36, 37;\n _C. 38_ (3)\n\n Gr\u00e6\u00b4\u00e6, Gray-women (Di\u00b4no, Pe-phre\u00b4do, E-ny\u00b4o), described, 57;\n and Perseus, 209;\n _C. 149-154_\n\n Gr\u00e4m, 401, 404, 405\n\n Gr\u00e4\u00b4n[~e], 426\n\n Greek, Greeks, 2, 442, 447, 448;\n myths of creation, 3;\n view of nature, 181, 435, 443.\n See also _Gods_, _Heroes_, _Myths_\n\n Grey\u00b4fell, 401, 403, 405\n\n Grimhild (gr[)i]m\u00b4h[)i]lt), 403\n\n Grim-hil\u00b4d[~e], 427\n\n Gudrun (g[=oo]d\u00b4r[=oo]n or g[=oo]-dr[=oo]n\u00b4), 403-405.\n See _Gutrune_\n\n Gullinbursti (g[=oo]l-in-b[=oo]r\u00b4st[=e]), 393\n\n Gulltop (g[=oo]l\u00b4top), 393\n\n Gunnar (g[=oo]n\u00b4n\u00e4r), 403-405.\n See _Gunther_\n\n Gunther (g[)oo]n\u00b4t[~e]r), 405-409;\n in Wagner's Ring, 426-429;\n _C. 282-283_\n\n Gutrune (g[)oo]-tr[=oo]'n[~e]), in Wagner's Ring, 426-429\n\n Guttorm (g[=oo]t\u00b4t\u00f4rm), 403, 404\n\n [.G]y\u00b4[=e][s+] or [.G]y\u00b4[.g][=e][s+], \u00c7en-tim\u00b4[.a]-nus, _C. 4_\n\n [.G]y\u00b4[.g][=e][s+], first King of Lydia; famous for his riches\n\n Gyoll ([=g][)i][[='o]]l), 391\n\n\n Ha\u00b4d[=e][s+], _C. 44-46, 47, 49_.\n See _Pluto_\n\n Ha\u00b4d[=e][s+], realm of, 35, 47;\n _C. 44-46_.\n See _Underworld_\n\n H\u00e6\u00b4m[)o]n, 267;\n _C. 182-189_, table N\n\n H\u00e6-mo\u00b4n[)i]-a, 177\n\n H\u00e6\u00b4mus, Mount, 96;\n _C. 76_\n\n H\u00e4\u00b4[=g]en, 405, 408, 409;\n in Wagner's Ring, 419, 426-430\n\n Hal-\u00e7y\u00b4o-n[=e], 172;\n and Ceyx, myth of, 175-177;\n _C. 125_\n\n Ham-[.a]-dry\u00b4ads, 186;\n myths of, 191-195\n\n Happy Isles, the, 345\n\n Har-mo\u00b4n[)i]-a, 24, 71, 153;\n and Cadmus, 89, 90;\n necklace of, 89, 265, 268;\n _C. 70_\n\n Har\u00b4pies, Harpyi\u00e6 (har\u00b4p[)i]-y[=e] or har-p[=i]'y[=e]),\n described, 56, 57, 348, 362;\n _C. 50-52_ and table C\n\n Har-poc\u00b4r[.a]-t[=e][s+]. See _Egyptian divinities_ (1)\n\n H\u00e4\u00b4th[)o]r, \u00c4\u00b4th[)o]r. See _Egyptian divinities_ (1)\n\n Heaven, abode of Greek Gods, 4, 5, 6, 18;\n attributes of Greek gods of, 19-41;\n myths of greater Greek gods of, 64-151;\n of lesser Greek gods of, 172-180.\n See _Olympus_\n\n Heaven, personified, 3.\n See _Uranus_\n\n He\u00b4b[=e], 18, 86, 234;\n daughter of Juno, 19, 22;\n attributes of, wife of Hercules, 36, 227;\n _C. 38_ (2)\n\n He\u00b4brus, 168;\n _C. 118_\n\n Hec\u00b4[.a]-b[=e]. See _Hecuba_\n\n Hec\u00b4[.a]-t[=e], described, 54, 232, 233, 234, 354;\n _C. 49_\n\n Hec-[.a]-ton-[-c]hi\u00b4r[=e][s+], 4, 6;\n _C. 4_\n\n Hec\u00b4tor, 275, 276, 280-306, 313;\n _C. 190-194_ (5), _207_\n\n Hec\u00b4[=u]-ba, 280, 291, 292, 301-305, 312, 313;\n _C. 190-194_ (5), _216_\n\n Heidrun (h[=a]d\u00b4r[=oo]n or h[=a]-dr[=oo]n\u00b4), 376\n\n Heimdall (h[=a]m\u00b4d\u00e4l or h[=i]m\u00b4d\u00e4l), 377, 389, 393, 395\n\n H[)e]l, 389, 391, 395\n\n H[)e]l\u00b4a, 377, 387, 389-392, 395, 397\n\n Helen, Hel\u00b4[='e]-na, 237, 242, 243, 259, 275-279, 287-289,\n 291, 301, 313, 314;\n _C. 190-194_ (3), _195_\n\n Hel\u00b4[)e]-nus, 313, 349, 350, 451;\n _C. 190-194_ (5)\n\n Helgi (hel\u00b4[=g][=e]) the Hunding's Bane, 460\n\n He-li\u00b4[.a]-d[=e][s+], 98;\n _C. 76_\n\n Hel\u00b4[)i]-c[)o]n, Mount, 96, 453;\n _C. 76_\n\n He\u00b4l[)i]-[)o]s, confounded with Apollo, 27, 39;\n family of, 39;\n the sun, 43;\n contest with Neptune, 169;\n cattle of, 330;\n _C. 4, 38_ (10), _75_\n\n Hel\u00b4l[=e], 229;\n _C. 163-167_\n\n Hel\u00b4len, ancestor of the Hellenes, 16;\n sons of, 214, 229;\n _C. 148_ (5), table I\n\n Hel\u00b4l[)e]s-pont, 142, 229, 272;\n _C. 104_\n\n Hem\u00b4[~e]r-a, Day, sister of \u00c6ther and daughter of Erebus and Night, 4\n\n Heph\u00e6stus (he-f[)e]s\u00b4tus), _C. 29_.\n See _Vulcan_\n\n H[)e]r\u00b4[.a]-cl[=e][s+]. See _Hercules_\n\n H[~e]r\u00b4c[~u]-l[=e][s+], H[)e]r\u00b4[.a]-cl[=e][s+], 7, 17, 20, 206, 230, 237;\n frees Prometheus, 12;\n passage from G. C. Lodge's Herakles, 12;\n son of Alemene, 64, 107;\n saves Alcestis from death, 107-110;\n passages from Browning's Balaustion's Adventure, 107-110;\n visits Tartarus, 168, 259;\n rescues Hesione, 170;\n contest with Achelo\u00fcs, 203, 204;\n myth of, 215-228;\n choice of, 216;\n youth and labors, 216-221;\n later exploits, 221-225;\n loss of Hylas, 222, 223;\n rescue of Daphnis, 223-225;\n expedition against Laomedon, 225;\n death, 225-228, 455;\n the Cretan bull, 246;\n constellation of, 258;\n arrows of, 309;\n interpretations of, 432, 437, 440;\n _C. 10-15, 156-162_\n\n H[~e]r\u00b4m[=e][s+], _C. 36, 109_.\n See _Mercury_\n\n H[~e]r-mi\u00b4o-n[=e], daughter of Menela\u00fcs and Helen, 276, 314, 349;\n corruption of Harmonia, _C. 70_ (Illustr.)\n\n H[)e]r\u00b4mod, 389-397 _passim_\n\n He\u00b4ro and Le-an\u00b4der, story of, 141-145;\n extracts from Marlowe's Hero and Leander, 142-144;\n Keats' sonnet, On a Picture of Leander, 145;\n _C. 104_\n\n He-rod\u00b4o-tus, 455;\n reference to, 268, 452\n\n Heroes, the older Greek, 16, 17;\n myths of, 206-264;\n the younger Greek, myths of, 265 _et seq._;\n the Norse and the old German, 398-409\n\n H[~e]r\u00b4s[=e], sister of Aglauros and Pandrosos,\n personifications of the dew, daughters of Cecrops, _C.\n 123-124, 174_\n\n He\u00b4s[)i]-[)o]d (He-si\u00b4o-dus), cited, 4, 10, 16, 26, 31, 38,\n 51, 246, and footnotes _passim_;\n account of, and of his Works and Days, and Theogony, 453;\n translation by Thomas Cooke in Vol. II of English\n Translations from Ancient and Modern Poems, 3 vols., London,\n 1810;\n see also _C. 5, 298_\n\n He-si\u00b4o-n[=e], 169, 170, 225, 276, 280;\n _C. 190-194_ (5)\n\n Hes\u00b4p[~e]r, Hes\u00b4p[~e]r-us, 31, 40, 41, 160, 272;\n _C. 38_ (11)\n\n Hes-pe\u00b4r[)i]-a, 348\n\n Hes-p[)e]r\u00b4[)i]-d[=e]s, Hes\u00b4p[~e]r-ids, the sisters, the\n garden of, 40, 41, 57, 211, 219, 220;\n quotation from Milton's Comus, 40;\n from Tennyson's Hesperides, 40, 41;\n _C. 49_ and table B, _149-154, 156-162_\n\n Hes\u00b4p[~e]r-is, 57\n\n Hes\u00b4p[~e]r-us. See _Hesper_\n\n Hes\u00b4t[)i]-a. See _Vesta_\n\n Hieroglyphs, the, 462\n\n Hil-[.a]-i\u00b4ra.\n (1) Daughter of Apollo.\n (2) Sister of Ph[oe]be, daughter of Leucippus; carried off\n with her sister by Castor and Pollux.\n (3) The _cheerful_, the moon\n\n Hil\u00b4de-brand, 409\n\n Him\u00b4[~e]r-[)o]s, personification of the longing of love,\n companion of Eros, 36\n\n H[)i]nd\u00b4fell, 401, 403\n\n Hindu divinities: arranged logically as (1) Vedic, (2)\n Brahmanic. For Buddhism see _Buddha_\n (1) Vedic: the Aryan, and earliest form of Hindu religion;\n dealing primarily with elemental powers that, in time,\n acquired spiritual signification\n _Vedas_: the Sanskrit scriptures; from root, to know, to be\n wise; see p. 462.\n _Devas_: the shining ones, the gods (Gk. _theos_, Lat. _deus_)\n _Dyaus_: the shining sky, the elemental overruling spirit of\n the primitive Aryans (Gk. _Zeus_, Lat. _Jovis_)\n _Prithivi_: goddess Earth, spouse of Dyaus\n _Indra_: son of Dyaus and Prithivi; the atmospheric region;\n chief of the gods, and strongest; wielder of the thunderbolt,\n lord of the plains, bull of the heavens, conqueror of the\n malignant, thirsty Vritra, gatherer of clouds, dispenser of\n rain; adored in heaven and on earth\n _Varuna_: god of the vault of heaven (root _var_, to cover;\n Gk. _Ouranos_, Lat. _Uranus_); the all-seeing, the pardoner,\n merciful even to the guilty\n _Ushas_: the dawn, mother of mornings, brilliant of raiment,\n golden-colored, spreading far and wide, everywhere awakening\n men, preparing the pathway of the sun, and leading his white\n steed (Gk. _Eos_)\n _Surya_: the god who dwells in the sun (Gk. _Helios_)\n _Savitar_: the golden-handed sun in his daily course; the\n shining wanderer, comforter of men\n _Soma_: a deification of the spirituous \"extract\" of the\n moon-plant; giver of strength to gods and men, and of radiant\n light and joyous immortality\n _Vayu_: god of the wind\n _Maruts_: deities of the storm\n _Agni_: the youngest and one of the most important of the\n Vedic gods; lord of fire, born of two pieces of wood rubbed\n together; youngest of the deities, giver of prosperity to\n men, their guardian and companion, passing between heaven and\n earth \"like a messenger between two hamlets\" (Lat. _ignis_;\n _cf._ Gk. _Heph\u00e6stus_)\n _Vach_: goddess of speech, teacher of spiritual worship,\n promoter of wisdom and holiness\n _Vritra_: the monstrous snake, drinker of rain-clouds, dark,\n evil, and malicious, overcome by Indra (_cf._ Apollo and the\n Python)\n _Rakshasas_: powers of darkness, combated by Indra\n _Yama_, and his sister _Yami_: the first man and woman;\n leaving this life they prepared for those that should follow\n them blissful abodes in the other world, of which they are\n king and queen\n (2) Brahmanic: a philosophical outgrowth of the Vedic\n religion, which, on the one hand, was refined into logical\n subtleties, intelligible only to the learned; on the other\n hand, crystallized into symbols, rites, and unending\n conventionalities\n _Trimurti_: the Brahmanic Trinity, consisting of the\n following three persons:\n _Brahma_: in the Rig-Veda, a word for devotion, prayer;\n later, for the supreme principle of the universe, its\n source, its essence, and its sustenance. Brahma is the\n _creative energy_ of the godhead, calm, passionless, remote\n from man and the world. He is four-headed and four-handed.\n _Vishnu_: originally a benevolent Vedic deity, with certain\n attributes of the sun; adopted by a sect as its special\n god, and then annexed by the Brahmans as a manifestation\n of the supreme being in his work of _preservation_. He has\n nine times assumed human form, each incarnation having\n for its purpose the redemption of mankind from oppression\n or error. These incarnations are his _Avatars_. His ninth\n _Avatar_, say some, was as Buddha; in his tenth he will end\n this world, and reproduce Brahma, who will create things\n anew.\n _Siva_: originally a bloodthirsty deity, not of the Vedic,\n but of some aboriginal Hindu religion; absorbed in the\n Brahmanic godhead as the manifestation of _destructive\n power_. He is adorned with a necklace of skulls and\n earrings of serpents.\n _Sarasvati_: goddess of speech (see _Vach_); spouse of Brahma\n _Sri_, or _Lakshmi_: goddess of beauty; spouse of Vishnu\n _Uma_, or _Parvati_ (Kali, Durga): the inaccessible, the\n terrible; spouse of Siva\n _Gandharvas_: genii of music (_cf._ Centaurs); retainers of Indra\n _Lokapalas_: generic name for the Vedic deities when degraded\n by Brahmanism to the position of tutelary spirits\n\n Hiordis (h[=\u00e9]-\u00f4r\u00b4dis), 400\n\n Hip-po-cre\u00b4n[=e] (anglicized in poetry as Hip\u00b4po-cr[=e]ne,\n three syllables), _C. 155_\n\n Hip-po-d[.a]-mi\u00b4a, daughter of Atrax, 259\n\n Hip-po-d[.a]-mi\u00b4a, daughter of [OE]noma\u00fcs, 170, 171, 275;\n _C. 121_\n\n Hip-pol\u00b4y-ta and Hercules, 219;\n _C. 176-181_ (Textual)\n\n Hip-pol\u00b4y-tus, 150, 259, 260;\n _C. 174_, table M; _176-181_ (Illustr.)\n\n Hip-p[)o]m\u00b4e-d[)o]n, 265\n\n Hip-pom\u00b4e-n[=e][s+] (or Mi-lan\u00b4[)i]-[)o]n), 139-141, 230;\n _C. 103_\n\n Hip-pot\u00b4[.a]-d[=e][s+], primarily \u00c6olus II, son of Hippotes,\n but in poetry generally \u00c6olus III, king of the winds, _C. 38_\n (9), _125_\n\n Historians of mythology, in Greece, 455;\n in Norway, 458-460.\n See _Myth, Preservation of_\n\n H\u00f6der (h[~e]'d[~e]r), 376, 387-389, 397;\n _C. 268-281_\n\n H[oe]nir (h[~e]'n[=e]r), 400\n\n Hogni (h[=\u00f3]g\u00b4n[=e]), 403-405;\n _C. 282-283_.\n See _Hagen_\n\n Ho\u00b4mer (Ho-me\u00b4rus), cited, 3, 4, 18, 21, 23, 25, 31, 35, 47,\n 51, 75, 84-87, 91, 99, 104, 110, 115, 123, 150, 169, 180,\n 202, 214, 215, 246, and footnotes _passim_;\n story of Iliad and Odyssey, 283-345;\n relation to myth, 433;\n account of, 451, 452;\n _C. 5, 23, 195, 298_\n\n Ho-m[)e]r\u00b4ic Hymns, 150, 177, 452\n\n Ho-m[)e]r\u00b4[)i]-d\u00e6, \"sons of Homer,\" lived in Chios, and\n claimed to be descended from Homer. They were hereditary epic\n poets;\n _C. 298_\n\n Horace (Ho-ra\u00b4tius), 2, 457;\n references to his poems, 77, 177, 207, 214;\n note on, and translations, _C. 299_\n\n Ho\u00b4r\u00e6. See _Hours_\n\n Ho\u00b4rus, son of Osiris. See _Egyptian divinities_ (1)\n\n Hours, or Seasons, the, 18, 22, 28, 31, 38, 40, 94, 95, 178, 179, 181;\n _C. 38_ (5)\n\n Hrim-thursar (r[=e]m\u00b4th[~e]r-s\u00e4r), 376\n\n Hringham (r[=e]ng\u00b4h[.a]m), 392\n\n Hugi (h[=oo]'[=g][=e]), 383, 385\n\n Hugin (h[=oo]'[=g][=\u00e9]n), 374\n\n Hunding (h[)oo]n\u00b4ding), 400, 401;\n in Wagner's Ring, 416-420\n\n Hun\u00b4land, Huns, 398, 404, 409;\n _C. 282-283_\n\n Huns, the, 398\n\n Hy-[.a]-\u00e7in\u00b4th[)i]-a, _C. 30, 75_\n\n Hy-[.a]-\u00e7in\u00b4thus, 93, 94, 103;\n _C. 75_\n\n Hy\u00b4[.a]-d[=e][s+], the, daughters of Atlas, 57, 152, 344;\n _C. 110-112_\n\n Hy\u00b4[.a]-l[=e], 121\n\n Hy\u00b4dra, 51, 354, 357;\n the Lern\u00e6an, 217;\n _C. 156-162_ (Interpret.)\n\n Hy-[.g]e\u00b4a, Hy-[.g]i\u00b4a, daughter of \u00c6sculapius; the goddess of health\n\n Hyginus (h[)i]-ji\u00b4nus), references to, 75, 123, 160, 170,\n 208, 215, 241, 243, 246, 249, 265, 269;\n _C. 299_\n\n Hy\u00b4l[.a]s, the loss of, 222, 223;\n _C. 156-162_ (Illustr.)\n\n Hy\u00b4men (Hy-m[)e]-n\u00e6\u00b4us), 36, 165;\n _C. 38_ (1)\n\n Hy-p[~e]r-bo\u00b4re-ans (Hy-p[~e]r-bo\u00b4re-i), 26, 42, 92;\n Thomas Moore's Song of a Hyperborean, 43;\n _C. 39, 74_\n\n Hy-pe\u00b4r[)i]-[)o]n or Hy-p[~e]r-[=i]'[)o]n, 4;\n _C. 4_\n\n Hy-p[~e]r-mnes\u00b4tra, 207;\n _C. 149-154_\n\n Hypnos (hip\u00b4n[)o]s). See _Sleep_\n\n\n I-ac\u00b4[-c]hus, _C. 114-117_.\n See _Bacchus_\n\n I-ap\u00b4e-tus, 4, 5, 6, 8;\n _C. 4_;\n descendants of, _148_ (5), table I\n\n Iasius (i-a\u00b4sh[)i]-us), 237\n\n Ib\u00b4y-cus, 196, 197, 453;\n _C. 140_\n\n I-ca\u00b4r[)i]-us, 279, 338;\n _C. 190-194_ (3)\n\n Ic\u00b4[.a]-rus, 222, 246, 247;\n _C. 173_\n\n I\u00e7\u00b4e-lus, a producer of dreams, son of Somnus, _C. 125_\n\n I\u00b4da, Mount, 96, 110, 278;\n _C. 76_\n\n I\u00b4da, the nymph, 5\n\n I\u00b4da, the plain, 397\n\n I-d\u00e6\u00b4us, 305\n\n I-da\u00b4l[)i]-um, a mountain and city of Cyprus, dear to Venus, 253\n\n I\u00b4d[)a]s, 115, 116, 243\n\n Idomeneus (i-dom\u00b4e-n[=u]s), 286, 288\n\n Iduna (e-d[=oo]n\u00b4a), 376\n\n Il\u00b4[~i]-[.a]d, narrative of, 283-306;\n a kind of myth, 433, 448;\n history of, 452, 453, 463;\n illustrative of, _C. 195_;\n translations, _298_;\n cited, see footnotes _passim_, and _Cowper_, _Derby_,\n _Gladstone_, _Lang_, _Pope_, in Index of Authors\n\n Il\u00b4[)i]-[.a]d, the Little, 453\n\n Il\u00b4[)i]-[)o]n, Il\u00b4[)i]-um, 179.\n See _Troy_\n\n Ilioneus ([)i]-li\u00b4o-n[=u]s), 100\n\n Ilithyia (il-[)i]-thi\u00b4ya). See _Eileithyia_\n\n Il-[)i]-[=u]-p[~e]r\u00b4sis, the, 453\n\n I\u00b4lus, son of Dardanus, died without issue\n\n I\u00b4lus, son of Tros, _C. 190-194_ (5)\n\n In\u00b4[.a]-[-c]hus, son of Oceanus, ancestor of the Argive and\n Pelasgic races, 17, 206;\n father of Io, 65, 207;\n ancestor of Minos, 246;\n Theban descendants of, 261;\n _C. 57_ and table D, _148_ (1)\n\n India, 153, 447, 448;\n records of myths of, 462, 463;\n epics, 153, 462, 463;\n studies and translations of literature of, _C. 303_\n\n Indians, red, mental state of, 441;\n myths of, 448\n\n Indo-Europeans, 448\n\n In\u00b4dra, _C. 109_.\n See _Hindu divinities_ (1)\n\n I\u00b4no, 89, 156, 202, 229, 261;\n _C. 144_\n\n I\u00b4o, 64, 94, 207;\n myth of, 65-67;\n Ionian Sea, 67;\n interpretation of myth, 439;\n genealogy, etc., _C. 57, 149-154_\n\n I-ob\u00b4[.a]-t[=e][s+], 214, 215\n\n I-o-la\u00b4us, 217, 221\n\n I-ol\u00b4c[)o]s or I-ol\u00b4cus, 230;\n _C. 163-167_\n\n I\u00b4o-l[=e], daughter of Eurytus, who refused to give her to\n Hercules, although the hero had fairly won her by his success\n in archery. Eurytus assigned as the reason for his refusal\n the apprehension lest Hercules might a second time become\n insane, and in that condition destroy Iole in spite of his\n love for her. By some she is made the half-sister of Dryope,\n 192, 225, 432\n\n I\u00b4on, _C. 174_\n\n I-o\u00b4n[)i]-a, 175\n\n I-o\u00b4n[)i]-an Sea, 67\n\n I-o\u00b4n[)i]-ans, origin of, 16;\n _C. 148_ (2)\n\n Iph\u00b4[)i]-cl[=e][s+], 216, 221\n\n Iph-[)i]-[.g]e-ni\u00b4a, 275, 276;\n in Aulis, 280, 281;\n in Tennyson's Dream of Fair Women, 281;\n among the Taurians, 316;\n _C. 190-194_ (2), _196, 228-230_ (In Art)\n\n Iph-[)i]-me-di\u00b4a, 93\n\n I\u00b4phis, 195\n\n Iph\u00b4[)i]-tus, 221\n\n I\u00b4ris, 40, 41, 176, 287, 296, 304, 367;\n _C. 38_ (12)\n\n Iron Age, the, 15\n\n I\u00b4sis. See _Egyptian divinities_ (1)\n\n Islands of the Blest, 51, 52.\n See _Elysium_\n\n Isles, the Fortunate, 52.\n See _Elysium_\n\n Is\u00b4m[.a]-rus, 318\n\n Is-me\u00b4n[=e], 263;\n _C. 182-189_\n\n Is-me\u00b4nos, son of Niobe, 100\n\n Is\u00b4t\u00e4r, _C. 34_.\n See _Venus_\n\n Isthmian Games, 202;\n _C. 176-181_ (Textual)\n\n Italian gods, 59-63\n\n Italy, 260, 348, 352, 360\n\n Ith\u00b4[.a]-ca, 278, 279, 318, 337, 338, 448, 452\n\n It\u00b4y-lus. See _Itys_\n\n I\u00b4tys (i\u00b4tis), 249\n\n I-[=u]'lus, As-ca\u00b4n[)i]-us, 362, 363, 369, 372\n\n Ix-i\u00b4[)o]n, 166, 167, 358;\n _C. 118, 255-257_\n\n\n Ja\u00b4na, 61\n\n J[.a]-ni[-c]'[=u]-lum, 366\n\n Ja\u00b4nus, 60, 61, 363, 366;\n _C. 54_\n\n Jarnvid (y\u00e4rn\u00b4v[=e]d), 392\n\n Ja\u00b4sius, Ja\u00b4sus, I-a\u00b4sius, I-a\u00b4sus, father of Atalanta the\n Arcadian. See _Iasius_\n\n Ja\u00b4son, 206;\n myth of, 230-235;\n quest of the golden fleece, 230-233, 455;\n _C. 163-167_\n\n Jo-cas\u00b4ta, 262, 263;\n _C. 182-189_, table N\n\n Jonah and Arion, 440\n\n Jonakr (y\u00f4n\u00b4[.a]-k[~e]r), 405\n\n Jormunrek (y\u00f4r\u00b4m[)oo]n-rek), 405\n\n Jotham, 1.\n See _Judges_ 9, 7\n\n J\u00f6tunheim (y[~e]'t[)oo]n-h[=a]m or y[~e]'t[)oo]n-h[=i]m),\n 374, 379, 380, 394\n\n J[=u]'b[.a]l, 440\n\n Ju\u00b4no (He\u00b4ra, He\u00b4r[=e]), 5, 7, 19;\n meaning of her names, 22;\n attributes of, her descent and marriage, 22;\n favorite cities and animals, 22;\n among the Romans, 59;\n Lucina, 61;\n protectress of women in Rome, 62;\n myths of Juno and Jupiter, 64-81;\n J. and Latona, 64;\n Io, 65-67;\n Callisto, 67, 68;\n Semele, 71;\n \u00c6gina, 73;\n the sons of Cydippe, 80, 81;\n Vulcan, 90, 91;\n Bacchus, 152;\n Neptune, 169;\n Halcyone and Iris, 176;\n Echo, 188;\n Hercules, 216, 219, 227;\n Paris, 278;\n in Trojan War, 284, 285, 289, 295-298;\n \u00c6neas, 350, 363-367, 372;\n _C. 26_\n\n Ju\u00b4p[)i]-ter (Zeus), 5;\n war with Titans, 5, 6;\n sovereign of the world, 6;\n reign of, 6-8;\n creation of woman, 11;\n sends a flood to destroy men, 15;\n his abode, 18;\n his family, 19;\n signification of names, 19, _C. 24_;\n attributes, 19-21;\n his oracles, 19, 20;\n explanation of his love affairs, 20;\n other children of, 20;\n Greek conceptions of, 21;\n in art, statue of Olympian Jove by Phidias, 21;\n J. and Juno, 22;\n and Minerva, 23;\n and Metis, _C. 55_;\n and Vulcan, 25;\n and Latona, 26, 29, 64;\n and Dione, 31;\n and Maia, 34;\n and Vesta, 35;\n and Ganymede, 36;\n and Eurynome, 36;\n and Mnemosyne, 37;\n and Themis, 38;\n and \u00c6sculapius, 38;\n and Semele, 44, 64, 71-73, 288;\n among the Romans, 59;\n myths of, 64-80;\n Dana\u00eb, 64, 208;\n Alcmene, 64, 215;\n Leda, 64, 242, 275;\n Io, 64-67;\n Callisto, 64, 67, 68, 241;\n Europa, 64, 68-71, 246;\n \u00c6gina, 64, 73-75;\n Antiope, 64, 75-77;\n Baucis and Philemon, 77-80;\n treatment of Mars, 85, 86;\n the Aload\u00e6, 93;\n Pha\u00ebthon, 98;\n \u00c6sculapius, 104;\n the Pleiads, 123;\n Cupid and Psyche, 136;\n Bacchus, 152;\n Ceres, 162;\n Neptune, 169;\n Ceyx and Halcyone, 177;\n Tithonus, 177, 180;\n the Cercopes, 222;\n Hercules, 227;\n Castor and Pollux, 243;\n Amphiara\u00fcs, 265;\n Capaneus, 266;\n Peleus and Thetis, 269;\n in Trojan War, 278, 285-305, 312;\n Ulysses, 331;\n \u00c6neas, 351, 356, 372;\n Salmoneus, 357;\n interpretations of, 434, 437;\n _C. 5, 10-15, 24-25, 55, 57, 58, 59, 60, 61_\n\n Ju-tur\u00b4na, 62, 245\n\n Ju-ven\u00b4t[)a]s. See _Hebe_\n\n Ju-ven\u00b4tus, 63\n\n\n Kali (k\u00e4\u00b4l[=e]). See Uma under _Hindu divinities_ (2)\n\n K\u00e4r\u00b4ma: in Buddhism, the sum of a man's deeds, good and evil,\n which determines the nature of his future existence.\n See _Buddha_ and _Metempsychosis_\n\n Khem (k[)e]m). See _Egyptian divinities_ (2)\n\n Khuns (k[=oo]nz). See _Egyptian divinities_ (2)\n\n Kle\u00b4is, _C. 107_\n\n Ko\u00b4ra, Ko\u00b4r[=e] (Proserpina), 107;\n _C. 83_\n\n Kriemhild (kr[=e]m\u00b4h[)i]lt), The Revenge of, 405-409, 461\n\n Kro\u00b4n[)o]s. See _Cronus_\n\n\n Lab\u00b4d[.a]-cus, house of, 206, 207, 261-264;\n _C. 57_, table D; _148_ (1); _182-189_, table N\n\n Lab\u00b4y-rinth, the, of Crete, 246, 253;\n _C. 172_\n\n L[)a]\u00e7-e-d\u00e6\u00b4m[)o]n. See _Sparta_\n\n La[-c]h\u00b4e-sis, a Fate, 38\n\n L[.a]-co\u00b4n[)i]-a, 51, 110\n\n La\u00b4d[)o]n, the serpent that guarded the apples of the\n Hesperides; slain by Hercules\n\n La-[=e]r\u00b4t[=e][s+], 278, 339;\n genealogy, _C. 190-194_ (4)\n\n L\u00e6strygonians (les-tr[)i]-go\u00b4n[)i]-[.a]n[s+]), the, 170, 324\n\n La\u00b4[)i]-us, 261, 262;\n _C. 182-189_, table N\n\n Lakshmi (l[)a]ksh\u00b4m[=e]). See _Hindu divinities_ (2)\n\n Lamb's month, _C. 79_\n\n Lampetia (lam-pe\u00b4sh[)i]-a), 330\n\n Language, disease of, 437, 438, 446\n\n La-oc\u00b4o-[)o]n, 311, 312;\n _C. 224_\n\n La-od-[.a]-mi\u00b4a, daughter of Bellerophon, 298\n\n La-od-[.a]-[=m]i\u00b4a, wife of Protesila\u00fcs, 282;\n lines from Wordsworth, 282, 283;\n _C. 83_\n\n La-om\u00b4e-d[)o]n, 110, 169, 170, 177, 276, 280;\n expedition against, 206, 225;\n _C. 84, 190-194_ (5)\n\n Lap-[)i]-th\u00e6, 259\n\n La\u00b4r[=e][s+], distinguished from Penates, Manes, Larv\u00e6, etc., 62\n\n L[.a]-ris\u00b4sa, 108, 214;\n _C. 83_\n\n L\u00e4r\u00b4v\u00e6, 62\n\n L[.a]-ti\u00b4nus, 362\n\n Lat\u00b4m[)o]s, Mount, 124;\n _C. 98_\n\n L[.a]-to\u00b4na, Le\u00b4t[=o], children of, 19;\n and Delos, 29;\n and Jupiter, 64;\n wanderings of, 91, 92;\n and Niobe, 99-103;\n heals \u00c6neas, 290;\n _C. 32, 72-73_\n\n Lau\u00b4sus, 364, 370, 371\n\n L[.a]-vin\u00b4[)i]-a, 362, 372\n\n Le-an\u00b4der, 141-145;\n _C. 104_.\n See _Hero_\n\n Leb-[.a]-de\u00b4a, _C. 30_\n\n Le-byn\u00b4thos, 247\n\n Le\u00b4da, 64, 237, 242, 259, 275;\n myth of, represented by Arachne, 84;\n _C. 168_, table K; _170-171, 190-194_ (3).\n See _Castor_ and _Pollux_\n\n Le\u00b4laps, 175\n\n Lem\u00b4n[)o]s, 25, 122, 231, 309;\n _C. 96, 107, 163-167_\n\n Lem\u00b4[=u]-r[=e][s+], 62\n\n Le-n\u00e6\u00b4a, _C. 42, 110-112_\n\n L[~e]r-n\u00e6\u00b4an Hy\u00b4dra, 217\n\n Le[s+]'b[)o]s, 149;\n _C. 107_\n\n Lesser divinities of heaven among the Greeks, 35-41\n\n Le\u00b4th[=e], 51, 176, 359, 360;\n _C. 44-46_\n\n Le\u00b4t[=o], _C. 30, 32_.\n See _Latona_\n\n Leucadia (l[=u]-ca\u00b4d[)i]-a), 454;\n _C. 107_\n\n Leucippus (l[=u]-sip\u00b4us), 243\n\n Leucothea (l[=u]-coth\u00b4e-a), a sea-divinity, 58, 202, 205, 331;\n _C. 144_\n\n Li\u00b4ber, 59.\n See _Bacchus_\n\n Lib\u00b4[~e]r-a, 59.\n See _Proserpina_\n\n Li-beth\u00b4ra, 168;\n _C. 118_\n\n Lib-[)i]-ti\u00b4na, _C. 48_\n\n Lib\u00b4y-a, 97, 219;\n _C. 76_\n\n Li\u00b4[-c]h[.a]s, 226\n\n Lidskialf (lids\u00b4k[=\u00e9]-\u00e4lf), 388, 389\n\n Li-[.g]e\u00b4a, 205;\n _C. 146-147_\n\n Light, 3, 4\n\n Li\u00b4nus, 216, 451;\n lamentation for, 103, 104;\n _C. 75, 79_\n\n Lit-y-[~e]r\u00b4s[=e][s+], 222, 223-225\n\n Log, King, referred to, 1\n\n Lo\u00b4[=g][~e], 412-414, 421.\n See _Loki_\n\n Logi (lo\u00b4[=g][=e]), 382, 385\n\n Lo-k[.a]-p\u00e4\u00b4l\u00e1[s+]. See _Hindu divinities_ (2)\n\n Loki (lo\u00b4k[=e]), Lo\u00b4[=g][~e], 377-397 _passim_, 400, 412\n\n Lo\u00b4tis, 192\n\n Lo\u00b4t[)o]s, lotos-eaters, 318, 319;\n extract from Tennyson's poem, 319, 320\n\n Love, 3, 4\n\n Lucian (l[=u]\u00b4sh[.a]n), 455, 457 _n_\n\n L[=u]'\u00e7[)i]-fer. See _Phosphor_\n\n L[=u]'\u00e7i\u00b4na, 61;\n _C. 26_\n\n L[=u]'na, 63. See _Diana_ and _Selene_\n\n Ly-\u00e6\u00b4us, _C. 42_\n\n Ly-ca\u00b4[)o]n, 300\n\n Lycia (lish\u00b4[)i]-a), 214, 298;\n _C. 155_\n\n Lycians (lish\u00b4[)i]-[.a]n[s+]), 71\n\n Lycidas (lis\u00b4[)i]-d[.a]s), a goatherd of pastoral poetry. See\n _Theocritus, Idyl 7_; _Virgil, Bucolics 9_; _Milton's Elegy\n on Edward King_, etc.\n\n Lycius (lish\u00b4[)i]-us), Apollo, _C. 30_\n\n Lycomedes (lik-o-me\u00b4d[=e][s+]), 260, 279\n\n Ly\u00b4co-phr[)o]n, _C. 298_\n\n Ly-cur\u00b4gus, a king of the Edones, who, like Pentheus,\n resisted the worship of Bacchus\n\n Ly\u00b4cus, 75;\n _C. 62_\n\n Ly\u00b4d[=e], 189\n\n Lynceus (lin\u00b4s[=u]s), 207, 243\n\n Lyngi (lin\u00b4[=g][=e]), 400\n\n Lyric poets, Greek, 453, 454;\n translations of, _C. 298_;\n Roman, 457\n\n Lytyerses (lit-[)i]-[~e]r\u00b4s[=e][s+]). See _Lityerses_\n\n\n M[.a]-[-c]ha\u00b4[)o]n, 296, 297, 309\n\n M[.a]-cro\u00b4b[)i]-us, referred to, 60\n\n M\u00e6-an\u00b4der, 97, 222, 246;\n _C. 76, 172_\n\n M\u00e6nades (men\u00b4[.a]-d[=e][s+]), M\u00e6nads (me\u00b4-nads), 44, 45, 75, 254;\n _C. 62, 110-112_\n\n M\u00e6nalus (men\u00b4[.a]-lus), a range of mountains in Arcadia,\n sacred to Pan, 112\n\n M\u00e6-o\u00b4n[)i]-a, 154;\n _C. 110-112_\n\n M\u00e6-[=o]n\u00b4[)i]-d[=e][s+]: a native of M\u00e6onia;\n Homer\n\n Mag\u00b4na Ma\u00b4ter, 59\n\n Mah\u00e2bh\u00e2rata (m[.a]-h\u00e4-b\u00e4\u00b4r[.a]-t[.a]), 462;\n translation, _C. 303_\n\n Maia (ma\u00b4y[.a]), mother of Mercury (Hermes), 19, 34, 150;\n _C. 109_\n\n Maia (ma\u00b4y[.a]), Ma\u00b4ja, or Ma-jes\u00b4ta: a name for Fauna, or\n for the daughter of Faunus and wife of the Roman Vulcan. In\n either case, called Bona Dea\n\n Man, origin of, Greek, 8, 9\n\n Ma\u00b4n[=e][s+], 62\n\n M[.a]-nil\u00b4[)i]-us, _C. 299_\n\n Man\u00b4t[=u]-a, 456\n\n M[)a]r\u00b4[.a]-th[)o]n, 258\n\n M[)a]r-[.a]-tho\u00b4n[)i]-[.a]n Bull, 252;\n _C. 176-181_ (Interpret.)\n\n Ma\u00b4ro. See _Virgil_\n\n M\u00e4r-pes\u00b4sa, 115, 116\n\n Mars (A\u00b4r[=e][s+]), one of the great gods, 19;\n meaning of names, 23;\n attributes, 23, 24;\n his retinue, his mistress, his favorite abode and animals, 24;\n among the Romans, 59;\n father of Harmonia, 71, 89;\n myths of, 84-90;\n and Diomede, 84-86, 290;\n and Minerva, 86, 87;\n and Cadmus, 87-90, 261;\n and Vulcan, 91;\n father of [OE]noma\u00fcs, 170;\n M. and Atalanta, 265;\n in Trojan War, 285, 287, 290;\n _C. 28_\n\n Marsyas (m\u00e4r\u00b4s[)i]-[)a]s), 112, 138, 451;\n _C. 87, 113_\n\n Maruts (mur\u00b4[)oo]ts). See _Hindu divinities_ (1)\n\n Mass, 4\n\n M\u00e4-t. See _Egyptian divinities_ (2)\n\n Ma\u00b4ter Ma-t[=u]'ta, the goddess of the dawn, Aurora; among\n the Romans the name was applied also to Ino (Leucothea), 63\n\n Ma\u00b4ter Tur\u00b4r[)i]-ta: Cybele, or Cybebe, with the mural crown,\n as protectress of walled cities\n\n Mat-ro-na\u00b4l[)i]-a, _C. 26_\n\n Me-co\u00b4n[=e]. See _Sicyon_\n\n Me-de\u00b4a, myth of, 232-236, 242, 243, 252, 455;\n _C. 163-167_;\n genealogy, _172_, table L\n\n Medici (med\u00b4[=\u00e9]-ch[=e]), the Venus of, 32, 33;\n _C. 35_\n\n Me-d[=u]\u00b4sa, myth of, 208-211;\n extract from William Morris' Doom of King Acrisius, 209, 210;\n from Shelley's Medusa of Da Vinci, 210;\n _C. 149-154_\n\n Me-[.g]\u00e6\u00b4ra, 54\n\n Meg-[.a]-len\u00b4sian Games, _C. 41_\n\n Meg\u00b4[.a]-ra, 201, 202, 246\n\n Meg\u00b4[.a]-ra, wife of Hercules, 216, 220\n\n Me-lam\u00b4pus, 450\n\n Mel-e-a\u00b4[.g]er or Me-le\u00b4[.a]-[.g]er, 206, 225, 231, 242, 265, 275;\n myth of, 237-241;\n as the sun, 432;\n _C. 168_\n\n Mel-e-si[.g]'e-n[=e][s+], _C. 298_\n\n Melib[oe]us (mel-[)i]-be\u00b4us), a herdsman of pastoral poetry.\n See _Virgil, Bucolics 1_\n\n Mel\u00b4ic Nymphs, 5\n\n Mel-[)i]-\u00e7[~e]r\u00b4t[=e][s+], a sea-god, 58, 202, 261;\n _C. 70_\n\n Melisseus (me-lis\u00b4[=u]s), _C. 146-147_\n\n Me\u00b4l[)o]s, the Venus of, 32;\n _C. 35_\n\n Mel-pom\u00b4e-n[=e], the muse of tragedy, 37;\n _C. 38_ (4)\n\n Mem\u00b4n[)o]n, myth of, extract from Darwin's Botanic Garden,\n 179, 180, _C. 128_;\n family connections, 276, _C. 190-194_ (5);\n at Troy, 307\n\n Mem\u00b4phis, a city in middle Egypt, _C. 30_\n\n Me-nal\u00b4c[.a]s, a herdsman of pastoral poetry\n\n Men-e-la\u00b4us, 275, 278-299, 313, 314;\n _C. 190-194_ (2), _195, 196_\n\n Me-ne\u00b4n[)i]-us, 2\n\n Men[oe]ceus (me-ne\u00b4s[=u]s), 266;\n _C. 182-189_, table N\n\n Men[oe]tius (me-ne\u00b4sh[)i]-us), son of Actor and father of\n Patroclus; an Argonaut;\n _C. 190-194_ (4)\n\n Men\u00b4tor, _C. 231-244_\n\n Mentu (men\u00b4t[=oo]). See _Egyptian divinities_ (1)\n\n Mer\u00b4c[=u]-ry, Mer-c[=u]'r[)i]-us (Herm\u00b4es), son of Maia, 19;\n meaning of name, 34;\n attributes, 34, 35;\n conductor of ghosts, 35, 47;\n among the Romans, 59;\n Argus and Io, 66, 67;\n his story of Pan and Syrinx, 66, 67;\n with Philemon and Baucis, 77;\n and Psyche, 136;\n myths of, Homeric Hymn to, 150, 151;\n aids Perseus, 209;\n aids Hercules, 220;\n father of Daphnis, 223, 224;\n M. and Nephele, 229;\n and Priam, 305;\n and Ulysses, 325, 331;\n and \u00c6neas, 351;\n interpretations of, 432, 440;\n _C. 36, 109_\n\n M[)e]r\u00b4o-p[=e], of Arcadia, 241; _C. 169_\n\n M[)e]r\u00b4o-p[=e], daughter of [OE]nopion, 122\n\n M[)e]r\u00b4o-p[=e], the Pleiad, 124;\n _C. 97, 155_, table\n\n Mes-se\u00b4n[=e], 115, 243\n\n Mes-se\u00b4n[)i]-a, 241;\n _C. 80_\n\n Met\u00b4[.a]-bus, 364\n\n Met-[.a]-m\u00f4r\u00b4pho-s[=e][s+], Ovid's, 456, 457\n\n Me-temp-sy-[-c]ho\u00b4sis, 360;\n _C. 255-257_\n\n Me\u00b4tis, _C. 55_\n\n Mezentius (me-zen\u00b4sh[)i]-us), 364, 367, 370, 371\n\n Mi\u00b4d[.a]s, with Apollo and Pan, 110, 111;\n with Bacchus and Pan, 152, 157, 158;\n the choice of, 157;\n _C. 85-87, 113_\n\n Mid\u00b4g\u00e4rd, 373, 374, 378, 389, 392, 394\n\n Mid\u00b4g\u00e4rd serpent, 377, 386, 387, 395\n\n Mi-lan\u00b4[)i]-[)o]n (or Hip-pom\u00b4e-n[=e][s+]), _C. 103_\n\n Mi\u00b4lo. See _Melos_\n\n Mi\u00b4m[.a]s, _C. 8_\n\n Mime (m[=e]'m[~e]), in the Rhine-gold, 414, 421-424;\n in the Volsunga Saga, see _Regin_\n\n Mimir (m[=e]'m[=e]r), 374\n\n M[)i]-n[~e]r\u00b4va ([.A]-the\u00b4na, [.A]-the\u00b4n[=e]), 7;\n quotation from Odyssey, 18;\n daughter of Jupiter, 19;\n attributes, 23;\n meaning of her names, 23;\n her _\u00e6gis_, 23;\n favorite cities and animals, 23;\n among the Romans, 59;\n myths of, 81-84;\n contest with Neptune, 81, 82, 249;\n with Arachne, 82-84;\n quotation from Spenser's Muiopotmos, 83;\n contests with Mars, 84-86;\n helps Cadmus, 88, 89;\n inventor of the flute, 112;\n M. and Medusa, 208;\n Perseus, 209, 213;\n Bellerophon, 215;\n Hercules, 216, 220;\n Perdix, 248;\n Erichthonius, 249;\n Theseus, 256;\n Tiresias, 266;\n Paris, 278;\n in Trojan War, 284, 289, 290, 300, 302, 308-311;\n Orestes, 317;\n Ulysses, 332-340;\n _C. 10-15, 27_\n\n M[)i]-no\u00b4id (M[)i]-no\u00b4is), Ariadne, daughter of Minos, 254\n\n Mi\u00b4n[)o]s I, judge of the shades, 51, 53, 356;\n son of Europa, 71, 207;\n the house of, 206, 246-248;\n _C. 57_, table D, _148_ (1), _172_\n\n Mi\u00b4n[)o]s II, 201;\n myths of, 242, 246, 247, 252, 259, 275\n\n Minotaur (min\u00b4o-t\u00f4r), 246, 252, 256;\n _C. 172, 176-181_\n\n Miny\u00e6 (min\u00b4[)i]-[=e]): descendants of Minyas, king of Thessaly; Argonauts\n\n Mist, 3\n\n Mnemosyne (ne-mos\u00b4[)i]-n[=e]), 4;\n mother of the Muses, 37;\n _C. 4_\n\n M[oe]r\u00e6 (me\u00b4r[=e]), Par\u00b4\u00e7\u00e6. See _Fates_\n\n M[oe]ragetes (me-r[)a]j\u00b4e-t[=e][+s]): name applied to Zeus as\n leader of the Fates\n\n Mo\u00b4ly, 319, 325\n\n Mo\u00b4mus, _C. 49_, table B\n\n Mongolians, 448\n\n Mop\u00b4sus, attendant of the Argonauts, 451\n\n Mop\u00b4sus, an ideal singer of elegies. See _Virgil, Bucolics 5_\n\n Morpheus (m\u00f4r\u00b4f[=u]s), 177;\n _C. 125._\n See _Somnus_\n\n M\u00f4r[+s], Than\u00b4[.a]-t[)o]s, Death, 298\n\n Mos\u00b4[-c]hus, Lang's translation of Idyl II, 68-70;\n of Idyl VI, 189;\n _C. 59, 298_\n\n Mountain giants, 376, 378-386, 393\n\n Mul\u00b4\u00e7[)i]-b[~e]r, 59;\n _C. 29_\n\n Munin (m[=oo]'n[='e]n), 374\n\n Munychia (m[=u]-nik\u00b4[)i]-a), _C. 32_.\n See _Diana_\n\n M[=u]-s\u00e6\u00b4us, a mythical poet, 451\n\n M[=u]-s\u00e6\u00b4us, writer of Hero and Leander, 141;\n translation by Fawkes in English Translations from Ancient\n and Modern Poems, Vol. II;\n _C. 104, 298_\n\n M[=u]-sa[.g]'e-t[=e][s+]: name of Apollo as leader of the Muses\n\n Muses (M[=u]\u00b4s\u00e6), 18, 30;\n names and attributes, 37;\n _C. 38_ (4)\n\n Music, Lydian, Dorian, etc., _C. 59_\n\n Muspelheim (m[=oo]s\u00b4pel-h[=a]m or m[=oo]s\u00b4-pel-h[=i]m), 373, 395\n\n Mut (m[=oo]t), or Maut. See _Egyptian divinities_ (2)\n\n My-\u00e7e\u00b4n\u00e6:, 22, 216, 275, 280, 316\n\n Myg-do\u00b4n[)i]-an flutes, 69;\n _C. 59_\n\n Myrmidons (m[~e]r\u00b4m[)i]-d[)o]n[s+]), 75, 269, 297;\n _C. 61_\n\n My\u00b4r[)o]n, a sculptor, _C. 64_\n\n Myr\u00b4rha (m[)i]r\u00b4a), 126, 150\n\n Myrtilus (m[~e]r\u00b4t[)i]-lus), 171\n\n Mysia (mish\u00b4[)i]-a), 179, 222, 231;\n _C. 128, 156-162_\n\n Mysteries of Eleusis, _C. 114-117_\n\n Myth, stages of mythological philosophy, study of myth, see Introduction;\n definition of, 1;\n compared with fable, 1, 2;\n of existent races, 2;\n Greek myths of creation, 3-17;\n of great divinities of heaven, 64-151;\n of great divinities of earth, 152-158;\n of earth and underworld, 159-168;\n of waters, 169-171;\n of lesser divinities of heaven, 172-180;\n of lesser divinities of earth and underworld, 181-197;\n of lesser divinities of waters, 198-205;\n of the older heroes, 206-264;\n of the younger heroes, 265 _et seq._;\n of the Norse gods, 373-397;\n of Norse and Old German heroes, 398-409.\n Kinds of myth, 431;\n explanatory, 431;\n \u00e6sthetic, 432;\n \u00e6sthetic myth is _historic_ or _romantic_, 433;\n of unconscious growth, 433;\n divisions of inquiry, 433.\n Origin and Elements of myth, 433-446;\n the reasonable element, 434;\n part played by imagination, 434;\n and by belief, 435;\n the unreasonable element, 436;\n theories of, 436;\n theory of deterioration, 436-440;\n theory of progress, 440-446.\n Interpretation, methods of: _historical_ or Euhemeristic, 436;\n _philological_, 437;\n _allegorical_, 438;\n _theological_, 439;\n the mental state of savages, 440-442;\n senseless element, a survival, 442;\n anthropological method of study, _\u00e6tiological_ origin, 442;\n other germs than savage curiosity and credulity, 442;\n phases of myth-development, 443-445;\n physical, religious and moral import, 444;\n myth more than sham history, 446;\n general conclusion concerning elements of myth, 446.\n Distribution of myth, 447-449;\n theories of _accident_, _borrowing_, _origination in India_,\n _historical tradition_, 447;\n _Aryan germ_, _psychological basis_, 448;\n the state of the problem, 449.\n Preservation of myth, 450-463;\n in Greece, 450-455;\n in Italy, 456, 457;\n in Scandinavian lands, 457-460;\n in Germany, 460, 461;\n in the Orient, 462, 463.\n Interpretation and illustration of myths, see Commentary\n sections corresponding to those of the Text.\n\n Mythical musicians and poets, 451\n\n Mythical prophets, 450, 451\n\n Mythical tales of the Younger Edda, 459\n\n\n Naiad (na\u00b4yad), the poem by R. Buchanan, 190, 191\n\n Naiads (na\u00b4yads), Naiades (na\u00b4y[.a]-d[=e][s+]), 58, 98, 186,\n 189-191, 198, 204, 222, 224;\n _C. 50-52_\n\n Na\u00b4is, 185;\n _C. 129-130_\n\n N[.a]'l[.a], episode of, 461, 462\n\n Nalop\u00e1khy\u00e1nam (n[.a]-lo-p\u00e4-ky\u00e4\u00b4n[.a]m), translation of, _C. 303_\n\n Names, Greek and Latin, system of transliteration of, see Preface;\n pronunciation of, 541, 542, and Index\n\n N\u00e4n\u00b4n\u00e4, 390-392;\n _C. 268-281_\n\n Nar-\u00e7is\u00b4sus, 188, 189;\n _C. 132-133_\n\n Nausicaa (n\u00f4-sik\u00b4[=a]-[.a]), 332-336;\n _C. 231-244_\n\n Nausitho\u00fcs (n\u00f4-sith\u00b4o-us), 332\n\n Nax\u00b4[)o]s, 153, 154, 155, 156, 169, 257;\n _C. 110-112_\n\n Ne-\u00e6\u00b4ra, a maiden of pastoral song.\n See _Virgil, Bucolics 3_\n\n Nefer Atum (na\u00b4f[)e]r \u00e4\u00b4t[=oo]m). See _Egyptian divinities_ (1)\n\n Neidings (ni\u00b4ding[s+]), 416\n\n Neith (na\u00b4ith). See _Egyptian divinities_, (2)\n\n Neleus (ne\u00b4l[=u]s), 170\n\n Ne\u00b4me-a, the city, the valley, and the lion of, 216;\n _C. 156-162_\n\n Ne-me\u00b4an, or Ne\u00b4me-an, Games, founded by Hercules;\n held in honor of Jupiter;\n _C. 176-181_ (Textual)\n\n Nem\u00b4e-sis, 38;\n _C. 38_ (7)\n\n Ne-op-tol\u00b4e-mus, 276, 293, 309, 313, 314, 349\n\n Ne-pen\u00b4th[=e], 314\n\n Neph (n[)e]f), Chnuphis (kn[=oo]'fis), Khnum (kn[=oo]m), Num\n or Nu (n[=oo]m, n[=oo]). See _Egyptian divinities_ (2)\n\n Nephele (nef\u00b4e-l[=e]), 121, 229\n\n Nephthys (nef\u00b4this). See _Egyptian divinities_ (1)\n\n Nep\u00b4tune, Nep-t[=u]'nus (Po-sei\u00b4d[)o]n), 5, 6, 15, 204, 454;\n sometimes reckoned as one of the great gods, 19;\n founder of the younger dynasty of the waters, 55, 56;\n among the Romans, 59;\n contest with Minerva, 81, 82, 249;\n N. and Iphimedia, 93;\n and Pha\u00ebthon, 97;\n and Laomedon, 110, 169, 170;\n and Idas, 115;\n father of Orion, 122, 170;\n myths of, 169-171;\n N. and Andromeda, 169;\n sons of N., 170;\n N. and Amymone, and Ceres, and Arne, and Tyro, and Pelops, 170, 171;\n and Erysichthon, 192;\n his sea calves pastured by Proteus, 202;\n his son Ant\u00e6us, 220;\n and Minos, 246;\n and Hippolytus, 260;\n in Trojan War, 285, 293-296, 301, 311;\n and Ulysses, 337;\n and \u00c6neas, 350, 352;\n _C. 50-52_, table C\n\n Ne\u00b4re-ids (Ne-re\u00b4[)i]-d[=e][s+]), the, 55, 69, 97, 247\n\n Nereus (ne\u00b4r[=u]s), 55, 97, 198, 204, 269\n\n Nes\u00b4sus, 225\n\n Nes\u00b4tor, 179, 231, 237, 239;\n in Trojan War, 280, 285, 286, 294-297\n\n Netherlands, 405, 406\n\n Nibelheim (ne\u00b4bel-h[=a]m or ne\u00b4bel-h[=i]m), 412 _et seq._\n\n Nibelung (ne\u00b4b[~e]-l[)oo]ng), Wagner's Ring of the, 410-430\n\n Nibelungenlied (ne\u00b4b[~e]-l[)oo]ng\u00b4en-l[=e]t\u00b4), 405-409;\n theories of origin, 460, 461;\n _C. 283_\n\n Niblungs (ne\u00b4bl[)oo]ng[s+]), Nibelungs (ne\u00b4-b[~e]-l[)oo]ngs),\n Nibelungen (ne\u00b4b[~e]-l[)oo]ng-en), 403-430;\n lay of the, 405-409, 460, 461;\n Wagner's Ring of the, 410-430;\n _C. 282, 283, 282-283_\n\n Ni-can\u00b4der, _C. 298_\n\n Nidhogg (n[=e]d\u00b4h[)o]g), 374\n\n Niflheim (n[=e]v\u00b4'l-h[=a]m or n[)i]f\u00b4l-h[=i]m), 373, 374, 377, 379, 394;\n _C. 282-283_\n\n Night, Nyx (n[)i]x), Nox, a prime element of Nature, 3, 4;\n mother of the Fates and of Nemesis, 38, 176, 196;\n family of, _C. 49_, table B\n\n Ni\u00b4k[=e], 41. See _Victoria_\n\n Nile, the river, 97, 180;\n _C. 149-154_\n\n Nimrod and the giants, 440\n\n Ni\u00b4nus, 148\n\n Ni\u00b4o-be, 77, 170;\n the punishment of, 99-103;\n quotation from Landor's Niobe, 102, 103;\n genealogy, interpretation, etc., _C. 78_\n\n Nirvana (n[=e]r-v\u00e4\u00b4na): annihilation, or absorption into the\n Infinite, of the Karma (human character, or soul) after it\n has passed through innumerable existences, and learned the\n virtuous life. See _Buddha_\n\n Ni\u00b4sus, father of Scylla, 201, 202\n\n Ni\u00b4sus, friend of Euryalus, 368-370\n\n Noah and Deucalion, 440\n\n No\u00b4m[)i]-[)o]s, No\u00b4m[)i]-us, an epithet applied to Apollo as\n the pasturer or herdsman; see 104-106, 110;\n _C. 30_ (In Art)\n\n N\u00f4rns, 374, 375, 388, 402;\n in Wagner's Ring, 424, 426\n\n Norse gods, myths of, 2, 373-397;\n _C. 268-281_\n\n Norse heroes, myths of, 398-405;\n _C. 268-282_\n\n Norse mythology, narrative of, 373-405;\n records of, 457-460;\n translations and authorities, 458-460 notes, and _C. 268-282_\n\n North American Indians, mental state of, 441;\n myths of, 448\n\n Norway, Norsemen, 442, 448;\n _C. 268-281_\n\n Nos\u00b4toi, the, 453\n\n Nothung (no\u00b4t[)oo]ng), 418, 421-425\n\n No\u00b4tus, 38\n\n N[)o]x, Nyx (n[)i]x). See _Night_\n\n N[=u]'ma Pom-pil\u00b4[)i]-us, 61, 63;\n _C. 28_\n\n Nut (n[=oo]t). See _Egyptian divinities_ (1)\n\n Nycteus (nik\u00b4t[=u]s), 75;\n _C. 62_\n\n Nymphs, the, 45, 46, 97, 180, 189, 205;\n _C. 131_\n\n Ny\u00b4sa, an ideal maiden in pastoral poetry\n\n Ny\u00b4sa, Nysian-born (nish\u00b4[)i]-an), 258.\n Three cities bore the name of Nysa,--in Caria, in Palestine,\n and in India; the last is here referred to; _C. 42, 110-112_\n\n Nys\u00e6an (ni-se\u00b4an) nymphs, 152\n\n Nyx (n[)i]x), N[)o]x. See _Night_\n\n\n O-a\u00b4sis or O\u00b4[.a]-sis, in Libya, oracle of Jupiter Ammon at, 20\n\n Oblivion, valley of, 359, 360\n\n Ocean, O-\u00e7e\u00b4[.a]-nus, the river, 3, 35, 42, 43, 327, 328\n\n O-\u00e7e\u00b4[.a]-nids, 55, 58\n\n O-\u00e7e\u00b4[.a]-nus, the Titan, 4, 5, 22;\n older dynasty of the waters, 55, 67, 68, 204, 207;\n _C. 4, 50-52_\n\n Ocyrrho\u00eb (o-s[)i]r\u00b4o-[=e]), 104\n\n O\u00b4din, 373-377, 386-405 _passim_;\n in Wagner's Ring, 412-430;\n interpretation of, 437;\n _C. 268-281_\n\n Odysseus (o-dis\u00b4[=u]s). See _Ulysses_ and _Odyssey_\n\n Odyssey (od\u00b4[)i]-s[)i]), cited, 18, 35, 47, 51, and footnotes _passim_;\n hero of, 275, 276;\n narrative of, 318-345;\n Lang's sonnet, 318;\n a kind of myth, 433, 448;\n history of, 452;\n translations and authorities, _C. 231-244, 298_\n\n [OE]chalia (e-ka\u00b4l[)i]-a), 225, 226;\n _C. 156-162_\n\n [OE]dipus (ed\u00b4[)i]-pus), mentioned, 90, 206, 207, 455;\n myth of, 261-264, 268;\n and the Sphinx, 262;\n is made king, 262;\n at Colonus, 263;\n extracts from Plumptre's translation of Sophocles' [OE]dipus\n the King and [OE]dipus Coloneus, 262-264;\n _C. 182-189_\n\n [OE]neus (e\u00b4n[=u]s), 225, 237\n\n [OE]noma\u00fcs (en-o-ma\u00b4us), 170, 171\n\n [OE]none (e-no\u00b4n[=e]), 310, 432;\n _C. 221_\n\n [OE]nopion (e-no\u00b4p[)i]-[)o]n), father of Merope and king of\n Chios. See _Orion_\n\n [OE]te ([=e]'t[=e]), or [OE]'ta, Mount, 96, 226, 227;\n _C. 76, 156-162_\n\n O-i\u00b4cl[=e][s+], father of Amphiara\u00fcs and grandfather of Alcm\u00e6on\n\n O\u00efleus (o-i\u00b4l[=u]s), 286\n\n Olympian religion, the, 20;\n _C. 23_ and table A\n\n Olympic Games, _C. 178-181_ (Textual)\n\n O-lym\u00b4pus, Mount, 93, 97\n\n O-lym\u00b4pus, home of the Greek gods of heaven, 2, 6;\n located and described, 18;\n Homer's conception of, 18, 19, 42;\n myths of greater gods of, 64-151;\n of lesser gods of, 172-180;\n dynasty of, dethroned, 181;\n _C. 22_\n\n Om\u00b4ph[.a]-l[=e], 221\n\n O-phi\u00b4[)o]n, _C. 4, 71_\n\n [)O]ps, 59\n\n Oracle, at Delphi, 5, 27, 42;\n at Dodona, 19, 20;\n of Jupiter Ammon in the Oasis, 20;\n of Trophonius, _C. 30_;\n of the dead, 51;\n of Apollo, consulted, 128, 130, 175, 315, 316, 347;\n _C. 24-25, 30_\n\n Or-[-c]hom\u00b4e-n[)o]s, Or-[-c]hom\u00b4e-nus, 216;\n _C. 156-162_\n\n Or\u00b4cus, 83. See _Pluto_\n\n O\u00b4re-ads (O-re\u00b4[.a]-d[=e][s+]), 46, 186, 188, 192\n\n O-res\u00b4t[=e][s+], 196, 268, 275, 315-317;\n _C. 190-194_ (2), _228-230_\n\n Oriental mythology, records of, 462, 463\n\n Origin, of the world, Greek, 3;\n of the gods, 4, 8;\n of man, 8, 9;\n Norse, 373, 374\n\n O-ri\u00b4[)o]n, 41, 170;\n myth of, 122, 123;\n _C. 96_\n\n Orithyia (or-[)i]-thi\u00b4ya), daughter of Erechtheus, king of\n Athens, loved by Boreas, 38, 39;\n _C. 38_ (9)\n\n Or\u00b4m[)u]zd, 463\n\n Orpheus (or\u00b4f[=u]s), 112, 206, 230, 232, 233, 242, 359, 451;\n and Eurydice, 165-168, 203;\n quotation from Landor's Orpheus and Eurydice, 167, 168;\n _C. 118_;\n cited, 3\n\n Orphic hymns, 451\n\n Or\u00b4th[)i]-a, _C. 32_.\n See _Diana_\n\n Ortygia (or-tij\u00b4[)i]-a), 120;\n _C. 32, 93_\n\n O-si\u00b4ris, 447.\n See _Egyptian divinities_ (1)\n\n Os\u00b4sa, Mount, 93, 97;\n _C. 76_.\n It is in Thessaly. By piling Ossa on Pelion the Titans\n C[oe]us and Iapetus and the monster Typhoeus thrice attempted\n to scale Olympus, but were as often beaten back by the\n lightnings of Jove.\n See _Virgil, Georgics 1, 281_\n\n Othrys (oth\u00b4ris), the mountain in Thessaly occupied by the\n Titans in their war with Jupiter and the other Olympians\n\n Ot\u00b4ter, 400, 401\n\n O\u00b4tus, 93\n\n Ov\u00b4id (O-vid\u00b4[)i]-us), account of, and of his poems, 456, 457;\n references to his works, 54, 60, 65, 68, 72, 73, 79, 82, 84,\n 90, 92, 94, 96, 98, 102, 110, 112, 116, 117, 120, 123, 125,\n 126, 139, 141, 145, 147, 150, 153, 157, 159, 160, 165, 172,\n 175, 180, 188, 191, 195, 200, 202, 203, 207, 208, 215, 230,\n 233, 235, 237, 243, 246, 249, 250, 269;\n translations, _C. 299_;\n also of the Metamorphoses in 15 books by various authors,\n published by Sir Samuel Garth, in Vol. II of English\n Translations from Ancient and Modern Poems, 3 vols., London,\n 1810\n\n\n Pac-to\u00b4lus, 158;\n _C. 110-112_\n\n Pa\u00b4dus, or Po, the river, 359\n\n P\u00e6\u00b4[.a]n, P\u00e6\u00b4[)o]n, Pai\u00ebon (pi-e\u00b4[)o]n), heals Mars, 86, 290;\n _C. 68_\n\n P\u00e6\u00b4[.a]n, the chant, 26, 92;\n _C. 68_\n\n Pakht (p\u00e4[.c]ht) and B\u00e4st. See _Egyptian divinities_ (1)\n\n P[.a]-l\u00e6\u00b4m[)o]n, 202. See _Melicertes_\n\n Pal-[.a]-me\u00b4d[=e][s+], 279\n\n Pa\u00b4l[=e][s+], 61\n\n Pal-[)i]-n[=u]'rus, 352, 355;\n _C. 245-254_\n\n Pal-la\u00b4d[)i]-um, the, 310, 314;\n _C. 27_\n\n Pal\u00b4l[.a]s, Athena, 7, 23;\n _C. 27_.\n See _Minerva_\n\n Pal\u00b4l[.a]s, a Giant, 7\n\n Pal\u00b4l[.a]s, son of Evander, 365-367, 371, 372\n\n Pan, described, 45;\n Pandean pipes, 66, 67;\n contest with Apollo, 110, 111;\n father of Silenus, 152;\n P. and the personification of nature, 181-187;\n extracts from Milton, Schiller, Mrs. Browning, reference to\n Wordsworth, 181-183;\n E. C. Stedman's Pan in Wall Street, 183-185;\n love of Echo, 189;\n in Buchanan's Naiad, 190;\n P. and Pomona, 195;\n _C. 43, 54, 57, 129-130, 131_\n\n Pan-ath-e-n\u00e6\u00b4a, _C. 27, 176-181_\n\n Pan\u00b4d[.a]-rus, 289; _C. 196_\n\n Pan-de\u00b4m[)o]s, _C. 34_.\n See _Venus_\n\n Pan-di\u00b4[)o]n, 249;\n _C. 148_ (4), _174_\n\n Pan-do\u00b4ra, 2;\n creation of, 11, 25;\n wife of Epimetheus, her casket, 11;\n _C. 10-15_\n\n Pan\u00b4dro-s[)o]s, daughter of Cecrops. See _Herse_\n\n Pan\u00b4o-p[=e], 88;\n _C. 70_\n\n Pan\u00b4o-p[=e], a Nereid, 55;\n _C. 50-52_\n\n Pa\u00b4ph[)i]-an, 128; _C. 34_.\n See _Venus_\n\n Pa\u00b4ph[)o]s, 32, 126, 147, 149;\n _C. 34, 100_\n\n Papyri (p[.a]-p[=i]'r[=i]), the sacred, 462\n\n Parc\u00e6 (p\u00e4r\u00b4s[=e]), M[oe]r\u00e6 (m[=e]'r[=e]). See _Fates_\n\n P[)a]r\u00b4is (should be P[=a]'ris, by rule), 276, 296;\n the judgment of, 278, 350;\n P. and Helen, 278, 279, 289, 313;\n and Menela\u00fcs, 286-289;\n and Achilles, 308;\n and [OE]none, 309, 310;\n _C. 190-194_ (5), _195, 207, 221_\n\n P\u00e4r-nas\u00b4sus, Mount, in Phocis, 26, 27, 97, 112;\n _C. 30, 38_ (4), _76_\n\n Pa\u00b4r[)o]s, 198\n\n P\u00e4r-the\u00b4n[)i]-us, _C. 298_\n\n P\u00e4r\u00b4the-n[)o]n, _C. 4, 24-25, 27, 38_ (10), _40, 48, 176-181_\n\n P\u00e4r-then-o-p\u00e6\u00b4us, 265\n\n P\u00e4r-then\u00b4o-p[=e], 205, 329\n\n P\u00e4r\u00b4the-n[)o]s, the Virgin, a title of Athene\n\n Parvati (p\u00e4r\u00b4w[.a]-t[=e] or p\u00e4r\u00b4v[.a]-t[=e]). See _Hindu divinities_ (2)\n\n Pasipha\u00eb (p[.a]-sif\u00b4a-[=e]), 246;\n _C. 172_\n\n P[.a]-sith\u00b4e-a. (1) A Nereid.\n (2) One of the Graces\n\n P[.a]-tro\u00b4clus or Pat\u00b4ro-clus, 275, 296-299, 303;\n _C. 190-194_ (4), _207_\n\n Patronymics, _C. 77_\n\n Pau-sa\u00b4n[)i]-[.a]s, 455;\n references to, 75, 125, 180, 207, 208, 241, 246, 249, 265, 268;\n _C. 26_\n\n Peg\u00b4[.a]-sus, myth of, 211, 214, 215;\n _C. 155_\n\n Peitho (pi\u00b4tho), Suadela (sw[.a]-d[=e]'la), goddess of Persuasion\n\n Pe-la\u00b4[.g][)i]-a, _C. 34_.\n See _Venus_\n\n Pe-las\u00b4[.g]ic division of the Greeks, 16\n\n Pe-las\u00b4[=g]us, son or grandson of Phoroneus, 17, 206, 207;\n _C. 21, 57_, table D\n\n Peleus (pe\u00b4l[=u]s), 206, 225, 231, 237, 239, 274;\n myth of Peleus and Thetis, 269-272, 277, 279;\n translation of Catullus, LXIV, by C. M. Gayley, 269-272,\n family of Peleus, 275, 276;\n _C. 190-194_ (1), _199_\n\n Pe\u00b4l[)i]-[.a]s, 106, 170, 230, 233;\n daughters of, 235, _C. 83_\n\n Pe-li\u00b4d[=e][s+], 272;\n _C. 77_\n\n Pe\u00b4l[)i]-[)o]n, Mount, 93, 111, 271, 274;\n _C. 76_.\n See _Ossa_\n\n Pel-o-pon-ne\u00b4sus, 16, 207\n\n Pe\u00b4lops, 99, 206, 250, 434;\n and Hippodamia, 170, 171, 275;\n genealogy, etc., _C. 78, 190-194_ (2)\n\n Pe-na\u00b4t[=e][s+], described, 61, 62\n\n Pe-nel\u00b4o-p[=e], 275, 276, 279, 328, 338-344;\n _C. 190-194_ (3), (4), _231-244_\n\n Pe-ne\u00b4us river, 111, 113, 218, 271;\n _C. 85-86_\n\n Pen-thes-[)i]-le\u00b4a, 307\n\n Pentheus (pen\u00b4th[=u]s), 89, 152-156, 261;\n _C. 110-112, 182-189_, table N\n\n Pe-phre\u00b4d[=o], one of the Gr\u00e6\u00e6\n\n P[~e]r\u00b4dix, 248\n\n P[)e]r-[)i]-e\u00b4r[=e][s+], _C. 148_ (2), (5)\n\n P[)e]r-[)i]-phe\u00b4t[=e][s+] or P[)e]r-[)i]-pha\u00b4t[=e][s+], 251;\n _C. 176-181_\n\n P[~e]r-se\u00b4is, daughter of Perses, wife of Helios, and mother\n of Pasipha\u00eb, Ariadne, Ph\u00e6dra, and \u00c6\u00ebtes, _C. 125_, table H\n\n P[~e]r-seph\u00b4o-n[=e], 53, 127, 327.\n See _Proserpina_\n\n Perseus (p[~e]r\u00b4s[=u]s), 17, 206;\n myth of, 208-214;\n and Medusa, 208-211;\n and Atlas, 211;\n and Andromeda, 211-214, 215, 216;\n and Acrisius, 214;\n lines from Kingsley and Milman, 212, 213;\n _C. 149-154_\n\n Persia, 448;\n records of myth, 463;\n studies on, _C. 304_\n\n Personification, to-day, 434;\n among savages, 435\n\n Pes\u00b4s[)i]-nus, Pes\u00b4[)i]-nus, _C. 41_\n\n Pet\u00b4[.a]-sus, the, 34\n\n Ph\u00e6acia (fe-a\u00b4sh[)i]-a), 332-338;\n Lang's Song of, 335, 336;\n _C. 231-244_\n\n Ph\u00e6\u00b4dra, 259, 260, 328;\n _C. 172_, table L; _176-181_ (Illustr.)\n\n Ph\u00e6\u00b4drus, 2\n\n Pha\u00b4e-th[)o]n, Pha\u00b4e-t[)o]n, myth of, 94-98, 432;\n _C. 76_\n\n Pha-e-th[=u]\u00b4sa, 330\n\n Phan\u00b4t[.a]-sus, son of Somnus, _C. 125_.\n See _Sleep_\n\n Pha\u00b4[)o]n, 139;\n myth of, 149, 454;\n _C. 107_\n\n Pha\u00b4r[)o]s, island, 203;\n _C. 145_\n\n Phar-sa\u00b4lus, a city in Thessaly; Phar-sa\u00b4l[)i]-a, the region thereabout\n\n Pha\u00b4sis, the river, 223;\n _C. 156-162_\n\n Phe\u00b4r\u00e6, capital of Thessalia Pelasgiotis, home of Admetus\n\n Phid\u00b4[)i]-[.a]s, Olympian Jove of, 21;\n Homer's lines in Iliad, 21;\n _C. 27, 38_ (10), _64_\n\n Ph[)i]-le\u00b4m[)o]n and Bau\u00b4\u00e7is, myth of, 77-80;\n Swift's burlesque, 79, 80\n\n Phil-oc-te\u00b4t[=e][s+], 227, 309, 453;\n _C. 219-220_\n\n Phil-o-me\u00b4la, 249, 250;\n _C. 174_\n\n Phineus (fi\u00b4n[=u]s), 213, 231, 348;\n _C. 163-167_\n\n Phle[=g]'e-th[)o]n, 47, 356\n\n Pho\u00b4b[)o]s or Ph[)o]b\u00b4[)o]s, Fear, son and attendant of Mars, 24\n\n Pho\u00b4\u00e7is, 249, 315\n\n Ph[oe]'b[=e] (the shining one), a name of Diana, 138;\n _C. 32, 98_\n\n Ph[oe]'b[=e], one of the Titans, 64;\n _C. 4_\n\n Ph[oe]'bus, _C. 28, 30_.\n See _Apollo_\n\n Ph[oe]nicians (fe-nish\u00b4ans) as disseminators of cults, 20\n\n Ph[oe]'nix, 274, 294\n\n Pho\u00b4lus, 217\n\n Phor\u00b4b[.a]s, 352\n\n Phorcys (f\u00f4r\u00b4sis) and \u00c7e\u00b4t[=o], offspring of, 57, 201\n\n Phoroneus (fo-ro\u00b4n[=u]s), son of Inachus, 17, 207;\n _C. 57_, table D\n\n Phos\u00b4phor, 40, 172, 175\n\n Phrixus (frix\u00b4us), 229, 230;\n _C. 163-167_ (Interpret.)\n\n Phrygia (frij\u00b4[)i]-a), 77, 99, 152, 223, 448;\n _C. 63_\n\n Phtha (fth\u00e4), Ptah (p\u00b4t\u00e4). See _Egyptian divinities_ (1)\n\n Phthia (thi\u00b4a), 269, 274\n\n Phyllis (fil\u00b4is), an ideal maiden of pastoral poetry\n\n Pi-[)e]r\u00b4[)i]-d[=e][s+]: the Muses as daughters of Pierus,\n king of Thessaly, or as frequenters of Mount Pierus\n\n Pi\u00b4[~e]r-us, Mount, in Thessaly, 150;\n _C. 109_\n\n Pillars of Hercules, 219;\n _C. 156-162_\n\n Pin\u00b4d[.a]r (Pin\u00b4d[.a]-rus), 453, 454;\n references to, 51, 170, 180;\n translations, _C. 298_\n\n Pin\u00b4dus, Mount, 97;\n _C. 76_\n\n Pip-le\u00b4a, 223\n\n Pi-r\u00e6\u00b4us, 253\n\n Pi-re\u00b4n[=e], a fountain in Corinth, said to have started from\n the ground (like Hippocrene) under a kick of Pegasus, 215\n\n Pi-rith\u00b4o-us, 237, 243, 258, 259\n\n P[)i]-sis\u00b4tr[.a]-tus, 452\n\n Pittheus (pit\u00b4th[=u]s), 251;\n _C. 78_, table F; _148_ (5) B, table I; _174_, table M;\n _190-194_ (2), table O\n\n Pleasure, 136\n\n Pleiads (ple\u00b4yads), Pleiades (ple\u00b4y[.a]-d[=e][s+] or\n ple-i\u00b4[.a]-d[=e][s+]), daughters of Atlas, 57, 180;\n myth of, 123, 124;\n _C. 97_\n\n Plenty, goddess of, 204\n\n Plex-ip\u00b4pus, 238, 240\n\n Plutarch (pl[=oo]'t\u00e4rk), referred to, 250, 252\n\n Pluto (pl[=oo]'t[=o]), A\u00b4[)i]-d[=e][s+], A\u00b4d[=e][s+],\n Ha\u00b4d[=e][s+], 5, 6, 20, 234, 355;\n his abode, 47-50, 353;\n attributes, 52, 53;\n the Roman Orcus, 53, 59;\n and \u00c6sculapius, 104;\n carries off Proserpine, 159, 160;\n mollified by Orpheus, 166;\n and Neptune, 170;\n helmet of, 209;\n and Hercules, 220;\n Theseus and Piritho\u00fcs, 259;\n _C. 47_\n\n Plutus (pl[=oo]'tus), _C. 47_\n\n P[oe]as (pe\u00b4[.a]s), 227\n\n P[oe]na (pe\u00b4na). (1) Greek, an attendant, with Di\u00b4ke and\n Erinys, of Nemesis.\n (2) Latin, goddess of punishment.\n P[oe]n\u00e6: sometimes the Furies\n\n Poets of mythology, in Greece, 451-455;\n in Rome, 456, 457;\n _C. 298, 299_.\n See, in general, under _Myth, Preservation of_\n\n Po-li\u00b4t[=e][s+], 312\n\n Pol\u00b4lux, Polydeuces (pol-[)i]-d[=u]\u00b4s[=e][s+]), 206, 230,\n 237, 242-245, 275, 289;\n _C. 190-194_ (3)\n\n Pol-y-bo\u00b4t[=e][s+], _C. 8_\n\n Pol\u00b4y-bus, 261, 262\n\n Pol-y-cli\u00b4tus, Pol-y-cle\u00b4tus, 81;\n _C. 26, 64_\n\n Pol-y-de[-c]'t[=e][s+], 208;\n punished by Perseus, 213\n\n Pol-y-de[-c]'t[=e][s+], a name applied to Pluto, _C. 47_\n\n Pol\u00b4y-d\u00f6re (Pol-y-do\u00b4rus), son of Cadmus, 89, 261;\n _C. 182-189_, table N\n\n Pol\u00b4y-d\u00f6re (Pol-y-do\u00b4rus), son of Priam, 347\n\n Pol-y-hym\u00b4n[)i]-a (Po-lym\u00b4n[)i]-a), the muse of sacred poetry, 37;\n _C. 38_ (4)\n\n Pol-y-i\u00b4dus, 215\n\n Polynesian (pol-[)i]-ne\u00b4shan) savages, mental development of, 441;\n myths among, 447, 449\n\n Pol-y-ni\u00b4\u00e7[=e][s+], 264, 265, 266, 268;\n _C. 182-189_, table N\n\n Pol-y-phe\u00b4mus, 170;\n and Galatea, Lang's translation of Theocritus, Idyls VI and\n XI, 198-200;\n P. and Ulysses, 320-323;\n and \u00c6neas, 349;\n _C. 141, 231-244_\n\n Pol-y-phon\u00b4t[=e], 150\n\n Pol-y-phon\u00b4t[=e][s+], 241\n\n Polyxena (po-lix\u00b4e-na), 272, 276, 307, 313;\n _C. 190-194_ (5), _219-220_\n\n Po-mo\u00b4na, quotation from Macaulay's Prophecy of Capys, 61;\n and Vertumnus, myth of, extract from Thomson's Seasons, 195;\n _C. 54, 139_\n\n Pon\u00b4tus, region near the Black Sea, Ovid's Letters from, 456\n\n Pon\u00b4tus, a sea-god, 55, 201\n\n Porphyrion (p\u00f4r-f[)i]r\u00b4[)i]-[)o]n), a Giant, 7\n\n P\u00f4r-tha\u00b4[)o]n, genealogy of, _C. 148_ (3), (5), _168_\n\n P\u00f4r-tum\u00b4nus, 202.\n See _Melicertes_\n\n Poseidon (po-si\u00b4d[)o]n). See _Neptune_\n\n Prax-it\u00b4[='e]-l[=e][s+], a Greek sculptor, _C. 35, 36, 38_\n (1), _54, 100, 131_\n\n Pri\u00b4am (Pri\u00b4[.a]-mus), 179, 225, 276;\n in Trojan War, 278-307, 312, 313;\n _C. 190-194_ (5), _207, 216_\n\n Pri-a\u00b4pus, a Roman god of increase, promoter of horticulture\n and viticulture\n\n Prithivi (pr[)i]-t[=e]'v[)i]). See _Hindu divinities_ (1)\n\n Proc\u00b4n[=e], Prog\u00b4n[=e], 249, 250; _C. 174_\n\n Pro\u00b4cris, 172-175;\n Dobson's Death of, 174, 175, 328; _C. 123-124_\n\n Pro-crus\u00b4t[=e][s+], 170, 251\n\n Prod\u00b4[)i]-cus of Chios, a contemporary of Socrates; author of\n the story of the Choice of Hercules\n\n Pr[oe]tus (pr[=e]'tus), 214\n\n Progress, theory of, in mythology, 436, 440-446\n\n Prometheus (pro-me\u00b4th[=u]s), 2, 6, 206, 207, 269, 271, 455;\n a creator, 8, 10 _n_;\n champion of man, 10;\n chained on Mount Caucasus, 11, 225;\n his secret, 11, 12;\n quotations from G. C. Lodge, Byron, and Longfellow, 12-15;\n _C. 10-15_\n\n Propertius (pro-p[~e]r\u00b4sh[)i]-us), 457\n\n Pro-s[~e]r\u00b4p[)i]-na, Pros\u00b4[~e]r-p[)i]ne, P[~e]r-seph\u00b4o-n[=e],\n 20, 43, 44, 234, 318;\n Swinburne's Garden of Proserpine, 49, 50;\n attributes, 53;\n the Roman Libera, 59;\n P. and Psyche, 134, 135;\n the rape of, 159, 160;\n Shelley's Song of Proserpine, 160;\n Ceres' search for, 160-163;\n quotation from G. E. Woodberry's Proserpine, 163, 164;\n mollified by Orpheus, 166;\n Theseus' attempt to abduct, 220;\n \u00c6neas, 354;\n _C. 48, 114-117_\n\n Pro-tes-[)i]-la\u00b4us, 282.\n See _Laodamia_\n\n Proteus (pro\u00b4t[=u]s), 56, 58;\n and Arist\u00e6us, 202, 203;\n _C. 50-52_ and table C; _145_\n\n Psamathe (sam\u00b4[.a]-th[=e]), 103\n\n Pseudo-M[=u]-s\u00e6\u00b4us, _C. 104_.\n See _Mus\u00e6us_\n\n Psyche (si\u00b4k[=e]), myth of, 128-139, 457;\n extracts from William Morris' Earthly Paradise, 131, 135;\n Bridge's Eros and Psyche, 132;\n Pater's Marius, 133;\n T. K. Hervey's Cupid and Psyche, 136, 137;\n Keats' Psyche, 137-139;\n _C. 101-102_\n\n Psychopompus (si-ko-pom\u00b4pus): Mercury as guide of ghosts to\n the underworld, 35, 47;\n _C. 36_\n\n Ptah (p\u00b4t\u00e4). See _Egyptian divinities_ (1)\n\n Purpose of this work, 1\n\n Py-[.a]-nep\u00b4s[)i]-a, _C. 30_\n\n Pygmalion (pig-ma\u00b4l[)i]-[)o]n), fabled sculptor, 139;\n and the statue, 145-147;\n extracts from Lang's New Pygmalion, 145, 146, 147;\n from William Morris' Pygmalion and the Image, 146, 147;\n _C. 105_\n\n Pygmalion (pig-ma\u00b4l[)i]-[)o]n), king of Tyre, 351\n\n Pygmies, 221;\n _C. 156-162_\n\n Pylades (pil\u00b4[.a]-d[=e]s), 315, 316;\n _C. 228-230_\n\n Py\u00b4l[)o]s, 150, 225, 285, 452;\n _C. 109, 156-162_\n\n Pyramus (p[)i]r\u00b4[.a]-mus), 139;\n and Thisbe, 147-149;\n _C. 106_\n\n Pyriphlegethon (p[)i]r-[)i]-fle[=g]'e-th[)o]n), 327.\n See _Phlegethon_\n\n Pyrrha (p[)i]r\u00b4a) and Deucalion, 16, 207;\n _C. 19-20_; genealogy, _148_ (5)\n\n Pyrrhus (p[)i]r\u00b4us), or Ne-op-tol\u00b4e-mus, 312, 313;\n _C. 190-194_ (1).\n See _Neoptolemus_\n\n Pythagoras (p[)i]-thag\u00b4o-r[.a]s), a philosopher of Samos, about 550 B.C.;\n his doctrine of metempsychosis, 360 and _C. 255-257_\n\n Pythia (pith\u00b4[)i]-a), _C. 30, 32_.\n See _Diana_\n\n Pythian Games, 27;\n _C. 176-181_ (Textual)\n\n Py\u00b4th[)o]n, 26, 92;\n _C. 30, 74_\n\n Pythoness (pith\u00b4o-ness), _C. 30_\n\n\n Qu[)i]-ri\u00b4nus, 61\n\n\n R\u00e4. See _Egyptian divinities_ (1)\n\n R[.a]g\u00b4n[.a]-r[)o]k\u00b4, 394\n\n Rakshasas (r[)u]k\u00b4sh[.a]-s[.a][s+]). See _Hindu divinities_ (1)\n\n R\u00e2m\u00e2yana (r\u00e4-m\u00e4\u00b4y[.a]-n[.a]), 462, 463;\n compared with Iliad, 463;\n paraphrase of, _C. 303_\n\n R\u00e2vana (r\u00e4\u00b4v[.a]-n[.a]), 463\n\n Re-[.g]il\u00b4lus, 243\n\n Regin (r[=a]'g[)i]n), 400, 401\n\n Reim-thursar (r[=a]m\u00b4th[~e]r-s\u00e4r), Rime or Frost giants. See\n _Hrim-thursar_\n\n Re\u00b4mus, 372\n\n Rerir (r[=a]'r[=e]r), 398\n\n Rhadamanthus (rad-[.a]-man\u00b4thus), 51, 53, 216, 357;\n son of Europa, 71, 246;\n _C. 255-257_\n\n Rhamnusia (ram-n[=u]\u00b4sh[)i]-a): Nemesis, from Rhamnus in\n Attica, where she was specially worshiped\n\n Rhapsodists, the, 452\n\n Rhea (re\u00b4a), 4, 5, 19, 44, 152;\n the Roman Magna Mater, 59;\n _C. 4, 41, 110-112, 146-147_.\n See _Cybele_\n\n Rhine, 404-406, 409, 410-430 _passim_\n\n Rhine-daughters, in Wagner's Ring, 410, 411, 416, 427-430\n\n Rhine-gold, Wagner's opera of the, 410-416\n\n Rhodope (rod\u00b4o-p[=e]), a mountain range in Thrace, 97;\n _C. 76_\n\n Rhodope (rod\u00b4o-p[=e]), A\u00b4c[)o]n and, Landor's poem, _C. 138_\n\n Rh[oe]cus, (re\u00b4kus), myth of, 193, 194;\n extracts from Lowell's Rh[oe]cus, 193, 194;\n _C. 138_\n\n Rh[oe]tus (re\u00b4tus), _C. 8_\n\n Ring of the Nibelung, Wagner's, 410-430\n\n R[)i]\u00b4sh[)i][s+], 462\n\n River ocean, 3.\n See _Ocean_\n\n Rock, the White, 47\n\n Rod\u00b4m\u00e4r, 400, 401\n\n Roman divinities, 2, 3, 59-63\n\n Rome, 365, 366, 372, 448, 456\n\n Rom\u00b4[=u]-lus, 60, 372;\n as Quirinus, 61\n\n Runes, 375, 394, 413, 457, 458;\n _C. 300_\n\n Russians, 448\n\n Rut\u00b4[=u]-l[=i], Rutulians (r[=oo]-t[=oo]'l[)i]-ans), 362, 365-370\n\n Rymer (r[=e]'m[~e]r), 396\n\n\n S[.a]-bri\u00b4na, a nymph in Milton's Comus, 204\n\n S\u00e6mund (s[=a]'m[=oo]nd) the Wise, 459\n\n S\u00e4\u00b4g[.a][s+], the, 460;\n of the Volsungs, 398-405, 460;\n _C. 282_\n\n Sal\u00b4[.a]-mis, 308\n\n Sa\u00b4l[)i]-[=i], _C. 28_\n\n Salmoneus (sal-mo\u00b4n[=u]s), 357\n\n Sa\u00b4m[)o]s, 247;\n _C. 34_\n\n Sam-o-thra\u00b4\u00e7[=e], or Samothracia (sam-o-thra\u00b4sh[)i]-a), an\n island near the coast of Thrace, 242\n\n Samson and Hercules, 440\n\n Sanskrit, studies and translations, _C. 303_\n\n Sappho (saf\u00b4o), 149, 453, 454;\n _C. 107_\n\n Saram\u00e2 (s[.a]-r[.a]'m\u00e4), _C. 36_\n\n Sarameyas (s[.a]-r[.a]-m[=a]'y[.a]s), _C. 36_\n\n Sarasvati (s[)a]r\u00b4[.a]s-w[.a]-t[=e]). See _Hindu divinities_ (2)\n\n S\u00e4r-pe\u00b4d[)o]n, son of Jove and Europa, 71\n\n S\u00e4r-pe\u00b4d[)o]n, son of Jove and Laodamia, in the Trojan War, 280, 290, 298\n\n Sat\u00b4urn (S[.a]-tur\u00b4nus), the attempts to identify Cronus and, 59;\n his rule in Latium, 59, 362, 366;\n _C. 4, 54_\n\n Sat-ur-na\u00b4l[)i]-a, 59\n\n S[.a]-tur\u00b4n[)i]-a, 366\n\n Satyrs (s[)a]t\u00b4[~e]rs or s[=a]'t[~e]rs), 44, 152, 189, 190, 195, 258;\n described, 46, 186;\n extract from R. Buchanan's Satyr, 186, 187;\n _C. 131_\n\n S[)a]v\u00b4[)i]-t[.a]r. See _Hindu divinities_ (1)\n\n Sc[.a]-man\u00b4d[~e]r, 272\n\n S[-c]he\u00b4r[)i]-a, 332\n\n Sch[oe]neus (ske\u00b4n[=u]s), 139\n\n Sco\u00b4p[)a]s, a Greek sculptor of Paros, first half of the 4th\n century B.C.; he made the Niobe group; see also _C. 42, 78,\n 131_\n\n Scylla (sil\u00b4a), described, 57, 255;\n and Glaucus, 200, 201;\n and Nisus, 201, 202;\n and Ulysses, 329, 330;\n and \u00c6neas, 350;\n _C. 50-52_ and table C; _142, 231-244_\n\n Scyros (si\u00b4r[)o]s), 260, 270, 279\n\n Scythia (sith\u00b4[)i]-a), 97, 192, 316;\n _C. 76_\n\n Sea. See _Waters_\n\n Sea-monsters, and Hesione, 170;\n and Andromeda, 212.\n See _Waters, Greek gods of_\n\n S[)e]b. See _Egyptian divinities_ (1)\n\n S[)e]-le\u00b4n[=e], 29, 39, 43, 117;\n and Endymion, 124, 125;\n _C. 98_.\n See _Diana_\n\n Sem\u00b4e-l[=e], 44, 64, 89, 152;\n myth of, 71-73, 261, 288;\n E. R. Sill's poem, Semele, 72, 73;\n _C. 42, 60_\n\n S[)e]-m[)i]r\u00b4[.a]-mis, 147;\n _C. 106_\n\n S[)e]-mit\u00b4ic races, 448\n\n Sem\u00b4n\u00e6. See _Furies_\n\n Sen\u00b4e-ca, 457;\n references to tragedies of, 215\n\n Se-ra\u00b4pis, S[.a]-ra\u00b4pis. See _Egyptian divinities_ (1)\n\n Serimnir (s[=a]-r[=e]m\u00b4n[=e]r), 376, 388\n\n S[)e]-ri\u00b4phus, 208, 213;\n _C. 149-154_\n\n Ses\u00b4t[)o]s, 142\n\n S[)e]t or Seth (s[)e]t). See _Egyptian divinities_ (1)\n\n Shu (sh[=oo]). See _Egyptian divinities_ (1)\n\n Sibyl (sib\u00b4il), 352-361;\n _C. 245-254_\n\n S[)i]-[-c]h\u00e6\u00b4us, 351\n\n Sicily, 118, 161, 201, 247, 349, 350, 352\n\n Sicyon (sish\u00b4[)i]-[)o]n), or Me-co\u00b4n[=e], 10;\n _C. 10-15_\n\n Siegelind (s[=e][=g]'[~e]-lind), 405;\n in Wagner's Ring, 416-421\n\n Siegfried (s[=e][=g]'fr[=e]d), 405-409, 420-429;\n Wagner's opera of, 421-426;\n _C. 282-283_\n\n Sieglinde (s[=e][=g]'lin-d[~e]), 416-421.\n See _Siegelind_\n\n Siegmund (s[=e][=g]'mund), 405, 416-421.\n See _Sigmund_\n\n Siggeir (s[)i][=g]'g[=a]r), 398-400\n\n Sigi (s[=e]'[=g][=e]), 398, 405\n\n S[)i][=g]'mund, 398-401, 405;\n in Wagner's Ring, 416-421\n\n Signy (s[)i][=g]'n[=e]), 398-400\n\n Siguna (s[=e]-g[=oo]'na), 393\n\n Sigurd (z[=e]'g[)oo]rt), 400-405, 450 _n_;\n _C. 282, 282-283_.\n See _Siegfried_\n\n Si-le\u00b4n[=i], 44, 186, 258;\n _C. 113_\n\n Si-le\u00b4nus, 152, 157, 185, 186, 187;\n _C. 113, 131_\n\n Sil-va\u00b4nus. See _Sylvanus_\n\n Silver Age, the, 10\n\n Sil\u00b4v[)i]-a, 363\n\n Si-mon\u00b4[)i]-d[=e][s+] of \u00c7e\u00b4[)o]s, 208, 453, 454\n\n Sinfiotli (sin\u00b4fy[='o]t-l[=e]), 399, 400\n\n Si\u00b4n[)o]n, 311, 312;\n _C. 223_\n\n Si\u00b4rens, described, 57, 205, 232, 233;\n and Ulysses, 328, 329;\n _C. 50-52_ and table C; _231-244_\n\n S[)i]r\u00b4[)i]-us, 123\n\n S[)i]s\u00b4y-phus, 214, 229;\n betrays Jove, 73;\n marries Merope, 124;\n in Tartarus, 166, 200, 358;\n _C. 118, 255-257_; genealogy, _103_, table G, _148_ (2), (5)\n\n Sita (se\u00b4ta), 463\n\n Siva (se\u00b4va). See _Hindu divinities_ (2)\n\n Sk[a:]ldic poetry, Sk[a:]lds, 457, 458\n\n Skidbladnir (skid-bl\u00e4d\u00b4n[=e]r), 394\n\n Skirnir's Journey (sk[)i]r\u00b4n[=e]r), 386, 460\n\n Skrymir (skr[=e]'m[=e]r), 380, 381\n\n Skuld (sk[)oo]ld), 374\n\n Sleep (Som\u00b4nus, Hyp\u00b4nos), 54, 298, 352;\n cave of, 176;\n _C. 49, 125_\n\n Sleipnir (sl[=a]p\u00b4n[=e]r), 388-391, 401\n\n Smintheus (smin\u00b4th[=u]s), Apollo, _C. 30, 89_\n\n Smin\u00b4th[)i]-a, _C. 30_\n\n Smyrna (sm[=e]r\u00b4na), 452\n\n S[)o]l (He\u00b4lios), 61, 63\n\n So\u00b4ma. See _Hindu divinities_ (1)\n\n Som\u00b4nus. See _Sleep_\n\n Soph\u00b4o-cl[=e][s+], 455;\n references to, 47, 215, 227, 228, 261, 266, 267, 268, 308, 309, 315;\n translations, _C. 298_\n\n So\u00b4phr[)o]n, _C. 42_\n\n South American savages, mental state of, 441\n\n Sp\u00e4r\u00b4ta (La\u00e7-e-d\u00e6\u00b4m[)o]n), 22, 23, 225, 242, 243, 275, 289, 314\n\n Sphinx, 262;\n _C. 182-189_\n\n Sri (sr[=e]). See _Hindu divinities_ (2)\n\n Stars, the, 172, 175;\n _C. 125_, table H\n\n Statius (sta\u00b4sh[)i]-us), references to the Thebaid of, 141, 265;\n to the Silv\u00e6, 196;\n to the Achilleid, 269, 308;\n _C. 299_\n\n St[)e]r\u00b4o-p[=e], one of the Pleiads\n\n St[)e]r\u00b4o-p[=e][s+], _C. 4_\n\n Ste-si[-c]h\u00b4o-rus, 313, 453\n\n Stheneb[oe]a (sthen-e-be\u00b4a), or Sthenob[oe]a, daughter of\n Iobates, enamored of Bellerophon\n\n Sthen\u00b4e-lus, 110\n\n Sthe\u00b4no, daughter of Phorcys and Ceto; one of the Gorgons\n\n Stro\u00b4ph[)i]-us, 315\n\n Stry\u00b4m[)o]n, 168;\n _C. 118_\n\n Sturlason, Snorri (sn[)o]r\u00b4r[=e] st[=oo]r\u00b4l[.a]-sun),\n connection with the Prose Edda, 459;\n _C. 268-281_\n\n Stym-pha\u00b4l[)i]-an birds, 218;\n and lake, _C. 156-162_\n\n Styx (st[)i]x), 47, 71, 94, 151, 189, 274, 308, 327;\n _C. 44-46, 49_\n\n Suadela (sw[.a]-de\u00b4la). See _Peitho_\n\n Sun, cattle of the, 328, 330.\n See _Helios_ and _Sol_\n\n Sun-myth, 432, 435\n\n Surter (s[)oo]r\u00b4t[~e]r), 395\n\n Survival, theory of myth, 442\n\n Surya (s[=oo]r\u00b4ya). See _Hindu divinities_ (1)\n\n Svadilfari (sw\u00e4-dil-f[.a]'r[=e]), 378, 379\n\n Swanhild (sw[)o]n\u00b4h[)i]ld), 405\n\n Syl\u00b4v[.a]ns, 186\n\n Syl-va\u00b4nus, 61, 195\n\n Sym-ple[=g]'[.a]-de[s+], 231;\n _C. 163-167_ (Interpret.)\n\n Syr\u00b4inx and Pan, 66, 67;\n _C. 43, 57_\n\n Syrtis (s[~e]r\u00b4tis), 255\n\n\n T\u00e6narus (ten\u00b4[.a]-rus), or T\u00e6narum, 51, 166;\n _C. 118_\n\n Ta\u00b4gus, 97\n\n Ta\u00b4lus, 242, 243;\n _C. 170-171_\n\n Tan\u00b4a-is river, 97;\n _C. 76_\n\n Tan\u00b4t[.a]-lus, 77, 99, 166, 275, 358;\n _C. 78_ and table I; _118, 255-257_\n\n T\u00e4r\u00b4[-c]h[)o]n, 367\n\n T\u00e4rn\u00b4helm, 414, 415, 423, 427, 428\n\n T\u00e4rn\u00b4k\u00e4p-p[~e], 406\n\n Tarpeian (t[.a]r-pe\u00b4y[.a]n) Rock, 366\n\n T\u00e4r\u00b4t[.a]-rus, 5, 6, 7, 51, 97, 159, 357;\n name of Pluto, 53;\n _C. 44-46_\n\n Tau\u00b4r[=i], Tau\u00b4r[)i]-ans, a people of what is now the Crimea;\n Iphigenia among the Taurians, 281, 316;\n _C. 196_\n\n Tau\u00b4rus, Mount, 96, 253;\n _C. 76_\n\n Tel\u00b4[.a]-m[)o]n, 75, 222, 225, 237, 239, 276, 280;\n _C. 190-194_ (1)\n\n Te-lem\u00b4[.a]-[-c]hus, 279, 314, 328, 339-345;\n _C. 190-194_ (4), _231-244_\n\n Tel\u00b4e-phus, son of Hercules and Au\u00b4g[=e]; wounded by\n Achilles, but cured by the rust of the spear\n\n Tel\u00b4lus, 59, 233.\n See _G\u00e6a_\n\n Tem\u00b4p[=e], a vale in Thessaly, through which ran the river\n Pene\u00fcs, III, 270;\n _C. 38_ (4)\n\n Ten\u00b4e-d[)o]s, 113;\n _C. 89_\n\n Tereus (te\u00b4r[=u]s), 249\n\n T[~e]r\u00b4m[)i]-nus, 61\n\n T[~e]r-pan\u00b4der, _C. 26_\n\n T[~e]rp-si[-c]h\u00b4o-r[=e], the muse of choral dance and song, 37;\n _C. 38_ (4)\n\n T[)e]r\u00b4ra. See _Earth_ and _G\u00e6a_\n\n Tethys (te\u00b4this), 4, 22, 55, 67, 204;\n _C. 4_\n\n Teucer (t[=u]\u00b4s[~e]r), son of the river-god Scamander and the\n nymph Id\u00e6a; first king of Troy;\n _C. 190-194_ (5)\n\n Teucer (t[=u]\u00b4s[~e]r), son of Telamon and Hesione, 276;\n _C. 190-194_ (1), (5), _207_\n\n Teucri (t[=u]'cr[=i]): the Trojans\n\n Th[.a]-las\u00b4s[)i]-[)o]s: an epithet applied to Hymen because\n he brought safely over the sea to their home a shipload of\n kidnaped Athenian maidens\n\n Th[.a]-li\u00b4a, one of the Graces, 36\n\n Th[.a]-li\u00b4a, the muse of comedy, 37\n\n Tham\u00b4y-ris, or Tham\u00b4y-r[.a]s, 451\n\n Than\u00b4[.a]-t[)o]s, Mors. See _Death_\n\n Th[:a]r-[.g]e\u00b4l[)i]-a, _C. 30_\n\n Thau\u00b4m[)a]s, father of the Harpies and of Iris, 57;\n _C. 50-52_, table C\n\n The\u00b4a, 4;\n _C. 4_\n\n The-a[.g]'e-ne[s+] of Rhegium (re\u00b4ji-um), 439\n\n The\u00b4ba-is, an epic by Statius on the Seven against Thebes;\n Pope's translation, _C. 299_.\n See _Statius_\n\n Thebes (th[=e]b[s+]), Th[=e]'b\u00e6, in B[oe]otia, 71, 75, 207, 216;\n founded, 87, 89, _C. 70_;\n Bacchus at, 153-155;\n misfortunes of, 261, 262, 265-268;\n _C. 110-112_\n\n Thebes (th[=e]b[s+]), The\u00b4b\u00e6, in Egypt, 20\n\n Thebes (th[=e]b[s+]), the Seven against, 206, 264, 265-268, 453, 455\n\n The\u00b4mis, 4; attributes of, 38;\n _C. 4, 18_\n\n The-oc\u00b4r[)i]-tus, 215, 243, 455;\n selections from translations by Lang of various idyls,\n 198-200, 222, 223;\n Lityerses song, 224;\n _C. 298_.\n See _Andrew Lang_ and _Calverley_, in Index of Modern Authors\n\n Th[~e]r-san\u00b4der, 268\n\n Th[~e]r-si\u00b4t[=e][s+], 286, 307\n\n Theseus (the\u00b4s[=u]s), 17, 168, 206, 220, 231, 235, 237, 239,\n 243, 246, 263, 275;\n myth of, 250-260;\n early adventures, 251, 252;\n and Ariadne, 252 _et seq._, 270;\n translation of Catullus, LXIV, by C. M. Gayley, 253-257;\n later adventures, 258-260;\n _C. 174, 176-181_\n\n Thes-mo-pho\u00b4r[)i]-a, _C. 114-117_\n\n Thes\u00b4p[)i]-\u00e6, lion of, 216;\n _C. 156-162_\n\n Thes\u00b4s[.a]-ly, 6, 104, 110, 175, 192, 193, 206, 207, 214,\n 229, 231, 258, 269\n\n Thes\u00b4t[)i]-us, 275;\n _C. 148_ (3), (5), _168_\n\n Thes\u00b4ty-lis, a maid in the pastorals of Theocritus and Virgil\n\n The\u00b4tis, the Nere\u00efd, 55, 90, 198, 205, 269-272, 277, 279,\n 285, 299, 300, 304, 308;\n _C. 10-15, 50-52_, table C, _190-194_ (1)\n\n Thialfi (th[+e]-\u00e4l\u00b4f[=e]), 380, 383, 385\n\n Thi[s+]'b[=e], 147-149;\n _C. 106_\n\n Th[)o]k, 392\n\n Th\u00f4r, 376, 432, 460;\n deeds of, 378-386, 393-396;\n recovery of his hammer, 379, 380;\n visit to J\u00f6tunheim, 380-386;\n as Donner in Wagner's Ring, 412, 415;\n _C. 268-281_\n\n Thoth (th[)o]th or t[=o]t). See _Egyptian divinities_ (2)\n\n Thrace, 24, 218, 231, 249, 347\n\n Three Daughters of King O\u00b4Hara; analogy of incident, _C.\n 101-102, 118, 149-154_\n\n Thrinacia (thr[)i]-na\u00b4sh[)i]-a), 328, 330.\n See _Trinacria_\n\n Thrym (thr\u00fcm), 379, 380\n\n Thucydides (th[=u]-sid\u00b4[)i]-d[=e][s+]), _C. 61_\n\n Thy-es\u00b4t[=e][s+], 275, 314;\n _C. 190-194_ (2)\n\n Thy-i\u00b4[.a]-d[=e][s+], _C. 42_.\n See _Bacchus_\n\n Thy-o\u00b4n[=e], _C. 34_\n\n Thyrsis (th[~e]r\u00b4sis), an ideal shepherd of Greek pastoral\n poetry. See _Theocritus, Idyl 1_; _Virgil, Bucolics 7_; and\n _M. Arnold's elegy_\n\n Thyrsus (th[~e]r\u00b4sus), the, 45, 153, 156;\n _C. 110-112_\n\n Ti\u00b4ber, 362, 365\n\n Ti\u00b4ber, Father, the river-god, 62, 365\n\n T[)i]-bul\u00b4lus, 457;\n reference to, 200\n\n Time, 3\n\n Tiresias (ti-re\u00b4sh[)i]-[)a]s or ti-re\u00b4s[)i]-[)a]s), 266, 268,\n 327, 328, 330, 451;\n _C. 182-189, 231-244_\n\n Tiryns (ti\u00b4rins), a city in Argolis, where Hercules was brought up\n\n T[)i]-siph\u00b4o-n[=e], 54, 357\n\n Ti\u00b4t[.a]ns, 4, 5, 7;\n war of, 5, 6;\n in Tartarus, 51, 357;\n in the Fortunate Isles, 52;\n _C. 4_\n\n T[)i]-tho\u00b4nus, and Aurora, 177, 179;\n Tennyson's poem, 177-179;\n family connections, 276, 280;\n _C. 126-127, 190-194_ (5)\n\n Tit\u00b4y-rus, an ideal goatherd of Greek and Latin pastorals.\n See _Theocritus, Idyl 3_, and _Virgil, Bucolics 1_\n\n Tit\u00b4y-us, slain by Apollo, 27, 92, 357;\n _C. 74_\n\n Tmo\u00b4lus, Mount, 96, 110, 111;\n _C. 76_\n\n To\u00b4m[=i], 456\n\n Toxeus (tox\u00b4[=u]s), 238, 240\n\n Tra\u00b4[-c]his, 175\n\n Tragic poets of Greece, 455\n\n Trident, Neptune's, 56, 170\n\n Tr[)i]-na\u00b4cr[)i]-a, Thr[)i]-na\u00b4cr[)i]-a, Thrinacia\n (thr[)i]-na\u00b4sh[)i]-a): the island of Sicily, having three\n promontories\n\n Trip-tol\u00b4e-mus, 161;\n and the Eleusinian mysteries, 164, 165\n\n Tris\u00b4t[)i]-a, Ovid's, 456\n\n Trit-o-[.g]e-ne\u00b4a, Tr[)i]-t[=o]'n[)i]-a: an epithet of\n Minerva (Athene), meaning born near Lake Tritonis, or\n headborn, or born on the third day\n\n Tri\u00b4t[)o]n, 56, 58, 204, 350\n\n Tri\u00b4t[)o]ns, the, 70\n\n Triv\u00b4[)i]-a, Hecate, or Diana of the Crossways, 54\n\n Tr[oe]zen (tre\u00b4zen), a city in Argolis, 251;\n _C. 176-181_\n\n Tro\u00b4[)i]-lus, son of Priam, killed by Achilles, 276;\n _C. 190-194_ (5), _196_\n\n Trojan War, mentioned, 75, 84, 86, 98, 179, 206, 237, 259,\n 265, 451, 452, 455;\n houses concerned in, 269-276;\n origin, 277-279;\n narrative of, 279-306;\n fall of Troy, 307-312;\n survivors of the war, 313-317\n\n Tro-pho\u00b4n[)i]-us, oracle of, _C. 30_\n\n Tr[=o]s, son of Erichthonius of Troy, and grandson of\n Dardanus, _C. 190-194_ (5)\n\n Troy, 23, 110, 169, 170, 177, 206, 225;\n royal family of, 276, _C. 190-194_ (5);\n the war at, 277-313 and _passim_;\n _C. 119-120, 195, 228-230_\n\n T[=u]'b[.a]l, 440\n\n Tubal-Cain (t[=u]'b[.a]l-c[=a]n\u00b4), 440\n\n Tur\u00b4nus, 362-364, 367-372\n\n Twelve Brothers, story of the; analogy of incident, _C. 101-102_\n\n Twilight of the Gods, Wagner's opera of the, 426-430\n\n Ty-a\u00b4ne-an, 79;\n _C. 63_\n\n Ty\u00b4[-c]h[=e]. See _Fortuna_\n\n Tydeus (ti\u00b4d[=u]s), 84, 265, 280;\n _C. 168_, table K\n\n Tydides (t[)i]-di\u00b4d[=e][s+]), _C. 77_.\n See _Diomede_\n\n Tyndareus (tin-da\u00b4re-us), or Tyndarus (tin\u00b4d[.a]-rus), 242, 269, 338;\n family of, 275, _C. 190-194_ (3)\n\n Tyndarid\u00e6 (tin-d[)a]r\u00b4[)i]-d[=e]), Castor and Pollux, 243;\n _C. 76_\n\n Tyndaris (tin\u00b4d[.a]-ris): patronymic of a female descendant\n of Tyndareus; Helen or Clytemnestra; _C. 77_\n\n Typhoeus (ti-fo\u00b4[=u]s), youngest son of G\u00e6a, later identified with Typhon\n\n Ty\u00b4ph[)o]n, 6, 7, 350;\n also called the son of Typhoeus and a hurricane;\n _C. 8_\n\n Tyr (t[=e]r), or Z[)i][=u], 377, 378, 396\n\n Tyrian dye, 82, 111;\n _C. 75_\n\n Tyrian flowers, 94, 137\n\n Tyrians, of Cadmus, 88;\n of Dido, 351\n\n Ty\u00b4ro, 170\n\n Tyrrheus (t[)i]r\u00b4[=u]s), 363\n\n\n Ulysses ([=u]-lis\u00b4[=e][s+]), wanderings of, mentioned, 168, 206, 265;\n descent of, 275, _C. 190-194_ (4);\n in Trojan War, 278-314;\n and Penelope, 279, 338-344;\n arms of Achilles, 308;\n U. and Philoctetes, 309;\n the Palladium, the Wooden Horse, 310, 314;\n Telemachus, 314, 339-345;\n wanderings of U. (Odyssey), 318-345;\n the Lotos-eaters, 318, 319;\n Tennyson's Lotos-eaters, 319, 320;\n the Cyclopes, 320-323, 349;\n \u00c6olus and the bag of winds, 323;\n the L\u00e6strygonians, 324;\n the isle of \u00c6\u00e6a, Circe, 324-327;\n Dobson's Prayer of the Swine to Circe, 325, 326;\n visit to Hades, 327, 328;\n the Sirens, 328, 329;\n Scylla and Charybdis, 329, 330;\n cattle of the Sun, 330;\n Calypso, 331;\n the Ph\u00e6acians, 332-337;\n Lang's Song of Ph\u00e6acia, 335, 336;\n Nausicaa, 332 _et seq._;\n return to Ithaca, 337;\n fate of the suitors, 338-344;\n Tennyson's Ulysses, 344, 345;\n _C. 231-244_\n\n Underworld (Hades), described, 47-52;\n the garden of Proserpine, 49, 50;\n Greek divinities of, 47, 52-54;\n rivers of, 47;\n inhabitants of, and communication with them, 51;\n judges of, 51, 53, 71, 246;\n myths of greater gods, 159-168;\n Hercules' visit, 220;\n Ulysses' visit, 327, 328;\n \u00c6neas' visit, 353-361;\n _C. 44-46, 47, 49_.\n For the Norse Underworld, see _Hel_\n\n [=U]-ra\u00b4n[)i]-a, the muse of astronomy, 37, _C. 38_ (4);\n also the Aphrodite of ideal love, _C. 34_.\n See _M. Arnold's Urania_\n\n [=U]'r[.a]-nus, Ouranos ([=oo]'r[.a]-n[)o]s), father of Cronus, 4, 5, 6;\n _C. 4_.\n See _Heaven_\n\n Urd ([=oo]rd), 374\n\n Ushas ([)oo]\u00b4sh[.a]s). See _Hindu divinities_ (1)\n\n Utgard-Loki ([)oo]t\u00b4g\u00e4rd-lo\u00b4k[=e]), 382-386\n\n\n V\u00e4ch. See _Hindu divinities_ (1) and (2)\n\n V\u00e4\u00b4l[.a], _C. 109_\n\n V[.a]-le\u00b4r[)i]-us Flac\u00b4cus, reference to, 269;\n _C. 299_\n\n V[)a]l-h[)a]l\u00b4la, 374-376, 378, 387-390, 394, 414-419, 426-430\n\n Valkyrias (v[)a]l-k[)i]r\u00b4y[.a][s+]), Valkyrs\n (v[)a]l\u00b4-k[~e]r[s+]), or Valkyries. See _Valkyries_\n\n Valkyrie (v[)a]l-k[)i]r\u00b4[)i]), Wagner's opera of the, 416-421\n\n Valkyries (v[)a]l-k[)i]r\u00b4[)i][s+]), Valkyrs\n (v[)a]l\u00b4-k[~e]r[s+]), or Valkyrias, 376, 388, 393, 402, 415,\n 418, 420, 421, 432\n\n V\u00e2lm\u00eeki (v\u00e4l-m[=e]'k[=e]), 463\n\n Varuna (v[)a]r\u00b4[)oo]-na). See _Hindu divinities_ (1)\n\n Vayu (v\u00e4\u00b4y[=oo]). See _Hindu divinities_ (1)\n\n Ve (v[=a]), 373, 374\n\n Vedas (v[=a]'d[.a][s+]), the, 462\n\n Vedic (v[=a]'dik) religion. See _Hindu divinities_ (1)\n\n Ven-[~e]r-a\u00b4l[)i]-a, _C. 34_\n\n Ve\u00b4nus (Aphrodite), daughter of Dione, 19;\n wife of Vulcan, 26;\n foam-born, 31;\n attributes, 31-34;\n her various influence, 31, 32;\n favorite animals and cities, 32;\n artistic conceptions of, 32;\n E. R. Sill's poem, The Venus of Milo, 32-34;\n attendants of, 35, 36;\n star of, 40;\n among the Romans, 59;\n Cypris, 68, 69, and _ad loc._;\n mother of Harmonia, 71, 89;\n myths of, 125-150;\n love for Mars, and Anchises, 125, 280;\n Adonis, 126-128;\n Lang's translation of Bion's Lament for Adonis, 126-128;\n Cupid and Psyche, 128-139;\n Atalanta and Hippomenes, 139-141;\n Hero and Leander, 141-145;\n Pygmalion and Galatea, 145-147;\n Pyramus and Thisbe, 147-149;\n Phaon, 149;\n her vengeance, 150;\n Pluto and Proserpine, 159;\n Paris, 278, 279;\n in Trojan War, 284, 289, 295, 313;\n \u00c6neas, 346, 352, 354, 372;\n as a moon-goddess, 432;\n _C. 34, 35, 100-106_\n\n Verdandi (v[)e]r-d\u00e4n\u00b4d[=e]), 374\n\n Vergelmir (v[)e]r-g[)e]l\u00b4m[=e]r), 373\n\n V[~e]r-tum\u00b4nus, 61, 195;\n _C. 139_\n\n Ves\u00b4per, 138\n\n Ves\u00b4ta (Hestia), 5, 19, 35, 59;\n _C. 37_\n\n Vestal Virgins, 35\n\n Victoria (Ni\u00b4ke), 41\n\n Vidar (v[=e]'d\u00e4r), 376, 395, 396\n\n Vigrid (v[=e][=g]'r[=e]d), 395\n\n Vili (v[=e]'l[=e]), 373, 374\n\n V[)i]n\u00b4g[)o]lf, 374\n\n Vir\u00b4gil (V[~e]r-[.g]il\u00b4[)i]-us), account of, and of the \u00c6neid, 456;\n references to Georgics, 141, 202;\n to \u00c6neid, 47, 51, 246, 308, 310-312, 349-353, 367, 370;\n to Bucolics, 223;\n outline of \u00c6neid, 346-372;\n Tennyson's poem to Virgil, 346;\n the \u00c6neid, _C. 245-260_;\n translations, 299\n\n Vishnu (vish\u00b4n[=oo]). See _Hindu divinities_ (2)\n\n Vitharr (v[=e]'th\u00e4r). See _Vidar_\n\n Void, 4\n\n Volscens (v[)o]l\u00b4sen[s+]), 369, 370\n\n Volsung (v[)o]l\u00b4s[)oo]ng), Volsungs, the saga of, 398-405, 460;\n in the Ring of the Nibelung, 416, 418-430;\n _C. 282_\n\n Volsunga Saga (v[~e]l-s[)oo]n\u00b4[=g]\u00e4 s\u00e4\u00b4g\u00e4). See _Volsung_\n\n Vr[)i]t\u00b4ra. See _Hindu divinities_ (1)\n\n Vul\u00b4c[.a]n (Vul-ca\u00b4nus, Heph\u00e6stus), one of the great gods, 19;\n meaning of name, 24;\n attributes, 24-26;\n his lameness, 25, 90;\n his wife, 26, 61;\n among the Romans, Mulciber, 59;\n Harmonia's necklace made by, 89, 265;\n myths of, 90, 91;\n chariot of the Sun made by, 95;\n V. and Orion, 122;\n Talus, 242;\n father of Periphetes, 251;\n Ariadne, 253;\n armor of Achilles, 300;\n of \u00c6neas, 372;\n interpretations of, 434, 440;\n _C. 29_\n\n Vy\u00e2sa (vy\u00e4\u00b4s[.a]), 463\n\n\n Wagner's Ring of the Nibelung, 410-430\n\n W\u00e4lse (v[=\u00e1]l\u00b4s[~e]), 416, 418\n\n W\u00e4lsungs (v[=\u00e1]l\u00b4s[)oo]ng[s+]), 416.\n See _Volsung_\n\n Waltraute (v\u00e4l\u00b4trou-t[~e]), 427, 428\n\n Water-Nymphs, 46, 58, 189, 211\n\n Waters, Greek gods of, 55-58;\n older dynasty, 55;\n younger dynasty, 55, 56;\n lesser divinities, 56-58;\n Wordsworth's \"The world is too much with us,\" 58;\n myths of Neptune, 169-171;\n of lesser divinities, 198-205;\n _C. 141_\n\n Winds, the, Greek names and attributes of, 38, 39;\n myths of, 172, 179;\n _C. 38_ (9), _125_, table H\n\n Wo\u00b4d[.a]n, Wo\u00b4t[.a]n, Wo\u00b4den, 375, 412-430.\n See _Odin_\n\n Woman, origin of, Greek, 11\n\n Wooden Horse, the, 310-312, 337\n\n World, conception of, among the Greeks, 42, 43\n\n World egg, 3\n\n Worms, 407, 409\n\n Wo\u00b4t[.a]n. See _Wodan_\n\n\n Xanten (z\u00e4n\u00b4ten), 405, 406\n\n Xanthus (zan\u00b4thus) river, 91, 97;\n _C. 71, 76_\n\n Xuthus (z[=u]'thus), son of Hellen, 16;\n genealogy, _C. 103_, table G; _132_ (2), (5), _174_\n\n\n Yam\u00b4a and Yami (yam\u00b4[=e]). See _Hindu divinities_ (1)\n\n Yggdrasil ([)i][=g]'dr[.a]-sil), 374\n\n Ymir (\u00fc\u00b4m[=e]r or [=e]'m[=e]r), 373, 374, 394\n\n Yssel-land ([)i]s\u00b4el), 406\n\n\n Zan\u00b4t[=e], 153\n\n Zeph\u00b4y-rus, 38, 39, 270;\n and Hyacinthus, 94;\n Zephyr and Psyche, 129-132;\n _C. 38_ (9)\n\n Ze\u00b4t[=e][s+], 39, 230\n\n Ze\u00b4thus, 75;\n _C. 62_\n\n Zeus (z[=u]s). See _Jupiter_\n\n Zeuxis (z[=u]x\u00b4is), a Greek painter of Heraclea; flourished\n about 424 B.C.\n\n Z[)i][=u] or Tyr (t[=e]r). See _Tyr_\n\n Zodiac, _C. 156-162_ (Interpret.)\n\n Zo-ro-as\u00b4t[~e]r, 463\n\n Zulus, myths among, 448\n\n\n\n\nINDEX OF MODERN AUTHORS AND ARTISTS\n\n[Ordinary figures refer to pages of the Text. Figures in italics\npreceded by _C._ refer to sections of the Commentary and incidentally\nto the corresponding sections in the Text. For explanation of the\ndiacritical marks see p. 543.]\n\n\n Acland, H. W.\n _C. 228-230_, Plains of Troy\n\n Addison, Joseph, 1672-1719.\n _C. 255-257_ Spectator, No. 343;\n _299_, transl. Metamorphoses\n\n Akenside (a\u00b4ken-s[=i]d), Mark, 1721-1770.\n _C. 38_ (4), (9), _128, 129-130_, Pleasures of Imagination;\n _C. 38_ (4), (11), Ode on Lyric Poetry, Ode to Hesper;\n _49_, Ode to Sleep\n\n Albani (\u00e4l-b\u00e4\u00b4n[=e]), Francesco, 1578-1660 (paint.).\n _C. 36_, Mercury and Apollo;\n _95_, Diana and her Nymphs, Act\u00e6on (two pictures, Dresden);\n _141_, Galatea and Cupids\n\n Aldrich, T. B., 1836-1907.\n _C. 195_, Pillared Arch and Sculptured Tower\n\n Alfieri (\u00e4l-fy[=a]'r[=e]), Vittorio, 1749-1803.\n _C. 169_, Merope\n\n Anderson, R. B.\n _C. 268-281_, Norse Mythology; Horn's Scandinavian\n Literature; Younger Edda\n\n Armstrong, John, 1709-1779.\n _C. 30, 50-52, 68, 149-154_, The Art of Preserving Health\n\n Armstrong, W. J.\n _C. 228-230_, Over Ilium and Ida\n\n Arnold, Sir Edwin, 1832-1904.\n Reference to, 126;\n _C. 303_, Indian Idylls, Light of Asia;\n _32_, Hymn of the Priestess of Diana;\n _104_, transl. Mus\u00e6us;\n _196_, Iphigenia\n\n Arnold, M., 1822-1888.\n Quotation from Thyrsis, 224, 225;\n from Dejaneira, 228;\n his Merope, 242;\n from The New Philomela, 250;\n from Empedocles on Etna, 274;\n from Balder Dead, 388-397;\n _C. 8, 87_, Empedocles;\n _38_ (3), (4), Euphrosyne, Urania;\n _42_, Bacchanalia;\n _50-52_, The New Sirens;\n _156-162_, Fragment of a Dejaneira, Merope, Thyrsis;\n _174_, The New Philomela;\n _182-189_, Fragment of an Antigone;\n _231-244_, The Strayed Reveller;\n _268-281_, Balder Dead\n\n Ashe, Thomas, 1836-1889.\n _C. 38_ (1), The Lost Eros\n\n\n Bacon, Lord, 1561-1626.\n Wisdom of the Ancients; his method of explaining Greek Myths,\n 439, _C. 114-117_\n\n Baldwin, James.\n _C. 282_, The Story of Siegfried, New York, 1888\n\n Bandinelli (b\u00e4n-d[='e]-nel\u00b4l[=e]), B., 1487-1559 (sculpt.).\n _C. 156-162_, Hercules and Cacus\n\n Banks, J. Transl. Hesiod, Callimachus, and Theognis (Bohn's Library)\n\n Barnfield, Richard, 1574-1627.\n _C. 174_, Song, \"As it fell upon a day\" (Philomela)\n\n Bartsch (b\u00e4rtsh), K. F.\n Der Nibelunge N\u00f4t, 461 _n_;\n _C. 283_\n\n Bates, H. (paint.).\n _C. 101-102_, Psyche\n\n Baumeister (bou\u00b4m[=i]-st[~e]r).\n Denkm\u00e4ler d. klassischen Altertums; see _List of Illustrations_\n\n Beattie (b[=e]'t[)i]), James, 1735-1803.\n _C. 156-162_, Battle of Pygmies and Cranes;\n _195_, Judgment of Paris\n\n Beaumont (bo\u00b4m[)o]nt), Francis, 1584-1616, and John Fletcher, 1579-1625.\n _C. 38_ (1), Cupid's Revenge;\n _50-52, 176-181_, Maid's Tragedy\n\n Beddoes (bed\u00b4[=o]z), Thomas Lovell, 1803-1849.\n _C. 105_, Pygmalion;\n _114-117_, Stygian Naiades\n\n Benfey (ben\u00b4f[=i]) and Cosquin (co-k[)a]n\u00b4).\n Cited by Lang, 447 _n_\n\n Bennett, W. C., 1820 ----.\n _C. 105_, Pygmalion\n\n Bernini (b[)e]r-n[=e]'n[=e]), Lorenzo, 1598-1680 (sculpt).\n _C. 48, 114-117_, Pluto and Proserpine;\n _89_, Apollo and Daphne\n\n Beyschlag (b[=i]\u00b4shl\u00e4[.c]h), J. R., 1838 ---- (paint.).\n _C. 101-102_, Psyche;\n _118_, Orpheus and Eurydice\n\n Birch, R.,\n _C. 302_, Guide to Egyptian Rooms\n\n Blackie, J. S., 1809-1895.\n _C. 141_, Galatea;\n _176-181_, Ariadne, The Naming of Athens;\n _195_, Judgment of Paris;\n _196, 298_, transl. \u00c6schylus\n\n Blake, William, 1757-1827.\n To the Muses, iii\n\n Bland and Merivale.\n _C. 298_, transl. Greek Anthology\n\n Bodenhausen (bo\u00b4den-hou\u00b4zen), C. von (paint.).\n _C. 104_, Hero and Leander\n\n Bodmer, J. J.\n Referred to, 461;\n publ. Nibelungenlied, _C. 283_\n\n Bologna (b[=\u00f3]-l[=o]n\u00b4y\u00e4), Giovanni di, 1524-1608 (sculpt.).\n _C. 36_, Flying Mercury;\n _156-162_, Hercules and Centaur\n\n Bordone (b[=\u00f3]r-d[=o]'n[=a]), Paris, 1500-1571 (paint.).\n _C. 87_, Apollo, Marsyas, and Midas\n\n Bouguereau (b[=oo]-[=g][~e]-ro\u00b4), A. W., 1825-1905 (paint.).\n _C. 35_, Birth of Venus;\n _38_ (1), Cupid and a Butterfly;\n _42_, Youth of Bacchus;\n _131_, Nymphs and Satyr\n\n Bowring, E. A.\n _C. 22_, transl. Schiller;\n _38_ (2), Goethe's Ganymede;\n _60_, Schiller's Semele;\n _140_, Schiller's Cranes of Ibycus;\n _155_, Schiller's Pegasus in Harness\n\n Brandi (br\u00e4n\u00b4d[=e]), Giacinto, 1623-1691 (paint.).\n _C. 173_, D\u00e6dalus fastening Wings on Icarus (Dresden)\n\n Bridges, Robert, 1844 ----.\n Extract from Eros and Psyche, 132;\n _C. 10-15_, Prometheus;\n _42_, Feast of Bacchus;\n _101_, Eros and Psyche;\n _199_, Achilles in Scyros;\n _231-244_, Return of Ulysses\n\n Brooks, C. T., 1813-1883.\n _C. 207_, Schiller's Parting of Hector and Andromache\n\n Browning, E. B., 1806-1861.\n Reference to, 126;\n extract from The Dead Pan, 183;\n _C. 10-15_, Prometheus Bound;\n _101-102_, Psyche;\n _131_, Flush, or Faunus;\n _141_, transl. Theocritus;\n _176-181_, paraphrases of Nonnus and Hesiod;\n _207_, paraphrase of Homer\n\n Browning, R., 1812-1889.\n Passage from his Balaustion's Adventure, 107-110;\n _C. 81_, Apollo and the Fates;\n _83, 156-162_, Balaustion's Adventure;\n _118_, Eurydice and Orpheus;\n _129-130_, Pan and Luna;\n _156-162_, Aristophanes' Apology;\n _176-181_, Artemis Prologizes;\n _196_, Agamemnon;\n _255-257_, Ixion\n\n Bryant, Jacob.\n Advocate of _theological_ interpretation, 440\n\n Bryant, W. C., 1794-1878.\n _C. 149-154_, transl. Simonides' Lament of Dana\u00eb;\n _C. 231-244_, transl. Odyssey (1871)\n\n Buchanan, R., 1841-1901.\n Cited or quoted: from his Satyr, 186, 187;\n from his Naiad, 189-191;\n _C. 4_, Cloudland;\n _47_, Ades, King of Hell;\n _50-52_, Naiad;\n _98_, Selene, the Moon;\n _105_, Pygmalion the Sculptor;\n _107_, Sappho on the Leucadian Rock;\n _118_, Orpheus;\n _129-130_, Pan;\n _141_, Polypheme's Passion;\n _145_, Proteus;\n _231-244_, Cloudland, Penelope;\n _268-281_, Balder the Beautiful\n\n Buckley, T. A.\n _C. 298_, transl. \u00c6schylus and Euripides\n\n Bugge (b[)oo]g\u00b4[~e]), Sophus.\n _C. 268-281_, edition of Elder Edda\n\n Bulfinch, S. G., 1809-1870.\n Extract from his translation of Schiller's Ideal and Life, 227, 228\n\n Bulfinch, Thomas, 1796-1867.\n The Age of Fable; see Preface to this volume\n\n Burges (b[~e]r\u00b4j[)e]s), G.\n _C. 298_, transl. Greek Anthology\n\n Burne-Jones, Sir Edward, 1833-1898 (paint.).\n His Thisbe, 148;\n _C. 38_ (1), Cupid;\n _101-102_, Pan and Psyche;\n _105_, Pygmalion;\n _106_, Cupid, Pyramus, Thisbe;\n _118_, Orpheus and Eurydice;\n _131_, Nymphs;\n _149-154_, Perseus and the Grai\u00e6;\n _199_, Feast of Peleus;\n _231-244_, The Wine of Circe\n\n Burns, R., 1759-1796.\n _C. 30_, The Winter Night;\n _155_, To John Taylor\n\n Butcher, S. H., and A. Lang.\n _C. 231-244, 298_, transl. Odyssey\n\n Butler, Samuel, 1612-1680.\n _C. 32_, Hudibras\n\n Byron, George Gordon, Lord, 1788-1824.\n Quoted or referred to, 452;\n Prometheus, 13;\n Age of Bronze, 15;\n Childe Harold, 311;\n _C. 10-15_, Prometheus, Ode to Napoleon;\n _32, 70_, Don Juan;\n _104, 228-230_, Bride of Abydos;\n _27, 30, 34, 35, 38_ (4), _41, 54, 78, 97, 228-230, 231-244_,\n references to Childe Harold\n\n\n Call, W. M. W., 1817-1890.\n _C. 81_, Admetus;\n _83_, Alcestis;\n _176-181_, Ariadne;\n _268-281_, Balder, Thor\n\n Calverley, C. S. (Blayds), 1831-1884.\n _C. 100_, Death of Adonis;\n _110-112, 141, 156-162, 170-171, 298_, transl. Theocritus;\n _299_, transl. Horace\n\n Campbell, Lewis, 1830-1908.\n _C. 298_, transl. Sophocles\n\n Campbell, Thomas, 1777-1844.\n _C. 38_ (11), Two Songs to the Evening Star;\n _163-167_, transl. of part of Euripides' Medea\n\n Canova (c\u00e4-n\u00f4\u00b4v\u00e4), Antonio, 1757-1822 (sculpt.).\n _C. 35_, Venus Victrix;\n _38_ (3), Graces;\n _101-102_, Cupid and Psyche;\n _149-154_, Perseus;\n _173_, D\u00e6dalus and Icarus;\n _176-181_, Theseus;\n _195_, Paris;\n _204_, Ajax;\n _207_, Hector\n\n Carlisle, Lord, 1802-1864.\n _C. 231-244_, Diary, note on Corfu and the Ph\u00e6acians\n\n Carlyle, Thomas, 1795-1881.\n Transl. of fragments of Nibelungenlied, 409;\n _C. 283_\n\n Carracci (c\u00e4r-r\u00e4t\u00b4ch[=e]), Annibale, 1560-1609 (paint.).\n _C. 24-25_, Jupiter and Juno\n\n Carracci (c\u00e4r-r\u00e4t\u00b4ch[=e]), Lodovico, 1555-1619, and Annibale (paint.).\n _C. 98_, Diana and Endymion;\n _141_, Polyphemus, Galatea, Acis\n\n Cellini (chel-l[=e]'n[=e]), Benvenuto, 1500-1571 (sculpt.).\n _C. 24-25_, Jupiter;\n _27_, Minerva;\n _35_, Venus;\n _36_, Mercury;\n _149-154_, Perseus, Perseus saving Andromeda\n\n \u00c7[~e]r-van\u00b4t[=e][s+], Miguel de, 1547-1616.\n Reference to, 14;\n _C. 16_\n\n Chapman, G., 1559-1634.\n _C. 231-244, 298_, transl. Iliad and Odyssey;\n _104_, Marlowe's Hero and Leander;\n Sonnet on Chapman's Homer, see _Keats_\n\n Chaucer, Geoffrey, 1340 (or 1328)-1400.\n References in _C._:\n The Former Age, _10-15_;\n The Knight's Tale, _34, 95, 176-181_;\n The Hous of Fame, _38_ (2), (9), _75, 173, 176-181, 199, 245-254_;\n The Legende of Good Women, _83, 106, 149-154, 163-167, 174,\n 176-181, 245-254_;\n The Complaint of Mars, _34, 83_;\n The Complaint of Venus, _34_;\n The Dethe of Blaunche, _125, 199, 226_;\n The Court of Love (?), _34, 83_;\n The Cuckow and Nightingale, or Boke of Cupid (?), _38_ (1);\n The Romaunt of the Rose (?), _132-133_;\n Troilus and Criseyde, _196, 226_\n\n Church, F. S.\n _C. 10-15_, Pandora\n\n Clapp, E. B.\n Greek Morality, etc., 455 _n_\n\n Clarke, J. F.\n _C. 303, 304_, Ten Great Religions\n\n Cleasby and Vigfusson (vig\u00b4f[=oo]-sun).\n Icelandic-English Dictionary, 458 _n_;\n _C. 300_\n\n Clough, A. H., 1819-1861.\n _C. 95_, Act\u00e6on;\n _98_, Epi Latmo, Selene\n\n Coleridge, Hartley, 1796-1849.\n _C. 10-15_, Prometheus;\n _195_, Sonnet on Homer\n\n Coleridge, S. T., 1772-1834.\n _C. 93_, Kubla Khan\n\n Collins, Mortimer, 1827-1876.\n _C. 49_, The Ivory Gate\n\n Collins, William, 1721-1759.\n _C. 131, 132-133_, The Passions\n\n Collins, W. L.\n _C. 298, 299_, Ancient Classics for English Readers\n\n Colvin, S., 1845 ----.\n _C. 40_, A Greek Hymn\n\n Conington, J., 1825-1869.\n _C. 299_, transl. \u00c6neid, Horace's Odes, etc.\n\n Correggio (c[=\u00f3]r-red\u00b4jo), A. A., 1494-1534 (paint.).\n _C. 32_, Diana;\n _57_, Jupiter and Io;\n _62_, Antiope;\n _149-154_, Dana\u00eb\n\n Cottle, A. S.\n _C. 268-281_, Icelandic Poetry\n\n Cowper, William, 1731-1800.\n Transl. Homer, 18, 299, 331, 340, 341;\n _C. 30_, Yardley Oak;\n _44-46, 231-244, 255-257_, Progress of Error;\n _131-132_, On an Ugly Fellow;\n _145_, The Task;\n _298_, transl. Homer\n\n Cox, the Rev. Sir G. W., 437 _n_, 448 _n_;\n _C. 57, 59, 70, 72-73, 74, 76, 78, 95, 101-102, 109, 118,\n 141, 156-162, 172_\n\n Crabbe, George, 1754-1832.\n _C. 38_ (4), Village, Parish Register, Newspaper, Birth of\n Flattery (Invocations of the Muse);\n _204_, Village\n\n Crane, Oliver.\n _C. 299_, transl. \u00c6neid\n\n Creuzer (croi\u00b4ts[~e]r), Professor, and the _allegorical_\n interpretation, 439\n\n Curtin, Jeremiah.\n _C. 118, 149-154_, Myths and Folk-Lore of Ireland\n\n Curzon (c\u00fcr-z\u00f4n\u00b4), A. de (paint.).\n _C. 101-102_, Psyche\n\n\n Dale, Thos.\n _C. 298_, transl. Sophocles\n\n Daniel, Samuel, 1562-1619.\n _C. 231-244_, Dialogue of Ulysses and the Siren\n\n Dannecker (d\u00e4n\u00b4ek-[~e]r), J. H. von, 1758-1841 (sculpt.).\n _C. 176-181_, Ariadne\n\n Dante (dan\u00b4t[='e]) Alighieri, 1265-1321.\n Reference to, 14;\n _C. 16_\n\n Darwin, Erasmus, 1731-1802.\n Extract from his Botanic Garden, 180, 247\n\n Da\u00b4sent, Sir G. W., 1820-1896.\n _C. 268-281_, Popular Tales from the Norse\n\n David (d\u00e0-v[=e]d\u00b4), J. L., 1748-1825 (paint.).\n _C. 195_, Paris and Helen\n\n Dekker, Thomas, 1570-1641.\n _C. 30_, The Sun's Darling\n\n Derby, the Earl of.\n Transl. Homer, 21;\n _C. 298_\n\n Dippold, G. T.\n _C. 301_, Great Epics of Medi\u00e6val Germany\n\n Dixon, R. W., 1833-1901.\n _C. 30_, Apollo Pythius\n\n Dobell (d[=o]-bel\u00b4), Sydney, 1824-1874.\n _C. 268-281_, Balder\n\n Dobson, Austin, 1840 ----.\n Procris, 174, 175;\n extract from Prayer of the Swine to Circe, 325, 326;\n _C. 123-124_, Procris;\n _141_, Polypheme\n\n Domenichino (d[='o]-m[=a]-n[='e]-k[=e]'n[=o]), Z., 1581-1641 (paint.).\n _C. 32_, Diana's Chase;\n _245-254_, Cum\u00e6an Sibyl\n\n Dosso Dossi (d\u00f4s\u00b4s[=o] d\u00f4s\u00b4s[=e]) (Giovanni di Lutero),\n 1479-1542 (paint.).\n _C. 98_, Diana and Endymion (Dresden)\n\n Dowden, E., 1843 ----.\n _C. 59_, Europa;\n _118_, Eurydice;\n _149-154_, Andromeda\n\n Doyle, Sir Francis Hastings, 1810-1888.\n _C. 182-189_, transl. [OE]dipus Tyrannus\n\n Drayton, Michael, 1563-1631.\n _C. 30_, Song 8 (on Apollo);\n _38_ (2), Ganymede\n\n Drummond, William, of Hawthornden, 1585-1649.\n _C. 30_, Song to Ph[oe]bus;\n _38_ (2), Ganymede;\n _50-52_, \"Nymphs, sister nymphs,\" etc.;\n _100_, Statue of Adonis;\n _128_, Summons to Love;\n _149-154_, Statue of Medusa\n\n Dryden, J., 1631-1700.\n Extract from Alexander's Feast, 45;\n _C. 298_, transl. Metamorphoses and the \u00c6neis;\n _49_, Alexander's Feast;\n _54_, Epistle to Congreve;\n _85-86_, Chaucer's Wife of Bath's Tale;\n _131_, To Mrs. Anne Killigrew;\n _196_, Cymon and Iphigenia;\n _255-257_, St. Cecilia's Day\n\n Dyer, John, 1700(?)-1758.\n Extracts from The Fleece, 230, 231, 314\n\n Dyer, Louis, 1851 ----.\n Studies of the Gods in Greece, 446 _n_\n\n\n Edwards, Miss A. B.\n _C. 302_, A Thousand Miles up the Nile\n\n Eliot, George (Mary Ann Cross), 1819-1880.\n _C. 298_, Arion\n\n Elliot, Lady Charlotte.\n _C. 149-154_, Medusa, 1878\n\n Ellis, Robinson.\n _C. 299_, transl. Catullus\n\n Ely, Talfourd.\n Olympus, 446 _n_\n\n Emerson, R. W., 1803-1882.\n _C. 18_, Astr\u00e6a;\n _182-189_, The Sphinx\n\n\n Fawcett, Edgar, 1847-1904.\n _C. 231-244_, Calypso\n\n Fawkes, Francis, 1721-1777.\n _C. 107_, transl. Sappho\n\n F\u00e9nelon (f[=a]-n\u00b4-l\u00f4n\u00b4), Fran\u00e7ois de la Mothe, 1651-1715.\n _C. 231-244_, T\u00e9l\u00e9maque\n\n Field, Michael.\n Callirrho\u00eb, 1884\n\n Fields, A.\n _C. 91_, Clytia\n\n Fiske, John, 1842-1901.\n Citation from Myths and Myth-Makers, 432\n\n FitzGerald, Edward, 1809-1883.\n _C. 182-189_, The Downfall and Death of King [OE]dipus;\n _196_, Agamemnon\n\n Fitzgerald, M. P.\n _C. 176-181_, The Crowned Hippolytus\n\n Flaxman, John, 1755-1826.\n _C. 199, 204, 207, 231-244_, Sketches\n\n Fletcher, John, 1579-1625 (see _Beaumont_).\n _C. 38_ (1), A Wife for a Month;\n _42_, \"God Ly\u00e6us\" (from Valentinian);\n _58_, \"Hear ye ladies\" (Valentinian);\n _50-52, 176-181_, The Maid's Tragedy;\n _98_, The Faithful Shepherdess;\n _129-130_, Song of Priest of Pan;\n Song to Pan (Faithful Shepherdess);\n _176-181_, The Two Noble Kinsmen\n\n Forestier, Auber (pseudonym for Annie A. Moore).\n _C. 283_, Echoes from Mist Land\n\n Forster, F.\n _C. 123-124_, Procris and Cephalus\n\n Foster-Barham, A. G.\n _C. 283_, transl. Nibelungenlied\n\n Franceschini (fr\u00e4n-ches-k[=e]'n[=e]), M. A., 1648-1729 (paint.).\n _C. 100_, Birth of Adonis (Dresden)\n\n Francklin, Thomas.\n _C. 298_, transl. Sophocles\n\n Frere (fr[=e]r), J. Hookham, 1769-1846.\n _C. 149-154_, transl. Simonides' Lament of Dana\u00eb;\n _156-162_, transl. Euripides' Hercules Furens\n\n Frothingham, N. L.\n _C. 114-117_, transl. Schiller's Festival of Eleusis;\n _224_, transl. Lessing's Laoco\u00f6n\n\n Fuller, S. Margaret, 1810-1850.\n _C. 38_ (2), Ganymede to his Eagle.\n\n\n Garnett, Richard, 1835-1906.\n _C. 57_, Io in Egypt;\n _196_, Iphigenia in Delphi\n\n Garrick, David, 1717-1779.\n _C. 65-66_, Upon a Lady's Embroidery\n\n Gay, John, 1685-1732.\n _C. 141_, Polypheme's Song (Acis and Galatea)\n\n Gayley, C. M.\n Extracts from translation of Schiller's Gods of Greece, 182;\n from hexameter translation of Catullus' Peleus and Thetis,\n 253-258, 269-273\n\n G\u00e9rard (zh[=a]-r[.a]r\u00b4), Fran\u00e7ois, 1770-1837 (paint.).\n _C. 101-102_, Cupid and Psyche\n\n Giordano (j[='o]r-d\u00e4\u00b4n[=o]), Luca, 1632-1705 (paint.).\n _C. 149-154_, Perseus and Phineus;\n _156-162_, Hercules and Omphale;\n _176-181_, Bacchantes and Ariadne (Dresden)\n\n Giorgione (j[='o]r-j[=o]'n[=a]) (Giorgio Barbarelli), 1477-1511 (paint.).\n _C. 131_, Nymphs and Satyr;\n _195_, The Judgment of Paris (Dresden)\n\n Gladstone, W. E., 1809-1898.\n Translation from Iliad, 285.\n Works referred to or cited, 440 _n_;\n his theory of myths, 440;\n _C. 23_, on the number of the Olympians, and on the Olympian religion;\n _77_, on the Chryse\u00efs incident\n\n Gleyre (gl\u00ear), Charles G., 1807-1874 (paint.).\n _C. 42_, Dance of the Bacchantes;\n _156-162_, Hercules at the feet of Omphale\n\n Goethe (g[~e]'t[~e]), J. W. von, 1749-1832.\n _C. 196_, Iphigenia in Tauris;\n see also under _Bowring_ and _Martin_\n\n Goldsmith, Oliver, 1728-1774.\n _C. 132-133_, on a beautiful youth struck by blindness (Narcissus)\n\n Gosse, E. W., 1849 ----.\n Quoted: Eros, 36;\n from the Sons of Cydippe, 81;\n from the Praise of Dionysus, 156, 157;\n _C. 22_, Greece and England;\n _32_, The Praise of Artemis;\n _64_, Sons of Cydippe;\n _118_, The Waking of Eurydice;\n _125_, Alcyone (a sonnet in dialogue);\n _156-162_, Gifts of the Muses;\n _255-257_, Island of the Blest\n\n Gray, Thomas, 1716-1771.\n The Fatal Sisters referred to, 376;\n _C. 4_, _36_, _38_ (4), _40_, Progress of Poesy;\n _149-154_, Hymn to Adversity;\n _268-281_, Ode on the Descent of Odin, Ode on the Fatal Sisters\n\n Greene, Robert, 1560-1592.\n _C. 56_, Arraignment of Paris\n\n Greenwell, Dora, 1821-1882.\n _C. 114-117_, Demeter and Cora;\n _282_, Battle-Flag of Sigurd\n\n Grimm, Jakob Ludwig, 1785-1863, and Wilhelm Karl, 1786-1859.\n Theory of distribution of myth, 448;\n derivation of word Edda, 458 _n_;\n _C. 101-102_, The Twelve Brothers;\n _301_, Deutsche Mythologie\n\n Guercino (gw[)e]r-ch[=e]'n[=o]), Francesco, 1590-1666 (paint.).\n _C. 98_, Sleeping Endymion;\n _100_, Three Pictures of Adonis (Dresden);\n _123-124_, Aurora\n\n Gu\u00e9rin (g[=a]-r[)a]n\u00b4), Pierre Narcisse, 1774-1833 (paint.).\n _C. 123-124_, L\u00b4Aurore et C\u00e9phale;\n _245-254_, \u00c6neas at the Court of Dido\n\n\n Hahn (h\u00e4n), Werner.\n Modern German edition of Nibelungenlied, 407, 460 _n_, 461 _n_;\n _C. 283_\n\n Hake, Thomas Gordon, 1809-1895.\n _C. 34_, The Birth of Venus;\n _149-154_, The Infant Medusa\n\n Hallam, Arthur Henry, 1811-1833.\n _C. 105_, Pygmalion\n\n Hamon ([.a]-m\u00f4n\u00b4), J. L., 1821-1874 (paint.).\n _C. 123-124_, Aurora\n\n Haug (hou[.c]h), M.\n _C. 304_, Sacred Language and Literature of the Parsis\n\n Hawthorne, Nathaniel, 1804-1864.\n _C. 54, 131_, The Marble Faun\n\n Head, Guy, d. 1801 (paint.).\n _C. 38_ (12), Iris\n\n Hem\u00b4[.a]n[s+], Felicia D., 1793-1835.\n _C. 83_, Alfieri's Alcestis, Death Song of Alcestis;\n _97_, Pleiads;\n _176-181_, Shade of Theseus\n\n Herrick, R., 1591-1674.\n _C. 38_ (1), The Cheat of Cupid, or The Ungentle Guest\n\n Hervey, Thomas Kibble, 1799-1859.\n Poem on Cupid and Psyche, 136, 137\n\n Hoffmann (h[='o]f\u00b4m\u00e4n), J. (paint.).\n _C. 283_, Illustrations of the Ring of the Nibelungen\n\n Holmes, O. W., 1809-1894.\n _C. 98, 231-244_, Metrical Essays\n\n Hood, Thomas, 1798-1845.\n _C. 30_, To the Sun;\n _32_, To the Moon;\n _91_, Flowers;\n _104_, Hero and Leander;\n _114-117_, Ode to Melancholy;\n _231-244_, Lycus the Centaur\n\n Horn, F. W.\n Geschichte d. Literatur d. Skandinavischen Nordens, 458 _n_, 460 _n_\n\n Horne, Richard Henry (Hengist), 1803-1884.\n _C. 10-15_, Prometheus, the Fire-bringer;\n _96_, Orion\n\n H\u00fcbner (h\u00fcp\u00b4n[~e]r), E., 1842 ---- (paint.).\n _C. 196_, Iphigenia\n\n Hunt, Leigh, 1784-1859.\n _C. 104_, Hero and Leander\n\n\n Ingelow, Jean, 1820-1897.\n _C. 48_, Persephone\n\n Ingres (an\u00b4gr'), J. A. D., 1780-1867 (paint.).\n _C. 182-189_, [OE]dipus and the Sphinx\n\n\n Jackson, Helen Hunt, 1831-1885.\n _C. 40_, Demeter;\n _176-181_, Ariadne's Farewell\n\n Jameson, Frederick.\n Translation of Wagner's Ring of the Nibelung, 411-430;\n _C. 284-288_\n\n Jebb, R.C., 1841-1905.\n _C. 228-230_, articles on Troy\n\n Johnson, Biorn, of Scardsa, 1575-1656.\n On the Elder Edda, 459\n\n Johnson, Francis, d. 1876.\n _C. 304_, Oriental Religions\n\n Johnson, Samuel, 1709-1784.\n Definition of Fable, 1\n\n Johnsson (y[)o]ns\u00b4sun), Arngrim, 1568-1648.\n On the authorship of the Younger Edda, 459\n\n Johnston, T. C.\n Did the Ph[oe]nicians discover America? 449 _n_\n\n Jones, Sir William, 1746-1794.\n _C. 303_, transl. Sakuntala\n\n Jonson, B., 1574-1637.\n Hymn to Cynthia, 31;\n _C. 4_, Neptune's Triumph;\n _129-130_, Pan's Anniversary;\n _42_, Dedication of the King's new cellar to Bacchus\n\n Jonsson (y[)o]ns\u00b4sun), Thorleif.\n _C. 268-281_, edition of the Younger Edda\n\n Jordaens (y\u00f4r\u00b4d\u00e4ns), Jakob, 1593-1678 (paint.).\n _C. 110-112_, Silenus and Bacchante;\n _176-181_, Ariadne, Fauns, etc. (Dresden)\n\n Jordan (y[='o]r\u00b4d\u00e4n), W.\n _C. 283_, Studies and Recitations of the Nibelunge\n\n\n Kaulbach (koul\u00b4b\u00e4[.c]h), W., 1805-1874 (paint.).\n _C. 196_, Iphigenia\n\n Keats, John, 1795-1821.\n Quotation from \"I stood tiptoe upon a little hill,\" 67;\n from Endymion, Bk. 3, 125, 200, 201;\n Ode to Psyche, 137-139;\n Picture of Leander, 145;\n Sonnet on Chapman's Homer, 283;\n _C. 4, 54_, Hyperion;\n _30_, Hymn to Apollo;\n _32, 131_, To Psyche;\n _38_ (4), On a Grecian Urn;\n _42, 131, 155_, To a Nightingale;\n _48_, Melancholy;\n _75, 93, 98, 142, 231-244_, Endymion;\n _109_, Ode to Maia\n\n Keller, F., 1842 ---- (paint.).\n _C. 104_, Hero and Leander\n\n King, Ed.\n _C. 299_, transl. Metamorphoses\n\n Kingsley, Charles, 1819-1875.\n Extract from the Andromeda, 212;\n _C. 107_, Sappho;\n _282_, Longbeard's Saga\n\n Knight, Payne, 1750-1824.\n Symbolical Language of Ancient Art, 444 _n_\n\n Kray (kr[=i]), W. (paint.).\n _C. 101-102_, Psyche and Zephyr\n\n K\u00fcrenberg, von (f[='o]n k\u00fc\u00b4ren-b[)e]rG),\n and the Nibelungenlied, 461\n\n Kyd (kid), Thomas, end of the sixteenth century.\n _C. 47, 61_, Spanish Tragedy\n\n\n Lachmann (l\u00e4[.c]h\u00b4m\u00e4n), K. K., 1793-1851.\n Theory of Nibelungenlied, 461;\n _C. 283_, Nibelunge N\u00f4t\n\n La Fontaine (l[.a] f\u00f4n-ten\u00b4), Jean de, 1621-1695.\n Mentioned, 2\n\n Landor, W. S., 1775-1864.\n Quotations from the Niobe, 102, 103;\n Hippomenes and Atalanta, 140, 141;\n from Orpheus and Eurydice (Dry Sticks), 167, 168;\n _C. 26_, Hymn of Terpander to Juno;\n _42_, Sophron's Hymn to Bacchus;\n _50-52, 176-181_, To Joseph Ablett;\n _59_, Europa and her Mother;\n _76, 123-124_, Gebir;\n _78_, Niobe;\n _83_, Hercules, Pluto, Alcestis, etc.;\n _107_, Sappho, Alc\u00e6us, etc.;\n _110-112_, Last Fruit of an Old Tree;\n _113_, Silenus;\n _128_, Sonnet on Genius;\n _129-130_, Pan and Pitys, Cupid and Pan;\n _137_, Dryope;\n _138_, The Hamadryad, Acon and Rhodope;\n _170-171_, Loss of Memory;\n _176-181_, Theseus and Hippolyta;\n _195_, Menela\u00fcs and Helen;\n _196_, Iphigenia and Agamemnon;\n _199_, Peleus and Thetis;\n _219-220_, The Espousals of Polyxena;\n _221_, Corythos, Death of Paris and [OE]none;\n _228-230_, Death of Clytemnestra;\n _231-244_, The Last of Ulysses, Penelope\n\n Lang, Andrew, 1844 ----.\n Quotation from The Fortunate Isles, 52;\n from The New Pygmalion, 145, 146, 147;\n Sonnet on the Odyssey, 318;\n A Song of Ph\u00e6acia, 335, 336;\n transl. from Moschus, 68-70, 189;\n transls. from Iliad (w. Leaf and Myers), and from Odyssey (w.\n Butcher), see below;\n from Bion, 126-128;\n from Theocritus, 198-200, 222, 223, 224;\n Myth, Ritual, and Religion, and article on Mythology in\n Encyc. Brit, cited or referred to, Preface, 438 _n_, 440 _n_,\n 441 _n_, 447 _n_, 448, 449, and _C. 5, 30, 32, 58, 60, 61,\n 74, 89, 110-112, 114-117_.\n Transls. of Theocritus, Bion, and Moschus referred to, _C.\n 38_ (1), _110-112, 156-162, 195, 298_.\n Poems referred to:\n _C. 32_, To Artemis;\n _50-52_, Sirens;\n _195, 221_, Helen of Troy;\n _195_, Sonnet on Iliad\n\n Lang, Andrew (Leaf and Myers). Transl.\n Iliad, 84-87, 104, 291, 292;\n _C. 298_\n\n Lang, Andrew (Butcher and). Transl.\n Odyssey, 35, 327, 328; _C. 231-244_, _298_\n\n Larned, Augusta.\n _C. 268-281_, Tales from the Norse Grandmother\n\n Lathrop, G. P., 1851-1898.\n _C. 195_, Helen at the Loom\n\n Lawton, W. C.\n _C. 163-167_, transl. Euripides\n\n Lazarus, Emma, 1849-1887.\n _C. 81_, Admetus\n\n Lee-Hamilton, E., 1845 ----.\n _C. 87_, Apollo and Marsyas;\n _149-154_, The New Medusa\n\n Lefebvre (l[~e]-fev\u00b4r'), Jules (paint.).\n _C. 32_, Diana and her Nymphs\n\n Leighton, Frederick, Lord, 1830-1896 (paint.).\n _C. 48_, The Garden of Proserpine;\n _83_, Hercules wrestling with Death for the Body of Alcestis;\n _101-102_, The Bath of Psyche;\n _114-117_, The Return of Proserpine;\n _118_, Orpheus and Eurydice;\n _149-154_, Perseus and Andromeda;\n _195_, Helen of Troy\n\n Lessing, Gotthold E., 1729-1781,\n _C. 69, 224_, Laoco\u00f6n\n\n Lettsom, W. N.\n The Fall of the Nibelungers, 407-409;\n _C. 283_\n\n Linton, William James, 1812-1897.\n _C. 118_, Eurydice;\n _196_, Iphigenia at Aulis\n\n Lo\u00b4beck, Chr. A., 1781-1860.\n Aglaophamus, 442 _n_;\n _C. 114-117_\n\n Lodge, G. C., 1873-1909.\n Herakles, 12;\n _C. 10-15, 156-162_\n\n Lodge, Thomas, 1558-1625.\n _C. 38_ (2), Sonnet to Phyllis\n\n Longfellow, H. W., 1807-1882.\n Quoted or referred to: Prometheus, 13-15;\n Drinking Song, 153;\n _C. 10-15_, Masque of Pandora, Prometheus, and Epimetheus;\n _96, 255-257_, Occultation of Orion;\n _98_, Endymion;\n _155_, Pegasus in Pound;\n _255-257_, Verses to a Child;\n _268-281_, Tegn\u00e9r's Drapa, Saga of King Olaf\n\n Lonsdale, J., and Lee, S.\n _C. 299_, transl. Virgil\n\n Lorrain (l[='o]-r[=a]n\u00b4), Claude (Gel['e]e), 1600-1682 (paint.).\n _C. 36_, Mercury and Battus;\n _59_, Europa;\n _141_, Evening, Acis, and Galatea\n\n Lowell, J. R., 1819-1891.\n Quotations from The Shepherd of King Admetus, 105, 106;\n from Fable for Critics (Daphne), 114;\n from Rh[oe]cus, 193, 194;\n _C. 10-15, 58_, Prometheus;\n _36_, Finding of the Lyre;\n _38_ (2), (6), Hebe, Villa Franca;\n _44-46_, to the Past;\n _50-52_, The Sirens;\n _98_, Endymion;\n _118_, Eurydice\n\n Ludlow, J. M.\n _C. 301_, Popular Epics of the Middle Ages\n\n L\u00fc\u00b4ning.\n Die Edda, 458 _n_\n\n Lydgate, John, 1370(?)-1451(?).\n _C. 196_, The Troy Book\n\n Lyly (lil\u00b4[)i]), John, 1553-1606.\n _C.38_ (1), Cupid and Campaspe;\n _89, 113_, King Midas;\n _98_, Endymion;\n _107_, Sappho and Phao\n\n Lytton, Edward G. E. L. Bulwer, Lord, 1803-1873.\n _C. 38_ (2), Ganymede;\n _64_, Cydippe, or the Apples;\n _226_, transl. Schiller's Cassandra;\n _255-257_, Death and Sisyphus;\n _299_, transl. Horace\n\n\n Mabie, H. W.\n _C. 268-281_, Norse Stories\n\n Macaulay, T. B., 1800-1859.\n Quotation from Prophecy of Capys, 61;\n from Lake Regillus, 243-245\n\n Maffei (m\u00e4f-f[=a]'[=e]), F. S. di, 1675-1755.\n _C. 169_, Merope\n\n Magn\u00fasson (m\u00e4g\u00b4n[=oo]s-s[='o]n), Arne.\n Derivation of word Edda, 459 _n_\n\n Magn\u00fasson (m\u00e4g\u00b4n[=oo]s-s[='o]n), Eirikr (and William Morris).\n Story of the Volsungs and Nibelungs, 460 _n_;\n _C. 282_\n\n Mannhardt (m\u00e4n\u00b4h\u00e4rt), W.\n Antike Wald- und Feld-kulte, 440 _n_;\n _C. 100_\n\n Marchal, C. F., 1828-1878.\n _C. 231-244_, Penelope\n\n Marlowe, Christopher, 1564-1593.\n Extract from Hero and Leander, 142-144;\n from Faustus, 287, 288;\n _C. 245-254_, Tragedy of Dido, Queen of Carthage\n\n Marston, J., 1575(?)-1634.\n _C. 105_, Pygmalion\n\n Martin, Sir Theodore, 1816-1898.\n _C. 36_, Goethe's Ph[oe]bus and Hermes;\n _38_ (1), _163-167, 176-181, 199, 299_, transl. Catullus;\n _299_, transl. Horace\n\n Marvell, Andrew, 1621-1678.\n _C. 98_, Lord Fauconberg, Lady Mary Cromwell\n\n Maxwell.\n _C. 49_, Tom May's Death\n\n Mengs (menks), Anton Raphael, 1728-1779 (paint.).\n _C. 38_ (1), Cupid;\n _38_ (4), Apollo and Muses\n\n Meredith, George, 1828-1909.\n _C. 76_, Pha\u00ebton;\n _114-117_, The Appeasement of Demeter\n\n Merivale, J. H., 1779-1844 (and R. Bland).\n _C. 298_, transl. Greek Anthology\n\n Mi-[-c]hel-an\u00b4[.g][='e]-lo Buonarroti, 1475-1564 (sculpt. and paint.).\n Three Fates, 38;\n Cum\u00e6an Sibyl, 353;\n _C. 30_, Apollo;\n _38_ (6), The Fates;\n _42_, Drunken Bacchus;\n _49_, A Fury;\n _100_, Dying Adonis;\n _131_, Mask of a Satyr;\n _245-254_, Sibyls\n\n Mickle, William Julius, 1735-1788.\n _C. 106_, transl. of Camoens' Lusiad\n\n Millais (m[)i]-l[=a]'), Sir John Everett, 1829-1896 (paint.).\n _C. 139_, Pomona\n\n Millet (m[=e]-l[)e]'), Jean Fran\u00e7ois, 1814-1875 (paint.).\n _C. 30_, Ph[oe]bus and Boreas\n\n Milman, Henry Hart, 1791-1868.\n Lines from the Samor, 213;\n _C. 76_, Samor;\n _110-112_, Bacchanals of Euripides;\n _196_, Agamemnon of \u00c6schylus;\n _298_, transl. Euripides\n\n Milton, John, 1608-1674.\n Reference to, 14.\n Quoted:\n lines from Il Penseroso, 211, 451;\n from the Hymn on the Nativity, 181;\n from Comus, 40, 204, 205, 213, 314;\n from Paradise Lost, 226;\n _C. 16, 4-257 passim_, references to Paradise Lost, Paradise\n Regained, Lycidas, Comus, Il Penseroso, L\u00b4Allegro, Sonnets,\n Arcades, Vacation Excursion, Hymn on the Nativity, Samson\n Agonistes\n\n Mogk, E.\n Article _Mythologie_ in Paul's Grundriss d. Germ. Philol.,\n 446 _n_, 460 _n_\n\n Molinari (mo-l[='e]-n\u00e4\u00b4r[=e]), Antonio, 1665-1727 (paint.).\n _C. 101-102_, Psyche and Sleeping Cupid (Dresden)\n\n Moore, Thomas, 1779-1852.\n Quoted:\n Song of Hyperborean, 43;\n Clytie, 117;\n _C. 38_ (2), Fall of Hebe;\n _78_, Sir R. Blackmore;\n _80_, Lycus the Centaur;\n _93, 101-102_, Cupid and Psyche;\n _103_, Rhymes on the Road;\n _104_, Hero and Leander;\n _106_, The Sylph's Ball;\n _123-124_, Legendary Ballads;\n _156-162_, Hylas;\n _304_, The Fire-Worshipers\n\n Morley, H., 1822-1894.\n _C. 300_, extract (on Runes) from English Writers\n\n Morris, Sir Lewis, 1833-1907.\n The Epic of Hades,\n _C. 22, 24-25_ (Zeus);\n _26_ (Her\u00e9);\n _27_ (Athene);\n _30_ (Apollo);\n _32_ (Artemis);\n _34_ (Aphrodite);\n _47, 49_ (Hades);\n _48_ (Persephone);\n _61_ (Sisyphus);\n _78, 118_ (Tantalus);\n _87_ (Marsyas);\n _95_ (Act\u00e6on);\n _98_ (Endymion);\n _100_ (Adonis);\n _101-102_ (Psyche);\n _118_ (Orpheus, Eurydice);\n _132-133_ (Narcissus);\n _149-154_ (Medusa, Andromeda);\n _156-162_ (Dejaneira);\n _176-181_ (Ph\u00e6dra);\n _224_ (Laoco\u00f6n);\n _228-230_ (Clytemnestra);\n _78_, Niobe on Sipylus\n\n Morris, William, 1834-1896.\n Extracts from The Earthly Paradise, Story of Cupid and\n Psyche, 131, 135;\n Pygmalion and the Image, 146, 147;\n Doom of King Acrisius, 209, 210;\n Life and Death of Jason, 232, 233;\n Sigurd the Volsung, 398-404;\n _C. 50-52, 118, 163-167_, Life and Death of Jason;\n _64_, Earthly Paradise;\n _83_, The Love of Alcestis;\n _103_, Atalanta's Race;\n _149-154_, The Doom of Acrisius;\n _155_, Bellerophon;\n _156-162_, The Golden Apples;\n _221_, Death of Paris;\n _231-244_, transl. Odyssey;\n _268-281_, The Funeral of Balder;\n _282_, Sigurd the Volsung;\n _299_, transl. the \u00c6neids\n\n Morris, William, and E. Magn\u00fasson (m\u00e4g\u00b4n[=oo]s-s[='o]n).\n The Story of the Volsungs and Nibelungs, 460 _n_;\n _C. 282_\n\n Morshead, E. A. A.\n _C. 196, 298_, transl. \u00c6schylus\n\n Motherwell, W., 1797-1835.\n _C. 282_, Battle-Flag of Sigurd;\n Jarl Egill Skallagrim;\n Sword Chant of Thorstein\n\n Muir (m[=u]r), J.\n _C. 303_, Sanskrit Texts;\n Principal Deities of the Rig-Veda\n\n M\u00fcller (m\u00fcl\u00b4[~e]r), F. Max, 1823-1900.\n Cited, 434, 437, 438, 448 _n_;\n Oxford Essays, etc., referred to, 446 _n_;\n Preface and _C. 303_, Sacred Books of the East, History\n Sanskrit Literature, Science of Religion, Chips from a German\n Workshop, etc.;\n _C. 19-20, 24-25, 27, 36, 57, 58, 78, 81, 89, 109, 118,\n 126-127, 149-154, 155_, references to works in general\n\n M\u00fcller (m\u00fcl\u00b4[=e]r), H. D.\n _C. 59_, theory about Demeter\n\n Murray, A. S.\n Manual of Mythology, referred to, Preface and 150\n\n Myers, E., 1844 ----.\n _C. 10-15_, Judgment of Prometheus;\n _195_, Sonnet on the Iliad;\n _298_ (w. Lang and Leaf), transl. Iliad, transl. Odes of Pindar\n\n Myller, C. H.\n _C. 283_, edition of Nibelungenlied\n\n\n Neaves, Charles, Lord, 1800-1876.\n _C. 298_, transl. Greek Anthology\n\n Neide (n[-i]'d[~e]), E., 1842 ---- (paint.).\n _C. 101-102_, Charon and Psyche\n\n No\u00b4el, Hon. Roden, 1834 ----.\n _C. 38_ (2), Ganymede;\n _42_, Triumph of Bacchus;\n _129-130_, Pan (in the Modern Faust);\n _268-281_, Ragnarok (Modern Faust)\n\n\n Occleve, Thomas, 1370-1454.\n _C. 38_ (1), The Letter of Cupid\n\n Olafsson (o\u00b4l\u00e4fs-sun), Magnus, 1574-1636.\n Edition of Snorri's Edda, 459\n\n\n Paley, F. A., 1816-1888.\n _C. 298_, transl. Pindar's Odes\n\n Palgrave, F. T., 1824-1897.\n _C. 83_, Alcestis\n\n Palmer, G. H., 1842 ----.\n _C. 231-244, 298_, transl. Odyssey\n\n Parmigiano (p\u00e4r-m[='e]-j\u00e4\u00b4n[=o]) (Francesco Mazzuoli),\n 1504-1540 (paint.).\n _C. 38_ (2), The Rape of Ganymede (Dresden)\n\n Parnell, Thomas, 1679-1718.\n _C. 10-15_, Hesiod, or the Rise of Woman;\n _42_, Bacchus\n\n Pater, Walter H., 1839-1894.\n Extract from Marius the Epicurean, 133;\n the story of Cupid and Psyche, 157, 457 _n_;\n _C. 40_, Myth of Demeter;\n _101-102, 299_, Marius the Epicurean\n\n Patmore, Coventry, 1823-1896.\n _C. 38_ (1), The Unknown Eros\n\n Paul (poul), Hermann.\n Grundriss d. Germ. Philol., referred to, 446 _n_, 460 _n_\n\n Paupion (p[=o]-p[='e]-\u00f4n\u00b4) E. J. (paint.).\n _C. 106_, Thisbe\n\n Peacock, Thomas Love, 1785-1866.\n _C. 110-112_, Vengeance of Bacchus\n\n Peele, George, 1558-1598.\n _C. 54, 195_, Arraignment of Paris\n\n Petiscus, A. H.\n The Gods of Olympus, 446 _n_\n\n Phillips, Ambrose, 1671-1749.\n _C. 107_, transl. Sappho;\n _139_, Cider\n\n Phillips, Stephen, 1868 ----.\n Extract from Marpessa, 115, 116;\n from Ulysses, 338;\n _C. 231-244_, Ulysses\n\n Pisano (p[='e]-z\u00e4[']n[=o]), Andrea, 1270-1349 (paint.).\n _C. 173_, D\u00e6dalus and Icarus\n\n Pix[']is, Th., 1831 ---- (paint.).\n _C. 283_, Illustrations of the Ring of the Nibelungen\n\n Plump[']tr[=e], E. H., 1821-1891.\n Transl. Sophocles, 262-264, 267, 268;\n _C. 156-162, 182-189, 196, 204, 219-220, 228-230, 298_,\n transl. \u00c6schylus and Sophocles\n\n Pope, Alexander, 1688-1744.\n Transl. Homer, 286-288, 292, 293, 306, _C. 231-244, 298_;\n transl. Statius' Thebaid, _299_;\n references to Dunciad, the Messiah, Rape of the Lock, Windsor\n Forest, Essay on Criticism, Prologue to Satires, Spring,\n Summer, Moral Essays, Miscellaneous, _8, 18, 22, 30, 34, 38_\n (1), _40, 44-46, 49, 50-52, 54, 57, 65-66, 78, 97, 100, 107,\n 113, 118, 125, 129-130, 131, 155, 156-162, 163-167, 172,\n 231-244, 255-257, 260_\n\n Potter, R., 1721-1804.\n _C. 298_, transl. \u00c6schylus and Euripides\n\n Poussin (p[=oo]-s[)a]n[']), Nicolas, 1594-1665 (paint.).\n _C. 54_, The Kingdom of Flora;\n _57_, Pan and Syrinx (Dresden);\n _132-133_, Narcissus\n\n Poynter, Sir E. J., 1836 ---- (paint.).\n _C. 103_, Atalanta's Race.\n Note also his Andromeda, Perseus, and Andromeda and Helen\n\n Praed (pr[=a]d), Winthrop Mackworth, 1802-1839.\n _C. 226_, Cassandra\n\n Preller (pr[)e]l['][~e]r), L., 1809-1861.\n Griechische Mythologie, cited or referred to, Preface and 4\n _n_, 6 _n_, 446 _n_;\n _C. 8, 27, 30, 32, 34, 57, 59, 60, 61, 70_, _72-73_, _78_,\n _95_, _105_, _110-112_, _114-117_, _123-124_, _126-127_,\n _149-154_, _172_\n\n Preston, Margaret J., 1825-1897.\n _C. 93_, Flight of Arethusa;\n _125_, Alcyone;\n _168_, The Quenched Branch\n\n Prior, Matthew, 1664-1721.\n _C. 50-52_, On taking of Namur;\n _76_, Female Pha\u00ebton\n\n Procter, Bryan Waller, 1787-1874.\n _C. 4_, Fall of Saturn;\n _19-20_, The Flood of Thessaly;\n _32_, The Worship of Dian;\n _110-112_, Bacchanalian Song;\n _114-117_, Rape of Proserpine;\n _141_, Death of Acis;\n _176-181_, On the Statue of Theseus\n\n\n Raleigh, Sir Walter, 1552-1618.\n Citation from History of the World, 440\n\n Randolph, Thomas, 1605-1634.\n _C. 42_, _54_, To Master Anthony Stafford\n\n Raphael (r[)a]f['][='a]-[)e]l) (Sanzio, of Urbino), 1483-1520 (paint.).\n _C. 28_, Mars;\n _30_, Apollo;\n _32_, Luna;\n _36_, Mercury;\n _38_, Cupids, Six Hours of Day and Night;\n _87_, Marsyas;\n _101-102_, Cupid and Psyche;\n _141_, Triumph of Galatea;\n _195_, Sketch of Homer;\n _245-254_, Virgil, Dido\n\n Read, T. B., 1822-1872.\n _C. 98_, Endymion\n\n Reed, E. A.\n _C. 303_, Hindu Literature\n\n Regnault (r[)e]-ny[=o]'), J. B., 1754-1829 (paint.).\n _C. 38_ (3), The Graces.\n Note also his Education of Achilles, Pygmalion and Venus,\n Death of Priam, and Orestes and Iphigenia\n\n Reinach (ri[']n\u00e4[.c]h), Salomon, 1858 ----.\n _C. 78_, Apollo\n\n Rembrandt (r[)e]m[']br[)a]nt) van Ryn, 1606-1669 (paint.).\n _C. 38_ (2), Ganymede carried off by Jove's Eagle (Dresden)\n\n Reni, Guido (gw[=e][']d[=o] r[=a][']n[=e]) 1575-1642 (paint.).\n _C. 38_ (1), Cupid;\n _103_, Atalanta's Race;\n _123-124_, Aurora\n\n Rhys (r[=e]s), John.\n Article in the _Academy_, 458 _n_\n\n Richardson, F.\n _C. 303_, Iliad of the East\n\n Richardson, L. J.\n _C. 64_, Biton and Cleobis\n\n Rivi\u00e8re (r[=e]-vy\u00ear[']), Briton, 1840 ---- (paint.).\n _C. 231-244_, Circe and the Companions of Ulysses.\n Note also his Argus and Act\u00e6on\n\n Robinson, A. Mary F. (Madame James Darmesteter), 1857 ----.\n _C. 30_, A Search for Apollo, In Apollo's Garden;\n _176-181_, The Crowned Hippolytus\n\n Rogers, Randolph, 1825-1892 (sculpt.).\n _C. 97_, The Lost Pleiad\n\n Rogers, Robert Cameron, 1862 ----.\n Poems:\n _C. 44_, Charon;\n _54_, The Dancing Faun;\n _141_, Blind Polyphemus;\n _159_, Hylas;\n _231-244_, Odysseus at the Mast, the Death of Argus\n\n Rogers, Samuel, 1763-1855.\n _C. 38_ (3), Inscription for a Temple dedicated to the Graces;\n _156-162_, On the Torso of Hercules\n\n Rohde (ro[']d[~e]), E.\n Psyche, 446 _n_\n\n Romano (ro-m\u00e4[']no), Giulio Pippi, 1492-1546 (paint.).\n _C.38_(4), Muses;\n _129-130_, Pan and the Young Olympos (Dresden)\n\n Roscher (r[='o]sh['][~e]r), W. H. Ausf\u00fchrliches Lexikon d.\n griech. u. r\u00f6m.\n Mythologie, referred to or cited, 7 _n_, 75 _n_, 93 _n_, 437 _n_;\n see Preface, and _C. 26_, _27_, _28_, _29_, _30_, _32_, _34_,\n _36_, _59_, _100_,\n _109_, _142_, _148_, _149-154_, _155_, _163-167_\n\n Ross, R. S.\n _C. 176-181_, Ariadne in Naxos, London, 1882\n\n Rossetti (r[='o]-set['][='e]), D. G., 1828-1882.\n _C. 4_, Mnemosyne;\n _10-15_, Pandora;\n _32_, Diana;\n _34_, _35_, Venus Victrix, Venus Verticordia;\n _48_, Proserpina;\n _50-52_, A Sea-Spell, The Siren;\n _104_, Hero's Lamp;\n _149-154_, Aspecta Medusa;\n _182-189_, The Sphinx (a painting);\n _195_, Helen;\n _226_, Cassandra (drawing and poem);\n _231-244_, Penelope, The Wine of Circe (for painting by E. Burne-Jones)\n\n Roy, Protap Chundra.\n _C. 303_, transl. Mah\u00e2bh\u00e2rata\n\n Rubens (r[=oo][']benz), Peter Paul, 1577-1640 (paint.).\n _C. 32_, Diana and her Nymphs;\n _131_, Satyrs;\n _149-154_, Perseus and Andromeda;\n _156-162_, Hercules intoxicated;\n _168_, Meleager and Atalanta (Dresden);\n _195_, Judgment of Paris\n\n Ruskin, J., 1819-1900.\n The Queen of the Air, 435, 444, 445;\n _C. 27_\n\n\n S\u00e6mund (s[=a][']m[=oo]nd) the Wise, 1055-1133.\n His connection with the Elder Edda, 459\n\n Sandys (s[)a]ndz), George, 1577-1644.\n _C. 299_, transl. Metamorphoses\n\n Saxe, J. G., 1816-1887.\n _C. 38_ (1), Death and Cupid;\n _76_, Pha\u00ebton;\n _113_, Choice of King Midas;\n _118_, Orpheus;\n _173_, Icarus;\n _231-244_, The Spell of Circe\n\n Scheffer (sh[)e]f['][~e]r), Ary, 1795-1858 (paint.).\n _C. 38_ (2), Hebe\n\n Schiavoni (sky\u00e4-vo[']n[=e]), N., 1777-1858 (paint.).\n _C. 38_ (2), Hebe\n\n Schiller (sh[)i]l['][~e]r), J. C. F. von, 1759-1805.\n Extract from his Gods of Greece, transl. by C. M. Gayley, 182;\n from Ideal and Life, transl. by S. G. Bulfinch, 227, 228.\n See under _Bowring, Lytton, S. G. Bulfinch, Frothingham, Brooks_\n\n Schliemann (shl[=e][']m\u00e4n), H., 1822-1890.\n _C. 228-230_, Troy and its Remains, Ilios, Troja\n\n Schnorr von Carolsfeld (shn[='o]r f[='o]n\n k\u00e4[']-r[='o]ls-felt), Julius, 1794-1872.\n _C. 283_, The Nibelungen Frescoes\n\n Schobelt (sho[']belt), P., 1838 ---- (paint.).\n _C. 48_, _114-117_, Rape of Proserpine\n\n Sch\u00fctzenberger (sh\u00fctz[']en-b[)e]r['][=g][~e]r), L. F., 1825\n ---- (paint.).\n _C. 38_ (4), Terpsichore\n\n Scott, Sir Walter, 1771-1832.\n _C. 245-254_, Marmion (Palinurus)\n\n Scott, William Bell, 1811-1890.\n _C. 118_, Eurydice;\n _182-189_, The Sphinx;\n _196_, Iphigenia at Aulis\n\n Seifert (zi[']f[~e]rt), A. (paint.).\n _C. 228-230_, Electra\n\n Sellar, W. Y., 1825-1890.\n Augustan Poets, 446 _n_\n\n Shakespeare, William, 1564-1616.\n Extract from Macbeth, 236;\n _C. 4-257_ _passim_, references to works in general\n\n Shelley, P. B., 1792-1822.\n Quotations from Hymn of Apollo, 28, 29;\n Hymn of Pan, 111, 112;\n Arethusa, 118-120;\n Song of Proserpine, 160;\n Lines on the Medusa of Leonardo Da Vinci, 210;\n _C. 10-15_, _38_ (2), _57_, _109_, Prometheus Unbound;\n _30_, Homer's Hymn to Apollo, Adona\u00efs;\n _36_, _109_, Homer's Hymn to Mercury;\n _42_, _50-52_, Ode to Liberty;\n _44-46_, To Naples;\n _49_, To Night;\n _57_, To the Moon;\n _93_, Arethusa;\n _95_, Adona\u00efs;\n _118_, Orpheus;\n _141_, Cyclops of Euripides;\n _182-189_, Swellfoot the Tyrant\n\n Sichel (ziG[']el), N., 1844 ---- (paint.).\n Reference to, _C. 10-15_\n\n Sidney, Sir P., 1554-1586.\n _C. 30, 156-162_, Astrophel and Stella\n\n Sill, E. R., 1841-1887.\n Quoted:\n Venus of Milo, 32-34;\n Semele, 72, 73\n\n Sime (s[=i]m), James.\n Nibelungenlied (in Encyc. Brit.), 461 _n_\n\n Smart, Chr., 1722-1771.\n _C. 299_, transl. Horace\n\n Solimena (so-le-m[=a][']n\u00e4), Francesco, 1657-1747 (paint.).\n _C. 121_, Rape of Hippodamia;\n _176-181_, Battle of Centaurs and Lapith\u00e6\n\n Southey, R., 1774-1843.\n _C. 118_, Thalaba\n\n Spenser, Edmund, 1552-1599.\n Quoted:\n Verses on the Graces, 36, 37;\n from the Muiopotmos, 83;\n Faerie Queene, 454;\n referred to:\n Epithalamion, _C. 30_, _32_, _34_, _38_ (2), _42_, _98_,\n _126-127_, _149-154_;\n Prothalamion, _4, 32, 34, 50-52, 132-133, 170-171_;\n Tears of the Muses, _38_ (4);\n Faerie Queene, _30, 32, 38_ (8), _40_, _42_, _48_, _49_,\n _50-52_, _54_, _76_, _96_, _118_, _123-124_, _126-127_,\n _155_, _156-162_, _170-171_\n\n Stanyhurst, R., d. 1618.\n _C. 299_, transl. \u00c6neid, 1-4\n\n Stapylton, Sir R., d. 1669.\n _C. 104_, transl. Mus\u00e6us\n\n Stedman, E. C., 1833-1908.\n Pan in Wall Street, quoted, 183-185;\n _C. 22_, News from Olympia;\n _231-244_, Penelope\n\n Stephens, George, 1851 ----.\n _C. 300_, Old Runic Monuments\n\n Stoddard, R. H., 1825-1903.\n _C. 54_, Arcadian Hymn to Flora;\n _114-117_, The Search for Persephone\n\n Story, W. W., 1819-1895.\n _C. 32_, Artemis;\n _59_, Europa;\n _91_, Clytie;\n _255-257_, Tantalus\n\n Sturlason, Snorri (sn[)o]r[']r[=e] st[=oo]r[']l[.a]-sun), 1179-1241.\n Connection with the Prose Edda, 459;\n _C. 268-281_\n\n Surrey, Henry Howard, Earl of, 1517-1547.\n _C. 106_, Death of Sir T. Wyatt\n\n Sveinsson (sv[=i]ns[']sun), Bp. Bryniolf, 1605-1675.\n His connection with the Elder Edda, 459\n\n Swanwick (sw[)o]n\u00b4ik), Anna, 1813-1899.\n _C. 196_, transl. \u00c6schylus\n\n Swift, Jonathan, 1667-1745.\n His burlesque verses on Philemon and Baucis, 79, 80;\n _C. 30_, Apollo Outwitted;\n _54_, To Janus;\n _113_, Fable of Midas;\n _224_, A City Shower\n\n Swinburne, A. C., 1837-1909.\n Quoted:\n His Garden of Proserpine, 49, 50;\n from Atalanta in Calydon, 237 _et seq._;\n _C. 32_, Chorus to Artemis;\n _34_, Chorus to Aphrodite (in Atalanta in Calydon);\n Laus Veneris;\n _40_, At Eleusis;\n _42_, Prelude to Songs before Sunrise;\n _48_, To Proserpine;\n _114-117_, Song to Proserpine, At Eleusis;\n _129-130_, Pan and Thalassius;\n _168_, Atalanta in Calydon;\n _174_, Itylus;\n _176-181_, Ph\u00e6dra, Erechtheus;\n _182-189_, Tiresias\n\n\n Tabley, Lord de (pseud. Wm. P. Lancaster), 1835 ----.\n _C. 10-15_, Pandora;\n _57_, Minos;\n _60_, Semele;\n _89_, Daphne;\n _129-130_, Ode to Pan;\n _219-220_, Philoctetes;\n _228-230_, Orestes\n\n Talfourd (t\u00f4l[']f[~e]rd), Sir Thomas Noon, 1795-1854.\n _C. 174_, Ion\n\n Taylor, Bayard, 1825-1878.\n _C. 19-20_, Prince Deukalion;\n _22_, Masque of the Gods;\n _156-162_, Hylas;\n _173_, Icarus\n\n Teignmouth (t[)i]n[']muth) (English artist).\n _C. 64_, Cydippe\n\n Tennyson, Alfred, Lord, 1809-1892.\n Quotations from the Hesperides, 40;\n Amphion, 76, 77;\n Locksley Hall, 124;\n his Tithonus, 177-179;\n Dream of Fair Women (Helen), 277, (Iphigenia) 281;\n [OE]none, 278;\n Lotos-eaters, 319, 320;\n Ulysses, 344-345;\n To Virgil, 346;\n _C. 24-25_, _30_, The Talking Oak;\n _38_ (2), _54_, _59_, Palace of Art;\n _38_, (11) The Hesperides;\n _40_, _114-117_, Demeter and Persephone;\n _104_, Hero to Leander;\n _149-154_, The Princess;\n _182-189_, Tiresias;\n _195_, Dream of Fair Women;\n _221_, [OE]none, and Death of [OE]none;\n _245-254_, To Virgil\n\n Tennyson, Frederick, 1807-1898.\n _C. 78_, Niobe;\n _89_, Daphne;\n _101-102_, Psyche;\n _105_, Pygmalion;\n _107_, Kle\u00efs (in Isles of Greece);\n _125_, Halcyone;\n _163-167_, \u00c6son, and King Athamas;\n _176-181_, Ariadne\n\n Teschendorff (tesh\u00b4en-d\u00f4rf), E., 1823 ---- (paint.).\n _C. 176-181_, Ariadne;\n _182-189_, [OE]dipus, Antigone, Ismene;\n _196_, Iphigenia;\n _228-230_, Electra\n\n Thomas, Edith M., 1854 ----.\n _C. 38_ (2), Homesickness of Ganymede;\n _81_, Apollo the Shepherd;\n _87_, Marsyas;\n _125_, The Kingfisher\n\n Thomson, James, 1700-1748.\n Extract from the Seasons, 195;\n _C. 35_, _54_, Seasons;\n _38_ (4), _49_, _105_, Castle of Indolence;\n _174_, Hymn to the Seasons;\n _196_, Agamemnon, a Tragedy\n\n Thorpe, B.\n _C. 268-281_, transl. of S\u00e6mund's Edda\n\n Thorwaldsen (t\u00f4r[']w\u00f4ld-sen), Albert Bertel, 1770-1844 (sculpt.).\n _C. 10-15_, Minerva and Prometheus (on vase of the Perseus);\n _28_, Mars and Cupid;\n _29_, Vulcan forging Arrows for Cupid;\n _35_, Venus with the Apple;\n _36_, Mercury;\n _38_, Mars and Cupid, Ganymede, Terpsichore;\n _80_, Hygea and \u00c6sculapius;\n _100_, Adonis;\n _207_, Hector and Andromache\n\n Thumann (t[=oo]'m\u00e4n), Paul, 1834 ---- (paint.).\n _C. 38_ (6), The Fates;\n _101-102_, Cupid and Psyche\n\n Tickell, Thomas, 1686-1740.\n _C. 30_, To Apollo making love, transl. of Iliad, Bk. 1 (1715)\n\n Tiele (t[=e]'l[~e]), Professor C. P.\n Cited by Lang, 438\n\n Tintoretto (t[=e]n-t[='o]-ret\u00b4t[=o]), Giacomo, 1518-1594 (paint.).\n _C. 27_, Minerva defeating Mars;\n _29_, Forge of Vulcan;\n _35_, Cupid, Venus, and Vulcan;\n _36_, Mercury and the Graces;\n _176-181_ Ariadne and Bacchus;\n _38_ (4), The Muses and Apollo (Dresden)\n\n Tisio (t[=e]'z[='e]-[=o]), Benvenuto, 1481-1559 (paint.).\n _C. 68_, Venus showing her wounded hand to Mars (Dresden)\n\n Titian (tish\u00b4[.a]n) (Tiziano Vecellio), 1477-1576 (paint.).\n _C. 35_, Venus;\n _38_ (1), Cupid and Venus (Dresden);\n _54_, Flora;\n _100_, Venus and Adonis (copy, Dresden);\n _149-154_, Dana\u00eb and the Shower of Gold;\n _176-181_, Bacchus and Ariadne\n\n Todhunter, John, 1839 ----.\n _C. 83_, Alcestis;\n _195_, Helena in Troas\n\n Translators: English Translations from Ancient and Modern\n Poems, by various authors (Vol. II including Rowe's Lucan's\n Pharsalia; Fawkes' Theocritus, Bion, Moschus, Argonautics of\n Apollonius Rhodius, Anacreon, Sappho; Ovid's Metamorphoses\n by Dryden, Addison, Garth, etc.; Lewis' Thebais of Statius;\n Cooke's Hesiod, etc.). 3 vols. London, 1810.\n For other translators, see _C. 195-244, 298-303_\n\n Turchi (t[=oo]r\u00b4k[=e]), Alessandro (l\u00b4Orbetto), 1582-1648 (paint.).\n _C. 100_, Venus holding the body of Adonis (Dresden)\n\n Turner, Charles Tennyson, 1808-1879.\n _C. 96_ Orion\n\n Turner, J. M. W., 1775-1851 (paint.).\n _C. 36_, Mercury and Argus;\n _123-124_, Procris and Cephalus;\n _245-254_, Dido building Carthage\n\n Tylor, E. B., 1832-1909.\n Works cited or referred to, 440 _n_, 446, 449 _n_\n\n\n Van Beers (v\u00e4n b[=a]rs\u00b4), J., 1821-1888 (paint.).\n _C. 50-52_, The Siren\n\n Van der Werff (v\u00e4n d[~e]r v[)e]rf\u00b4), Adrian, 1659-1722 (paint.).\n _C. 195_, Judgment of Paris (Dresden)\n\n Van Dyck (v[)a]n d[=i]k\u00b4), Sir Anthony, 1599-1641.\n _C. 38_ (1), Sleeping Cupid;\n _149-154_, Jupiter and Dana\u00eb (Dresden)\n\n Van Haarlem (v\u00e4n h\u00e4r\u00b4lem), Cornelis, 1562-1638 (paint.).\n _C. 190-194_ (1), Wedding of Peleus and Thetis (Hague)\n\n Van Mieris (v\u00e4n me\u00b4ris), Willem, 1662-1747 (paint.).\n _C. 123-124_, Cephalus and Procris (Dresden)\n\n Vedder, Elihu, 1836 ---- (paint.).\n _C. 97_, Pleiades;\n _245-254_, Cum\u00e6an Sibyl\n\n Velasquez (v[=a]-l\u00e4s\u00b4k[=a]th), D. R. de Silva y, 1599-1660 (paint.).\n _C. 29_, Forge of Vulcan\n\n Vere (v[=e]r), Aubrey Thomas De, 1814-1902.\n _C. 30_, Lines under Delphi;\n _48_, Search after Proserpine;\n _59_, Rape of Europa;\n _114-117_, on the myth of Proserpine;\n _182-189_, Antigone\n\n Veronese (v[=a]-r[='o]-n[=a]'z[=a]) (Paolo Cagliari), 1528-1588 (paint.).\n _C. 30_, St. Christina, etc.;\n _35_, Venus, Satyr, Cupid;\n _59_, Rape of Europa\n\n Verrall, Arthur W.\n _C. 298_, transl. \u00c6schylus and Euripides\n\n Vien (vy[)a]n), J. M., 1716-1809 (paint.).\n _C. 173_, D\u00e6dalus and Icarus\n\n Vigfusson (vig\u00b4f[=oo]-sun), G., and F. Y. Powell.\n Corpus Poeticum Boreale, 458-460 _n_;\n _C. 268-281, 282, 300_\n\n Vilmar, A. F. C.\n Geschichte d. deutschen National-Litteratur, 461 _n_;\n _C. 301_\n\n Vinci, Da (d\u00e4 v[=e]n\u00b4ch[=e]), Leonardo, 1452-1519 (paint.).\n _C. 149-154_, Head of Medusa\n\n Voltaire (v[='o]l-t\u00ear\u00b4), 1694-1778.\n _C. 169_, Merope\n\n Voss (f[='o]s), G. J., 1577-1649.\n Advocate of _theological_ interpretation, 440\n\n\n Wade, Thomas, 1805-1875.\n _C. 26_, The Nuptials of Juno\n\n Wagner (v\u00e4g\u00b4n[~e]r), Richard, 1813-1883.\n The Ring of the Nibelung, 410-430;\n _C. 283, 284-288_\n\n Waller, Edmund, 1605-1687.\n _C. 50-52, 89, 245-254_, Panegyric on Lord Protector\n\n Ward, W.\n _C. 303_, History, Literature, and Mythology of the Hindoos\n\n Warton, Joseph, 1722-1800.\n _C. 40_, First of April\n\n Watteau (v[.a]-t[=o]'), Antoine, 1684-1721 (paint.).\n _C. 195_, Judgment of Paris\n\n Watts, G. F., 1817-1904 (paint.).\n _C. 89_, Daphne;\n _98_, Endymion;\n _101-102_, Psyche;\n _118_, Orpheus and Eurydice.\n Note also his Ariadne, and The Wife of Pygmalion\n\n Way, A. S.\n _C. 298_, transl. Euripides;\n _299_, transl. Horace\n\n Weber (v[=a]'b[~e]r), A. F.\n _C. 303_, History of Indian Literature\n\n Webster, Augusta, 1840 ----.\n _C. 10-15_, transl. \u00c6schylus' Prometheus Bound;\n _163-167_, transl. Euripides' Medea\n\n Welcker (v[)e]l\u00b4k[~e]r), F. G.\n _C. 59, 126-127_, interpretations of myths\n\n West, E. W.\n See _Haug_\n\n Wheeler, B. I.\n Dionysos and Immortality, 446 _n_\n\n White, Henry Kirke, 1785-1806.\n _C. 32_ Ode to Contemplation;\n _49_, Thanatos\n\n Whitelaw, R.\n _C. 156-162, 298_, transl. Sophocles\n\n Wickham, E. C.\n _C. 299_, transl. Horace\n\n Wiertz (v[=e]rts), A. J., 1806-1865 (paint.).\n _C. 29_, Forge of Vulcan;\n _199_, Fight for the Body of Achilles\n\n Wilde, Oscar, 1856-1900.\n _C. 38_ (1), The Garden of Eros;\n _174_, The Burden of Itys\n\n Wilkinson, Sir Gardner, 1797-1875.\n _C. 128_, on the statue of Memnon\n\n Wilkinson, W. C.\n _C. 298_, College Greek Course, and College Latin Course, in English\n\n Williams, Sir M. Monier, 1819-1899.\n _C. 303_, transl. Nalop\u00e1khy\u00e1nam\n\n Williams, T. C.\n _C. 299_, transl. \u00c6neid\n\n Wilson, H. H., 1786-1860.\n _C. 303_, transl. Rig-Veda-Sanhita;\n Theatre of the Hindus\n\n Wodhull, Michael, 1740-1816.\n _C. 163-167, 228-230, 298_, transl. Euripides\n\n Woodberry, George E.\n Extracts from Proserpine, 163, 164\n\n Woolner, Thomas, 1825-1892.\n _C. 27_, Tiresias (Pallas Athene);\n _34_, Pygmalion (Cytherea);\n _105_, Pygmalion;\n _182-189_, The Sphinx\n\n Wordsworth, W., 1770-1850.\n Quoted:\n Sonnet, \"The World is too much with us,\" 58;\n Laodamia, 282, 283;\n Excursion, 443, 444;\n _C. 32_, To Lycoris;\n _118, 129-130_, Power of Music;\n _219-220_, Philoctetes\n\n Wyatt, Sir Thomas, 1503-1542.\n _C. 34_, The Lover prayeth, etc.;\n _245-254_, Song of Iopas\n\n\n Young, Edward, 1683-1765.\n _C. 38_ (4), Ocean;\n _54, 98, 155, 245-254_, Night Thoughts\n\n\n Zick (ts[)i]k), A. (paint.).\n _C. 101-102_, Psyche\n\n\n\n\n Transcriber's Notes:\n\n\n Simple spelling, grammar, and typographical errors were corrected.\n\n Punctuation normalized.\n\n Anachronistic and non-standard spellings retained as printed.\n\n Italics markup is enclosed in _underscores_.\n\n Bold markup is enclosed in =equals signs=.\n\n Greek text is transliterated and enclosed in #number signs#.\n\n Item # 108 on p. 505 is missing in original.\n\n Latin small letter c with bar is denoted by [-c].\n\n Superscripts are indicated with a single caret (^) followed by\n the superscripted text. If the superscript continues for more\n than one character, then the text is surrounded by curly braces {\n and } as well.\n\n Proofreading Symbols for Diacritical Marks\n (In the table below, the \"x\" represents a letter with a\n diacritical mark.)\n diacritical mark sample above below\n macron (straight line) \u00af [=x] [x=]\n 2 dots (dieresis, umlaut) \u00a8 [:x] [x:]\n 1 dot \u00b7 [.x] [x.]\n acute accent (aigu) ' ['x] [x']\n circumflex [^x] [x^]\n breve (u-shaped symbol) [)x] [x)]\n tilde [~x] [x~]\n plus sign + [+x] [x+]","title":"The Classic Myths in English Literature and in Art (2nd ed.) (1911): Based Originally on Bulfinch's \"Age of Fable\" (1855)","tradition":"myth-cosmogony","translated_text":null,"word_count":221448}