In modern painting, noteworthy are the D_The Classic Myths in English Literature and in Art (2nd ed.) (1911) Based Originally on Bulfinch's "Age of Fable" (1855)

Correggio's Diana (Fig. 17); Jules Lefebvre's Diana and her Nymphs;

Domenichino's Diana's Chase. Note also the allegorical Luna (Monday) of

Raphael in the Vatican; and D. G. Rossetti's Diana, in crayons.

=34. _Interpretative._= The worship of =Aphrodite= was probably of

Semitic origin, but was early introduced into Greece. The Aphrodite of

Hesiod and Homer displays both Oriental and Grecian characteristics.

All Semitic nations, except the Hebrews, worshiped a supreme goddess

who presided over the moon (or the Star of Love), and over all animal

and vegetable life and growth. She was the Istar of the Assyrians,

the Astarte of the Ph[oe]nicians, and is the analogue of the Greek

Aphrodite and the Latin Venus. See Roscher, p. 390, etc. The native

Greek deity of love would appear to have been, however, =Dione=,

goddess of the moist and productive soil (=C. 26=), who passes in the

Iliad (5. 370, 428) as the mother of Aphrodite, is worshiped at Dodona

by the side of Zeus, and is regarded by Euripides as _Thyone_, mother

of Dionysus (Preller I, 259).

The epithets and names most frequently applied to Aphrodite are the

Paphian, Cypris (the Cyprus-born), Cytherea, Erycina (from Mount Eryx),

Pandemos (goddess of vulgar love), Pelagia (Aphrodite of the sea),

Urania (Aphrodite of ideal love), Anadyomene (rising from the water);

she is, also, the sweetly smiling, laughter-loving, bright, golden,

fruitful, winsome, flower-faced, blushing, swift-eyed, golden-crowned.

She had temples and groves in Paphos, Abydos, Samos, Ephesus, Cyprus,

Cythera, in some of which--for instance, Paphos--gorgeous annual

festivals were held. See Childe Harold, I, 66.

=Venus= was a deity of extreme antiquity among the Romans, but not

of great importance until she had acquired certain attributes of the

Eastern Aphrodite. She was worshiped as goddess of love, as presiding

over marriage, as the goddess who turns the hearts of men, and, later,

even as a goddess of victory. A festival in her honor, called the

Veneralia, was held in Rome in April.

=_Illustrative._= See Chaucer's Knight's Tale for frequent references

to the goddess of love; also the Court of Love; Spenser's Prothalamion,

and Epithalamion, "Handmaids of the Cyprian queen"; Shakespeare,

Tempest, IV, i; Merchant of Venice, II, vi; Troilus and Cressida,

IV, v; Cymbeline, V, v; Romeo and Juliet, II, i; Milton, L'Allegro;

Paradise Regained, 2, 214; Comus, 124; Pope, Rape of the Lock 4, 135;

Spring, 65; Summer, 61; Thomas Woolner, Pygmalion (Cytherea).

=_Poems._= Certain parts of Shakespeare's Venus and Adonis and

occasional stanzas in Swinburne's volume, Laus Veneris, may be adapted

to illustrative purposes. Chaucer, The Complaint of Mars and Venus;

Thomas Wyatt, The Lover prayeth Venus to conduct him to the Desired

Haven. See the melodious chorus to Aphrodite in Swinburne's Atalanta in

Calydon; Lewis Morris, Aphrodite, in The Epic of Hades; Thomas Gordon

Hake, The Birth of Venus, in New Symbols; D. G. Rossetti, Sonnets;

Venus Verticordia, Venus Victrix.

=35. _In Art._= One of the most famous of ancient paintings was the

Venus rising from the foam, of Apelles. The Venus found (1820) in the

island of Melos, or of Milo (see text, opp. p. 32), now to be seen in

the Louvre in Paris, is the work of some sculptor of about the fourth

century B.C. Some say that the left hand uplifted held a mirrorlike

shield; others, an apple; still others, a trident; and that the goddess

was Amphitrite. A masterpiece of Praxiteles was the Venus of Cnidos,

based upon which are the Venus of the Capitoline in Rome and the Venus

de' Medici in Florence. Also the Venus of the Vatican, which is, in

my opinion, superior to both. The Venus of the Medici was in the

possession of the princes of that name in Rome when, about two hundred

years ago, it first attracted attention. An inscription on the base

assigns it to Cleomenes, an Athenian sculptor of 200 B.C., but the

authenticity of the inscription is doubtful. There is a story that the

artist was employed by public authority to make a statue exhibiting the

perfection of female beauty, and that to aid him in his task the most

perfect forms the city could supply were furnished him for models. Note

Thomson's allusion in the Summer:

So stands the statue that enchants the world;

So bending tries to veil the matchless boast,

The mingled beauties of exulting Greece.

And Byron's

There too the goddess loves in stone, and fills

The air around with beauty.--Childe Harold, 4, 49-53.

One of the most beautiful of the Greek Aphrodites is the Petworth (opp.

p. 126, text).

Of modern paintings the most famous are: the Sleeping Venus and other

representations of Venus by Titian; the Birth of Venus by Bouguereau;

Tintoretto's Cupid, Venus, and Vulcan; Veronese's Venus with Satyr and

Cupid. Modern sculpture: Thorwaldsen's Venus with the Apple; Venus and

Cupid; Cellini's Venus; Canova's Venus Victrix, and the Venus in the

Pitti Gallery; Rossetti's Venus Verticordia (crayons, water colors,

oil).

=36. _Interpretative._= Max Müller traces =Hermes=, child of the Dawn

with its fresh breezes, herald of the gods, spy of the night, to the

Vedic Saramâ, goddess of the Dawn. Others translate Saramâ, _storm_.

Roscher derives from the same root as Sarameyas (son of Saramâ), with

the meaning _Hastener_, the _swift wind_. The invention of the syrinx

is attributed also to Pan.

=_Illustrative._= To Mercury's construction of the lyre out of a

tortoise shell, Gray refers (Progress of Poesy), "Parent of sweet and

solemn-breathing airs, Enchanting shell!" etc. See Shakespeare, King

John, IV, ii; Henry IV, IV, i; Richard III, II, i; IV, iii; Hamlet,

III, iv; Milton, Paradise Lost, 3, "Though by their powerful art they

bind Volatile Hermes"; 4, 717; 11, 133; Il Penseroso, 88; Comus, 637,

962. =_Poems_=: Sir T. Martin, Goethe's Ph[oe]bus and Hermes; Shelley's

translation of Homer's Hymn to Mercury.

=_In Art._= The Mercury in the Central Museum, Athens; Mercury

Belvedere (Vatican); Mercury in Repose (National Museum, Naples). The

Hermes by Praxiteles, in Olympia (text, opp. p. 150), and the Hermes

Psychopompos leading to the underworld the spirit of a woman who has

just died (text, Fig. 20; from a relief sculptured on the tomb of

Myrrhina), are especially fine specimens of ancient sculpture.

In modern sculpture: Cellini's Mercury (base of Perseus, Loggia del

Lanzi, Florence); Giov. di Bologna's Flying Mercury (bronze, Bargello,

Florence: text, opp. p. 330); Thorwaldsen's Mercury. In modern

painting: Tintoretto's Mercury and the Graces; Francesco Albani's

Mercury and Apollo; Claude Lorrain's Mercury and Battus; Turner's

Mercury and Argus; Raphael's allegorical Mercury (Wednesday), Vatican,

Rome; and his Mercury with Psyche (Farnese Frescoes).

=37. _Interpretative._= The name =Hestia= (Latin _Vesta_) has been

variously derived from roots meaning _to sit_, _to stand_, _to burn_.

The two former are consistent with the domestic nature of the goddess;

the latter with her relation to the hearth-fire. She is "first of the

goddesses," the holy, the chaste, the sacred.

=_Illustrative._= Milton, Il Penseroso (Melancholy), "_Thee_

bright-haired Vesta long of yore To solitary Saturn bore," etc.

=38.= (1) =Cupid= (Eros). References and allusions to Cupid throng our

poetry. Only a few are here given. Shakespeare, Romeo and Juliet, I,

iv; Merchant of Venice, II, vi; Merry Wives, II, ii; Much Ado About

Nothing, I, i; II, i; III, ii; Midsummer Night's Dream, I, i; II,

ii; IV, i; Cymbeline, II, iv; Milton, Comus, 445, 1004; Herrick, The

Cheat of Cupid; Pope, Rape of the Lock, 5, 102; Dunciad, 4, 308; Moral

Essays, 4, 111; Windsor Forest,--on Lord Surrey, "In the same shades

the Cupids tuned his lyre To the same notes of love and soft desire."

=_Poems._= Chaucer, The Cuckow and Nightingale, or Boke of Cupid (?);

Occleve, The Letter of Cupid; Beaumont and Fletcher, Cupid's Revenge,

and the Masque, A Wife for a Month; J.G. Saxe, Death and Cupid, on

their exchange of arrows, "And that explains the reason why Despite

the gods above, The young are often doomed to die, The old to fall in

love"; Thomas Ashe, The Lost Eros; Coventry Patmore, The Unknown Eros.

Also John Lyly's Campaspe:

Cupid and my Campaspe playd,

At cardes for kisses, Cupid payd;

He stakes his quiver, bow, and arrows,

His mother's doves, and teeme of sparows;

Looses them too; then, downe he throwes

The corrall of his lippe, the rose

Growing on's cheek (but none knows how),

With these, the cristall of his brow,

And then the dimple of his chinne:

All these did my Campaspe winne.

At last hee set her both his eyes;

Shee won, and Cupid blind did rise.

O love! has shee done this to thee?

What shall (alas!) become of mee?

See also Lang's translation of Moschus, Idyl I, and O. Wilde, The

Garden of Eros.

=_In Art._= Antique sculpture: the Eros in Naples, ancient marble from

an original perhaps by Praxiteles (text, Fig. 21); Eros bending the

Bow, in the Museum at Berlin; Cupid bending his Bow (Vatican); Eros

with his Bow, in the Capitoline (text, opp. p. 136).

Modern sculpture: Thorwaldsen's Mars and Cupid. Modern paintings:

Bouguereau's Cupid and a Butterfly; Raphael's Cupids (among drawings in

the Museum at Venice); Burne-Jones' Cupid (in series with Pyramus and

Thisbe); Raphael Mengs' Cupid sharpening his Arrow; Guido Reni's Cupid;

Van Dyck's Sleeping Cupid. See also under _Psyche_, =C. 101=.

=Hymen.= See Sir Theodore Martin's translations of the _Collis O

Heliconii_, and the _Vesper adest, juvenes_, of Catullus (LXI and

LXII); Milton, Paradise Lost, 11, 591; L'Allegro, 125; Pope, Chorus of

Youths and Virgins.

(2) =Hebe.= Thomas Lodge's Sonnet to Phyllis, "Fair art thou, Phyllis,

ay, so fair, sweet maid"; Milton, Vacation Exercise, 38; Comus, 290;

L'Allegro, 29; Spenser, Epithalamion. =_Poems_=: T. Moore, The Fall of

Hebe; J. R. Lowell, Hebe. =_In Art_=: Ary Scheffer's painting of Hebe;

N. Schiavoni's painting.

=Ganymede.= Chaucer, Hous of Fame, 81; Tennyson, in the Palace of Art,

"Or else flushed Ganymede, his rosy thigh Half-buried in the Eagle's

down," etc.; Shelley in the Prometheus (Jove's order to Ganymede);

Milton, Paradise Regained, 2,353; Drayton, Song 4, "The birds of

Ganymed." =_Poems_=: Lord Lytton, Ganymede; Bowring, Goethe's Ganymede;

Roden Noël, Ganymede; Edith M. Thomas, Homesickness of Ganymede; S.

Margaret Fuller, Ganymede to his Eagle; Drummond on Ganymede's lament,

"When eagle's talons bare him through the air." =_In Art_=: The Rape of

Ganymede, marble in the Vatican, probably from the original in bronze

by Leochares (text, Fig. 22). Græco-Roman sculpture: Ganymede and

the Eagle (National Museum, Naples). Modern sculpture: Thorwaldsen's

Ganymede.

(3) =The Graces.= Rogers, Inscription for a Temple; Matthew Arnold,

Euphrosyne. These goddesses are continually referred to in poetry. Note

the painting by J. B. Regnault (Louvre), also the sculpture by Canova.

(4) =The Muses.= Spenser, The Tears of the Muses; Milton, Il Penseroso;

Byron, Childe Harold, 1, 1, 62, 88; Thomson, Castle of Indolence,

2, 2; 2, 8; Akenside, Pleasures of Imagination, 3. 280, 327; Ode

on Lyric Poetry; Crabbe, The Village, Bk. 1; Introductions to the

Parish Register, Newspaper, Birth of Flattery; M. Arnold, Urania.

=Delphi=, =Parnassus=, etc.: Gray, Progress of Poesy, 2, 3. =Vale of=

=Tempe=: Keats, On a Grecian Urn; Young, Ocean, an ode. =_In Art._=

Sculpture: Polyhymnia, ancient marble in Berlin (text, Fig. 23); Clio

and Calliope, in the Vatican in Rome; Euterpe, Melpomene, Polyhymnia,

and Urania, in the Louvre, Paris; Terpsichore by Thorwaldsen.

Painting: Apollo and the Muses, by Raphael Mengs and by Giulio Romano;

Terpsichore (picture), by Schützenberger.

(5) =The Hours=, in art: Raphael's Six Hours of the Day and Night.

(6) =The Fates.= Refrain stanzas in Lowell's Villa Franca, "Spin, spin,

Clotho, spin! Lachesis, twist! and Atropos, sever!" =_In Art_=: The

Fates, painting attributed to Michelangelo, but now by some to Rosso

Fiorentino from Michelangelo's design (text, Fig. 24, Pitti Gallery,

Florence); painting by Paul Thumann.

(7) =Nemesis.= For genealogy see Table B, =C. 49=.

(8) =Æsculapius.= Spenser, Faerie Queene, 1, 5, 36-43; Milton, Paradise

Lost, 9, 507.

(9) (10) =The Winds=, =Helios=, =Aurora=, =Hesper=, etc. =Æolus=:

Chaucer, Hous of Fame, 480. See =C. 125= and genealogical tables H and

I. =Hippotades= is Æolus (son of Hippotes). In Lycidas, 96, Milton

calls the king of the winds Hippotades, because, following Homer

(Odyssey, 10, 2) and Ovid (Metam. 14, 224), he identifies Æolus II with

Æolus III. =Boreas and Orithyia=: Akenside, Pleasures of Imagination,

1, 722.

=_In Art._= The fragment, Helios rising from the Sea, by Phidias, south

end, east pediment of the Parthenon. Boreas and Zetos, Greek reliefs

(text, Figs. 25 and 26); Boreas and Orithyia (text, Fig. 27), on a vase

in Munich.

(11) =Hesperus.= Milton, Paradise Lost, 4, 605; 9, 49; Comus, 982;

Akenside, Ode to Hesper; Campbell, Two Songs to the Evening Star,

Tennyson, The Hesperides.

(12) "=Iris= there with humid bow waters the odorous banks," etc.,

Comus, 992. See also Milton's Paradise Lost, 4, 698; 11, 244. =_In

Art_=: Fig. 28, text; and painting by Guy Head (Gallery, St. Luke's,

Rome). She is the swift-footed, wind-footed, fleet, the Iris of the

golden wings, etc.

=39. Hyperborean.= _Beyond the North_. Concerning the Elysian Plain,

see =46.= =_Illustrative_=: Milton, Comus, "Now the gilded car of day,"

etc.

=40. Ceres. _Illustrative._= Pope, Moral Essays, 4, 176, "Another age

shall see the golden ear Imbrown the slope ... And laughing Ceres

reassume the land"; Spring, 66; Summer, 66; Windsor Forest, 39; Gray,

Progress of Poesy; Warton, First of April, "Fancy ... Sees Ceres grasp

her crown of corn, And Plenty load her ample horn"; Spenser, Faerie

Queene, 3, 1, 51; Milton, Paradise Lost, 4, 268; 9, 395.

=_Poems_.= Tennyson, Demeter and Persephone; Mrs. H. H. Jackson,

Demeter. =_Prose_=: W. H. Pater, The Myth of Demeter (_Fortn. Rev._

Vol. 25, 1876); S. Colvin, A Greek Hymn (_Cornh. Mag._ Vol. 33, 1876);

Swinburne, At Eleusis.

The name _Ceres_ is from the stem _cer_, Sanskrit _kri_, 'to make.' By

metonomy the word comes to signify _corn_ in the Latin. Demeter (#Gê

mêtêr#, #da matêr#) means _Mother Earth_. The goddess is represented

in art crowned with a wheat-measure (or _modius_), and bearing a horn

of plenty filled with ears of corn. Demeter (?) appears in the group

of deities on the eastern frieze of the Parthenon. Also noteworthy are

the Demeter from Knidos (text, Fig. 29, from the marble in the British

Museum); two statues of Ceres in the Vatican at Rome, and one in the

Glyptothek at Munich; and the Roman wall painting (text, Fig. 30).

=41. Rhea= was worshiped as =Cybele=, the Great Mother, in Phrygia

and at Pessinus in Galatia. During the Second Punic War, 203 _B.C._,

her image was brought from the latter place to Rome. In 191 B.C.

the Megalesian Games were first celebrated in her honor, occupying

six days, from the fourth of April on. Plays were acted during this

festival. The Great Mother was also called Cybebe, Berecyntia, and

Dindymene.

=The Cybele of Art.= In works of art, Cybele exhibits the matronly air

which distinguishes Juno and Ceres. Sometimes she is veiled, and seated

on a throne with lions at her side; at other times she rides in a

chariot drawn by lions. She wears a mural crown, that is, a crown whose

rim is carved in the form of towers and battlements. Rhea is mentioned

by Homer (Iliad, 15, 187) as the consort of Cronus.

=_Illustrative._= Byron's figure likening Venice to Cybele, Childe

Harold, 4, 2, "She looks a sea-Cybele, fresh from ocean," etc. Also

Milton's Arcades, 21.

=42. _Interpretative._= It is interesting to note that Homer (Iliad

and Odyssey) recognizes Dionysus neither as inventor, nor as exclusive

god of wine. In Iliad, 6, 130 he refers, however, to the Dionysus cult

in Thrace. Hesiod is the first to call wine the gift of Dionysus.

=Dionysus= means the Zeus or _god_ of Nysa, an imaginary vale of

Thrace, B[oe]otia, or elsewhere, in which the deity spent his youth.

The name =Bacchus= owes its origin to the _enthusiasm_ with which the

followers of the god lifted up their voices in his praise. Similar

names are Iacchus, Bromius, Evius (from the cry _evoe_). The god was

also called Lyæus, the _loosener_ of care, Liber, the _liberator_. His

followers are also known as Edonides (from Mount Edon, in Thrace,

where he was worshiped), Thyiades, the _sacrificers_, Lenæa and

Bassarides. His festivals were the Lesser and Greater Dionysia (at

Athens), the Lenæa, and the Anthesteria, in December, March, January,

and February, respectively. At the first, three dramatic performances

were presented.

_=Illustrative.=_ A few references and allusions worth consulting:

Spenser, Epithalamion; Fletcher, Valentinian, "God Lyæus, ever young";

Randolph, To Master Anthony Stafford (1632); Milton, L'Allegro, 16;

Paradise Lost, 4, 279; 7, 33; Comus, 46, 522; Shakespeare, Midsummer

Night's Dream, V, i; Love's Labour's Lost, IV, iii; Antony and

Cleopatra, II, vii, song; Shelley, Ode to Liberty, 7, Rome--"like a

Cadmæan Mænad"; Keats, To a Nightingale, "Not charioted by Bacchus and

his pards." On =Semele=, Milton, Paradise Regained, 2, 187; Spenser,

Faerie Queene, 3, 11, 33.

_=Poems.=_ Ben Jonson, Dedication of the King's New Cellar; Thomas

Parnell, Bacchus, or the Drunken Metamorphosis; Landor, Sophron's Hymn

to Bacchus; Swinburne, Prelude to Songs before Sunrise; Roden Noël, The

Triumph of Bacchus; Robert Bridges, The Feast of Bacchus; others given

in text. See Index.

_=In Art.=_ Of ancient representations of the Bacchus, the best

examples are the marble in the British Museum (text, Fig. 31); the

Silenus holding the child Bacchus (in the Louvre); the head of Dionysus

found in Smyrna (now in Leyden--see text, Fig. 143), from an original

of the school of Scopas; the head (now in London) from the Baths of

Caracalla, of the later Attic school; the Faun and Bacchus (Museum,

Naples); a standing bronze figure in Vienna, and the statue of the

Villa Tiburtina (Rome). The bearded or Indian Bacchus is represented as

advanced in years, grave, dignified, crowned with a diadem and robed to

the feet. See also Figs. 82-87, in text.

In modern sculpture note especially the Drunken Bacchus of

Michelangelo. Among modern paintings worthy of notice are Bouguereau's

Youth of Bacchus, and C. Gleyre's Dance of the Bacchantes. See also

under _Ariadne_.

=43.= The invention of the syrinx is attributed also to Mercury. For

poetical illustrations of Pan see =C. 129-138=. So also for Nymphs and

Satyrs.

_=In Art.=_ Pan the Hunter (text, Fig. 32); the antique, Pan and

Daphnis (with the syrinx) in the Museum at Naples. See references above.

=44-46.= It was only in rare instances that mortals returned from

Hades. See the stories of Hercules, Orpheus, Ulysses, Æneas. On the

tortures of the condemned and the happiness of the blessed, see

=254-257= in The Adventures of Æneas.

_=Illustrative.=_ Lowell, addressing the Past, says:

Whatever of true life there was in thee

Leaps in our age's veins; ...

Here, 'mid the bleak waves of our strife and care

Float the green Fortunate Isles

Where all thy hero-spirits dwell, and share

Our martyrdom and toils;

The present moves attended

With all of brave and excellent and fair

That made the old time splendid.

Milton, Paradise Lost, 3, 568, "Like those Hesperian gardens," etc.

See also the same, 2, 577 ff.,--"Abhorrèd =Styx=, the flood of deadly

hate,"--where the rivers of Erebus are characterized according to

the meaning of their Greek names; and L'Allegro, 3. =Charon=: Pope,

Dunciad, 3, 19; R. C. Rogers, Charon. =Elysium=: Cowper, Progress of

Error, Night, "The balm of care, Elysium of the mind"; Milton, Paradise

Lost, 3, 472; Comus, 257; L'Allegro; Shakespeare, 3 Henry VI, I, ii;

Cymbeline, V, iv; Twelfth Night, I, ii; Two Gentlemen of Verona, II,

vii; Shelley, To Naples. =Lethe=: Shakespeare, Twelfth Night, IV, i;

Julius Cæsar, III, i; Hamlet, I, v; 2 Henry IV, V, ii; Milton, Paradise

Lost, 2, 583. =Tartarus=: Milton, Paradise Lost, 2, 858; 6, 54.

=47. _Interpretative._= The name =Hades= means "the invisible," or

"he who makes invisible." The meaning of Pluto (_Plouton_), according

to Plato (Cratylus), is _wealth_,--the giver of treasure which lies

underground. Pluto carries the cornucopia, symbol of inexhaustible

riches; but careful discrimination must be observed between him

and Plutus (_Ploutos_), who is merely an allegorical figure,--a

personification of wealth and nothing more. =Hades= is called also

the Illustrious, the Many-named, the Benignant, _Polydectes_ or the

Hospitable.

_=Illustrative.=_ Milton, L'Allegro, and Il Penseroso; Paradise Lost,

4, 270; Thomas Kyd, Spanish Tragedy (Andrea's descent to Hades;--this

poem deals extensively with the Infernal Regions); Shakespeare, 2 Henry

IV, II, iv; Troilus and Cressida, IV, iv; V, ii; Coriolanus, I, iv;

Titus Andronicus, IV, iii.

_=Poems.=_ Buchanan, Ades, King of Hell; Lewis Morris, Epic of Hades.

=48. Proserpina.= Not from the Latin _pro-serpo_, 'to creep forth'

(used of herbs in spring), but from the Greek form Persephone, _bringer

of death_. The later name =Pherephatta= refers to the doves (_phatta_),

which were sacred to her as well as to Aphrodite. She carries ears

of corn as symbol of vegetation, poppies as symbol of the sleep of

death, the pomegranate as the fruit of the underworld of which none

might partake and return to the light of heaven. Among the Romans her

worship was overshadowed by that of =Libitina=, a native deity of the

underworld.

_=Illustrative.=_ Keats, Melancholy, 1; Spenser, Faerie Queene, 1, 2,

2; Milton, Paradise Lost, 4, 269; 9, 396.

_=Poems.=_ Aubrey De Vere, The Search after Proserpine; Jean Ingelow,

Persephone; Swinburne, Hymns to Proserpine; L. Morris, Persephone (Epic

of Hades); D. G. Rossetti, Proserpina. (Also in crayons, in water

colors, and in oil.)

_=In Art.=_ Sculpture: Eastern pediment of Parthenon frieze. Painting:

Lorenzo Bernini's Pluto and Proserpine; P. Schobelt's Abduction of

Proserpine.

=49. _Textual._= (1) For Æacus, son of Ægina, see =61= and =C. 190=,

Table O; for Minos and Rhadamanthus, see =59. Eumenides=: euphemistic

term, meaning the _well-intentioned_. =Hecate= was descended through

her father Perses from the Titans, Creüs and Eurybië; through her

mother Asteria from the Titans, C[oe]us and Ph[oe]be. She was

therefore, on both sides, the granddaughter of Uranus and Gæa.

The following table is based upon Hesiod's account of =The Family of

Night=. (Theogony.)

According to other theogonies, the Fates were daughters of Jove and

Themis, and the Hesperides daughters of Atlas. The story of the true

and false =Dreams= and the horn and ivory gates (Odyssey, 19, 560)

rests on a double play upon words: (1) #elephas# (_elephas_),

'ivory,' and #elephairomai# (_elephairomai_), 'to cheat with false

hope'; (2) #keras# (_keras_), horn, and #krainein# (_krainein_), 'to

fulfill.' See Mortimer Collins, The Ivory Gate, a poem.

=_Illustrative._ Hades=: Milton, Paradise Lost, 2, 964; L. Morris,

Epic of Hades. =Styx=: Shakespeare, Troilus and Cressida, V, iv; Titus

Andronicus, I, ii; Milton, Paradise Lost, 2, 577; Pope, Dunciad, 2,

338. =Erebus=: Shakespeare, Merchant of Venice, V, i; 2 Henry IV, II,

iv; Julius Cæsar, II, i. =Cerberus=: Spenser, Faerie Queene, 1, 11, 41;

Shakespeare, Love's Labour's Lost, V, ii; 2 Henry IV, II, iv; Troilus

and Cressida, II, i; Titus Andronicus, II, v; Maxwell, Tom May's Death;

Milton, L'Allegro, 2. =Furies=: Milton, Lycidas; Paradise Lost, 2, 597,

671; 6, 859; 10, 620; Paradise Regained, 9, 422; Comus, 641; Dryden,

Alexander's Feast, 6; Shakespeare, Midsummer Night's Dream, V, i;

Richard III, I, iv; 2 Henry IV, V, iii. =Hecate=: Shakespeare, Macbeth,

IV, i. =Sleep and Death=: Shelley, To Night; H. K. White, Thanatos.

=_In Art._= Vase-painting of Canusium of the Underworld (text, Fig.

34); painting of a =Fury= by Michelangelo (Uffizi, Florence); also

Figs. 35-39 in text.

=50-52.= See next page for Genealogical Table, Divinities of the Sea.

For stories of the Grææ, Gorgons, Scylla, Sirens, Pleiades, etc.,

consult Index.

=_Illustrative._ Oceanus=: Milton, Comus, 868. =Neptune=: Spenser,

Faerie Queene, 1, 11, 54; Shakespeare, Tempest, I, ii; Midsummer

Night's Dream, II, ii; Macbeth, II, ii; Cymbeline, III, i; Hamlet, I,

i; Milton, Lycidas; Paradise Regained, 1, 190; Paradise Lost, 9, 18;

Comus, 869; Prior, Ode on Taking of Namur; Waller's Panegyric to the

Lord Protector. =Panope=: Milton, Lycidas, 99.

=Harpies.= Milton, Paradise Lost, 3, 403. =Sirens=: Wm. Morris, Life

and Death of Jason--Song of the Sirens. =Scylla= and Charybdis (see

Index): Milton, Paradise Lost, 2, 660; Arcades, 63; Comus, 257; Pope,

Rape of the Lock, 3, 122. =Sirens=: Rossetti, A Sea-Spell; A. Lang,

"They hear the Sirens for the second time."

TABLE B. THE FAMILY OF NIGHT

=Night=

+-- Goddesses of Destiny and Fate (_Clotho, Lachesis, Atropos_)

+-- Death (_Thanatos_)

+-- Sleep

| +-- Morpheus

| +-- Icelus

| +-- Phantasus

+-- Dreams

+-- Momus (god of ridicule--adverse criticism)

+-- Care

+-- Hesperides

+-- Nemesis

=Naiads.= Landor, To Joseph Ablett; Shelley, To Liberty, 8; Spenser,

Prothalamion, 19; Milton, Lycidas; Paradise Regained, 2, 355; Comus,

254; Buchanan, Naiad (see =134=); Drummond of Hawthornden, "Nymphs,

sister nymphs, which haunt this crystal brook, And happy in these

floating bowers abide," etc.; Pope, Summer, 7; Armstrong, Art of

Preserving Health, "Come, ye Naiads! to the fountains lead."

TABLE C. DIVINITIES OF THE SEA

Gæa

=Uranus

+-- =Oceanus=

| ==Tethys=

| +-- Inachus and other river-gods

| +-- Oceanids

| +-- Doris (the Oceanid)

| =Nereus

| +-- =Amphitrite=

| | ==Neptune=

| | +-- Proteus (_acc. to Apollodorus_)

| | +-- Triton

| +-- =Galatea=

| +-- Thetis

| =Peleus

| +-- Achilles

+-- Cronus

| =Rhea

| +-- =Neptune=

| ==Amphitrite=

| +-- Proteus (_acc. to Apollodorus_) (see above)

| +-- Triton (see above)

+-- Rhea

=Cronus

+-- =Neptune= (see above)

Gæa

=Pontus

+-- Nereus

| =Doris (the Oceanid)

| +-- Amphitrite (see above)

| +-- Galatea (see above)

| +-- Thetis (see above)

+-- Thaumas

| +-- Iris

| +-- Harpies

+-- Phorcys

| =Ceto

| +-- Grææ

| +-- Gorgons

| +-- Sirens

| +-- Scylla

+-- Ceto

=Phorcys

+-- Grææ (see above)

+-- Gorgons (see above)

+-- Sirens (see above)

+-- Scylla (see above)

=Proteus.= Shakespeare, Two Gentlemen of Verona, I, i; II, ii; III, ii;

IV, iv; Pope, Dunciad, 1, 37; 2, 109. The Water Deities are presented

in a masque contained in Beaumont and Fletcher's Maid's Tragedy.

=_In Art._= Poseidon: see text, Figs. 40 and 41 (originals in the

British Museum and the Glyptothek, Munich); also the Isthmian Poseidon,

Fig. 95. The Atlas (Græco-Roman sculpture) in National Museum, Naples;

the Triton in Vatican (text, Fig. 42). Modern painting: J. Van Beers,

The Siren; D. G. Rossetti, The Siren.

=_Textual._ Consus=, from _condere_, 'to stow away.' The sisters of

=Carmenta=, the forward-looking Antevorta and the backward-looking

Postvorta, were originally but different aspects of the function of the

Muse.

=54. _Illustrative._ Saturn=: Milton, Il Penseroso; Keats, Hyperion;

Peele, Arraignment of Paris. =Janus=, as god of civilization: Dryden,

Epistle to Congreve, 7. =Fauns=: Milton, Lycidas; R. C. Rogers, The

Dancing Faun. See Hawthorne's Marble Faun. =Bellona=: Shakespeare,

Macbeth, "Bellona's bridegroom, lapp'd in proof"; Milton, Paradise

Lost, 2, 922. =Pomona=: Randolph, To Master Anthony Stafford; Milton,

Paradise Lost, 9, 393; 5, 378; Thomson, Seasons, Summer, 663. =Flora=:

Milton, Paradise Lost, 5, 16; Spenser, Faerie Queene, 1, 4, 17; R. H.

Stoddard, Arcadian Hymn to Flora; Pope, Windsor Forest, 38. =Janus=:

Jonathan Swift, To Janus, on New Year's Day, 1726; =Egeria=, one of the

Camenæ; Childe Harold, 4, 115-120; Tennyson, Palace of Art, "Holding

one hand against his ear," etc. =Pan=, etc.: Milton, Paradise Lost, 4,

707; 4, 329.

=_In Sculpture._= The Satyr, or so-called Faun, of Praxiteles in the

Vatican (text, Fig. 106); Dancing Faun (Lateran, Rome); Dancing Faun,

Drunken Faun, Sleeping Faun, and Faun and Bacchus (National Museum,

Naples); The Barberini Faun, or Sleeping Satyr (Glyptothek, Munich).

=Flora.= Painting by Titian (Uffizi, Florence).

=55.= The first love of Zeus was =Metis=, daughter of Oceanus and

Tethys. She is Prudence or Foreknowledge. She warned Zeus that if

she bore him a child, it would be greater than he. Whereupon Zeus

swallowed her; and, in time, from his head sprang Athene, "the virgin

of the azure eyes, Equal in strength, and as her father wise" (Hesiod,

Theog.). On =Latona=, see =32=, =73=, and Commentary.

=56.= For Danaë see =151=; for Alemene, =156=; for Leda, =194=.

=57.= In the following general table of the =Race of Inachus= (see p.

488), marriages are indicated in the usual manner (by the sign =, or by

parentheses); the more important characters mentioned in this work are

printed in heavy-faced type. While numerous less important branches,

families, and mythical individuals have been intentionally omitted,

it is hoped that this reduction of various relationships, elsewhere

explained or tabulated, to a general scheme, may furnish the reader

with a clearer conception of the family ties that motivate many of the

incidents of mythical adventure, and that must have been commonplaces

of information to those who invented and perpetuated these stories. It

should be borne in mind that the traditions concerning relationships

are by no means consistent, and that consequently the collation of

mythical genealogies demands the continual exercise of discretion, and

a balancing of probabilities. Notice that from the union of Jupiter and

Io (Table D), Hercules is descended in the thirteenth generation.

=Inachus= is the principal river of Argolis in the Peloponnesus.

_=Interpretative.=_ =Io= is explained as the horned moon, in its

various changes and wanderings. =Argus= is the heaven with its myriad

stars, some of them shut, some blinking, some always agleam. The wand

of Hermes and his music may be the morning breeze, at the coming of

which the eyes of heaven close (Cox, 2, 138; Preller 2, 40). The

explanation would, however, be just as probable if Mercury (Hermes)

were a cloud-driving wind. =Pan and the Syrinx=: naturally the wind

playing through the reeds, if (with Müller and Cox) we take Pan to be

the all-purifying, but yet gentle, wind. But see p. 181.

_=Illustrative.=_ Shelley, To the Moon, "Art thou pale for weariness

Of climbing heaven and gazing on the earth, Wandering companionless

Among the stars that have a different birth?" Milton's "To behold the

wandering moon, Riding near her highest noon, Like one that had been

led astray, Through the heaven's wide pathless way" (Il Penseroso).

See also for Io, Shelley's Prometheus Bound. =Argus=: Milton, Paradise

Lost, 11, 131; Pope, Dunciad, 2, 374; 4, 637.

=_In Art._= Fig. 47 in the text, from a wall-painting of Herculaneum

(Museum, Naples). Correggio's painting, Jupiter and Io; not a pleasant

conception.

=58. _Interpretative._= The myth of =Callisto= and =Arcas= is of

Arcadian origin. If the Arcadians, in very remote times, traced their

descent from a she-bear, and if they also, like other races, recognized

a bear in a certain constellation, they might naturally mix the fables

and combine them later with the legend of the all-powerful Zeus (Lang,

2, 181). According to another account, Callisto was punished for her

love of Jupiter by Diana (Artemis). Her name has been identified with

the adjective _Calliste_, 'most fair,' which was certainly applied to

Artemis herself. That Artemis was protectress of she-bears is known;

also that, in Attica, she was served by girls who imitated, while

dancing, the gait of bears. It is quite possible, therefore, that

Artemis inherited a more ancient worship of the bear that may have

been the _totem_, or sacred animal, from which the Arcadians traced a

mythological descent. Others hold that the word _arksha_, 'a star,'

became confused with the Greek _arktos_, 'a bear.' So the myth of the

son Arcas (the star and the bear) may have arisen (Max Müller). The

last star in the tail of the Little Bear is the Polestar, or =Cynosure=

(dog's tail).

TABLE D. THE RACE OF INACHUS AND ITS BRANCHES

=Oceanus=

+-- =Inachus=

+-- Phoroneus

| +-- Apis

| +-- Niobe

| ==Jupiter=

| +-- Argus

| | +-- (Tiryns, Epidaurus, and other founders of

| | Peloponnesian cities)

| +-- Pelasgus

| +-- Lycaon

| +-- Sons destroyed for impiety

| +-- =Callisto=

| ==Jupiter=

| +-- =Arcas= (ancestor of The Arcadians)

| +-- Elatus

| +-- Pereus

| +-- Neæra

| +-- Lycurgus

| +-- =Ancæus= (Calyd. Hunt)

| +-- Amphidamas

| | | (an Argonaut)

| | +-- Antimache

| | ==Eurystheus=

| +-- Jasus

| +-- =Atalanta= of

| Arcadia (Calyd. Hunt)

+-- =Argus= Panoptes (slain by Mercury)

+-- Phegeus

| +-- Arsinoë

| =Alcmæon

+-- =Io=

==Jupiter=

+-- Epaphus

+-- Libya

=Neptune

+-- Agenor

| +-- =Cadmus=

| | =Harmonia

| | +-- =Semele=

| | | ==Jupiter=

| | | +-- =Bacchus=

| | +-- =Ino=

| | | =Athamas

| | | +-- =Melicertes=

| | +-- =Autonoë=

| | | =Aristæus

| | | +-- =Actæon=

| | +-- =Agave=

| | | =Echion

| | | +-- =Pentheus=

| | | +-- Men[oe]ceus

| | | +-- =Creon=

| | | | +-- Men[oe]ceus II

| | | | +-- Hæmon

| | | +-- =Jocasta=

| | | ==Laïus=

| | | +-- =[OE]dipus=

| | | +-- =Eteocles=

| | | +-- =Polynices=

| | | | +-- Thersander

| | | +-- =Antigone=

| | | +-- =Ismene=

| | +-- Polydorus

| | +-- Labdacus

| | +-- =Laïus=

| | ==Jocasta=

| | +-- =[OE]dipus= (see above)

| +-- Ph[oe]nix

| +-- Cilix

| +-- Phineus (the Soothsayer)

| +-- =Europa=

| ==Jupiter=

| +-- =Minos I=

| | +-- Lycastus

| | +-- =Minos II=

| | =Pasiphaë

| | +-- Crateus

| | | +-- Aërope

| | | =Atreus

| | | +-- =Agamemnon=

| | | | =Clytemnestra

| | | +-- =Menelaüs=

| | | =Helen

| | +-- =Phædra=

| | | =Theseus

| | +-- =Ariadne=

| | =Theseus

| +-- =Rhadamanthus=

| +-- =Sarpedon=

+-- Belus

+-- Ægyptus

| +-- 49 sons

| +-- =Lynceus=

| ==Hypermnestra=

| +-- Abas

| +-- Acrisius

| | +-- =Danaë=

| | ==Jupiter=

| | +-- =Perseus=

| | ==Andromeda=

| | +-- Perses

| | +-- Electryon

| | | +-- Alcmene

| | | ==Jupiter=

| | | +-- =Hercules=

| | | =Amphitryon

| | | +-- =Iphicles=

| | +-- Alcæus

| | | +-- Amphitryon

| | | =Alcmene

| | | +-- =Iphicles=

| | | (see above)

| | +-- Sthenelus

| +-- Pr[oe]tus

| +-- Megapenthes

+-- Danaüs

| +-- =Hypermnestra=

| ==Lynceus=

| +-- Abas (see above)

+-- Cepheus

=Cassiopea

+-- =Andromeda=

==Perseus=

+-- Perses (see above)

+-- Electryon (see above)

+-- Alcæus (see above)

+-- Sthenelus (see above)

_=Illustrative.=_ Milton's "Let my lamp, at midnight hour, Be seen

in some high lonely tower, Where I may oft _outwatch the Bear_" (Il

Penseroso); and his "Where perhaps some beauty lies The cynosure of

neighbouring eyes" (L'Allegro); also his "And thou shalt be our star

of Arcady, Or Tyrian Cynosure" (Comus). Note Lowell's "The Bear, that

prowled all night about the fold Of the North-star, hath shrunk into

his den" (Prometheus). See also the song beginning, "Hear ye, ladies,

that despise What the mighty Love had done," in Beaumont and Fletcher's

drama, Valentinian,--for Callisto, Leda, and Danaë.

=59. The Descendants of Agenor.= For further details, see Table D.

TABLE E

Mars

=Venus

+-- Harmonia

==Cadmus=

+-- =Semele=

| =Jupiter

| +-- Bacchus

+-- Ino

| =Athamas

| +-- Melicertes

+-- Autonoë

| =Aristæus

| +-- Actæon

+-- Agave

| +-- Pentheus

+-- Polydorus

+-- Labdacus

+-- Laïus

+-- [OE]dipus (royal family of Thebes)

=Agenor=

+-- =Cadmus=

| =Harmonia

| +-- =Semele= (see above)

| +-- Ino (see above)

| +-- Autonoë (see above)

| +-- Agave (see above)

| +-- Polydorus (see above)

+-- =Europa=

| =Jupiter

| +-- Minos

| +-- Rhadamanthus

| +-- Sarpedon

+-- Ph[oe]nix

+-- Cilix

=_Textual._ Moschus= lived about the close of the third century B.C.

in Syracuse. He was a grammarian and an idyllic poet. He calls himself

a pupil of Bion,--whose Lament for Adonis is given in =100=. Both Bion

and Moschus belong to the School of Theocritus--the Idyllic or Pastoral

School of Poetry. =Cypris=: Venus, by whom the island of Cyprus was

beloved. =Mygdonian flutes=: the ancients had three species or modes

of music, depending, respectively, upon the succession of musical

intervals which was adopted as the basis of the system. The Lydian

measures were shrill and lively; the Dorian deep in tone, grave, and

solemn; the Mygdonian, or Phrygian, were supposed by some to have been

the same as the Lydian, but more probably they were a combination of

Lydian and Dorian. =Shaker of the World=: Neptune. =Crete=: where

Jupiter had been concealed from his father Cronus, and nourished by the

goat Amalthea.

=_Interpretative._= Herodotus says that =Europa= was a historical

princess of Tyre, carried off by Hellenes to Crete. =Taurus= (the bull)

was euhemeristically conceived to be a king of Crete who carried off

the Tyrian princess as prize of war. Others said that probably the

figurehead of the ship in which Europa was conveyed to Crete was a

_bull_. It is not improbable that the story indicates a settlement of

Ph[oe]nicians in Crete and the introduction by them of cattle. Modern

critics, such as Preller and Welcker, make Europa a goddess of the moon

= Diana or Astarte, and translate her name "the dark, or obscured one."

But she has undoubtedly a connection with the earth, perhaps as wife

of Jupiter (the Heaven). H. D. Müller connects both Io and Europa with

the wandering Demeter (or Ceres), and considers Demeter to be a goddess

both of the moon and of the earth (Helbig, in Roscher). Cox, after

his usual method, finds here the Dawn borne across the heaven by the

lord of the pure ether. Europa would then be the broad-spreading flush

of dawn, seen first in the purple region of morning (Ph[oe]nicia).

Her brother Cadmus, who pursues her, would be the sun searching for

his lost sister or bride. Very fanciful, but inconclusive. =The bull=

occurs not infrequently in myth as an incarnation of deity.

=_Illustrative._= W. S. Landor, Europa and her Mother; Aubrey De Vere,

The Rape of Europa; E. Dowden, Europa; W. W. Story, Europa (a sonnet).

See also a graceful picture in Tennyson's Palace of Art.

=_In Art._= Fig. 48, in text, from vase found at Cumæ; the marble group

in the Vatican, Europa riding the Bull; painting by Paolo Veronese, The

Rape of Europa; Europa, by Claude Lorrain.

=60.= See Tables D and E.

=_Interpretative._= According to Preller, =Semele= is a personification

of the fertile soil in spring, which brings forth the productive vine.

In the irrational part of the myth, Jove takes the child Dionysus

(Bacchus), after Semele's death, and sews him up in his thigh for

safe-keeping. Preller finds here "the wedlock of heaven and earth,

the first day that it thunders in March." Exactly why, might be easy

to guess, but hard to demonstrate. The thigh of Jupiter would have to

be the cool moist clouds brooding over the youthful vine. The whole

explanation is altogether too conjectural. See A. Lang's Myth, Ritual,

etc., 2, 221-225, for a more plausible but less poetic theory.

=_Illustrative._= Milton, Paradise Regained, 2, 187; Bowring's

translation of Schiller's Semele; E. R. Sill, Semele, of which a part

is given in the text.

=_In Art._= Fig. 50, in text.

=61. _Textual._= The son of Ægina and Jove was Æacus (for genealogy,

see Table O (1)). =Ægina=: an island in the Saronic Gulf, between

Attica and Argolis. =Asopus=: the name of two rivers, one in Achaia,

one in B[oe]otia, of which the latter is the more important. The Greek

traveler, Pausanias, tells us that Asopus was the discoverer of the

river which bears his name. =Sisyphus=, see =255=. This description

of the plague is copied by Ovid from the account which Thucydides

gives of the plague of Athens. That account, much fuller than is here

given, was drawn from life and has been the source from which many

subsequent poets and novelists have drawn details of similar scenes.

The =Myrmidons= were, during the Trojan War, the soldiers of Achilles,

grandson of this king Æacus.

=_Interpretative._= The name =Ægina= may imply either the shore on

which the waves break (Preller), or the sacred goat (_Ægeus_) which was

the _totem_ of the Ægeus family of Attica. The worship of Athene was

introduced into Athens by this family. In sacrifices the goddess was

clad in the skin of the sacred goat, but no goat might be sacrificed to

her. Probably another example of the survival of a savage ritual (Lang,

Myth, Ritual, etc., 1, 280).

=_Illustrative._ Myrmidons=:

No, no, said Rhadamant, it were not well,

With loving souls to place a martialist;

He died in war, and must to martial fields,

Where wounded Hector lives in lasting pain,

And Achilles' Myrmidons do scour the plain.

Kyd, Spanish Tragedy

On =Sisyphus=, read Lewis Morris' poem in The Epic of Hades.

=62. _Textual._ Mænad=: the Mænades, from #mainomai# (_mainomai_), 'to

rage,' were women who danced themselves into a frenzy in the orgies or

festivals of Bacchus. =Cithæron=: a mountain range south of Thebes and

between B[oe]otia and Attica.

=_Interpretative._ Antiope=, philologically interpreted, may

indicate the moon with face turned full upon us. That Antiope is a

personification of some such natural phenomena would also appear

from the significance of the names associated with hers in the myth:

=Nycteus=, the _night-man_; =Lycus=, the _man of light_. Amphion and

Zethus are thought, in like fashion, to represent manifestations

of light; see also Castor and Pollux. Perhaps the method employed

by Zethus and Amphion in building Thebes may merely symbolize the

advantage of combining mechanical force with well-ordered or harmonious

thought.

=_In Art_=: The Farnese Bull group (text, opp. p. 74): marble, maybe

by Tauriscus and Tralles, in Naples Museum. Fig. 51: a relief in the

Palazzo Spada, Rome. Modern painting: Correggio's Antiope.

=63. _Textual._ Phrygia=: a province in Asia Minor. For =Minerva's=

protection of the olive, see =65=. =Tyana= is a town in Cappadocia,

Asia Minor.

=64. _Textual._ Argos=: the capital of Argolis in the Peloponnesus. Of

=Cydippe=, it is told, in Ovid's Heroides and elsewhere, that, when

a girl sacrificing in the temple of Diana in Delos, she was seen and

loved by a youth, Acontius. He threw before her an apple, on which

these words were inscribed, "I swear by the sanctuary of Diana to

marry Acontius." The maiden read aloud the words and threw the apple

away. But the vow was registered by Diana, who, in spite of many

delays, brought about the marriage of Cydippe and her unknown lover.

=Polyclitus= =the Elder=, of Argos, lived about 431 B.C., and was a

contemporary of two other great sculptors, Phidias and Myron. His

greatest work was the chryselephantine statue of Hera for her temple

between Argos and Mycenæ.

=_Illustrative._= Beside Gosse's Sons of Cydippe, see verses by L. J.

Richardson, in _The Inlander_, Ann Arbor, Vol. 2, p. 2. For the story

of Acontius and Cydippe, see William Morris' Earthly Paradise; and

Lytton's Cydippe, or The Apples, in The Lost Tales of Miletus.

=_In Art._= The severe design in clay by Teignmouth, of which prints

may be obtained, was made to illustrate Gosse's poem.

=65-66. _Textual._= For =Cecrops=, see =174=. He named the city that

he founded Cecropia,--a name which afterwards clung to Athens. For an

excellent description of ancient weaving, see Catullus, LXIV, 304-323

(The Peleus and Thetis). For translation, see =191. Leda=, mother of

Castor, Pollux, Helen, and Clytemnestra (see =194= and Commentary).

=Danaë=, mother of Perseus (see =151=).

=_Interpretative._= The waves were the coursers of Neptune,--the horses

with which he scours the strand. =Arachne=: a princess of Lydia. It is

probable that the myth symbolizes the competition in products of the

loom between Attica and Asia Minor and the superior handicraft of the

Athenian weavers.

=_Illustrative._ Arachne=: Shakespeare, Troilus and Cressida, V, ii;

Pope, Dunciad, 4, 590. =_Poem_=: Garrick, Upon a Lady's Embroidery.

=_In Art._= Fig. 52, in text: from a vase in St. Petersburg.

=68. _Textual._ Diomede=: for his genealogy, see Table K. =Taslets=:

armor worn about the thighs. =Cyprian=: Venus. =Pæan= (Pæon, or

Paiëon), classed by Homer among the Olympian gods, of whom he is,

as his name implies, the "healer." Later, the name was applied to

Æsculapius, then to any god who might repair or avert evil of any kind,

as, for instance, to Apollo and to Thanatos (Death). See Armstrong's

Art of Health, "So Pæan, so the powers of Health command," etc., and

"the wise of ancient days Adored one power of physic, melody, and

song." =Pæans= were chants in honor of Apollo, sung to deprecate

misfortune in battle or to avert disease. =Lower than the sons of

Heaven=: lower than the Titans, sons of Uranus (Heaven), who were

plunged into Tartarus.

=69. _Textual._= Lessing points out in his Laocoön the skill with which

Homer, stating the size of the stone hurled by Minerva and the measure

of the space covered by Mars, suggests the gigantic proportions of the

warring divinities.

=70. _Textual._= Family of =Cadmus=: see Tables D and E. =Castalian

Cave= of Mount Parnassus, Phocis; here was the famous Delphic oracle

of Apollo. =Cephissus=: a river running through Doris, Phocis, and

B[oe]otia into the Eub[oe]an Gulf; the valley of the Cephissus was

noted for its fertility. =Panope=: a town on the Cephissus. =Tyrians=:

Cadmus and his followers came from Tyre in Ph[oe]nicia. The =Necklace

of Harmonia= was a fateful gift. It brought evil to whomsoever it

belonged: to all the descendants of Cadmus; to Eriphyle, wife of

Amphiaraüs of Argos, to whom Polynices gave it; and to the sons of

Eriphyle. It was finally dedicated to Apollo in Delphi. Harmonia's

robe possessed the same fatality, =187, 189. Enchelians=: a people

of Illyria. For the myths of =Semele=, see =60=; of =Ino, 144=;

of =Autonoë= and her son, =Actæon, 95=; of =Agave= and her son,

=Pentheus,= =112=; of =Polydorus=, the =Labdacidæ=, =[OE]dipus=, etc.,

=182=. =Eight years=: the usual period of penance. Apollo, after

slaying the Python, had to clear himself of defilement by a period of

purification.

=_Interpretative._ Cadmus and his Tyrians=: according to the usual

explanation, this myth is based upon an immigration of Ph[oe]nicians,

who settled B[oe]otia and gave laws, the rudiments of culture

(alphabet, etc.), and industrial arts to the older races of Greece.

Many Theban names, such as Melicertes, Cadmus, point to a possible

Ph[oe]nician origin; _cf._ Semitic Melkarth, and Kedem, the _East_.

But Preller holds that two mythical personages, a Greek Cadmus and

a Ph[oe]nician Cadmus, have been confounded; that the Theban Cadmus

is merely the representative of the oldest Theban state; that the

selection of the spot on which a heifer had lain down was a frequent

practice among settlers, superstitious about the site of their new

town; that the dragon typifies the cruel and forbidding nature of the

uncultivated surroundings; and that the story of the dragon's teeth was

manufactured to flatter the warlike spirit of the Thebans, the teeth

themselves being spear points.

=Harmonia=, daughter of the patron deities of Thebes, is the symbol of

the peace and domesticity that attend the final establishment of order

in the State.

According to the Sun-and-Cloud theory of Cox, Cadmus, the Sun, pursues

his sister, Europa, the broad-flushing light of Dawn, who has been

carried off on a spotless cloud (the Bull). The Sun, of course, must

journey farther west than Crete. The heifer that he is to follow is,

therefore, still another cloud (like the cattle of the Sun,--clouds).

The dragon of Mars is still a third cloud; and this the Sun dissipates.

A storm follows, after which new conflicts arise between the clouds

that have sprung up from the moistened earth (the harvest of armed

men!). This kind of explanation, indiscriminately indulged, delights

the fancy of the inventor and titillates the risibles of the reader.

=_Illustrative._= Milton, Paradise Lost, 9, 506. The serpent that

tempted Eve compared with the serpents Cadmus and "Hermione." See

Byron, Don Juan, 3, 86, "You have the letters Cadmus gave--Think you he

meant them for a slave?"

=_In Art._= Fig. 54, in text: from a vase in the Naples Museum. Fig. 55

is of a vase-painting from Eretria.

=71. _Textual._ Eurynome= is represented by some as one of the Titans,

the wife of Ophion. Ophion and Eurynome, according to one legend, ruled

over heaven before the age of Saturn (Cronus). So Milton, Paradise

Lost, 10, 580, "And fabled how the Serpent, whom they called Ophion,

with Eurynome (the wide-Encroaching Eve perhaps), had first the rule Of

high Olympus, thence by Saturn driven." According to Vulcan's statement

(Iliad, 18), Eurynome was daughter of Oceanus and Tethys. She was

mother, by Jupiter, of the Graces. =Thetis=: see =50=. =Xanthus=: the

principal river of Lycia in Asia Minor.

=72-73. _Interpretative._ Latona= (=Leto=): according to Homer, one of

the deities of Olympus; a daughter of the Titans C[oe]us and Ph[oe]be,

whose names indicate phenomena of radiant light. She belonged, perhaps,

to an ancient theogony of Asia Minor. At any rate she held at one time

the rank of lawful wife to Zeus. Preller and, after him, Cox take Leto

as _the dusk_ or _darkness_. Cox traces the word to the root of Lethe

(the forgetful), but Preller is doubtful. Possibly Leto and Leda, the

mother of the bright Castor and Pollux, have something in common. The

wanderings of Latona may be the weary journey of the night over the

mountain tops, both before and after the Sun (Apollo) is born in Delos

(the land of Dawn).

=_Illustrative._= Milton, Arcades, 20, and Sonnet XII, "On the

detraction which followed upon my writing certain treatises."

=74. _Textual._ Hyperboreans=: those who dwell in the land beyond the

North. Pæan, see =C. 68=. =Tityus=: an earthborn giant; condemned to

the underworld, he lay stretched over nine acres while two vultures

devoured his liver.

=_Interpretative._ Python=: in many savage myths, a serpent, a frog,

or a lizard that drinks up all the waters, and is destroyed by some

national hero or god. As Mr. Lang says: "Whether the slaying of the

Python was or was not originally an allegory of the defeat of winter by

sunlight, it certainly, at a very early period, became mixed up with

ancient legal ideas and local traditions. It is almost as necessary

for a young god or hero to slay monsters as for a young lady to be

presented at court; and we may hesitate to explain all these legends of

a useful feat of courage as nature myths" (Myth, Ritual, etc., 2, 196).

Compare the feats of Hercules, Jason, Bellerophon, Perseus, St. George

and the Dragon, Sigurd, and Jack the Giant Killer. Commentators take

Python to be the rigor of winter, or the darkness of night, or a "black

storm-cloud which shuts up the waters" (Cox). It is not impossible that

the Python was the sacred snake of an older animal worship superseded

by that of Apollo. (See also =C. 38=.)

=75. _Textual._= The Tyrian hue is purple, made from the juice of

the _murex_, or purple shellfish. On the leaves of the hyacinth were

inscribed characters like Ai, Ai, the Greek exclamation of woe. It is

evidently not our modern hyacinth that is here described, but perhaps

some species of iris, or of larkspur, or pansy. The meaning of the

name is also uncertain, but the best authorities favor _youthful_.

A festival called the =Hyacinthia= was celebrated, in commemoration

of the myth, over a large part of the Peloponnesus. It lasted three

days, probably in the first half of July. It consisted of chants of

lamentation and fasting during the first and last days; during the

second day, of processions, a horse race, joyous choral songs, dances,

feasting, and sacrifice.

=_Interpretative._= Most scholars consider Hyacinthus to be the

personification of the blooming vegetation of spring, which withers

under the heats of summer. The Hyacinthian festival seems to have

celebrated--like the Linus festival and the Eleusinian--the transitory

nature of life and the hope of immortality.

=_Illustrative._= Keats, Endymion, "Pitying the sad death Of

Hyacinthus, when the cool breath Of Zephyr slew him" (see context);

Milton, Lycidas, "Like to that sanguine flower inscribed with woe"; On

the Death of a Fair Infant, 4.

=_In Art._= Fig. 58, in text, is of a marble group in the Hope

Collection.

=76. _Textual._ Clymene=: a daughter of Oceanus and Tethys.

=Chrysolite=: or _gold stone_, our topaz. =Daystar=: Phosphor,

see =38= (II). =Ambrosia= (#ambrosios#, #ambrotos#, #a-brotos#),

_immortal_,--here, "food for the immortals." =Turn off to the= =left=:

indicating the course of the sun, west by south. The =Serpent=, or

=Dragon=: a constellation between the Great and Little Bears. =Boötes=:

the constellation called the Wagoner. The limits of the =Scorpion=

were restricted by the insertion of the sign of the Scales. =Athos=: a

mountain forming the eastern of three peninsulas south of Macedonia.

=Mount Taurus=: in Armenia. =Mount Tmolus=: in Lydia. =Mount [OE]te=:

between Thessaly and Ætolia, where Hercules ascended his funeral pile.

=Ida=: the name of two mountains,--one in Crete, where Jupiter was

nurtured by Amalthea, the other in Phrygia, near Troy. =Mount Helicon=:

in B[oe]otia, sacred also to Apollo. =Mount Hæmus=: in Thrace. =Ætna=:

in Sicily. =Parnassus=: in Phocis; one peak was sacred to Apollo, the

other to the Muses. The Castalian Spring, sacred to the Muses, is at

the foot of the mountain; Delphi is near by. =Rhodope=: part of the

Hæmus range of mountains. =Scythia=: a general designation of Europe

and Asia north of the Black Sea. =Caucasus=: between the Black and

Caspian seas. =Mount Ossa=: associated with =Mount Pelion= in the story

of the giants, who piled one on top of the other in their attempt

to scale Olympus. These mountains, with =Pindus=, are in Thessaly.

=Libyan= desert: in Africa. Libya was fabled to have been the daughter

of Epaphus, king of Egypt. =Tanaïs=: the Don, in Scythia. =Caïcus=: a

river of Greater Mysia, flowing into the sea at Lesbos. =Xanthus= and

=Mæander=: rivers of Phrygia, flowing near Troy. =Ca ster=: a river

of Ionia, noted for its so-called "tuneful" swans. For Nereus, Doris,

Nereïds, etc., see =50= and =52=. =Eridanus=: the mythical name of the

river Po in Italy (amber was found on its banks). =Naiads=, see =52=

(6).

_=Interpretative.=_ Apollo assumed many of the attributes of Helios,

the older divinity of the sun, who is ordinarily reputed to be

the father of Phaëthon (ordinarily anglicized Phaëton). The name

_Phaëthon_, like the name _Ph[oe]bus_, means _the radiant one_. The sun

is called both Helios Phaëthon and Helios Ph[oe]bus in Homer. It was

an easy feat of the imagination to make Phaëthon the incautious son of

Helios, or Apollo, and to suppose that extreme drought is caused by his

careless driving of his father's chariot. The drought is succeeded by a

thunderstorm; and the lightning puts an end to Phaëthon. The rain that

succeeds the lightning is, according to Cox, the tears of the Heliades.

It is hardly wise to press the analogy so far, unless one is prepared

to explain the _amber_ in the same way.

_=Illustrative.=_ Milman in his Samor alludes to the story. See

also Chaucer, Hous of Fame, 435; Spenser, Faerie Queene, 1, 4, 9;

Shakespeare, Richard II, III, iii; Two Gentlemen of Verona, III, i; 3

Henry VI, I, iv; II, vi; Romeo and Juliet, III, ii. _=Poems=_: Prior,

Female Phaëton; J. G. Saxe, Phaëton; and G. Meredith, Phaëton. For

description of the palace and chariot of the Sun, see Landor, Gebir,

Bk. I.

_=In Art=_: Fig. 59, in text: a relief on a Roman sarcophagus in the

Louvre.

=77. _Textual._= For the siege of Troy, see Chap. XXII. =Atrides=

(=Atreides=): the son of Atreus, Agamemnon. The ending _-ides_ means

_son of_, and is used in patronymics; for instance, Pelides (Peleides),

Achilles; Tydides, Diomede, son of Tydeus. The ending _-is_, in

patronymics, means _daughter of_; as Tyndaris, daughter of Tyndarus

(Tyndareus), Helen; Chryseïs, daughter of Chryses.

_=Interpretative.=_ Of this incident Gladstone, in his primer on Homer,

says: "One of the greatest branches and props of morality for the

heroic age lay in the care of the stranger and the poor.... Sacrifice

could not be substituted for duty, nor could prayer. Such, upon the

abduction of Chryseïs, was the reply of Calchas the Seer: nothing would

avail but restitution."

=78. The Dynasty of Tantalus and its Connections.= (See also Table I.)

TABLE F

=Jupiter=

+-- =Tantalus= (k. of Phrygia)

=Dione

+-- =Niobe=

| ==Amphion=

| +-- 7 sons and 7 daughters

+-- =Pelops=

=Hippodamia

+-- =Atreus=

| =Aërope

| +-- =Agamemnon=

| +-- =Menelaüs=

+-- Thyestes

| +-- Ægisthus

+-- Pittheus (k. of Tr[oe]zen)

+-- Æthra

=Ægeus

+-- Theseus

=Antiope

+-- =Amphion=

==Niobe=

+-- 7 sons and 7 daughters (see above)

=Atlas=

+-- Dione

| ==Tantalus= (k. of Phrygia)

| +-- =Niobe= (see above)

| +-- =Pelops= (see above)

+-- Sterope II

=Mars

+-- [OE]nomaüs

+-- Hippodamia

==Pelops=

+-- =Atreus= (see above)

+-- Thyestes (see above)

+-- Pittheus (k. of Tr[oe]zen) (see above)

Minos II

+-- Aërope

==Atreus=

+-- =Agamemnon= (see above)

+-- =Menelaüs= (see above)

=Pelops.= It is said that the goddess Demeter in a fit of

absent-mindedness ate the shoulder of Pelops. The part was replaced

in ivory when Pelops was restored to life. =Mount Cynthus=: in Delos,

where Apollo and Diana were born.

=_Interpretative._= Max Müller derives =Niobe= from the root _snu_,

or _snigh_, from which come the words for _snow_ in the Indo-European

languages. In Latin and Greek, the stem is _Niv_, hence Nib, Niobe. The

myth, therefore, would signify the melting of snow and the destruction

of its icy offspring under the rays of the spring sun (Sci. Relig.

372). According to Homer (Iliad, 24, 611), there were six sons and

six daughters. After their death no one could bury them, since all

who looked on them were turned to stone. The burial was, accordingly,

performed on the tenth day after the massacre, by Jupiter and the other

gods. This petrifaction of the onlookers may indicate the operation of

the frost. Cox says that Niobe, the snow, compares her golden-tinted,

wintry mists or clouds with the splendor of the sun and moon. Others

look upon the myth as significant of the withering of spring vegetation

under the heats of summer (Preller). The latter explanation is as

satisfactory, for spring is the child of winter (Niobe).

=_Illustrative._= Pope, Dunciad, 2, 311; Lewis Morris, Niobe on Sipylus

(Songs Unsung); Byron's noble stanza on fallen Rome, "The Niobe of

nations! there she stands, Childless and crownless, in her voiceless

woe," etc. (Childe Harold, 4, 79); W. S. Landor, Niobe; Frederick

Tennyson, Niobe. On =Tantalus=, see Lewis Morris, Tantalus, in The Epic

of Hades. On Sir Richard Blackmore, a physician and poor poet, Thomas

Moore writes the following stanza:

'T was in his carriage the sublime

Sir Richard Blackmore used to rhyme,

And, if the wits don't do him wrong,

'Twixt death and epics passed his time,

Scribbling and killing all day long;

Like Ph[oe]bus in his car at ease,

Now warbling forth a lofty song,

Now murdering the young Niobes.

=_In Art._= The restoration of the statue of Niobe, Mount Sipylus; of

extreme antiquity. The St. Petersburg relief (Fig. 61, in text) is

probably the best group. Figs. 60 and 62 are from the ancient marbles

in the Uffizi, Florence. The fragments of the latter group were

discovered in 1583 near the Porta San Giovanni, Rome. The figure of the

mother, clasping the little girl who has run to her in terror, is one

of the most admired of the ancient statues. It ranks with the Laocoön

and the Apollo Belvedere among the masterpieces of art. The following

is a translation of a Greek epigram supposed to relate to this statue:

To stone the gods have changed her, but in vain;

The sculptor's art has made her breathe again.

There is also a fine figure of a daughter of Niobe in the Vatican,

Rome; and there are figures in the Louvre. Reinach in his _Apollo_

attributes the originals to Scopas.

=79. _Interpretative._= The month in which the festival of =Linus= took

place was called the =Lambs' Month=: the days were the =Lambs' Days=,

on one of which was a massacre of dogs. According to some, Linus was a

minstrel, son of Apollo and the Muse Urania, and the teacher of Orpheus

and Hercules.

=80. Centaurs.= Monsters represented as men from the head to the loins,

while the remainder of the body was that of a horse. Centaurs are the

only monsters of antiquity to which any good traits were assigned. They

were admitted to the companionship of men. =Chiron= was the wisest and

justest of the Centaurs. At his death he was placed by Jupiter among

the stars as the constellation Sagittarius (the Archer). =Messenia=:

in the Peloponnesus. =Æsculapius=: there were numerous oracles of

Æsculapius, but the most celebrated was at Epidaurus. Here the sick

sought responses and the recovery of their health by sleeping in the

temple. It has been inferred from the accounts that have come down to

us that the treatment of the sick resembled what is now called animal

magnetism or mesmerism.

Serpents were sacred to Æsculapius, probably because of a superstition

that those animals have a faculty of renewing their youth by a change

of skin. The worship of Æsculapius was introduced into Rome in a

time of great sickness. An embassy, sent to the temple of Epidaurus

to entreat the aid of the god, was propitiously received; and on the

return of the ship Æsculapius accompanied it in the form of a serpent.

Arriving in the river Tiber, the serpent glided from the vessel and

took possession of an island, upon which a temple was soon erected to

his honor.

=_Interpretative._= The healing powers of nature may be here

symbolized. But it is more likely that the family of Asclepiadæ (a

medical clan) invented Asklepios as at once their ancestor and the son

of the god of healing, Apollo.

=_Illustrative._= Milton, Paradise Lost, 9, 506; Shakespeare, Pericles,

III, ii; Merry Wives, II, iii.

=_In Art._= Æsculapius (sculpture), Vatican; also the statue in the

Uffizi, Florence (text, Fig. 63). Thorwaldsen's (sculpture) Hygea

(Health) and Æsculapius, Copenhagen.

=81. _Interpretative._= Perhaps the unceasing and unvarying round of

the sun led to the conception of him as a servant. Max Müller cites the

Peruvian Inca who said that if the sun were free, like fire, he would

visit new parts of the heavens. "He is," said the Inca, "like a tied

beast who goes ever round and round in the same track" (Chips, etc.,

2, 113). Nearly all Greek heroes had to undergo servitude,--Hercules,

Perseus, etc. No stories are more beautiful or more lofty than those

which express the hope, innate in the human heart, that somewhere and

at some time some god has lived as a man among men and for the good of

men. Such stories are not confined to the Greeks or the Hebrews.

=_Illustrative_=. R. Browning, Apollo and the Fates; Edith M. Thomas,

Apollo the Shepherd; Emma Lazarus, Admetus; W. M. W. Call, Admetus.

=83. _Textual._ Alcestis= was a daughter of the Pelias who was killed

at the instigation of Medea (=167=). In that affair Alcestis took no

part. For her family, see Table G. She was held in the highest honor

in Greek fable, and ranked with Penelope and Laodamia, the latter of

whom was her niece. To explain the myth as a physical allegory would be

easy, but is it not more likely that the idea of _substitution_ finds

expression in the myth?--that idea of atonement by sacrifice, which

is suggested in the words of [OE]dipus at Colonus (=185=), "For one

soul working in the strength of love Is mightier than ten thousand to

atone." =Koré= (the daughter of Ceres): Proserpina. =Larissa=: a city

of Thessaly, on the river Peneüs.

=_Illustrative._= Milton's sonnet, On his Deceased Wife:

Methought I saw my late espousèd saint

Brought to me like Alcestis from the grave,

Whom Jove's great son to her glad husband gave,

Rescued from death by force, though pale and faint.

Chaucer, Legende of Good Women, 208 _et seq._; Court of Love (?), 100

_et seq._

=_Poems._= Robert Browning's noble poem, Balaustion's Adventure,

purports to be a paraphrase of the Alcestis of Euripides, but while it

maintains the classical spirit, it is in execution an original poem.

The Love of Alcestis, by William Morris; Mrs. Hemans, The Alcestis of

Alfieri, and The Death Song of Alcestis; W. S. Landor, Hercules, Pluto,

Alcestis, and Admetus; Alcestis: F. T. Palgrave, W. M. W. Call, John

Todhunter (a drama).

=_In Art._= Fig. 64, in text, Naples Museum; also the relief on a Roman

sarcophagus in the Vatican.

=84. _Textual._= This Laomedon was descended, through Dardanus (the

forefather of the Trojan race), from Jupiter and the Pleiad Electra.

For further information about him, see =119=, =161=, and Table I.

=_Interpretative._= Apollo evidently fulfills, under Laomedon, his

function as god of colonization.

=85-86. _Textual._= For Pan, see =43=; for Tmolus, =76=. =Peneüs=: a

river in Thessaly, which rises in Mount Pindus and flows through the

wooded valley of Tempe. =Dædal=: variously adorned, variegated. Midas

was king of Phrygia (see =113=).

=_Illustrative._= The story of King Midas has been told by others with

some variations. Dryden, in the Wife of Bath's Tale, makes Midas' queen

the betrayer of the secret:

This Midas knew, and durst communicate

To none but to his wife his ears of state.

=87. _Illustrative._= M. Arnold, Empedocles (Song of Callicles); L.

Morris, Marsyas, in The Epic of Hades; Edith M. Thomas, Marsyas; E.

Lee-Hamilton, Apollo and Marsyas.

=_In Art._= Raphael's drawing, Apollo and Marsyas (Museum, Venice);

Bordone's Apollo, Marsyas, and Midas (Dresden); the Græco-Roman

sculpture, Marsyas (Louvre); Marsyas (or Dancing Faun), in the Lateran,

Rome.

=89. _Textual._= Daphne was a sister of Cyrene, another sweetheart of

Apollo's (=145=). =Delphi=, in Phocis, and =Tenedos=, an island off

the coast of Asia Minor, near Troy, were celebrated for their temples

of Apollo. The latter temple was sacred to =Apollo Smintheus=, the

Mouse-Apollo, probably because he had rid that country of mice as St.

Patrick rid Ireland of snakes and toads. =Dido=: queen of Carthage

(=252=), whose lover, Æneas, sailed away from her.

=_Interpretative._= Max Müller's explanation is poetic though not

philologically probable. "Daphne, or Ahanâ, means the Dawn. There is

first the appearance of the dawn in the eastern sky, then the rising of

the sun as if hurrying after his bride, then the gradual fading away of

the bright dawn at the touch of the fiery rays of the sun, and at last

her death or disappearance in the lap of her mother, the earth." The

word _Daphne_ also means, in Greek, a _laurel_; hence the legend that

Daphne was changed into a laurel tree (Sci. Relig., 378, 379). Others

construe Daphne as the _lightning_. It is, however, very probable that

the Greeks of the myth-making age, finding certain plants and flowers

sacred to Apollo, would invent stories to explain why he preferred the

laurel, the hyacinth, the sunflower, etc. "Such myths of metamorphoses"

are, as Mr. Lang says, "an universal growth of savage fancy, and spring

from a want of a sense of difference between men and things" (Myth,

Ritual, etc., 2, 206).

=_Illustrative._= Shakespeare, Midsummer Night's Dream, II, ii; Taming

of the Shrew, Induction ii; Troilus and Cressida, I, i; Milton,

Comus, 59, 662; Hymn on the Nativity, II. 176-180, Vacation, 33-40;

Paradise Lost, 4, 268-275; Paradise Regained, 2, 187; Lord de Tabley

(Wm. Lancaster), Daphne, "All day long, In devious forest, Grove, and

fountain side, The god had sought his Daphne," etc.; Lyly, King Mydas;

Apollo's Song to Daphne; Frederick Tennyson, Daphne. Waller applies

this story to the case of one whose amatory verses, though they did not

soften the heart of his mistress, yet won for the poet widespread fame:

Yet what he sung in his immortal strain,

Though unsuccessful, was not sung in vain.

All but the nymph that should redress his wrong,

Attend his passion and approve his song.

Like Ph[oe]bus thus, acquiring unsought praise,

He caught at love and filled his arms with bays.

=_In Art._= Fig. 67, in text; Bernini's Apollo and Daphne, in the Villa

Borghese, Rome (see text, opp. p. 112). Painting: G. F. Watts' Daphne.

=91. _Illustrative._= Hood, Flowers, "I will not have the mad Clytia,

Whose head is turned by the sun," etc.; W. W. Story, Clytie; Mrs. A.

Fields, Clytia. The so-called bust of Clytie (discovered not long ago)

is possibly a representation of Isis.

=93. _Textual._ Elis=: northwestern part of the Peloponnesus.

=Alpheüs=: a river of Elis flowing to the Mediterranean. The river

Alpheüs does in fact disappear under ground, in part of its course,

finding its way through subterranean channels, till it again appears

on the surface. It was said that the Sicilian fountain Arethusa was

the same stream, which, after passing under the sea, came up again in

Sicily. Hence the story ran that a cup thrown into the Alpheüs appeared

again in the Arethusa. It is, possibly, this fable of the underground

course of Alpheüs that Coleridge has in mind in his dream of Kubla Khan:

In Xanadu did Kubla Khan

A stately pleasure-dome decree:

Where Alph, the sacred river, ran

Through caverns measureless to man,

Down to a sunless sea.

In one of Moore's juvenile poems he alludes to the practice of throwing

garlands or other light objects on the stream of Alpheüs, to be carried

downward by it, and afterward reproduced at its emerging, "as an

offering To lay at Arethusa's feet."

=The Acroceraunian Mountains= are in Epirus in the northern part of

Greece. It is hardly necessary to point out that a river Arethusa

arising there could not possibly be approached by an Alpheüs of the

Peloponnesus. Such a criticism of Shelley's sparkling verses would

however be pedantic rather than just. Probably Shelley uses the word

_Acroceraunian_ as synonymous with _steep_, _dangerous_. If so, he

had the practice of Ovid behind him (Remedium Amoris, 739). =Mount

Erymanthus=: between Arcadia and Achaia. The =Dorian= deep: the

Peloponnesus was inhabited by descendants of the fabulous Dorus.

=Enna=: a city in the center of Sicily. =Ortygia=: an island on which

part of the city of Syracuse is built.

=_Illustrative._= Milton, Arcades, 30; Lycidas, 132; Margaret J.

Preston, The Flight of Arethusa; Keats, Endymion, Bk. 2, "On either

side out-gushed, with misty spray, A copious spring."

=95.= See genealogical table =E= for =Actæon=. In this myth Preller

finds another allegory of the baleful influence of the dog days upon

those exposed to the heat. Cox's theory that here we have large masses

of cloud which, having dared to look upon the clear sky, are torn

to pieces and scattered by the winds, is principally instructive as

illustrating how far afield theorists have gone, and how easy it is to

invent ingenious explanations.

=_Illustrative._= Shakespeare, Merry Wives, II, i; III, ii; Titus

Andronicus, II, iii; Shelley, Adonais, 31, "Midst others of less note,

came one frail Form," etc., a touching allusion to himself; A. H.

Clough, Actæon; L. Morris, Actæon (Epic of Hades).

=96. Chios=: an island in the Ægean. =Lemnos=: another island in the

Ægean, where Vulcan had a forge.

=_Interpretative._= The ancients were wont to glorify in fable

constellations of remarkable brilliancy or form. The heavenly

adventures of =Orion= are sufficiently explained by the text.

=_Illustrative._= Spenser, Faerie Queene, 1, 3, 31; Milton, Paradise

Lost, 1, 299, "Natheless he so endured," etc.; Longfellow, Occultation

of Orion; R. H. Horne, Orion; Charles Tennyson Turner, Orion (a sonnet).

=97. Electra.= See genealogical table I. See same table for =Merope=,

the mother of Glaucus and grandmother of Bellerophon (=155=).

=_Illustrative._ Pleiads=: Milton, Paradise Lost, 7, 374; Pope, Spring,

102; Mrs. Hemans has verses on the same subject; Byron, "Like the lost

Pleiad seen no more below."

In modern sculpture, The Lost Pleiad of Randolph Rogers is famous; in

painting, the Pleiades of Elihu Vedder (Fig. 72, in text).

=98. Mount Latmos=: in Caria. Diana is sometimes called =Ph[oe]be=, the

shining one. For the descendants of Endymion, the Ætolians, etc., see

Table I.

=_Interpretative._= According to the simplest explanation of the

=Endymion= myth, the hero is the setting sun on whom the upward rising

moon delights to gaze. His fifty children by Selene would then be the

fifty months of the Olympiad, or Greek period of four years. Some,

however, consider him to be a personification of sleep, the king whose

influence comes over one in the cool caves of Latmos, "the Mount of

Oblivion"; others, the growth of vegetation under the dewy moonlight;

still others, euhemeristically, a young hunter, who under the moonlight

followed the chase, but in the daytime slept.

=_Illustrative._= The Endymion of Keats. Fletcher, in the Faithful

Shepherdess, tells, "How the pale Ph[oe]be, hunting in a grove, First

saw the boy Endymion," etc. Young, Night Thoughts, "So Cynthia,

poets feign, In shadows veiled, ... Her shepherd cheered"; Spenser,

Epithalamion, "The Latmian Shepherd," etc.; Marvel, Songs on Lord

Fauconberg and the Lady Mary Cromwell (chorus, Endymion and Laura); O.

W. Holmes, Metrical Essays, "And, Night's chaste empress, in her bridal

play, Laughed through the foliage where Endymion lay."

=_Poems._= Besides Keats' the most important are by Lowell, Longfellow,

Clough (Epi Latmo, and Selene), T. B. Read, Buchanan, L. Morris (Epic

of Hades). John Lyly's prose drama, Endymion, contains quaint and

delicate songs.

=_In Art._= Fig. 73, in text; Diana and the sleeping Endymion (Vatican).

=_Paintings._= Carracci's fresco, Diana embracing Endymion (Farnese

Palace, Rome); Guercino's Sleeping Endymion; G. F. Watts' Endymion.

=100. _Textual._ Paphos= and =Amathus=: towns in Cyprus, of which the

former contained a temple to Venus. =Cnidos= (Cnidus or Gnidus): a

town in Caria, where stood a famous statue of Venus, attributed to

Praxiteles. =Cytherea=: Venus, an adjective derived from her island

Cythera in the Ægean Sea. =Acheron=, and =Persephone= or =Proserpine=:

see =44-48=. The wind-flower of the Greeks was of bloody hue, like that

of the pomegranate. It is said the wind blows the blossoms open, and

afterwards scatters the petals.

=_Interpretative._= Among the P[oe]nicians Venus is known as Astarte,

among the Assyrians as Istar. The =Adonis= of this story is the

Ph[oe]nician _Adon_, or the Hebrew _Adonai_, 'Lord.' The myth derives

its origin from the Babylonian worship of Thammuz or Adon, who

represents the verdure of spring, and whom his mistress, the goddess

of fertility, seeks, after his death, in the lower regions. With

their departure all birth and fruitage cease on the earth; but when he

has been revived by sprinkling of water, and restored to his mistress

and to earth, all nature again rejoices. The myth is akin to those of

Linus, Hyacinthus, and Narcissus. Mannhardt (Wald-und Feld-kulte, 274),

cited by Roscher, supplies the following characteristics common to such

religious rites in various lands: (1) The spring is personified as a

beautiful youth who is represented by an image surrounded by quickly

fading flowers from the "garden of Adonis." (2) He comes in the early

year and is beloved by a goddess of vegetation, goddess sometimes of

the moon, sometimes of the star of Love. (3) In midsummer he dies,

and during autumn and winter inhabits the underworld. (4) His burial

is attended with lamentations, his resurrection with festivals. (5)

These events take place in midsummer and in spring. (6) The image and

the _Adonis_ plants are thrown into water. (7) Sham marriages are

celebrated between pairs of worshipers.

=_Illustrative._= The realistic Idyl XV of Theocritus contains a

typical Psalm of Adonis, sung at Alexandria, for his resurrection.

Shakespeare's Venus and Adonis; Taming of the Shrew, Induction ii; 1

Henry VI, I, vi. In Milton, Comus, 998:

Beds of hyacinth and roses,

Where young Adonis oft reposes,

Waxing well of his deep wound,

In slumber soft, and on the ground

Sadly sits th' Assyrian queen.

Drummond, The Statue of Adonis; Pope, Summer, 61; Winter, 24; Miscel.

7, 10; Moral Essays, 3, 73; Dunciad, 5, 202. See C. S. Calverley, Death

of Adonis (Theocritus); L. Morris, Adonis (Epic of Hades).

=_In Art._= Fig. 74, in text, from a Roman sarcophagus. The Dying

Adonis, (sculpture), Michelangelo; the Adonis of Thorwaldsen in the

Glyptothek, Munich.

=101-102. _Textual._ Psyche= does not eat anything in Hades, because,

by accepting the hospitality of Proserpina, she would become an inmate

of her household. The scene with the lamp and knife probably indicates

the infringement of some ancient matrimonial custom. =Erebus=: the land

of darkness, Hades. For =Zephyr=, =Acheron=, =Cerberus=, =Charon=,

etc., see Index.

=_Interpretative._= The fable of Cupid and Psyche is usually regarded

as allegorical. The Greek name for _butterfly_ is Psyche, and the same

word means the _soul_. There is no illustration of the immortality of

the soul so striking and beautiful as that of the butterfly, bursting

on brilliant wings from the tomb in which it has lain, after a dull,

groveling, caterpillar existence, to flutter in the blaze of day and

feed on the most fragrant and delicate productions of the spring.

Psyche, then, is the human soul, which is purified by sufferings and

misfortunes, and is thus prepared for the enjoyment of true and pure

happiness. It is probable that the story allegorizes a philosophical

conception concerning _three_ stages of the soul's life: first, a

former existence of bliss; second, an earthly existence of trial;

third, a heavenly future of fruition. Cox, by his usual method, finds

here a myth of the search for the Sun (Eros) by the Dawn (Psyche). Many

of the incidents of the story will be found in modern fairy tales and

romances, such as Beauty and the Beast, Grimm's Twelve Brothers; the

Gaelic stories: The Three Daughters of King O'Hara; Fair, Brown, and

Trembling; The Daughter of the Skies; and the Norse tale--East of the

Sun and West of the Moon. See Cox 1, 403-411.

=_Illustrative._= Thomas Moore, Cupid and Psyche; Mrs. Browning,

Psyche, Paraphrase on Apuleius; L. Morris, in The Epic of Hades;

Frederick Tennyson, Psyche; Robert Bridges, Eros and Psyche. Most

important is W. H. Pater's Marius the Epicurean, which contains the

story as given by Apuleius.

=_In Art._= Psyche is represented as a maiden with the wings of a

butterfly, in the different situations described in the allegory. The

Græco-Roman sculpture of Cupid and Psyche, in the Capitol at Rome, is

of surpassing beauty; so also is Canova's Cupid and Psyche.

=_Paintings._= Raphael's frescoes in the Farnesina Villa, twelve in

number, illustrating the story; François Gérard's Cupid and Psyche;

Paul Thumann's nine illustrations of the story (see Figs. 75, 76, in

text); R. Beyschlag's Psyche with the Urn, Psyche Grieving, and Psyche

and Pan; W. Kray's Psyche and Zephyr; Psyche: by A. de Curzon; by G.

F. Watts, a series of three illustrations by H. Bates. The Charon and

Psyche of E. Neide is a sentimental, simpering conception. A. Zick also

has a Psyche.

=_103._= According to another tradition, =Atalanta's= love was

Milanion. The nuptial vow was ratified by Hera (Juno). This, the

B[oe]otian, Atalanta is sometimes identified with the Arcadian Atalanta

of the Calydonian Hunt. (See =168= and Table D). It is better to

discriminate between them. The genealogy of this Atalanta will be seen

in Tables G and I.

=_Illustrative._= W. Morris, Atalanta's Race (Earthly Paradise); Moore,

Rhymes on the Road, on Alpine Scenery,--an allusion to Hippomenes.

=_In Art._= Painting by E. J. Poynter, Atalanta's Race (Fig. 78, in

text); and Guido Reni's brilliant picture of the same subject.

=104. _Textual_= and =_Illustrative._= The story of =Hero and

Leander= is the subject of a romantic poem by Musæus, a grammarian

of Alexandria, who lived in the fifth century A.D. This author, in

distinction from the mythical poet of the same name, is styled the

Pseudo-Musæus. The _epyllion_ has been translated by Sir Robert

Stapylton, Sir Edwin Arnold, and others. The feat of swimming the

Hellespont was performed by Lord Byron. The distance in the narrowest

part is not more than a mile, but there is a constant dangerous current

setting out from the Sea of Marmora into the Archipelago. For an

allusion to the story see Byron, Bride of Abydos, Canto II. For Byron's

statement concerning the breadth of the water see footnote to "Stanzas

written after swimming from Sestos to Abydos."

=_Poems._ Hero and Leander=: by Leigh Hunt, by Tom Hood, by Moore;

sonnet by D. G. Rossetti, Hero's Lamp (House of Life); a poem not

in later editions of Tennyson, Hero to Leander, 1830; Chapman's

continuation of Marlowe's Hero and Leander.

=_Paintings._= G. von Bodenhausen; F. Keller (Fig. 79, in text).

=105. _Interpretative._= Another illustration of the vivifying

influence of love. Preller deems Pygmalion's story nearly akin to

the Adonis myth. He regards the festival of Venus, during which

the statue of Galatea (or passive love) receives life, as the usual

Adonis-festival.

TABLE G. THE CONNECTIONS OF ATALANTA THE B[OE]OTIAN

=Prometheus=

+-- Deucalion

=Pyrrha

+-- Hellen

+-- Æolus

| +-- Other sons (See Table I)

| +-- Athamas

| | =Nephele

| | +-- =Helle=

| | +-- Phryxus

| | =Ino

| | +-- Melicertes

| | =Themisto

| | +-- =Sch[oe]nus= of B[oe]otia

| | +-- =Atalanta= (Hippomenes)

| +-- Sisyphus (Merope)

| | +-- =Glaucus=

| | +-- =Bellerophon=

| +-- Salmoneus

| | +-- Tyro

| | =Neptune

| | +-- Neleus

| | | +-- Nestor

| | | | +-- Antilochus

| | | +-- Pero

| | | =Bias

| | | +-- Talaüs

| | | +-- Adrastus

| | | +-- Eriphyle

| | | =Amphiaraüs

| | | +-- Alcmæon

| | | | =Arsinoë

| | | +-- Amphilochus

| | +-- Pelias

| | +-- =Evadne=

| | +-- Acastus

| | | +-- =Laodamia=

| | | =Protesilaüs

| | +-- =Alcestis=

| | ==Admetus=

| | =Cretheus

| | +-- Pheres

| | | +-- =Admetus=

| | | ==Alcestis=

| | +-- Æson

| | | +-- =Jason=

| | +-- Amythaon

| | +-- Bias

| | | =Pero

| | | +-- Talaüs (see above)

| | +-- Melampus (the Prophet)

| | +-- Antiphates

| | +-- Oïcles

| | =Hypermnestra

| | +-- Amphiaraüs

| | =Eriphyle

| | +-- Alcmæon (see above)

| | +-- Amphilochus (see above)

| +-- Cretheus

| =Tyro

| +-- Pheres (see above)

| +-- Æson (see above)

| +-- Amythaon (see above)

+-- Dorus

+-- Xuthus

+-- Achæus

+-- Ion

=Epimetheus=

==Pandora=

+-- Pyrrha

=Deucalion

+-- Hellen (see above)

=_Illustrative._= Thomson, Castle of Indolence, 2, 12; R. Buchanan,

Pygmalion the Sculptor; Morris, and Lang, as in text; Pygmalion: by

T. L. Beddoes, by W. C. Bennett. The seventeenth-century satirist,

Marston, wrote a Pygmalion, of no great worth. Frederick Tennyson,

Pygmalion (in Daphne and other Poems); Arthur Henry Hallam, Lines

spoken in the Character of Pygmalion; Thomas Woolner, Pygmalion.

=_In Art._= The Pygmalion series of four scenes, by E. Burne-Jones.

=106. _Textual._ Semiramis=: wife of King Ninus and the queen of

Assyria. Famous for her administrative and military ability. A mythical

character with features of historic probability.

=_Illustrative._= Chaucer, Thisbe, the Martyr of Babylon (Legende of

Good Women). Allusions in Surrey, Of the Death of Sir Thomas Wyatt;

Shakespeare, Midsummer Night's Dream, III, ii; V, i; Merchant of

Venice, V, i. Moore, in the Sylph's Ball, draws a comparison between

Thisbe's wall and the gauze of Davy's safety lamp. Mickle's translation

of the Lusiad (Island of Love).

=_In Art._= Burne-Jones' three paintings, Cupid, Pyramus, and Thisbe

(Fig. 80, in text); E. J. Paupion's painting, Thisbe.

=107. _Textual._ Lesbos= and =Chios=: islands in the Ægean. For

=Sappho= see =298= (3).

=_Illustrative._= The second lyric of Sappho, beginning "Like to the

gods he seems to me, The man that sits reclined by thee," has been

translated by Phillips, by Fawkes, and by recent poets. The reference

is probably to Phaon. Allusions in Pope, Moral Essays, 3, 121; 2,

24; Prologue to Satires, 309, 101; Byron's Isles of Greece, already

referred to. Compare the translation in Catullus, LI.

=_Poems_= on Sappho or on Phaon: Charles Kingsley, Sappho; Buchanan,

Sappho on the Leucadian Rock; Landor,--Sappho, Alcæus, Anacreon,

and Phaon; Frederick Tennyson, Kleïs or the Return (in the Isles of

Greece). See also Lyly's amusing prose drama, Sappho and Phao.

=109. _Textual._ Mount Cyllene=: between Arcadia and Achæa. =Pierian

Mountains=: in Macedonia, directly north of Thessaly; the birthplace of

the Muses. =Pylos=: an ancient city of Elis.

=_Interpretative._= On the supposition that the herds of Apollo are

the bright rays of the sun, a plausible physical explanation of the

relations of =Mercury= (Hermes) to Apollo is the following from Max

Müller: "Hermes is the god of the twilight, who betrays his equivocal

nature by stealing, though only in fun, the herds of Apollo, but

restoring them without the violent combat that (in the analogous Indian

story) is waged for the herds between Indra, the bright god, and Vala,

the robber. In India the dawn brings the light; in Greece the twilight

itself is supposed to have stolen it, or to hold back the light, and

Hermes, the twilight, surrenders the booty when challenged by the

sun-god Apollo" (Lect. on Lang., 2 Ser., 521-522). Hermes is connected

by Professor Müller with the Vedic god _Sarameya_, son of the twilight.

Mercury, or Hermes, as morning or as evening twilight, loves the Dew,

is herald of the gods, is spy of the night, is sender of sleep and

dreams, is accompanied by the cock, herald of dawn, is the guide of

the departed on their last journey. To the conception of twilight, Cox

adds that of _motion_, and explains Hermes as the _air in motion_ that

springs up with the dawn, gains rapidly in force, sweeps before it the

_clouds_ (here the cattle of Apollo), makes soft music through the

trees (lyre), etc. Other theorists make Hermes the Divine Activity, the

god of the ether, of clouds, of storm, etc. Though the explanations of

Professor Müller and the Rev. Sir G. W. Cox are more satisfactory here

than usual, Roscher's _the swift wind_ is scientifically preferable.

=_Illustrative._= See Shelley, Homeric Hymn to Mercury, on which the

text of this section is based, and passages in Prometheus Unbound;

Keats, Ode to Maia.

=_In Art._= The intent of the disguise in Fig. 81 (text) is to deceive

Demeter with a sham sacrifice.

=110-112. _Textual._= See Table E, for Bacchus, Pentheus, etc. =Nysa=

"has been identified as a mountain in Thrace, in B[oe]otia, in Arabia,

India, Libya; and Naxos, as a town in Caria or the Caucasus, and as

an island in the Nile." =Thebes=: the capital of B[oe]otia. =Mæonia=:

Lydia, in Asia Minor. =Dia=: Naxos, the largest of the Cyclades Islands

in the Ægean. =Mount Cithæron=: in B[oe]otia. The =Thyrsus= was a wand,

wreathed with ivy and surmounted by a pine cone, carried by Bacchus

and his votaries. =Mænads= and =Bacchantes= were female followers of

Bacchus. =Bacchanal= is a general term for his devotees.

=_Interpretative._= "=Bacchus= (Dionysus) is regarded by many as

the _spiritual form_ of the new vernal life, the sap and pulse of

vegetation and of the new-born year, especially as manifest in the

vine and juice of the grape."--LANG, Myth, Ritual, etc., 2, 221 (from

Preller 1, 554). The =Hyades= (rain-stars), that nurtured the deity,

perhaps symbolize the rains that nourish sprouting vegetation. He

became identified very soon with the _spirituous effects_ of the vine.

His sufferings may typify the "ruin of the summer year at the hands of

storm and winter," or, perhaps, the agony of the bleeding grapes in the

wine press. The orgies would, according to this theory, be a survival

of the ungoverned actions of savages when celebrating a festival in

honor of the deity of plenty, of harvest home, and of intoxication. But

in cultivated Greece, Dionysus, in spite of the surviving orgiastic

ceremonies, is a poetic incarnation of blithe, changeable, spirited

youth. See Lang, Myth, Ritual, etc., 2, 221-241. That =Rhea= taught

him would account for the Oriental nature of his rites; for Rhea

is an Eastern deity by origin. The opposition of =Pentheus= would

indicate the reluctance with which the Greeks adopted his doctrine

and ceremonial. The Dionysiac worship came from Thrace, a barbarous

clime;--but wandering, like the springtide, over the earth, Bacchus

conquered each nation in turn. It is probable that the Dionysus-Iacchus

cult was one of evangelical enthusiasm and individual cleansing from

sin, of ideals in this life and of personal immortality in the next. By

introducing it into Greece, Pisistratus reformed the exclusive ritual

of the Eleusinian Mysteries.

Of the =Festivals of Dionysus=, the more important in Attica were the

Lesser Dionysia, in December; the Lenæa, in January; the Anthesteria,

or spring festival, in February; and the Great Dionysia, in March.

These all, in greater or less degree, witnessed of the culture and

the glories of the vine, and of the reawakening of the spirits of

vegetation. They were celebrated, as the case might be, with a

sacrifice of a victim in reminiscence of the blood by which the spirits

of the departed were supposed to be nourished, with processions of

women, profusion of flowers, orgiastic songs and dances, or dramatic

representations.

=_Illustrative._ Bacchus=: Milton, Comus, 46. =Pentheus=: Landor, The

Last Fruit of an Old Tree; H. H. Milman, The Bacchanals of Euripides;

Calverley's and Lang's translations of Theocritus, Idyl XXVI; Thomas

Love Peacock, Rhododaphne: The Vengeance of Bacchus; B. W. Procter,

Bacchanalian Song. =Naxos=: Milton, Paradise Lost, 4, 275.

_=In Art.=_ Figs. 31, 82-87, 143, in text.

=113. _Textual._= Hesperides, see Index. =River Pactolus=: in Lydia.

=Midas=: the son of one Gordius, who from a farmer had become king of

Phrygia, because he happened to fulfill a prophecy by entering the

public square of some city just as the people were casting about for a

king. He tied his wagon in the temple of the prophetic deity with the

celebrated =Gordian Knot=, which none but the future lord of Asia might

undo. Alexander the Great undid the knot with his sword.

_=Interpretative.=_ An ingenious, but not highly probable, theory

explains the golden touch of Midas as the rising sun that gilds

all things, and his bathing in Pactolus as the quenching of the

sun's splendor in the western ocean. =Midas= is fabled to have been

the son of the "great mother," Cybele, whose worship in Phrygia

was closely related to that of Bacchus or Dionysus. The =Sileni=

were there regarded as tutelary _genii_ of the rivers and springs,

promoting fertility of the soil. =Marsyas=, an inspired musician in

the service of Cybele, was naturally associated in fable with Midas.

The ass being the favorite animal of Silenus, the ass's ears of Midas

merely symbolize his fondness for and devotion to such habits as

were attributed to the Sileni. The ass, by the way, was reverenced

in Phrygia; the acquisition of ass's ears may therefore have been

originally a glory, not a disgrace.

_=Illustrative.=_ John Lyly, Play of Mydas, especially the song, "Sing

to Apollo, god of day"; Shakespeare, Merchant of Venice, III, ii

(casket scene); Pope, Dunciad, 3, 342; Prologue to Satires, 82; Swift,

The Fable of Midas; J. G. Saxe, The Choice of King Midas (a travesty).

=Gordian Knot=: Henry V, I, i; Cymbeline, II, ii; Milton, Paradise

Lost, 4, 348; Vacation, 90. =Pactolus=: Pope, Spring, 61; allusions

also to the sisters of Phaëthon. =Silenus=, by W. S. Landor.

=114-117. _Textual._ Mount Eryx=, the vale of =Enna=, and =Cyane= are

in Sicily. =Eleusis=: in Attica. For =Arethusa= see Index.

=_Interpretative._= The Italian goddess Ceres assumed the attributes

of the Greek Demeter in 496 B.C. Proserpine signifies the seed-corn

which, when cast into the ground, lies there concealed,--is carried

off by the god of the underworld; when the corn reappears, Proserpine

is restored to her mother. Spring leads her back to the light of day.

The following, from Aubrey De Vere's Introduction to his Search for

Proserpine, is suggestive: "Of all the beautiful fictions of Greek

Mythology, there are few more exquisite than the story of Proserpine,

and none deeper in symbolical meaning. Considering the fable with

reference to the physical world, Bacon says, in his Wisdom of the

Ancients, that by the Rape of Proserpine is signified the disappearance

of flowers at the end of the year, when the vital juices are, as it

were, drawn down to the central darkness, and held there in bondage.

Following up this view of the subject, the Search of her Mother, sad

and unavailing as it was, would seem no unfit emblem of Autumn and

the restless melancholy of the season; while the hope with which the

Goddess was finally cheered may perhaps remind us of that unexpected

return of fine weather which occurs so frequently, like an omen of

Spring, just before Winter closes in. The fable has, however, its moral

significance also, being connected with that great mystery of Joy and

Grief, of Life and Death, which pressed so heavily on the mind of Pagan

Greece, and imparts to the whole of her mythology a profound interest,

spiritual as well as philosophical. It was the restoration of Man, not

of flowers, the victory over Death, not over Winter, with which that

high Intelligence felt itself to be really concerned." In Greece two

kinds of =Festivals=, the =Eleusinia= and the =Thesmophoria=, were held

in honor of Demeter and Persephone. The former was divided into the

lesser, celebrated in February, and the greater (lasting nine days),

in September. Distinction must be made between the Festivals and the

Mysteries of Eleusis. In the Festivals all classes might participate.

Those of the Spring represented the restoration of Persephone to

her mother; those of the Autumn the rape of Persephone. An image of

the youthful Iacchus (Bacchus) headed the procession in its march

toward Eleusis. At that place and in the neighborhood were enacted in

realistic fashion the wanderings and the sufferings of Demeter, the

scenes in the house of Celeus, and finally the successful conclusion of

the search for Persephone. The =Mysteries= of Eleusis were witnessed

only by the initiated, and were invested with a veil of secrecy

which has never been fully withdrawn. The initiates passed through

certain symbolic ceremonies from one degree of mystic enlightenment to

another till the highest was attained. The Lesser Mysteries were an

introduction to the Greater; and it is known that the rites involved

partook of the nature of purification from passion, crime, and the

various degradations of human existence. By pious contemplation of the

dramatic scenes presenting the sorrows of Demeter, and by participation

in sacramental rites, it is probable that the initiated were instructed

in the nature of life and death, and consoled with the hope of

immortality (Preller). On the development of the Eleusinian Mysteries

from the savage to the civilized ceremonial, see Lang, Myth, Ritual,

etc., 2, 275, and Lobeck, Aglaophamus, 133.

The =Thesmophoria= were celebrated by married women in honor of Ceres

(Demeter), and referred to institutions of married life.

That Proserpine should be under bonds to the underworld because she

had partaken of food in Hades accords with a superstition not peculiar

to the Greeks, but to be "found in New Zealand, Melanesia, Scotland,

Finland, and among the Ojibbeways" (Lang, Myth, Ritual, etc., 2, 273).

=_Illustrative._= Aubrey De Vere, as above; B. W. Procter, The Rape of

Proserpine; R. H. Stoddard, The Search for Persephone; G. Meredith,

The Appeasement of Demeter; Tennyson, Demeter and Persephone; Dora

Greenwell, Demeter and Cora; T. L. Beddoes, Song of the Stygian

Naiades; A. C. Swinburne, Song to Proserpine. See also notes under

Persephone, =44=, Demeter and Pluto. =Eleusis=: Schiller, Festival of

Eleusis, translated by N. L. Frothingham; At Eleusis, by Swinburne.

See, for poetical reference, Milton, Paradise Lost, 4, 269, "Not that

fair field Of Enna," etc.; Hood, Ode to Melancholy:

Forgive if somewhile I forget,

In woe to come the present bliss;

As frighted Proserpine let fall

Her flowers at the sight of Dis.

_=In Art.=_ Bernini's Pluto and Proserpine (sculpture); P. Schobelt's

Rape of Proserpine (picture). Eleusinian relief: Demeter, Cora,

Triptolemus (Athens); and other figures, as in text.

=118. _Textual._ Tænarus=: in Laconia. For the crime of =Tantalus=,

see =78=. In Hades he stood up to his neck in water which receded when

he would drink; grapes hanging above his head withdrew when he would

pluck them; while a great rock was forever just about to fall upon him.

=Ixion=, for an insult to Juno, was lashed with serpents or brazen

bands to an ever-revolving wheel. =Sisyphus=, for his treachery to

the gods, vainly rolled a stone toward the top of a hill (see =255=).

For the =Danaïds=, see =150=; =Cerberus=, =44=, =255=. =The Dynast's

bond=: the contract with Pluto, who was Dynast or tyrant of Hades.

=Ferry-guard=: Charon. =Strymon= and =Hebrus=: rivers of Thrace.

=Libethra=: a city on the side of Mount Olympus, between Thessaly and

Macedonia.

=_Interpretative._ The loss of Eurydice= may signify (like the death of

Adonis and the rape of Proserpine) the departure of spring. Max Müller,

however, identifies _Orpheus_ with the Sanskrit _Arbhu_, used as a

name for the Sun (Chips, etc., 2, 127). According to this explanation

the Sun follows Eurydice, "the wide-spreading flush of the dawn who

has been stung by the serpent of night," into the regions of darkness.

There he recovers Eurydice, but while he looks back upon her she fades

before his gaze, as the mists of morning vanish before the glory of the

rising sun (Cox). It might be more consistent to construe _Eurydice_

as the _twilight_, first, of evening which is slain by night, then,

of morning which is dissipated by sunrise. Cox finds in the music of

Orpheus the delicious strains of the breezes which accompany sunrise

and sunset. The story should be compared with that of Apollo and

Daphne, and of Mercury and Apollo. The Irish tale, The Three Daughters

of King O'Hara, reverses the relation of Orpheus and Eurydice. See

Curtin, Myths and Folk-Lore of Ireland, Boston, 1890.

=_Illustrative._ Orpheus=: Shakespeare, Two Gentlemen of Verona,

III, ii; Merchant of Venice, V, i; Henry VIII, III, i (song);

Milton, Lycidas, 58; L'Allegro, 145; Il Penseroso, 105; Pope, Ode

on St. Cecilia's Day (Eurydice); Summer, 81; Southey, Thalaba (The

Nightingale's Song over the Grave of Orpheus).

=_Poems._= Wordsworth, The Power of Music; Shelley, Orpheus, a

fragment; Browning, Eurydice and Orpheus; Wm. Morris, Orpheus and the

Sirens (Life and Death of Jason); L. Morris, Orpheus, Eurydice (Epic of

Hades); Lowell, Eurydice; E. Dowden, Eurydice; W.B. Scott, Eurydice;

E.W. Gosse, The Waking of Eurydice; R. Buchanan, Orpheus, the Musician;

J.G. Saxe, Travesty of Orpheus and Eurydice. On =Tantalus= and

=Sisyphus=, see Spenser, Faerie Queene, 1, 5, 31-35; L. Morris, Epic of

Hades.

_=In Art.=_ A Relief on a tombstone in the National Museum, Naples,

of Mercury, Orpheus, and Eurydice. There is also a copy in Paris of

the marble in the Villa Albani, Rome. (See Fig. 94, text.) Paintings:

Fig. 93, in text, by Sir Frederick Leighton; by Robert Beyschlag; by

G.F. Watts; The Story of Orpheus, a series of ten paintings, by E.

Burne-Jones.

=119-120. _Textual._ Troy=: the capital of Troas in Asia Minor,

situated between the rivers Scamander and Simois. Famous for the

siege conducted by the Greeks under Agamemnon, Menelaüs, etc. (See

Chap. XXII.) =Amymone=: a fountain of Argolis. =Enipeus=: a river of

Macedonia.

_=Interpretative.=_ The monsters that wreak the vengeance of Neptune

are, of course, his destructive storms and lashing waves.

=121.= For genealogy of Pelops, etc., see Tables F and I. For the

misfortunes of the Pelopidæ, see =193=.

_=Illustrative in Art.=_ Pelops and Hippodamia; vase pictures

(Monuments inédits, Rome, and Paris). East pediment, Temple of Zeus,

Olympia.

=123-124. _Textual._ Cephalus=, the son of Mercury (Hermes) and Herse,

is irretrievably confounded with Cephalus, the son of Deïon and

grandson of Æolus I. The former should, strictly, be regarded as the

lover of Aurora (Eos); the latter is the husband of Procris, and the

great-grandfather of Ulysses. (See Tables H, I, and O (4).)

=_Interpretative._ Procris= is the dewdrop (from Greek _Pr[=o]x_,

'dew') which reflects the shining rays of the sun. The "head of the

day," or the rising sun, Cephalus, is also wooed by Aurora, the Dawn,

but flies from her. The Sun slays the dew with the same gleaming darts

that the dew reflects, or gives back to him. According to Preller,

Cephalus is the morning-star beloved alike by Procris, the moon, and

by Aurora, the dawn. The concealment of Procris in the forest and

her death would, then, signify the paling of the moon before the

approaching day. Hardly so probable as the former explanation.

=_Illustrative._ Aurora=: Spenser, Faerie Queene, 1, 2, 7; 1, 4, 16;

Shakespeare, Midsummer Night's Dream, III, ii; Romeo and Juliet, I, i;

Milton, Paradise Lost, 5, 6, "Now Morn, her rosy steps in the eastern

clime Advancing," etc.; L'Allegro, 19; Landor, Gebir, "Now to Aurora

borne by dappled steeds, The sacred gates of orient pearl and gold ...

Expanded slow," etc. =Cephalus= and =Procris=: in Moore, Legendary

Ballads; Shakespeare, Midsummer Night's Dream, "Shafalus and Procrus";

A. Dobson, The Death of Procris.

=_In Art._ Aurora=: Figs. 97 and 99, as in text; paintings, by Guido

Reni, as Fig. 98 in text, and by J.L. Hamon, and Guercino. Procris and

Cephalus, by Turner. L'Aurore et Céphale, painted by P. Guérin, 1810,

engraved by F. Forster, 1821.

=125. _Textual._ Cimmerian= country: a fabulous land in the far

west, near Hades; or, perhaps, in the north, for the people dwell by

the ocean that is never visited by sunlight (Odyssey, 11, 14-19).

Other sons of Somnus are =Icelus=, who personates birds, beasts, and

serpents, and =Phantasus=, who assumes the forms of rocks, streams, and

other inanimate things.

The accompanying table will indicate the connections and descendants of

Aurora.

=_Interpretative._= According to one account, =Ceyx= and =Halcyone=, by

likening their wedded happiness to that of Jupiter and Juno, incurred

the displeasure of the gods. The myth springs from observation of

the habits of the Halcyone-bird, which nests on the strand and is

frequently bereft of its young by the winter waves. The comparison with

the glory of Jupiter and Juno is suggested by the splendid iris hues

of the birds. Halcyone days have become proverbial as seasons of calm.

=Æolus I=, the son of Hellen, is here identified with =Æolus III=, the

king of the winds. According to Diodorus, the latter is a descendant,

in the fifth generation, of the former. (See Genealogical Table I.)

_=Illustrative.=_ Chaucer, The Dethe of Blaunche; E. W. Gosse, Alcyone

(a sonnet in dialogue); F. Tennyson, Halcyone; Edith M. Thomas, The

Kingfisher; Margaret J. Preston, Alcyone. =Morpheus=: see Milton, Il

Penseroso; Pope, Ode on St. Cecilia's Day.

=126-127. _Interpretative._ Tithonus= may be the day in its

ever-recurring circuit of morning freshness, noon heat, final withering

and decay (Preller); or the gray glimmer of the heavens overspread by

the first ruddy flush of morning (Welcker); or, as a solar myth, the

sun in his setting and waning,--_Tithonus_ meaning, by derivation, the

illuminator (Max Müller). The sleep of Tithonus in his ocean-bed, and

his transformation into a grasshopper, would then typify the presumable

weariness and weakness of the sun at night.

=_Illustrative._= Spenser, Epithalamion; Faerie Queene, 1, 11, 51.

=128. _Textual._ Mysia=: province of Asia Minor, south of the

Propontis, or Sea of Marmora. There is some doubt about the

identification of the existing statue with that described by the

ancients, and the mysterious sounds are still more doubtful. Yet there

is not wanting modern testimony to their being still audible. It has

been suggested that sounds produced by confined air making its escape

from crevices or caverns in the rocks may have given some ground for

the story. Sir Gardner Wilkinson, a traveler of the highest authority,

examined the statue itself, and discovered that it was hollow, and that

"in the lap of the statue is a stone, which, on being struck, emits a

metallic sound that might still be made use of to deceive a visitor who

was predisposed to believe its powers."

TABLE H. THE ANCIENT RACE OF LUMINARIES AND WINDS

=Hyperion=

==Thea=

+-- Helios

| =Perseïs

| +-- Æetes

| | =Hecate

| | +-- Medea

| | +-- Absyrtus

| +-- Circe

+-- Selene (Diana)

| =Endymion

+-- =Eos (Aurora)=

=Astræus

+-- Zephyrus W. Winds

+-- Boreas N. "

+-- Notus S. "

+-- Eurus E. "

==Cephalus=

+-- Phosphor (Morning Star)

+-- =Ceyx=

==Halcyone=

==Tithonus=

+-- =Memnon=

Hermes

=Herse

+-- =Cephalus=

==Eos (Aurora)=

+-- Phosphor (Morning Star) (see above)

Æolus I

+-- =Halcyone=

==Ceyx=

=_Interpretative._ Memnon= is generally represented as of dark

features, lighted with the animation of glorious youth. He is king of

the mythical Æthiopians who lived in the land of gloaming, where east

and west met, and whose name signifies "dark splendor." His birth in

this borderland of light and darkness signifies either his existence

as king of an eastern land or his identity with the young sun, and

strengthens the theory according to which his father Tithonus is the

gray glimmer of the morning heavens. The flocks of birds have been

explained as the glowing clouds that meet in battle over the body of

the dead sun.

=_Illustrative._= Milton, Il Penseroso; Drummond, Summons to Love,

"Rouse Memnon's mother from her Tithon's bed"; Akenside, Pleasures

of the Imagination (analogy between Memnonian music and spiritual

appreciation of truth); Landor, Miscellaneous Poems, 59, "Exposed and

lonely genius stands, Like Memnon in the Egyptian sands," etc.

=_In Art._= Fig. 101, from a vase in the Louvre.

=129-130. _Textual._ Doric pillar=: the three styles of pillars

in Greek architecture were Dorian, Ionic, Corinthian (see English

Dictionary). =Trinacria=: Sicily, from its _three promontories_. =Ægon=

and =Daphnis=: idyllic names of Sicilian shepherds (see Idyls of

Theocritus and Virgil's Eclogues). =Naïs=: a water-nymph. For Cyclops,

Galatea, Silenus, Fauns, Arethusa, see Index. Compare, with the

conception of Stedman's poem, Wordsworth's Power of Music.

=_Illustrative._= Ben Jonson, =Pan's= anniversary; Milton, Paradise

Lost, 4. 266, 707; Paradise Regained, 2, 190; Comus, 176, 268;

Pope, Autumn, 81; Windsor Forest, 37, 183; Summer, 50; Dunciad, 3,

110; Akenside, Pleasures of Imagination, "Fair Tempe! haunt beloved

of sylvan Powers," etc.; On Leaving Holland, 1, 2. =_Poems_=:

Fletcher, Song of the Priest of Pan, and Song of Pan (in The Faithful

Shepherdess); Landor, Pan and Pitys, "Pan led me to a wood the other

day," etc.; Landor, Cupid and Pan; R. Buchanan, Pan; Browning, Pan

and Luna; Swinburne, Pan and Thalassius; Hon. Roden Noël, Pan, in the

Modern Faust. Of course Mrs. Browning's Dead Pan cannot be appreciated

unless read as a whole; nor Schiller's Gods of Greece.

=131. Fauns.= Milton, Paradise Lost, 4, 708; 10. 573, 597; 11. 472,

788; Paradise Regained, 2, 257; Mrs. Browning, Flush or Faunus

(sonnet). =Dryads=: Pope, Moral Essays, 4, 94; Winter, 12; Collins,

The Passions; Keats, Nightingale, Psyche. =Satyrs=: Milton, Lycidas;

Dryden, Mrs. Anne Killigrew, 6; Hawthorne, Marble Faun.

=_In Art._ Fauns= (sculpture): The Barberini Faun (Munich); the Drunken

Faun, Sleeping Faun, Faun and Bacchus, and Dancing Faun (National

Museum, Naples); the Dancing Faun (Lateran, Rome); the so-called Faun

of Praxiteles or Marble Faun (Fig. 106 in text--a Satyr--best copy

in the Capitoline, Rome). =Pan= and =Apollo=: Græco-Roman sculpture

(Museum, Naples). =Pan=: Fig. 102, in text; and Fig. 103, from an

original perhaps of the School of Scopas or Praxiteles (Florence).

Silenus and Bacchus (Glyptothek, Munich). =Nymphs= (pictures):

Bouguereau, Nymphs and Satyr, and Nymphs; Burne-Jones, Nymphs;

Giorgione, Nymphs pursued by a Satyr. =Satyrs=: Michelangelo (picture)

(Uffizi, Florence), Mask of a Satyr; Rubens, Satyrs (Munich); Satyrs

(sculpture), relief from theater of Dionysus; Satyr playing a flute

(Vatican); and Figs. 103, 104, and 106-108 in the text.

=132-133. _Textual._ Cephissus=: four rivers in Phocis, Attica, and

Argolis bear this name. The most famous runs near Athens.

=_Illustrative._ Echo=: Chaucer, Romaunt of the Rose, 1468 _et

seq._; Spenser, Prothalamion; Milton, Comus, 237; Collins, The

Passions. =_Poems_=: L. Morris (Epic of Hades), Narcissus; Goldsmith,

On a Beautiful Youth, etc.; Cowper, On an Ugly Fellow; Milton,

Paradise Lost, 4, 449-470 (illus.); and Comus. =_In Art_=: Narcissus

(sculpture), and Fig. 109, in text (Museum, Naples).

=137. Dryope= (poem), by W. S. Landor.

=138. Rh[oe]cus.= Poems by Landor, The Hamadryad; Acon and Rhodope.

=139. Pomona.= Phillips, a poem on Cider. See Index. =_In Art_=: the

painting by J. E. Millais.

=_Interpretative._= The various guises and transformations of Vertumnus

signify the succession of the seasons and the changing characteristics

of each. The name itself implies _turning_, or _change_.

=140. _Textual._= In order to understand the story of Ibycus, it is

necessary to remember, first, that the theaters of the ancients were

immense fabrics, capable of containing from ten to thirty thousand

spectators, and as they were used only on festal occasions and

admission was free to all, they were usually filled. They were without

roofs and open to the sky, and performances were in the daytime.

Secondly, that the appalling representation of the Furies is not

exaggerated in the story. It is fabled that Æschylus, the tragic poet,

having on one occasion represented the Furies in a chorus of fifty

performers, the terror of the spectators was such that many fainted

and were thrown into convulsions, and the magistrates forbade a like

representation for the future (Pollux, 4, 110). Usually the chorus in a

single tragedy consisted of only fifteen performers.

=_Illustrative._= On the =Furies= see =C. 49=. On =Ibycus= see

translation of Schiller's Cranes of Ibycus, by E. A. Bowring.

=141. _Textual._= The adventures of the water-divinities turn largely

on the idea of metamorphosis, which would readily be suggested to

the imaginative mind by contemplation of the ever-changing aspect of

fountain, stream, lake, or ocean. For genealogies of water-deities, see

Table C.

=_Interpretative._= The Cyclops, =Polyphemus=, does not possess much

in common with Steropes, Brontes, and Arges, the offspring of Uranus

and Gæa, save his one eye and his monstrous size. The sons of Gæa are

personifications of thunder and lightning; Polyphemus is the heavy

vapor that rolls its clouds along the hillside. The clouds are the

sheep that he pastures; the sun glowering through the vapor is his

single eye (Cox). More probably he is a mere giant of folklore.

=_Illustrative._= John Gay, Song of Polypheme (in Acis and Galatea); A.

Dobson, A Tale of Polypheme; R. Buchanan, Polypheme's Passion; Shelley,

The Cyclops of Euripides; Translations of Theocritus by Mrs. Browning

and by Calverley; J. S. Blackie, Galatea; B. W. Procter, The Death of

Acis. See also on the =Cyclops=, Shakespeare, Titus Andronicus, IV,

iii; Hamlet, II, ii.

=_In Art._= Fig. 112, text; Carracci's frescoes in the Farnese Palace,

Rome, of Polyphemus, Acis and Galatea; Claude Lorrain's painting,

Evening, Acis and Galatea; Raphael's Triumph of Galatea.

=142. _Textual._= For descent of Glaucus, see Tables G and I. For

Scylla's descent, see Table C. See Keats, Endymion, Bk. 3.

=_Interpretative._= Glaucus is explained by some as the calm gleaming

sea; by others, as the angry sea that reflects the lowering heavens

(see Roscher, p. 1690). Scylla is a personification of treacherous

currents and shallows among jagged cliffs and hidden rocks.

=144.= For genealogy of Ino, see Table E. "Leucothea waked, and with

fresh dews embalmed The Earth" (Milton, Paradise Lost, 11, 135).

=145. Cyrene= was sister to Daphne. Honey must first have been known

as a wild product, the bees building their structures in hollow trees,

or holes in the rocks, or any similar cavity that chance offered. Thus

occasionally the carcass of a dead animal would be occupied by the bees

for that purpose. It was no doubt from some such incident that the

superstition arose that bees were engendered by the decaying flesh of

the animal. Virgil assigns to Proteus the isle of Carpathus, between

Crete and Rhodes; Homer, the isle of Pharus, near the river Nile.

=_Illustrative._= See =C. 50=. Proteus, a poem by R. Buchanan. On

=Aristæus=, Cowper's Task, comparison of the ice-palace of Empress Anne

of Russia with Cyrene's palace. Milton probably thought of Cyrene in

describing Sabrina (Comus). He calls Proteus "the Carpathian Wizard."

=146-147. _Textual._ Acheloüs=: the largest river in Greece, rose in

Mount Lacmon, flowed between Acarnania and Ætolia, and emptied into

the Ionian Sea. It was honored over all Greece. =Calydon=: a city of

Ætolia, famed for the Calydonian Hunt. =Parthenope=, see =238. Ligea=

(Ligeia): the _shrill-sounding maiden_; here a Siren; sometimes a Dryad.

=_Interpretative._= Even among the ancients such stories as this

were explained on a physical basis: the river Acheloüs flows through

the realm of Dejanira, hence Acheloüs loves Dejanira. When the river

winds it is a snake, when it roars it is a bull, when it overflows its

banks it puts forth new horns. Hercules is supposed to have regulated

the course of the stream by confining it within a new and suitable

channel. At the same time the old channel, redeemed from the stream,

subjected to cultivation, and blossoming with flowers, might well be

called a _horn of plenty_. There is another account of the origin of

the Cornucopia. Jupiter at his birth was committed by his mother Rhea

to the care of the daughters of Melisseus, a Cretan king. They fed the

infant deity with the milk of the goat Amalthea. Jupiter, breaking off

one of the horns of the goat, gave it to his nurses, and endowed it

with the power of becoming filled with whatever the possessor might

wish.

=148.= (5)

TABLE I. THE RACE OF IAPETUS, DEUCALION, ATLAS, AND HELLEN

=Uranus=

=Gæa

+-- =Iapetus=

+-- =Epimethius=

| ==Pandora=

| +-- =Pyrrha=

| =Deucalion

| +-- =Hellen=

| +-- =Æolus I=

| | +-- Calyce

| | | +-- =Endymion=

| | | +-- Eurycyde

| | | | +-- Eleüs

| | | | +-- =Augeas=

| | | +-- =Ætolus=

| | | +-- Calydon

| | | | +-- Epicaste

| | | | =Agenor

| | | | +-- Demonice

| | | | +-- Porthaon

| | | | +-- Agrius

| | | | +-- =[OE]neus=

| | | | =Perib[oe]a

| | | | +-- =Tydeus=

| | | | +-- =Diomedes=

| | | | ==Althæa=

| | | | +-- =Meleager=

| | | | +-- =Dejanira=

| | | | (see above)

| | | +-- Pleuron

| | | +-- Agenor

| | | =Epicaste

| | | +-- Demonice (see above)

| | | +-- Porthaon (see above)

| | +-- =Alcyone=

| | | ==Ceyx=

| | +-- Canace

| | | =Neptune

| | | +-- Al[oe]us

| | | =Iphimedia

| | | +-- =Otus=

| | | +-- =Ephialtes=

| | +-- Perieres

| | | +-- Icarius

| | | | +-- =Penelope=

| | | | ==Ulysses=

| | | | +-- =Telemachus=

| | | +-- =Tyndareus=

| | | ==Leda=

| | | +-- =Castor= (see above)

| | | +-- =Clytemnestra= (see above)

| | +-- Mimas

| | | +-- Hippotes

| | | +-- Æolus II

| | | +-- Arne

| | | =Neptune

| | | +-- =Æolus III=

| | | | (King of the Winds)

| | | +-- 6 sons

| | | +-- 6 daughters

| | +-- Magnes

| | | +-- Dictys

| | | +-- Polydectes

| | +-- Deïon

| | | +-- =Cephalus=

| | | | =Procris

| | | | +-- Arcesius

| | | | +-- Laërtes

| | | | +-- =Ulysses=

| | | | ==Penelope=

| | | | +-- =Telemachus= (see above)

| | | +-- Actor

| | | +-- Men[oe]tius

| | | +-- =Patroclus=

| | +-- =Athamas=

| | | =Nephele

| | | +-- =Helle=

| | | +-- =Phryxus=

| | | =Ino

| | | +-- =Melicertes=

| | | =Themisto

| | | +-- Sch[oe]neus of B[oe]tia

| | | +-- =Atalanta=

| | | =Hippomenes

| | +-- =Sisyphus=

| | | ==Merope=

| | | +-- =Glaucus=

| | | +-- =Bellerophon=

| | | +-- Hippolochus

| | | | +-- Glaucus (Iliad, 6, 155)

| | | +-- Laodamia

| | | =Jove

| | | +-- =Sarpedon=

| | +-- Salmoneus

| | | +-- Tyro

| | | =Neptune

| | | +-- Neleus

| | | | +-- =Nestor=

| | | | +-- Pero

| | | | ==Bias=

| | | | +-- Talaüs

| | | | +-- =Adrastus=

| | | | +-- =Eriphyle=

| | | | ==Amphiaraüs=

| | | | +-- =Alcmæon= (see above)

| | | | +-- Amphilochus

| | | | (see above)

| | | +-- =Pelias=

| | | +-- Evadne

| | | +-- Acastus

| | | | +-- =Laodamia=

| | | | =Protesilaüs

| | | +-- =Alcestis=

| | | ==Admetus=

| | | =Cretheus

| | | +-- Pheres

| | | | +-- =Admetus=

| | | | ==Alcestis=

| | | +-- Æson

| | | | +-- =Jason=

| | | +-- Amythaon

| | | +-- =Bias=

| | | | =Pero

| | | | +-- Talaüs (see above)

| | | +-- =Melampus= (the Prophet)

| | | +-- Antiphates

| | | +-- Oïcles

| | | =Hypermnestra

| | | +-- =Amphiaraüs=

| | | (see above)

| | +-- Cretheus

| | =Tyro

| | +-- Pheres (see above)

| | +-- Æson (see above)

| | +-- Amythaon (see above)

| +-- Xuthus

| | +-- Diomede

| | +-- Achæus

| | +-- Ion

| +-- Dorus

| +-- Tectamus

+-- Prometheus

| =Clymene

| +-- Deucalion

| ==Pyrrha=

| +-- =Hellen= (see above)

+-- Men[oe]tius

+-- =Atlas=

=Pleione

+-- =Merope=

| ==Sisyphus=

| +-- =Glaucus= (see above)

+-- Sterope II

| =Mars

| +-- =[OE]nomaüs=

| +-- =Hippodamia=

| =Pelops

| +-- =Atreus=

| | =Aërope

| | +-- =Agamemnon=

| | | ==Clytemnestra=

| | +-- =Menelaüs=

| | =Helen

| +-- Thyestes

| | +-- Ægisthus

| +-- Pittheus

| +-- Æthra

| +-- =Theseus=

+-- Electra

| =Jove

| +-- =Dardanus=

| +-- Ilus I

| +-- Erichthonius

| +-- Tros

| +-- Ilus II

| +-- =Laomedon=

| +-- =Priam=

+-- The other =Pleiades=

=Æthra

+-- =The Hyades=

=Hesperis

+-- =The Hesperides=

=Sterope I

+-- =Maia=

=Jove

+-- Mercury

_=Illustrative.=_ The name _Amalthea_ is given also to the mother of

Bacchus. It is thus used by Milton, Paradise Lost, 4, 275:

That Nyseian isle,

Girt with the river Triton, where old Cham,

Whom Gentiles Ammon call and Libyan Jove,

Hid Amalthea, and her florid son,

Young Bacchus, from his stepdame Rhea's eye.

See also Milton, Paradise Regained, 2, 356.

=148.= For the general genealogy of the race of Inachus, see Table D.

For the general race of Iapetus, Deucalion, Hellen, Æolus, Ætolus,

etc., see below, Table I (based in part on the table given in Roscher,

article _Deukalion_). For the descendants of Agenor, see Table E.

For the houses of Minos and of Labdacus, see Tables L and N. For the

descendants of Belus (house of Danaüs), see Tables I and J; of Cecrops

and Erechtheus, Table M.

(1) =The race of Inachus=

+--------------------------+----------------------+

| | |

The descendants of Pelasgus, of Belus, of Agenor

| |

House of Danaüs Houses of Minos and Labdacus

(2) =The race of Deucalion= (Table G), and of his son, Hellen

The descendants of Æolus, of Dorus, of Xuthus,

| |

| (Achæans and Ionians)

The descendants of Endymion, Perieres,

Deïon, Sisyphus, Cretheus, Athamas

(3) =The descendants of Ætolus=, son of Endymion (Table K)

Houses of Porthaon and Thestius

(4) =The race of Cecrops=

The descendants of Erichthonius

House of Pandion and Ægeus

=149-154. _Textual._ Seriphus=: an island of the Ægean.

The House of Danaüs is as follows:

TABLE J. THE HOUSE OF DANAÜS

=Inachus=

+-- Io

=Jupiter

+-- Epaphus

+-- Libya

=Poseidon (Neptune)

+-- Agenor

| +-- Cadmus

| +-- Europa

+-- Belus of Egypt

+-- Ægyptus

| +-- 49 other sons

| +-- Lynceus

| =Hypermnestra

| +-- Abas

| +-- Acrisius

| +-- =Danaë=

| =Jupiter

| +-- =Perseus=

| ==Andromeda=

| +-- Perses

| +-- Electryon

| | +-- =Alcmene=

| | =Jupiter

| | +-- =Hercules=

| | ==Amphitryon=

| | +-- Iphicles

| +-- Alcæus

| +-- =Amphitryon=

| ==Alcmene=

| +-- Iphicles

| (see above)

+-- =Danaüs=

| +-- Hypermnestra

| | =Lynceus

| | +-- Abas (see above)

| +-- 49 other drs.

+-- Cepheus

=Cassiopea

+-- =Andromeda=

==Perseus=

+-- Perses (see above)

+-- Electryon (see above)

+-- Alcæus (see above)

=_Interpretative._= While =Danaüs= is, in fact, a native mythical hero

of Argos, the story of his arrival from Egypt is probably an attempt

to explain the influence of Egyptian civilization upon the Greeks. The

name _Danaüs_ means _drought_, and may refer to the frequently dry

condition of the soil of Argos. The fifty daughters of Danaüs would

then be the nymphs of the many _springs_ which in season refresh the

land of Argolis. Their suitors, the fifty sons of Ægyptus, would be the

streams of Argolis that in the rainy months threaten to overflow their

banks. But the springs by vanishing during the hot weather deprive the

streams of water and consequently of life. That is to say, when the

sources (Danaïds) choose to stop supplies, the heads of the streams

(the fifty youths of Argolis) are cut off. The reference to Ægyptus and

the sons of Ægyptus would indicate a reminiscence of the Nile and its

tributaries, alternately overflowing and exhausted. The unsuccessful

toil of the Danaïds in Tartarus may have been suggested by the sandy

nature of the Argive soil, and the leaky nature of the springs, now

high, now low. Or it may typify, simply, any incessant, fruitless

labor. The name =Hypermnestra= signifies _constancy_ and _love_.

=Danaë=, the daughter of Acrisius, has been regarded as the dry earth,

which under the rains of the golden springtime bursts into verdure and

bloom; or as the dark depths of the earth; or as the dawn, from which,

shot through with the golden rays of heaven, the youthful Sun is

born.[428] Advocates of the last theory would understand the voyage of

Danaë and Perseus as the tossing of the sunbeams on the waters of the

eastern horizon. The young Sun would next overcome the =Gray-women=,

forms of the gloaming, and then slay with his sword of light the black

cloud of the heavenly vault, the =Gorgon=, whose aspect is night and

death.

The =Grææ= and the Gorgons may, with greater probability, be taken as

personifications of the hidden horrors of the unknown night-enveloped

ocean and the misty horizon whence storms come. In that case the Grææ

will be the gray clouds, and their one tooth (or one eye) the harmless

gleam of the lightning; the Gorgons will be the heavy thunderclouds,

and their petrifying gaze the swift and fatal lightning flash.

But there are still others who find in the Gorgon =Medusa= the wan

visage of the moon, empress of the night, slain by the splendor of

morning. The sandals of Hermes have, accordingly, been explained as

the morning breeze, or even as the chariot of the sun. The invisible

helmet may be the clouds under which the sun disappears. Compare the

cloak of darkness in the Three Daughters of King O'Hara; and the Sword

of Sharpness in the Weaver's Son and the Giant of White Hill (Curtin,

Myths of Ireland).

=Andromeda= is variously deciphered: the tender dawn, which a

storm-cloud would obscure and devour; the moon, which darkness, as

a dragon, threatens to swallow; or some historic character that has

passed into myth. Compare the contests of Perseus and the Dragon,

Apollo and Pytho, Hercules and the Serpents, Cadmus and the Dragon of

Mars, St. George and the Dragon, Siegfried and the Worm (Fafnir). For

a Gaelic Andromeda and Perseus, see The Thirteenth Son of the King of

Erin (Curtin, Myths of Ireland).

Perseus' flight to the =Gardens of the Hesperides= suggests, naturally,

the circuit of the sun toward the flushing western horizon; and, of

course, he would here behold the giant =Atlas=, who, stationed where

heaven and earth meet, sustains upon his shoulders the celestial vault.

The =Doom of Acrisius= reminds one of that of Hyacinthus. The quoit

suggests the rays of the sun, and the name _Acrisius_ may be construed

to mean the "confused or gloomy heavens" (Roscher, Preller, Müller,

etc.).

=_Illustrative._= "The starred Æthiope queen": Cassiopea (Cassiepea,

or Cassiope) became a constellation. The sea-nymphs, however, had her

placed in a part of the heavens near the pole, where she is half the

time held with her head downward to teach her humility.

=Danaë.= Tennyson, Princess, "Now lies the Earth all Danaë to the

stars, And all thy heart lies open unto me." Translations of Simonides'

Lament of Danaë, by W. C. Bryant and by J. H. Frere. =Danaïd=: Chaucer,

Legende of Good Women, 2561 (Hypermnestra and Lynceus).

=Gorgons= and =Medusa=. Spenser, Epithalamion, "And stand astonished

like to those which read Medusa's mazeful head"; Milton, Paradise

Lost, 2. 611, 628; Comus (on Ægis and Gorgon); Drummond, The Statue

of Medusa; Gray, Hymn to Adversity; Armstrong, The Art of Preserving

Health; D. G. Rossetti, Aspecta Medusa; L. Morris, in The Epic

of Hades; Thomas Gordon Hake, The Infant Medusa (a sonnet); E.

Lee-Hamilton, The New Medusa; Lady Charlotte Elliot, Medusa.

=Andromeda.= Milton, Paradise Lost, 3, 559 (the constellation); L.

Morris in The Epic of Hades; W. Morris, Doom of King Acrisius; E.

Dowden, Andromeda (The Heroines).

=Atlas.= Shakespeare, 3 Henry VI, 5, 1; Milton, Paradise Lost, 4, 987;

11, 402, comparison of Satan and Atlas.

=_In Art._= Fig. 116, in text: vase in the Hermitage, St. Petersburg.

Titian's painting, Danaë and the Shower of Gold; Correggio's Danaë.

Ancient sculpture: a Danaïd in the Vatican; the Danaïds on an altar in

the Vatican (Fig. 115, in text).

=Perseus and Andromeda.= Figs. 119-121, and opp. p. 212, in text;

painting by Rubens (Berlin). Sculpture: Benvenuto Cellini's Perseus

(Loggia de' Lanzi, Florence), and Perseus saving Andromeda; Canova's

Perseus (Vatican).

=Medusa.= Græco-Roman sculpture: Head of Dying Medusa (Villa Ludovisi,

Rome); the beautiful Medusa Rondanini in the Glyptothek, Munich (Figs.

117 and 118, text); numerous illustrations of abhorrent Gorgons in

Roscher, p. 1707 _et seq._, from vases, seals, marbles, etc.

=_Modern Painting._= Leonardo da Vinci, Head of Medusa.

=155. _Textual._= The descent of Bellerophon is as follows. (See also

Table I.)

Deucalion = Pyrrha

Hellen

Æolus I Atlas

| |

Sisyphus = Merope (Pleiad)

Glaucus

Bellerophon

=Lycia=: in Asia Minor. The fountain =Hippocrene=, on the Muses'

mountain, Helicon, was opened by a kick from the hoof of Pegasus. This

horse belongs to the Muses, and has from time immemorial been ridden by

the poets. From the story of Bellerophon being unconsciously the bearer

of his own death-warrant, the expression "=Bellerophontic letters="

arose, to describe any species of communication which a person is

made the bearer of, containing matter prejudicial to himself. =Aleian

field=: a district in Cilicia (Asia Minor).

=_Interpretative._ Bellerophon= is either "he who appears in the

clouds," or "he who slays the cloudy monster." In either sense we

have another sun-myth and sun-hero. He is the son of Glaucus, who,

whether he be descended from Sisyphus or from Neptune, is undoubtedly

a sea-god. His horse, sprung from Medusa, the thundercloud, when she

falls under the sword of the sun, is =Pegasus=, the rain-cloud. In

his contest with the =Chimæra= we have a repetition of the combat of

Perseus and the sea monster. Bellerophon is a heavenly knight errant

who slays the powers of storm and darkness. The earth, struck by his

horse's hoof, bubbles into springs (Rapp in Roscher, and Max Müller).

At the end of the day, falling from heaven, this knight of the sun

walks in melancholy the pale fields of the twilight.

=_Illustrative._= Wm. Morris, Bellerophon in Argos and in Lycia

(Earthly Paradise); Longfellow, Pegasus in Pound; Bowring's translation

of Schiller's Pegasus in Harness. Milton (=Bellerophon and Pegasus=),

Paradise Lost, 7, 1; Spenser, "Then whoso will with virtuous wing assay

To mount to heaven, on Pegasus must ride, And with sweet Poet's verse

be glorified"; also Faerie Queene, 1, 9, 21; Shakespeare, Taming of the

Shrew, IV, iv; 1 Henry IV, IV, i; Henry V, III, vii; Pope, Essay on

Criticism, 150; Dunciad, 3, 162; Burns, To John Taylor; Young's Night

Thoughts, Vol. 2 (on Bellerophontic letters). =Hippocrene=: Keats, To a

Nightingale.

=_In Art._= Bellerophon and Pegasus, vase picture (Monuments inédits,

etc., Rome and Paris, 1839-1874); ancient relief, Fig. 122, in text.

=156-162.= For genealogy of Hercules, see Table J. =Rhadamanthus=:

brother of Minos. (See Index.) =Thespiæ= and =Orchomenos=: towns of

B[oe]otia. =Nemea=: in Argolis, near Mycenæ. =Stymphalian= lake: in

Arcadia.

=Pillars of Hercules.= The chosen device of Charles V of Germany

represented the Pillars of Hercules entwined by a scroll that bore his

motto, "Plus Ultra" (still farther). This device, imprinted upon the

German dollar, has been adopted as the sign of the American dollar ($).

_Dollar_, by the way, means _coin of the_ _valley_,--German _Thal_.

The silver of the first dollars came from Joachimsthal in Bohemia,

about 1518. =Hesperides=: the western sky at sunset. The apples may

have been suggested by stories of the oranges of Spain. The =Cacus=

myth is thoroughly latinized, but of Greek origin. The =Aventine=:

one of the hills of Rome. =Colchis=: in Asia, east of the Euxine and

south of Caucasus. =Mysia=: province of Asia Minor, north of Lydia. The

river =Phasis= flows through Colchis into the Euxine. For genealogy

of =Laomedon=, see Table O (5). =Pylos=: it is doubtful what city is

intended. There were two such towns in Elis, and one in Messenia. The

word means _gate_ (see Iliad, 5, 397), and in the case of Hercules

there may be some reference to his journey to the gate or _Pylos_

of Hades. For =Alcestis=, see =83=; for =Prometheus=, =15=; for the

family of Dejanira, Table K. =Alcides=: _i.e._ Hercules, descendant of

Alcæus. =[OE]chalia=: in Thessaly or in Eub[oe]a. =Mount= =[OE]ta=: in

Thessaly. The =Pygmies=: a nation of dwarfs, so called from a Greek

word meaning the cubit, or measure of about thirteen inches, which was

said to be the height of these people. They lived near the sources of

the Nile, or, according to others, in India. Homer tells us that the

cranes used to migrate every winter to the Pygmies' country, where,

attacking the cornfields, they precipitated war. H. M. Stanley, in

his last African expedition, discovered a race of diminutive men that

correspond fairly in appearance with those mentioned by Homer. The

=Cercopes=: the subject of a comic poem by Homer, and of numerous

grotesque representations in Greek literature and sculpture.

=_Interpretative._= All myths of the sun represent that luminary

as struggling against and overcoming monsters, or performing other

laborious tasks in obedience to the orders of some tyrant of inferior

spirit, but of legal authority. Since the life of Hercules is composed

of such tasks, it is easy to class him with other sun-heroes. But to

construe his whole history and all his feats as symbolic of the sun's

progress through the heavens, beginning with the labors performed

in his eastern home and ending with the capture of Cerberus in the

underworld beyond the west, or to construe the subjects of the twelve

labors as consciously recalling the twelve signs of the Zodiac is not

only unwarranted, but absurd. To some extent Hercules is a sun-hero; to

some extent his adventures are fabulous history; to a greater extent

both he and his adventures are the product of generations of æsthetic,

but primitive and fanciful, invention. The same statement holds true

of nearly all the heroes and heroic deeds of mythology. As a matter of

interest, it may be noted that the serpents that attacked Hercules in

his cradle are explained as powers of darkness which the sun destroys,

and the cattle that he tended, as the clouds of morning. His choice

between pleasure and duty at the outset of his career enforces, of

course, a lesson of conduct. His lion's skin may denote the tawny

cloud which the sun trails behind him as he fights his way through the

vapors that he overcomes (Cox). The slaughter of the Centaurs may be

the dissipation of these vapors. His insanity may denote the raging

heat of the sun at noonday. The Nemean lion may be a monster of cloud

or darkness; the Hydra, a cloud that confines the kindly rains, or at

times covers the heavens with numerous necks and heads of vapor. The

Cerynean Stag may be a golden-tinted cloud that the sun chases; and the

Cattle of the Augean stables, clouds that, refusing to burst in rain,

consign the earth to drought and filth. The Erymanthian boar and the

Cretan bull are probably varied forms of the powers of darkness; so

also the Stamphalian (Stymphalian) birds and the giant Cacus. Finally,

the scene of the hero's death is a "picture of a sunset in wild

confusion, the multitude of clouds hurrying hither and thither, now

hiding, now revealing the mangled body of the sun." In this way Cox,

and other interpreters of myth, would explain the series. But while

the explanations are entertaining and poetic, their very plausibility

should suggest caution in accepting them. It is not safe to construe

all the details of a mythical career in terms of any one theory.

The more noble side of the character of Hercules presents itself to

the moral understanding, as worthy of consideration and admiration.

The dramatist Euripides has portrayed him as a great-hearted hero,

high-spirited and jovial, rejoicing in the vigor of manhood, comforting

the downcast, wrestling with Death and overcoming him, restoring

happiness where sorrow had obtained. No grander conception of manliness

has in modern times found expression in poetry than that of the

Hercules in Browning's transcript of Euripides, Balaustion's Adventure.

The Classic Myths in English Literature and in Art (2nd ed.) (1911) Based Originally on Bulfinch's "Age of Fable" (1855) · 第 31 / 34 章

In modern painting, noteworthy are the Diana and her Nymphs of Rubens;