=_Illustrative._= Lang's translation of _The Classic Myths in English Literature and in Art (2nd ed.) (1911) Based Originally on Bulfinch's "Age of Fable" (1855)

Idyl X). The song, like the Linus song, is of early origin among the

laborers in the field. For =Hercules=, see Sir Philip Sidney, Astrophel

and Stella; Spenser, Faerie Queene, 1, 11, 27; Shakespeare, Merchant of

Venice, II, i; III, ii; Taming of the Shrew, I, ii; Coriolanus, IV, i;

Hamlet, I, ii; Much Ado About Nothing, II, i; III, iii; King John, II,

i; Titus Andronicus, IV, ii; Antony and Cleopatra, IV, x; 1 Henry VI,

IV, vii; Pope, Satires, 5, 17; Milton, Paradise Lost, 11, 410 (Geryon).

=Amazons=: Shakespeare, King John, V, ii; Midsummer Night's Dream, II,

ii; 1 Henry VI, I, iv; 3 Henry VI, I, iv; Pope, Rape of the Lock, 3,

67; =Hylas=: Pope, Autumn; Dunciad, 2, 336.

=_Poems._= S. Rogers, on the Torso of Hercules; Browning, Balaustion's

Adventure, and Aristophanes' Apology; L. Morris, Dejaneira (Epic of

Hades); William Morris, The Golden Apples (Earthly Paradise); J. H.

Frere's translation of Euripides' Hercules Furens, and Plumptre's, or

R. Whitelaw's (1883), of Sophocles' Women of Trachis; George Cabot

Lodge, Herakles. =Pygmies=: James Beattie, Battle of the Pygmies and

the Cranes. =Dejanira=: Fragment of Chorus of a "Dejaneira," by M.

Arnold. =Hylas=: Moore (song), "When Hylas was sent with his urn to the

fount," etc.; Bayard Taylor, Hylas; R. C. Rogers, Hylas; translation of

Theocritus, Idyl XIII, by C. S. Calverley, 1869. =Daphnis=: Theocritus,

Idyl I. According to this, Daphnis so loves Naïs that he defies

Aphrodite to make him love again. She does so, but he fights against

the new passion, and dies a victim of the implacable goddess. This song

is sung by Thyrsis. Also on Daphnis, read E. Gosse's poem, The Gifts of

the Muses.

=_In Art._= Fig. 65, of a statue reproducing the style of Scopas; figs.

123-129, and opp. p. 226, in text; Heracles in the eastern pediment

of the Parthenon (?); the Torso Belvedere; Farnese Hercules (National

Museum, Naples); Hercules in the metopes of the Temple of Silenus

(Museum, Palermo); the Infant Hercules strangling a Serpent (antique

sculpture), in the Uffizi at Florence; C. G. Gleyre's painting,

Hercules at the Feet of Omphale (Louvre); Bandinelli (sculpture),

Hercules and Cacus; Giovanni di Bologna (sculpture), Hercules and

Centaur; Amazon (ancient sculpture), in the Vatican; and Figs. 162, 185

and opp. p. 306, in text; Centaur (sculpture), Capitol, Rome; the Mad

Heracles, vase picture (Monuments inédits, Rome and Paris, 1839-1878).

=163-167.= For the descent of Jason from Deucalion, see Table G.

=Iolcos=: a town in Thessaly. =Lemnos=: in the Ægean, near Tenedos.

=Phineus=: a son of Agenor, or of Poseidon. For the family of Medea,

see Table H.

=_Interpretative._ Argo= means _swift_, or _white_, or commemorates the

ship-builder, or the city of Argos. The Argo-myth rests upon a mixture

of traditions of the earliest seafaring and of the course of certain

physical phenomena. So far as the tradition of primitive seafaring is

concerned, it may refer to some half-piratical expedition, the rich

spoils of which might readily be known as the =Golden Fleece=. So far

as the physical tradition is concerned, it may refer to the course of

the year (the =Ram= of the Golden Fleece being the fructifying clouds

that come and go across the Ægean) or to the process of sunrise and

sunset (?): =Helle= being the glimmering twilight that sinks into the

sea; =Phrixus= (in Greek _Phrixos_), the radiant sunlight; the voyage

of the Argo through the Symplegades, the nocturnal journey of the sun

down the west; the oak with the Golden Fleece, a symbol of the sunset

which the dragon of darkness guards; the fire-breathing bulls, the

advent of morning; the offspring of the dragon's teeth, an image of the

sunbeams leaping from eastern darkness. =Medea= is a typical wise-woman

or witch; daughter of Hecate and granddaughter of Asteria, the starry

heavens, she comes of a family skilled in magic. Her aunt Circe was

even more powerful in necromancy than she. The robe of Medea is the

fleece in another form. The death of =Creüsa=, also called Glauce,

suggests that of Hercules (in the flaming sunset?). =Jason= is no more

faithful to his sweetheart than other solar heroes--Hercules, Perseus,

Apollo--are to theirs. The sun must leave the colors and glories,

the twilights and the clouds of to-day, for those of to-morrow. See

Roscher, pp. 530-537. The physical explanation is more than commonly

plausible. But the numerous adventures of the Argonauts are certainly

survivals of various local legends that have been consolidated and

preserved in the artistic form of the myth. Jason, Diáson, is another

Zeus, of the Ionian race, beloved by Medea, whose name, "the counseling

woman," suggests a goddess. Perhaps Medea was a local Hera-Demeter,

degraded to the rank of a heroine. The =Symplegades= may be a

reminiscence of rolling and clashing icebergs; the dove incident occurs

in numerous ancient stories from that of Noah down. If Medea be another

personification of morning and evening twilight, then her dragons

are rays of sunlight that precede her. More likely they are part of

the usual equipage of a witch, symbolizing wisdom, foreknowledge,

swiftness, violence, and Oriental mystery.

=_Illustrative._= The =Argo=, see Theodore Martin's translation of

Catullus, LXIV (Peleus and Thetis), for the memorable launch; Pope, St.

Cecilia's Day. =Jason=: Shakespeare, Merchant of Venice, I, i; III,

ii; =Æson=: Merchant of Venice, V, i; =Absyrtus=: 2 Henry VI, V, ii.

_=Poems=_: Chaucer, Legende of Good Women, 1366 (Ysiphile and Medee);

W. Morris, Life and Death of Jason; Frederick Tennyson, Æson and King

Athamas (in Daphne and Other Poems). Thos. Campbell's translation

of the chorus in Euripides' Medea, beginning "Oh, haggard queen! to

Athens dost thou guide thy glowing chariot." Translations of the Medea

of Euripides have been made by Augusta Webster, 1868; by W. C. Lawton

(Three Dramas of Euripides) 1889; and by Wodhull.

_=In Art.=_ The terra-cotta relief (Fig. 130, text) in the British

Museum; the relief from Naples, now in Vienna (Fig. 131). Figs. 132 and

133 as explained in text. Also the splendid Vengeance of Medea in the

Louvre; relief on a Roman sarcophagus.

=168. _Textual._=

TABLE K. THE DESCENDANTS OF ÆTOLUS (SON OF ENDYMION)

=Endymion=

+-- =Ætolus=

+-- Calydon

| +-- Epicaste

| =Agenor

| +-- Porthaon

| | +-- =[OE]neus=

| | =Perib[oe]a

| | +-- =Tydeus=

| | +-- =Diomedes=

| | ==Althæa=

| | +-- =Meleager=

| | +-- =Dejanira=

| | =Hercules

| +-- Demonice

| =Mars

| +-- Thestius

| +-- =Althæa=

| | ==[OE]neus=

| | +-- =Meleager= (see above)

| | +-- =Dejanira= (see above)

| +-- Plexippus

| +-- Toxeus (?)

| +-- =Leda=

| =Tyndareus (Sparta)

| +-- Castor

| +-- Clytemnestra

| =Jupiter

| +-- Pollux

| +-- Helen

+-- Pleuron

+-- Agenor

=Epicaste

+-- Porthaon (see above)

+-- Demonice (see above)

Also, in general, Table I.

For =Calydon=, see Index. The Arcadian =Atalanta= was descended from

the Arcas who was son of Jupiter and Callisto. (See Table D.)

_=Interpretative.=_ Atalanta is the "unwearied maiden." She is the

human counterpart of the huntress Diana. The story has of course been

allegorically explained, but it bears numerous marks of local and

historic origin.

_=Illustrative.=_ Swinburne, Atalanta in Calydon; Margaret J. Preston,

The Quenched Branch; Shakespeare, 2 Henry IV, II, ii; 2 Henry VI, I, i.

_=In Art.=_ The Meleager (sculpture), in the Vatican; the Roman reliefs

as in text. The original of Fig. 135 is in the Louvre.

=169.= The =Merope= story has been dramatized by Maffei (1713),

Voltaire (1743), Alfieri (1783), and by others.

=170-171.= C. S. Calverley's The Sons of Leda, from Theocritus. =Leda=:

Spenser, Prothalamion; Landor, Loss of Memory. =Talus=: the iron

attendant of Artegal, Spenser, Faerie Queene, 5, 1, 12.

=172. The Descendants of Minos I=. (See also Table D.)

TABLE L

Europa

=Jupiter

+-- =Minos I=

=Itone

+-- Lycastus

+-- =Minos II=

==Pasiphaë=

+-- Crateus

| +-- Aërope

| =Atreus

+-- Phædra

| =Theseus

+-- Ariadne

=Theseus

Helios

=Perseïs

+-- =Pasiphaë=

| ==Minos II=

| +-- Crateus (see above)

| +-- Phædra (see above)

| +-- Ariadne (see above)

+-- Circe

+-- Æetes

=Hecate

+-- =Medea=

Asteria

=Perses

+-- Hecate

=Æetes

+-- =Medea= (see above)

_=Interpretative.=_ Discrimination between Minos I and Minos II is

made in the text, but is rarely observed. =Minos=, according to

Preller, is the solar king and hero of Crete; his wife, =Pasiphaë=,

is the moon (who was worshiped in Crete under the form of a cow);

and the =Minotaur= is the lord of the starry heavens which are his

labyrinth. Others make Pasiphaë, whose name means _shiner upon_ _all_,

the bright heaven; and Minos (in accordance with his name, the Man,

_par_ _excellence_), the thinker and measurer. A lawgiver on earth,

the Homeric Minos readily becomes a judge in Hades. Various fanciful

interpretations, such as storm cloud, sun, etc., are given of the bull.

Cox explains the Minotaur as night, devouring all things. The tribute

from Athens may suggest some early suzerainty in politics and religion

exercised by Crete over neighboring lands. For =Mæander=, see Pope,

Rape of the Lock, 5, 65; Dunciad, 1, 64; 3, 55.

=173. _Interpretative._ Dædalus= is a representative of the earliest

technical skill, especially in wood-cutting, carving, and the plastic

arts used for industrial purposes. His flight from one land to another

signifies the introduction of inventions into the countries concerned.

The fall of Icarus was probably invented to explain the name of the

=Icarian= Sea.

=_Illustrative._ Dædalus=: Chaucer, Hous of Fame, 409. =Icarus=:

Shakespeare, 1 Henry VI, IV, vi; IV, vii; 3 Henry VI, V, vi; poem on

Icarus by Bayard Taylor; travesty by J. G. Saxe.

=_In Art._= Sculpture: Fig. 138, in text: Villa Albani, Rome; Canova's

Dædalus and Icarus; painting by J. M. Vien; also by A. Pisano

(Campanile, Florence).

=174. The descendants of Erichthonius= are as follows:

TABLE M

Jupiter

+-- Tantalus

+-- Pelops

+-- =Pittheus=

| +-- =Æthra=

| ==Ægeus=

| +-- =Theseus=

| =Ariadne d. of Minos II

| =Antiope (Hippolyta)

| +-- =Hippolytus=

| =Phædra d. of Minos II

+-- Atreus

+-- Thyestes

=Erichthonius=

+-- Pandion I

+-- Erechtheus

| +-- Pandion II

| | +-- =Ægeus=

| | ==Æthra=

| | +-- =Theseus= (see above)

| +-- Creüsa

| =Apollo

| +-- =Ion=

| =Xuthus

+-- =Procne=

+-- =Philomela=

=Cecrops= (see =65=). According to one tradition, Cecrops was

autochthonous and had one son, Erysichthon, who died without issue,

and three daughters, Herse, Aglauros, and Pandrosos (personifications

of Dew and its vivifying influences). According to another, he was of

the line of Erichthonius, being either a son of Pandion I, or a son of

Erechtheus and a grandson of Pandion I. Apollodorus makes him father of

Pandion II. He was regarded as founder of the worship of Athene and of

various civic institutions. He is probably a hero of the Pelasgian race.

=Ion.= According to one tradition, the race of Erechtheus became

extinct, save for Ion, a son of Apollo and Creüsa, daughter of

Erechtheus. This son, having been removed at birth, was brought up

in Apollo's temple at Delphi, and, in accordance with the oracle of

Apollo, afterwards adopted by Creüsa and her husband Xuthus (see

the Ion of Euripides). Ion founded the new dynasty of Athens. But,

according to Pausanias and Apollodorus, the dynasty of Erechtheus

was continued by =Ægeus=, who was either a son, or an adopted son,

of Pandion II. By Æthra he became father of Theseus, in whose veins

flowed, therefore, the blood of Pelops and of Erichthonius.

_=Interpretative.=_ The story of =Philomela= was probably invented to

account for the sad song of the nightingale. With her the swallow is

associated as another much loved bird of spring. Occasionally Procne is

spoken of as the nightingale, and Philomela as the swallow, and Tereus

as taking the form of a red-crested hoopoe.

_=Illustrative.=_ Chaucer, Legende of Good Women (Philomene of Athens);

Milton, Il Penseroso; Richard Barnfield, Song, "As it fell upon a day";

Thomson, Hymn on the Seasons; Swinburne, Itylus; Oscar Wilde, The

Burden of Itys; Sir Thomas Noon Talfourd's drama, Ion.

=176-181. Tr[oe]zen=: in Argolis. According to some the Amazonian

wife of Theseus was =Hippolyta=, but her Hercules had already killed.

=Theseus= is said to have united the several tribes of Attica into

one state, of which Athens was the capital. In commemoration of this

important event, he instituted the festival of =Panathenæa=, in honor

of Athene, the patron deity of Athens. This festival differed from the

other Grecian games chiefly in two particulars. It was peculiar to the

Athenians, and its chief feature was a solemn procession in which the

Peplus, or sacred robe of Athene, was carried to the Parthenon, and

left on or before the statue of the goddess. The Peplus was covered

with embroidery, worked by select virgins of the noblest families

in Athens. The procession consisted of persons of all ages and both

sexes. The old men carried olive branches in their hands, and the

young men bore arms. The young women carried baskets on their heads,

containing the sacred utensils, cakes, and all things necessary for the

sacrifices. The procession formed the subject of the bas-reliefs which

embellished the frieze of the temple of the Parthenon. A considerable

portion of these sculptures is now in the British Museum among those

known as the "Elgin Marbles." We may mention here the other celebrated

national games of the Greeks. The first and most distinguished were

the =Olympic=, founded, it was said, by Zeus himself. They were

celebrated at Olympia in Elis. Vast numbers of spectators flocked to

them from every part of Greece, and from Asia, Africa, and Sicily.

They were repeated every fifth year in midsummer, and continued five

days. They gave rise to the custom of reckoning time and dating

events by Olympiads. The first Olympiad is generally considered as

beginning with the year 776 B.C. The =Pythian= games were celebrated

in the vicinity of Delphi, the =Isthmian= on the Corinthian isthmus,

the =Nemean= at Nemea, a city of Argolis. The exercises in these

games were chariot-racing, running, leaping, wrestling, throwing the

quoit, hurling the javelin, and boxing. Besides these exercises of

bodily strength and agility, there were contests in music, poetry, and

eloquence. Thus these games furnished poets, musicians, and authors the

best opportunities to present their productions to the public, and the

fame of the victors was diffused far and wide.

=_Interpretative._ Theseus= is the Attic counterpart of Hercules,

not so significant in moral character, but eminent for numerous

similar labors, and preëminent as the mythical statesman of Athens.

His story may, with the usual perilous facility, be explained as a

solar myth. =Periphetes= may be a storm cloud with its thunderbolts;

the =Marathonian Bull= and the =Minotaur= may be forms of the power

of darkness hidden in the starry labyrinth of heaven. Like Hercules,

Theseus fights with the =Amazons= (clouds, we may suppose, in some form

or other), and, like him, he descends to the underworld. =Ariadne=

may be another twilight-sweetheart of the sun, and, like Medea and

Dejanira, she must be deserted. She is either the "well-pleasing" or

the "saintly." She was, presumably, a local nature-goddess of Naxos and

Crete, who, in process of time, like Medea, sank to the condition of a

heroine. Probably from her goddess-existence the marriage with Bacchus

survived, to be incorporated later with the Attic myth of Theseus. As

the female semblance of Bacchus, she appears to have been a promoter

of vegetation; and, like Proserpina, she alternated between the joy of

spring and the melancholy of winter. By some she is considered to be

connected with star-worship as a moon-goddess.

=_Illustrative._= Chaucer, The Knight's Tale (for Theseus and Ypolita);

The Hous of Fame, 407, and the Legende of Good Women, 1884, for

Ariadne; Shakespeare, Two Gentlemen of Verona, IV, i; Midsummer Night's

Dream, II, ii (Hippolyta and Theseus); Shakespeare and Fletcher, Two

Noble Kinsmen. In Beaumont and Fletcher's Maid's Tragedy, II, ii, a

tapestry is ordered to be worked illustrating Theseus' desertion of

Ariadne. Landor, To Joseph Ablett, "Bacchus is coming down to drink

to Ariadne's love"; Landor, Theseus, and Hippolyta; Mrs. Browning,

Paraphrase on Nonnus (Bacchus and Ariadne), Paraphrase on Hesiod;

Sir Theodore Martin, Catullus, LXIV. Other poems: B. W. Procter, On

the Statue of Theseus; Frederick Tennyson, Ariadne (Daphne and Other

Poems); Mrs. Hemans, The Shade of Theseus; R. S. Ross, Ariadne in

Naxos; J. S. Blackie, Ariadne; W. M. W. Call, Ariadne; Mrs. H. H.

Jackson, Ariadne's Farewell. =Phædra and Hippolytus=: The Hippolytus

of Euripides; Swinburne, Phædra; Browning, Artemis Prologizes; M. P.

Fitzgerald, The Crowned Hippolytus; A. Mary F. Robinson, The Crowned

Hippolytus; L. Morris, Phædra (Epic of Hades). On =Cecrops=: J. S.

Blackie, The Naming of Athens; Erechtheus, by A. C. Swinburne.

=_In Art._= Theseus: the original of Fig. 140, text is in the

Hermitage, St. Petersburg; of Fig. 141 in the Naples Museum. The

Battle with the Amazons frequently recurs in ancient sculpture. The

sleeping Ariadne, of the Vatican, Fig. 142, text. Also the Revels as in

text, Fig. 144. Modern Sculpture: the Theseus of Canova (Volksgarten,

Vienna); the Ariadne of Dannecker. Paintings: Tintoretto's Ariadne and

Bacchus; Teschendorff's Ariadne; Titian's Bacchus and Ariadne.

=182-189. The Royal Family of Thebes.=

TABLE N

Agenor

+-- Cadmus

+-- =Agave=

| =Echion

| +-- Pentheus

| +-- Men[oe]ceus I

| +-- =Creon=

| | +-- Men[oe]ceus II

| | +-- Hæmon

| +-- =Jocasta=

| ==Laïus=

| +-- =[OE]dipus=

| ==Jocasta=

| +-- =Eteocles=

| +-- =Polynices=

| +-- =Antigone=

| +-- Ismene

| ==[OE]dipus=

| +-- =Eteocles= (see above)

| +-- =Polynices= (see above)

| +-- =Antigone= (see above)

| +-- Ismene (see above)

+-- Polydorus

+-- =Labdacus=

+-- =Laïus=

==Jocasta=

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

=_Illustrative._ [OE]dipus=: Plumptre's translation of [OE]dipus the

King, [OE]dipus Coloneus, and Antigone; Shelley, Swellfoot the Tyrant;

E. Fitzgerald, The Downfall and Death of King [OE]dipus; Sir F. H.

Doyle, [OE]dipus Tyrannus; Aubrey De Vere, Antigone; Emerson, The

Sphinx; W. B. Scott, The Sphinx; M. Arnold, Fragment of an "Antigone."

=Tiresias=: by Swinburne, Tennyson, and Thomas Woolner.

=_In Art._= Ancient: [OE]dipus and the Sphinx (in Monuments Inédits,

Rome and Paris, 1839-1878). Modern paintings: Teschendorff's [OE]dipus

and Antigone, Antigone and Ismene, and Antigone; [OE]dipus and the

Sphinx, by J. D. A. Ingres; The Sphinx, by D. G. Rossetti.

Of the stories told in these and the following sections no systematic,

allegorical, or physical interpretations are here given, because (1)

the general method followed by the unravelers of myth has already been

sufficiently illustrated; (2) the attempt to force symbolic conceptions

into the longer folk-stories, or into the artistic myths and epics of

any country, is historically unwarranted and, in practice, is only too

often capricious; (3) the effort to interpret such stories as the Iliad

and the Odyssey must result in destroying those elements of unconscious

simplicity and romantic vigor that characterize the early products of

the creative imagination.

=190-194. Houses concerned in the Trojan War.=

TABLE O

(1) =Family of Peleus= and its connections:

Asopus

+-- Ægina

=Jupiter

+-- =Æacus=

+-- Telamon

| =Erib[oe]a

| +-- Ajax

| =Hesione

| +-- =Teucer=

+-- =Peleus=

=Thetis

+-- =Achilles=

+-- Pyrrhus (Neoptolemus)

=Hermione _d._ of Menelaüs and Helen

Nereus

=Doris

+-- Thetis

==Peleus=

+-- =Achilles= (see above)

(2) =Family of Atreus= and its connections:

Jupiter

+-- Minos I

| +-- Lycastus

| +-- Minos II

| +-- Crateus

| +-- Aërope

| ==Atreus=

| +-- =Agamemnon=

| | ==Clytemnestra=

| | +-- =Iphigenia=

| | +-- =Electra=

| | +-- Chrysothemis

| | +-- =Orestes=

| | =Hermione

| +-- =Menelaüs=

| ==Helen=

| +-- Hermione

| =Neoptolemus

| ==Orestes=

+-- Tantalus

+-- Pelops

=Hippodamia

+-- =Atreus=

| =Aërope

| +-- =Agamemnon= (see above)

| +-- =Menelaüs= (see above)

+-- Thyestes

| +-- =Ægisthus=

+-- Pittheus

+-- Æthra

=Ægeus

+-- Theseus

+-- Hippolytus

(3) =Family of Tyndareus= and its connections:

Æolus

+-- Perieres

+-- Icarius

| +-- =Penelope=

+-- =Tyndareus=

==Leda=

+-- Castor

+-- =Clytemnestra=

Thestius

+-- =Leda=

==Tyndareus=

+-- Castor (see above)

+-- =Clytemnestra= (see above)

=Jupiter

+-- Pollux

+-- =Helen=

==Menelaüs=

==Paris=

Castor and Pollux are called sometimes Dioscuri (sons of Jove),

sometimes Tyndaridæ (sons of Tyndareus). Helen is frequently called

Tyndaris, daughter of Tyndareus.

(4) =Descent of Ulysses and Penelope=:

Hellen

+-- Æolus I

+-- Perieres

| +-- Icarius

| | +-- =Penelope=

| | ==Ulysses=

| | +-- =Telemachus=

| +-- =Tyndareus=

| ==Leda=

| +-- Castor

| +-- =Clytemnestra=

+-- Deïon

+-- Cephalus

| =Procris

| +-- Arcesius

| +-- Laërtes

| +-- =Ulysses=

| ==Penelope=

| +-- =Telemachus= (see above)

+-- Actor

+-- Men[oe]tius

+-- =Patroclus=

(5) =The Royal Family of Troy=:

Iapetus (Titan)

+-- Atlas

+-- Electra (Pleiad)

=Jupiter

+-- =Dardanus=

=Batea

+-- Erichthonius

+-- Tros

+-- Ilus II

| +-- =Laomedon=

| +-- Tithonus

| | =Aurora

| | +-- Memnon

| +-- Hesione

| | =Telamon

| | +-- =Teucer=

| +-- =Priam=

| =Hecuba

| +-- =Hector=

| | =Andromache

| | +-- Astyanax

| +-- =Paris=

| | =[OE]none

| | ==Helen=

| +-- Deiphobus

| +-- Helenus

| +-- Troilus

| +-- Cassandra

| +-- Creüsa

| | ==Æneas=

| | +-- =Ascanius=

| | =Iulus

| +-- Polyxena

+-- Assaracus

+-- Capys

+-- Anchises

=Venus

+-- =Æneas=

=Creüsa

+-- =Ascanius= (see above)

=Teucer=

+-- Batea

==Dardanus=

+-- Erichthonius (see above)

=195.= On the =Iliad= and on =Troy=: Keats, Sonnet on Chapman's

Homer; Milton, Paradise Lost, 1, 578; 9, 16; Il Penseroso, 100;

Hartley Coleridge, Sonnet on Homer; T. B. Aldrich, Pillared Arch and

Sculptured Tower; the Sonnets of Lang and Myers prefixed to Lang,

Leaf, and Myers' translation of the Iliad. On the =Judgment of Paris=:

George Peele, Arraignment of Paris; James Beattie, Judgment of Paris;

Tennyson, Dream of Fair Women; J. S. Blackie, Judgment of Paris. See,

for allusions, Shakespeare, All's Well that Ends Well, I, ii, iii;

Henry V, II, iv; Troilus and Cressida, I, i; II, ii; III, i; Romeo and

Juliet, I, ii; II, iv; IV, i; V, iii. On =Helen=: A. Lang, Helen of

Troy, and his translation of Theocritus, Idyl XVIII; Landor, Menelaüs

and Helen; John Todhunter, Helena in Troas; G. P. Lathrop, Helen at the

Loom (_Atlantic Monthly_, Vol. 32, 1873). See Shakespeare, Midsummer

Night's Dream, I, i; III, ii; IV, i; All's Well that Ends Well, I, i,

iii; II, ii; Romeo and Juliet, II, iv; Troilus and Cressida, II, ii;

Marlowe, Faustus (Helen appears before Faust).

=_In Art._ Homer=: the sketch by Raphael (in the Museum, Venice).

=Paris and= =Helen.= Paintings: Helen of Troy, Sir Frederick Leighton;

Paris and Helen, by David; The Judgment of Paris, by Rubens; by

Watteau. Sculpture: Canova's Paris. Crayons: D. G. Rossetti's Helen;

see also Fig. 150, as in text (ancient relief, Naples).

=196. Iphigenia and Agamemnon.= Sometimes, in accordance with Goethe's

practice, the name _Tauris_ is given to the land of the Tauri. To be

correct one should say, "Iphigenia among the Tauri," or "Taurians."

(See Index.) Iphigenia and Agamemnon by W. S. Landor; also his Shades

of Agamemnon and Iphigenia; Dryden, Cymon and Iphigenia; Richard

Garnett, Iphigenia in Delphi; Sir Edwin Arnold, Iphigenia; W. B. Scott,

Iphigenia at Aulis. Any translations of Goethe's Iphigenia in Tauris,

and of Euripides' Iphigenia in Aulis and Among the Tauri; also of

Æschylus' Agamemnon,--such as those by Milman, Anna Swanwick, Plumptre,

E. A. Morshead, J. S. Blackie, E. Fitzgerald, and Robert Browning.

For Agamemnon, see Shakespeare, Troilus and Cressida, I, iii; II, i,

iii; III, iii; IV, v; V, i; and James Thomson, Agamemnon (a drama).

The =Troilus and= =Cressida= story is not found in Greek and Latin

classics. Shakespeare follows Chaucer's Troilus and Criseyde, which is

based upon the Filostrato and the Filocolo of Boccaccio. =Pandarus=:

the character of this name, uncle of Cressida, to be found in Lydgate,

Chaucer's Troilus and Criseyde, and Shakespeare's play of the same

title, enjoys an unsavory reputation for which medieval romance is

responsible. On =Menelaüs=, see notes to Helen and Agamemnon.

=_In Art._ Iphigenia.= Paintings: Fig. 152, text (Museum, Naples); E.

Hübner; William Kaulbach; E. Teschendorff.

=199. Achilles.= Chaucer, Hous of Fame, 398; Dethe of Blaunche, 329;

Landor, Peleus and Thetis; Robert Bridges, Achilles in Scyros; Sir

Theodore Martin, translation of Catullus, LXIV; translation by C. M.

Gayley as quoted in text. See also Shakespeare, Troilus and Cressida; 2

Henry VI, V, i; Love's Labour's Lost, V, ii; Milton, Paradise Lost, 9,

15.

=_In Art._= In general, Figs. 151, 153, 155-156, 159-162, in text;

Wiertz, Fight for the Body of Achilles (Wiertz Museum, Brussels);

Burne-Jones, The Feast of Peleus (picture).

=204. Ajax.= Plumptre, Ajax of Sophocles; Shakespeare, Troilus and

Cressida, Love's Labour's Lost, IV, iii; V, ii; Taming of the Shrew,

III, i; Antony and Cleopatra, IV, ii; King Lear, II, ii; Cymbeline, IV,

ii; George Crabbe, The Village.

_=In Art.=_ The ancient sculpture, Ajax (or Menelaüs) of the Vatican.

Modern sculpture, The Ajax of Canova. Flaxman's outline drawings for

the Iliad.

=207. Hector and Andromache.= Mrs. Browning, Hector and Andromache, a

paraphrase of Homer; C. T. Brooks, Schiller's Parting of Hector and

Andromache. See also Shakespeare, Troilus and Cressida; Love's Labour's

Lost, V, ii; 2 Henry IV, II, iv; Antony and Cleopatra, IV, viii.

_=In Art.=_ Flaxman's outline sketches of the Fight for the Body of

Patroclus, Hector dragged by Achilles, Priam supplicating Achilles,

Hector's Funeral, Andromache fainting on the Walls of Troy; Canova's

Hector (sculpture); Thorwaldsen's Hector and Andromache (relief) (Fig.

154, text). Hector, Ajax, Paris, Æneas, Patroclus, Teucer, etc., among

the Ægina Marbles (Glyptothek, Munich). The Pasquino group (Fig. 158,

in text) is from a copy in the Pitti, Florence.

=216. Priam and Hecuba.= The translations of Euripides' Hecuba and

Troades; Shakespeare, Troilus and Cressida; Coriolanus, I, iii;

Cymbeline, IV, ii; Hamlet, II, ii; 2 Henry IV, I, i.

=219-220. Polyxena.= W. S. Landor, The Espousals of Polyxena.

=Philoctetes=: translation of Sophocles by Plumptre; sonnet by

Wordsworth; drama by Lord de Tabley.

=221. [OE]none.= See A. Lang, Helen of Troy; W. Morris, Death of Paris

(Earthly Paradise); Landor, Corythos (son of [OE]none), the Death of

Paris, and [OE]none, Tennyson, [OE]none, also the Death of [OE]none,

which is not so good.

The pathetic story of the death of Corythus, the son of [OE]none

and Paris, at the hands of his father, who was jealous of Helen's

tenderness toward the youth, is a later myth.

=223. Sinon.= Shakespeare, 3 Henry VI, III, ii; Cymbeline, III, iv;

Titus Andronicus, V, iii.

=224. Laocoön.= L. Morris, in The Epic of Hades. See Frothingham's

translation of Lessing's Laocoön (a most important discussion of

the Laocoön group and of principles of æsthetics). See also Swift's

Description of a City Shower.

_=In Art.=_ The original of the celebrated group (statuary) of Laocoön

and his children in the embrace of the serpents is in the Vatican in

Rome. (See text, opp. p. 310.)

=226. Cassandra.= Chaucer, Troilus and Criseyde; Dethe of Blaunche,

1246. Poems by W. M. Praed and D. G. Rossetti. See Troilus and

Cressida, I, i; II, ii; V, iii; Lord Lytton's translation of Schiller's

Cassandra.

_=In Art.=_ The Cassandra of Dante Gabriel Rossetti (in ink).

=228-230. Electra and Orestes.= Translations of the Electra of

Sophocles, the Libation-pourers and the Eumenides of Æschylus, by

Plumptre; and of the Orestes and Electra of Euripides, by Wodhull. Lord

de Tabley, Orestes (a drama); Byron, Childe Harold, 4; Milton, sonnet,

"The repeated air Of sad Electra's poet," etc.

=_In Art._= Græco-Roman sculpture: Fig. 169, in text, Orestes and

Pylades find Iphigenia among the Taurians. Pompeian Fresco; Orestes and

Electra (Villa Ludovisi, Rome); Orestes and Electra (National Museum,

Naples). Vase-paintings: Figs. 167-168 in text; also Orestes slaying

Ægisthus; Orestes at Delphi; Purification of Orestes. Modern paintings:

Electra, by Teschendorff and by Seifert.

=Clytemnestra=, The Death of, by W. S. Landor; Clytemnestra, by L.

Morris, in The Epic of Hades.

=Troy=: Byron, in his Bride of Abydos, thus describes the appearance of

the deserted scene where once stood Troy:

The winds are high, and Helle's tide

Rolls darkly heaving to the main;

And Night's descending shadows hide

That field with blood bedew'd in vain,

The desert of old Priam's pride;

The tombs, sole relics of his reign,

All--save immortal dreams that could beguile

The blind old man of Scio's rocky isle!

On Troy the following references will be valuable: H. W. Acland, The

Plains of Troy, 2 vols. (London, 1839); H. Schliemann, Troy and its

Remains (London, 1875); Ilios (London, 1881); Troja, results of latest

researches on the site of Homer's Troy (London, 1882); W. J. Armstrong,

_Atlantic Monthly_, Vol. 33, p. 173 (1874), Over Ilium and Ida; R. C.

Jebb, _Jour. Hellenic Studies_, Vol. 2, p. 7, Homeric and Hellenic

Ilium; _Fortn. Review_, N. S. Vol. 35, p. 4331 (1884), Homeric Troy.

=231-244.= The =Odyssey=: Lang, Sonnet, "As one that for a weary space

has lain," prefixed to Butcher and Lang's Odyssey. Translations by

W. Morris, G. H. Palmer, Chapman, Bryant, Pope. =Ulysses=: Tennyson;

Landor, The Last of Ulysses. See also Shakespeare, Troilus and

Cressida; 3 Henry VI, III, ii; Coriolanus, I, iii; Milton, Paradise

Lost, 2, 1019; Comus, 637; R. Buchanan, Cloudland; Pope, Rape of the

Lock, 4, 182; Stephen Phillips, Ulysses; Robert Bridges, The Return of

Ulysses; R. C. Rogers, Odysseus at the Mast, Blind Polyphemus, Argus.

=_In Art._= Statuettes, vase-paintings, and reliefs as in text, Figs.

170-180; also Ulysses summoning Tiresias (in Monuments Inédits, Rome

and Paris, 1839-1878); Meeting with Nausicaa (Gerhard's vase pictures);

outline drawings of Ulysses weeping at the song of Demodocus, boring

out the eye of Polyphemus, Ulysses killing the suitors, Mercury

conducting the souls of the suitors, Ulysses and his dog, etc., by

Flaxman.

=Penelope=: Poems by R. Buchanan, E. C. Stedman, and W. S. Landor. In

ancient sculpture, the Penelope in the Vatican. Modern painting by C.

F. Marchal. In crayons by D. G. Rossetti.

=Circe=: M. Arnold, The Strayed Reveller; Hood, Lycus, the Centaur;

D. G. Rossetti, The Wine of Circe; Saxe, The Spell of Circe. See

Shakespeare, Comedy of Errors, V, i; 1 Henry VI, V, iii; Milton, Comus,

50, 153, 253, 522; Pope, Satire 8, 166; Cowper, Progress of Error; O.

W. Holmes, Metrical Essay; Keats, Endymion, "I sue not for my happy

crown again," etc. Circe and the Companions of Ulysses, a painting by

Briton Rivière. Circe, in crayons.

On =Sirens= and =Scylla= see =C. 50-52=; S. Daniel, Ulysses and the

Siren; Lowell, The Sirens. Scylla and Charybdis have become proverbial

to denote opposite dangers besetting one's course. Siren, in crayons;

Sea-Spell, in oil, D. G. Rossetti.

=Calypso=: Pope, Moral Essays, 2, 45; poem by Edgar Fawcett (_Putnam's

Mag._, 14, 1869). Fénelon, in his romance of Telemachus, has given us

the adventures of the son of Ulysses in search of his father. Among

other places which he visited, following on his father's footsteps, was

Calypso's isle; as in the former case, the goddess tried every art to

keep the youth with her, and offered to share her immortality with him.

But Minerva, who, in the shape of Mentor, accompanied him and governed

all his movements, made him repel her allurements. Finally, when no

other means of escape could be found, the two friends leaped from a

cliff into the sea and swam to a vessel which lay becalmed offshore.

Byron alludes to this leap of Telemachus and Mentor in the stanza of

Childe Harold beginning "But not in silence pass Calypso's isles" (2,

29). Calypso's isle is said to be Goza.

Homer's description of the ships of the Phæacians has been thought to

look like an anticipation of the wonders of modern steam navigation.

See the address of Alcinoüs to Ulysses, promising "wondrous ships,

self-moved, instinct with mind," etc. (Odyssey, 8).

Lord Carlisle, in his Diary in the Turkish and Greek Waters, thus

speaks of Corfu, which he considers to be the ancient Phæacian island:

"The sites explain the Odyssey. The temple of the sea-god could not

have been more fitly placed, upon a grassy platform of the most elastic

turf, on the brow of a crag commanding harbor, and channel, and ocean.

Just at the entrance of the inner harbor there is a picturesque rock

with a small convent perched upon it, which by one legend is the

transformed pinnace of Ulysses.

"Almost the only river in the island is just at the proper distance

from the probable site of the city and palace of the king, to justify

the princess Nausicaa having had resort to her chariot and to luncheon

when she went with the maidens of the court to wash their garments."

=245-254.= Poems: Tennyson, To =Virgil=, of which a few stanzas are

given in the text; R. C. Rogers, Virgil's Tomb. =Æneas= and =Anchises=:

Chaucer, Hous of Fame, 165; 140-470 (pictures of Troy); Shakespeare,

Troilus and Cressida; Tempest, II, i; 2 Henry VI, V, ii; Julius Cæsar,

I, ii; Antony and Cleopatra, IV, ii; Hamlet, II, ii; Waller, Panegyric

to the Lord-Protector (The Stilling of Neptune's Storm).

=Dido=: Chaucer, Legende of Good Women, 923; Sir Thomas Wyatt, The Song

of Iopas (unfinished); Marlowe, Tragedy of Dido, Queen of Carthage;

Shakespeare, Antony and Cleopatra, IV, xii; Titus Andronicus, II, iii;

Hamlet, II, ii. =Palinurus=: see Scott's Marmion, Introd. to Canto I

(with reference to the death of William Pitt).

The =Sibyl=. The following legend of the Sibyl is fixed at a later

date. In the reign of one of the Tarquins there appeared before the

king a woman who offered him nine books for sale. The king refused to

purchase them, whereupon the woman went away and burned three of the

books, and returning offered the remaining books for the same price

she had asked for the nine. The king again rejected them; but when the

woman, after burning three books more, returned and asked for the three

remaining the same price which she had before asked for the nine, his

curiosity was excited, and he purchased the books. They were found to

contain the destinies of the Roman state. They were kept in the temple

of Jupiter Capitolinus, preserved in a stone chest, and allowed to be

inspected only by especial officers appointed for that duty, who on

great occasions consulted them and interpreted their oracles to the

people.

There were various Sibyls; but the Cumæan Sibyl, of whom Ovid and

Virgil write, is the most celebrated of them. Ovid's story of her

life protracted to one thousand years may be intended to represent

the various Sibyls as being only reappearances of one and the same

individual.

=_Illustrative._= Young, in the Night Thoughts, alludes to the Sibyl.

See also Shakespeare, 1 Henry VI, II, ii; Othello, III, iv.

=_In Art._= Figs. 181-183, in text. The Virgil of Raphael (drawing

in the Museum, Venice); the Æneas of the Ægina Marbles (Glyptothek,

Munich). P. Guérin's painting, Æneas at the Court of Dido; Raphael,

Dido; Turner, Dido building Carthage. The Sibyls in Michelangelo's

frescoes in the Sistine Chapel, Rome; the Cumæan Sibyl of Domenichino;

Elihu Vedder's Cumæan Sibyl.

=255-257. Rhadamanthus=: E. W. Gosse, The Island of the Blest.

=Tantalus=: Cowper, The Progress of Error; L. Morris, Epic of Hades;

W. W. Story, Tantalus. =Ixion=: poem by Browning in Jocoseria. See

Pope, St. Cecilia's Day, 67; Rape of the Lock, 2, 133. =Sisyphus=: Lord

Lytton, Death and Sisyphus; L. Morris, in The Epic of Hades.

=The teachings of Anchises= to Æneas, respecting the nature of the

human soul, were in conformity with the doctrines of the Pythagoreans.

Pythagoras (born about 540 B.C.) was a native of the island of Samos,

but passed the chief portion of his life at Crotona in Italy. He is

therefore sometimes called "the Samian," and sometimes "the philosopher

of Crotona." When young he traveled extensively and is said to have

visited Egypt, where he was instructed by the priests, and afterwards

to have journeyed to the East, where he visited the Persian and

Chaldean Magi, and the Brahmins of India. He established himself at

Crotona, and enjoined sobriety, temperance, simplicity, and silence

upon his throngs of disciples. _Ipse dixit_ (Pythagoras said so) was to

be held by them as sufficient proof of anything. Only advanced pupils

might question. Pythagoras considered _numbers_ as the essence and

principle of all things, and attributed to them a real and distinct

existence; so that, in his view, they were the elements out of which

the universe was constructed.

As the numbers proceed from the monad or unit, so he regarded the pure

and simple essence of the Deity as the source of all the forms of

nature. Gods, demons, and heroes are emanations of the Supreme, and

there is a fourth emanation, the human soul. This is immortal, and when

freed from the fetters of the body, passes to the habitation of the

dead, where it remains till it returns to the world, to dwell in some

other human or animal body; at last, when sufficiently purified, it

returns to the source from which it proceeded. This doctrine of the

transmigration of souls (metempsychosis), which was originally Egyptian

and connected with the doctrine of reward and punishment of human

actions, was the chief reason why the Pythagoreans killed no animals.

Ovid represents Pythagoras saying that in the time of the Trojan War he

was Euphorbus, the son of Panthus, and fell by the spear of Menelaüs.

Lately, he said, he had recognized his shield hanging among the

trophies in the Temple of Juno at Argos.

On =Metempsychosis=, see the essay in the Spectator (No. 343) on the

Transmigration of Souls; Shakespeare, Merchant of Venice (Gratiano to

Shylock).

=Harmony of the Spheres.= The relation of the notes of the musical

scale to numbers, whereby harmony results from proportional vibrations

of sound, and discord from the reverse, led Pythagoras to apply

the word _harmony_ to the visible creation, meaning by it the just

adaptation of parts to each other. This is the idea which Dryden

expresses in the beginning of his song for St. Cecilia's Day, "From

harmony, from heavenly harmony, This everlasting frame began."

In the center of the universe (as Pythagoras taught) there was a

central fire, the principle of life. The central fire was surrounded

by the earth, the moon, the sun, and the five planets. The distances

of the various heavenly bodies from one another were conceived to

correspond to the proportions of the musical scale. See Merchant of

Venice, Act V (Lorenzo and Jessica), for the Music of the Spheres; also

Milton, Hymn on the Nativity. See Longfellow's Verses to a Child, and

Occultation of Orion, for Pythagoras as inventor of the lyre.

=260. Camilla.= Pope, illustrating the rule that "the sound should be

an echo to the sense," says:

When Ajax strives some rock's vast weight to throw,

The line, too, labors and the words move slow;

Not so when swift Camilla scours the plain,

Flies o'er th' unbending corn, or skims along the main.

Essay on Criticism.

=268-281.= On Norse mythology, see R. B. Anderson, Norse Mythology,

or the Religion of our Forefathers (Chicago, 1875); Anderson, Horn's

Scandinavian Literature (Chicago, S. C. Griggs & Co., 1884); Dasent,

Popular Tales from the Norse (transl. from P. C. Asbjörnsen, New

York, 1859); Thorpe's translation of Sæmund's Edda, 2 vols. (London,

1866); Icelandic Poetry or Edda of Sæmund, transl. into English

verse (Bristol, A. S. Cottle, 1797); Augusta Larned, Tales from

the Norse Grandmother (New York, 1881); H. W. Mabie, Norse Stories

(Boston, 1882). A critical edition of the Elder Edda is Sophus Bugge's

(Christiania, 1867). The Younger Edda: Edda Snorra Sturlasonar, 2

vols. (Hafniae, 1848-1852); by Thorleif Jonsson (Copenhagen, 1875);

Translation: Anderson's Younger Edda (Chicago, S. C. Griggs & Co.,

1880) (see references at foot of pp. 458-461 and in =C. 282=).

Illustrative poems: Gray, Ode on the Descent of Odin, Ode on the Fatal

Sisters; Matthew Arnold, Balder Dead; Longfellow, Tegnér's Drapa, on

Balder's Death; William Morris, The Funeral of Balder, in The Lovers

of Gudrun (Earthly Paradise); Robert Buchanan, Balder the Beautiful;

W. M. W. Call, Balder; and Thor. Sydney Dobell's Balder does not

rehearse the Norse myth. It is a poem dealing with the spiritual

maladies of the time, excellent in parts, but confused and uneven.

Longfellow's Saga of King Olaf (the Musician's Tale, Wayside Inn) is

from the Heimskri[.n]gla, or Book of Stories of the Kings, edited by

Snorri Sturlason. Many of the cantos of the Saga throw light on Norse

mythology. See also the Hon. Roden Noël's Ragnarok (in the Modern

Faust), for an ethical modification of the ancient theme.

=Anses= (the Asa-folk, Æsir, etc.). The word probably means _ghost_,

_ancestral_ _spirit_,--of such kind as the Manes of the Romans. The

derivation may be from the root _AN_, 'to breathe,' whence _animus_

(Vigfusson and Powell, Corp. Poet. Bor. 1, 515). According to Jordanes,

the Anses were demigods, ancestors of royal races. The main cult of the

older religion was ancestor-worship, Thor and Woden being worshiped by

a tribe, but each family having its own _anses_, or deified ancestors

(Corp. Poet. Bor. 2, 413). =Elf= was another name used of spirits

of the dead. Later it sinks to the significance of "fairy." Indeed,

say Vigfusson and Powell, half our ideas about fairies are derived

from the heathen beliefs as to the spirits of the dead, their purity,

kindliness, homes in hillocks (cf. the Irish "folk of the hills,"

_Banshees_, etc.) (Corp. Poet. Bor. 2, 418).

The =Norse Religion= consists evidently of two distinct strata: the

lower, of gods, that are personifications of natural forces, or deified

heroes, with regular sacrifices, with belief in ghosts, etc.; the

upper, of doctrines introduced by Christianity. To the latter belong

the Last Battle to be fought by Warrior-Angels and the Elect against

the Beast, the Dragon, and the Demons of Fire (Corp. Poet. Bor. 2, 459).

=Odin= or =Woden= was first the god of the heaven, or heaven itself,

then husband of earth, god of war and of wisdom, lord of the ravens,

lord of the gallows (which was called Woden's tree or Woden's steed).

=Frigga= is Mother Earth. =Thor= is the lord of the hammer--the

thunderbolt, the adversary of giants and all oppressors of man. He is

dear to man, always connected with earth,--the husband of _Sif_ (the

Norse Ceres). His goat-drawn car makes the rumbling of the thunder.

=Freyr= means _lord_; patron of the Swedes, harvest-god. =Balder= means

also _lord_ or _king_. On the one hand, his attributes recall those

of Apollo; on the other hand, his story appeals to, and is colored

by, the Christian imagination. He is another figure of that radiant

type to which belong all bright and genial heroes, righters of wrong,

blazing to consume evil, gentle and strong to uplift weakness: Apollo,

Hercules, Perseus, Achilles, Sigurd, St. George, and many another.

=Höder= is the "adversary."

=Nanna=, Balder's wife, is the ensample of constancy; her name is

_maiden_.

=282.= The =Volsunga Saga=. The songs of the Elder Edda, from

which Eirikr Magnússon and William Morris draw their Story of the

Volsungs and the Nibelungs (London, 1870), are The Lay of Helgi the

Hunding's-Bane, The Lay of Sigrdrifa, The Short Lay of Sigurd, The

Hell-Ride of Brynhild, The Lay of Brynhild, The Ancient Lay of Gudrun,

The Song of Atli, The Whetting of Gudrun, The Lay of Hamdir, The Lament

of Oddrun. For translations of these fragments, see pp. 167-270 of the

volume mentioned above. For the originals and literal translations of

these and other Norse lays of importance, see Vigfusson and Powell's

Corpus Poeticum Boreale; and Vigfusson's Sturlunga Saga, 2 vols. For

the story of Sigurd, read William Morris' spirited epic, Sigurd the

Volsung. Illustrative of the Norse spirit are Motherwell's Battle-Flag

of Sigurd, the Wooing Song of Jarl Egill Skallagrim, and the Sword

Chant of Thorstein Raudi; also Dora Greenwell's Battle-Flag of Sigurd;

and Charles Kingsley's Longbeard's Saga, in Hypatia. Baldwin's Story of

Siegfried (New York, 1888) is a good introduction for young people.

=283.= The =Nibelungenlied=. The little book entitled Echoes from Mist

Land, by Auber Forestier (Chicago, Griggs & Co., 1877) will be of value

to the beginner. Other translations are made by A. G. Foster-Barham

(London, 1887) and by W. N. Lettsom, The Fall of the Nibelungers

(London, 1874), both in verse. See also T. Carlyle, Nibelungenlied

(Crit. Miscell.), Essays, 2, 220. Modern German editions by Simrock,

Bartsch, Marbach, and Gerlach are procurable. The edition by Werner

Hahn (Uebersetzung d. Handschrift A, Collection Spemann, Berlin u.

Stuttgart) has been used in the preparation of this account. The

original was published in part by Bodmer in 1757; later, in full by

C. H. Myller, by K. K. Lachmann (Nibelunge Nôt mit der Klage, 1826);

by K. F. Bartsch (Der Nibelunge Nôt, 2 vols. in 3, 1870-1880), and

in Pfeiffer's Deutsch. Classik. des Mittelalt., Vol. 3, (1872); and

by others (see James Sime's _Nibelungenlied_, Encyc. Brit.). Of some

effect in stimulating interest were Dr. W. Jordan's Studies and

Recitations of the Nibelunge, which comprised the Siegfried Saga, and

Hildebrandt's Return. Especially of value is Richard Wagner's series of

operas, The Ring of the Nibelung, =284-288=. In painting, Schnorr von

Carolsfeld's wall pictures illustrative of the Nibelungenlied, in the

royal palace at Munich, are well known; also the illustrations of the

four operas by J. Hoffmann, and by Th. Pixis.

=282-283.= Historically, =Siegfried= has been identified, variously,

with (1) the great German warrior Arminius (or Hermann), the son

of Sigimer, chief of the tribe of the Cherusci, who inhabited the

southern part of what is now Hanover and Brunswick. Born 18 B.C. and

trained in the Roman army, in the year 9 A.D. he overcame with fearful

slaughter the Roman tyrants of Germany, defeating the Roman commander

Varus and his legions in the Teutoburg Forest in the valley of the

Lippe; (2) Sigibert, king of the Ripuarian Franks, who in 508 A.D.

was treacherously slain while taking a midday nap in the forest; (3)

Sigibert, king of the Austrasian Franks whose history recalls more

than one event of the Sigurd and Siegfried stories; for he discovered

a treasure, fought with and overcame foreign nations,--the Huns, the

Saxons, the Danes,--and finally in consequence of a quarrel between

his wife Brünhilde and his sister-in-law Fredegunde, was, in 576 A.D.,

assassinated by the retainers of the latter; (4) Julius, or Claudius

Civilis, the leader of the Batavi in the revolt against Rome, 69-70

A.D. It is probable that in Sigurd and Siegfried we have recollections

combined of two or more of these historic characters.

Mythologically, =Sigurd= (of the shining eyes that no man might face

unabashed) has been regarded as a reflection of the god Balder.

=Gunnar= and =Gunther= are, historically, recognized in a slightly

known king of the Burgundians, Gundicar, who with his people was

overwhelmed by the Huns in 437 A.D.

=Atli= and =Etzel= are poetic idealizations of the renowned Hunnish

chieftain, Attila, who united under his rule the German and Slavonic

nations, ravaged the Eastern Roman Empire between 445 and 450 A.D.,

and, invading the Western Empire, was defeated by the Romans in the

great battle of Châlons-sur-Marne, 451. He died 454 A.D.

=Dietrich of Berne= (Verona) bears some very slight resemblance to

Theodoric, the Ostrogoth, who, between 493 and 526 A.D., ruled from

Italy what had been the Western Empire. In these poems, however, his

earlier illustrious career is overlooked; he is merely a refugee in the

court of the Hunnish king, and, even so, is confounded with uncles of

his who had been retainers of Attila; for the historic Theodoric was

not born until two years after the historic Attila's death.

These historic figures were, of course, merely suggestions for, or

contributions to, the great heroes of the epics, not prototypes; the

same is true of any apparently confirmed historic forerunners of

Brynhild, or Gudrun, or Kriemhild. The mythological connection of these

epics with the Norse myths of the seasons, Sigurd being Balder of the

spring, and Hogni Höder of winter and darkness, is ingenious; but,

except as reminding us of the mythic material which the bards were

likely to recall and utilize, it is not of substantial worth.

In the Norse version, the name =Nibelung= is interchangeable with the

patronymic =Giuking=,--it is the name of the family that ruins Sigurd.

But, in the German version, the name is of purely mythical import: the

Nibelungs are not a human race; none but Siegfried may have intercourse

with them. The land of the Nibelungs is equally vague in the German

poem; it is at one time an island, again a mountain, and in one

manuscript it is confounded with Norway. But mythically it is connected

with Niflheim, the kingdom of Hela, the shadowy realm of death. The

earth, that gathers to her bosom the dead, cherishes also in her bosom

the hoard of gold. Naturally, therefore, the hoard is guarded by

Alberich, the dwarf, for dwarfs have always preferred the underworld.

So (according to Werner Hahn, and others) there is a deep mythical

meaning in the Lay of the Nibelungs: beings that dwell far from the

light of day; or that, possessing the riches of mortality, march toward

the land of death.

=284-288.= Wagner finished this series of operas in 1876. For a

translation the reader is referred to the four librettos, Englished by

Frederick Jameson (Schott & Co., London); or to the series published by

Thomas Y. Crowell & Co., New York.

=298. Homer= is also called Melesigenes, son of Meles--the stream on

which Smyrna was built. The Homeridæ, who lived on Chios, claimed to

be descended from Homer. They devoted themselves to the cultivation of

epic poetry.

=Arion.= See George Eliot's poem beginning

Arion, whose melodic soul

Taught the dithyramb to roll.

=Other Greek Poets of Mythology= to be noted are =Callimachus= (260

B.C.), whose Lock of Berenice is reproduced in the elegiacs of

Catullus, and from whose Origins (of sacred rites) Ovid drew much of

his information. Also =Nicander= (150 B.C.), whose Transformations, and

=Parthenius=, whose Metamorphoses furnished material to the Latin poet.

With Theocritus should be read =Bion= and =Moschus=, all three masters

of the idyl and elegy. See Andrew Lang's translation of Theocritus,

Bion, and Moschus; and the verses by Dobson and Gosse with which Lang

prefaces the translation. =Lycophron= (260 B.C.) wrote a poem called

Alexandra, on the consequences of the voyage of Paris to Sparta. The

Loves of Hero and Leander were probably written by a grammarian,

=Musæus=, as late as 500 A.D.

=Translations of Greek Poets.= The best verse translations of Homer are

those of Chapman, Pope, the Earl of Derby, Cowper, and Worsley.

An excellent prose translation of the Iliad is that of Lang, Leaf, and

Myers (London, Macmillan & Co., 1889); of the Odyssey, that by Butcher

and Lang (London, Macmillan & Co., 1883); or the translation into

rhythmical prose by G. H. Palmer (Boston, Houghton Mifflin Co., 1892).

=The Tragic Poets.= Plumptre's translations of Æschylus and Sophocles,

2 vols. (New York, Routledge, 1882); A. S. Way's translation of

Euripides, into verse (London, 1894); Wodhull, Potter, and Milman's

translation of Euripides in Morley's Universal Library (London,

Routledge, 1888); Potter's Æschylus, Francklin's Sophocles, Wodhull's

Euripides, 5 vols. (London, 1809). Other translations of Æschylus

are J. S. Blackie's (1850); T. A. Buckley's (London, Bohn, 1848); E.

A. A. Morshead's (1881); and Verrall's;--of Sophocles: Thos. Dale's,

into verse, 2 vols. (1824); R. Whitelaw's, into verse (1883); Lewis

Campbell's Seven Plays, into verse (1883);--of Euripides: T. A.

Buckley's, 2 vols. (London, Bohn, 1854-1858); and Verrall's.

=Other Poets.= Lang's prose translation of Theocritus, Bion, and

Moschus; C. S. Calverley's verse translation of Theocritus (Boston,

1906). Pindar,--Odes, transl. by F. A. Paley (London, 1868); by Ernest

Myers (London, 1874). Translations of Greek Lyric Poets,--Collections

from the Greek Anthology, by Bland and Merivale (London, 1833); The

Greek Anthology, by Lord Neaves, Ancient Classics for English Readers

Series (London, 1874); Bohn's Greek Anthology, by Burges (London, 1852).

On Homer, Hesiod, Theocritus, the tragic poets, Pindar, etc., see

also Collins' excellent series of Ancient Classics for English

Readers, Philadelphia (Lippincott); and the series entitled "English

Translations from Ancient and Modern Poems," by Various Authors, 3

vols. (London, 1810). Also W. C. Wilkinson's College Greek Course,

and College Latin Course, in English (1884-1886). Of Æschylus read

the Prometheus Bound, to illustrate =15=; the Agamemnon, Choëphori,

and Eumenides, to illustrate =193=, =228-230=; and the Seven against

Thebes, for =187=. Of Sophocles read [OE]dipus Rex, [OE]dipus at

Colonus, Antigone, with =182-185=, etc.; Electra, with =228=; Ajax and

Philoctetes, with the Trojan War; Women of Trachis, with =162=. Of

Euripides read Medea, Ion, Alcestis, Iphigenia in Aulis and in Tauris,

Electra.

=299. Roman Poets. Horace= (65 B.C.) in his Odes, Epodes, and Satires

makes frequent reference and allusion to the common stock of mythology,

sometimes telling a whole story, as that of the daughters of Danaüs.

=Catullus= (87 B.C.), the most original of Roman love-poets, gives

us the Nuptials of Peleus and Thetis (for selections in English

hexameters, see =177= and =191=), the Lock of Berenice, and the Atys.

=Manilius= of the age of Augustus wrote a poem on Astronomy, which

contains a philosophic statement of star-myths. =Valerius Flaccus= (d.

88 A.D.) based his Argonautics upon the poem of that name by Apollonius

of Rhodes. =Statius= (61 A.D.) revived in the brilliant verses of

his Thebaid and his Achilleïd the epic myths and epic machinery,

but not the vigor and naturalness of the ancient style. To a prose

writer, =Hyginus=, who lived on terms of close intimacy with Ovid, a

fragmentary work called the Book of Fables, which is sometimes a useful

source of information, and four books of Poetical Astronomy, have been

attributed. The works, as we have them, could not have been written by

a friend of the cultivated Ovid.

=Translations and Studies.= For a general treatment of the great

poets of Rome, the student is referred to W. L. Collins' series of

Ancient Classics for English Readers (Philadelphia, Lippincott).

For the Cupid and Psyche of =Apuleius=, read Walter Pater's Marius

the Epicurean (London, 1885). Of translations, the following are

noteworthy: Ovid,--the Metamorphoses, by Dryden, Addison, and others;

into English blank verse by Ed. King (Edinburgh, 1871); prose by Riley

(London, 1851); verse by Geo. Sandys (London, 1626). Virgil: complete

works into prose by J. Lonsdale and S. Lee (New York, Macmillan);

Æneid, translations,--into verse by John Conington (London, 1873);

into dactylic hexameter by Oliver Crane (New York, 1888); the Æneids

into verse by Wm. Morris (London, 1876); and by Theodore C. Williams

(Boston, Houghton Mifflin Co.); Bks. 1-4, by Stanyhurst (Arber's

Reprint) (1582); Æneis, by Dryden. Catullus: transl. by Robinson Ellis

(London, 1871); by Sir Theodore Martin (Edinburgh, 1875). Horace:

transl. by Theodore Martin (Edinburgh, 1881); by Smart (London, 1853);

Odes and Epodes in Calverley's translations (London, 1886); Odes, etc.,

by Conington (London, 1872); Odes and Epodes, by Lord Lytton (New York,

1870); complete, by E. C. Wickham (Oxford, Clarendon Press); Odes, by

A. S. Way (London, 1876) and Epodes (1898). Statius: Thebaid, transl.

by Pope.

=300.= For =Scandinavian literature=, see footnotes to =300=, and

references in =C. 268-282=.

=Runes= were "the letters of the alphabets used by all the old Teutonic

tribes.... The letters were even considered magical, and cast into

the air written separately upon chips or spills of wood, to fall, as

fate determined, on a cloth, and then be read by the interpreters....

The association of the runic letters with heathen mysteries and

superstition caused the first Christian teachers to discourage, and,

indeed, as far as possible, suppress their use. They were therefore

superseded by the Latin alphabet, which in First English was

supplemented by retention of two of the runes, named 'thorn' and 'wen,'

to represent sounds of 'th' and 'w,' for which the Latin alphabet had

no letters provided. Each rune was named after some object whose

name began with the sound represented. The first letter was F, Feoh,

money; the second U, Ur, a bull; the third Th, Thorn, a thorn; the

fourth O, Os, the mouth; the fifth R, Rad, a saddle; the sixth C, Cen,

a torch; and the six sounds being joined together make Futhorc, which

is the name given to the runic A B C."--MORLEY, English Writers, 1,

267. See also Vigfusson and Powell's Corpus Poeticum Boreale, 2, 691,

under Runes and Rune-Stones; Cleasby and Vigfusson's Icelandic-English

Dictionary; and George Stephens' Old Northern Runic Monuments, 2 vols.

(London, 1866-1868).

=301.= For =Translations of the Nibelungenlied=, see =C. 283=. For

other German lays of myth,--the Gudrun, the Great Rose Garden, the

Horned Siegfried, etc.,--see Vilmar's Geschichte der deutschen

National-Litteratur, 42-101 (Leipzig, 1886). See also, in general,

Grimm's Deutsche Mythologie (Göttingen, 1855); Ludlow's Popular Epics

of the Middle Ages, 2 vols. (London, 1865); George T. Dippold's Great

Epics of Mediæval Germany (Boston, 1891).

=302. Egyptian.= See Birch's Guide to the First and Second Egyptian

Rooms, British Museum; Miss A. B. Edwards' A Thousand Miles up the Nile

(London, 1876).

_For the principal divinities, see Index to this work._

=303. Indian.= Max Müller's translation of the Rig-Veda-Sanhita; Sacred

Books of the East, 35 vols., edited by Max Müller,--the Upanishads,

Bhagavadgita, Institutes of Vishnu, etc., translated by various

scholars (Oxford, 1874-1890); Müller's History of Sanskrit Literature

(London, 1859); Weber's History of Indian Literature (London, 1878);

H. H. Wilson's Rig-Veda-Sanhita, 6 vols. (London, 1850-1870), and

his Theatre of the Hindus, 2 vols. (London, 1871); Muir's Sanskrit

Texts, and his Principal Deities of the Rig-Veda, 5 vols. (London,

1868-1873); J. Freeman Clarke's Ten Great Religions (Boston, 1880); the

Mahâbhârata, translated by Protap Chundra Roy, Nos. 1-76 (Calcutta,

1883-1893). See Indian Idylls, by Edwin Arnold; The Episode of

Nala,--Nalopákhyánam,--translated by Monier Williams (Oxford, 1879). Of

the Râmâyana, a paraphrase (in brief) is given by F. Richardson in the

Iliad of the East (London, 1870). Sir William Jones' translation of the

Sakuntala; E. A. Reed's Hindu Literature, with translations (Chicago,

1891), W. Ward's History, Literature, and Mythology of the Hindoos, 3

vols. (London, 1822). On Buddhism, read Arnold's Light of Asia.

_For the chief divinities of the Hindus, see Index to this work._

=304. Persian.= J. Freeman Clarke's Ten Great Religions; Johnson's

Oriental Religions; Haug's Essays on the Sacred Language, Literature,

etc., of the Parsis, by E. W. West (Boston, 1879). In illustration

should be read Moore's Fire-Worshipers in Lalla Rookh.

FOOTNOTES:

[422] For assistance in collecting references to English poetry the

author is indebted to Miss M. B. Clayes, a graduate of the University

of California.

[423] Popular etymology. The suffix _[=i]on_ is patronymic.

[424] Popular etymology. The root of the name indicates _Fire-god_.

[425] For Latin names, see Index or Chapters II-V.

[426] The Olympian Religion (_No. Am. Rev._ May, 1892). See his

Juventus Mundi.

[427] Furtwängler (Meisterw. d. gr. Plastik) condemns the ægis.

[428] This _dawn_ theory is certainly far-fetched.

A FEW RULES FOR THE ENGLISH PRONUNCIATION OF GREEK AND LATIN PROPER

NAMES

[These rules will cover most cases, but they are not intended to

exhaust the subject. The reader is referred to the Latin grammars and

the English dictionaries.]

I. _Quantity._ The reader must first ascertain whether the second last

syllable of the word is long. In general a syllable is long in quantity:

(1) If it contains a diphthong, or a long vowel: _Bau_-cis,

Ac-_tae_-on, _M[=e]_-tis, O-_r[=i]_-on, _Fl[=o]_-ra.

(2) If its vowel, whether long or short, is followed by _j_, _x_, or

_z_, or by any two consonants except a mute and a liquid: _A´_-jax,

Meg-a-_ba´_-zus, A-_dras´_-tus.

_Note (a)._ Sometimes two vowels come together without forming a

diphthong. In such cases the diæresis is, in this volume, used to

indicate the division: _e.g._ Men-e-l[=a]'-_üs_, Pe-n[=e]'-_üs_.

_Note (b)._ The _syllable_ formed by a short vowel before a mute

with _l_ or _r_ is sometimes long and sometimes short: _e.g._

Cle-o-_p[=a]'_-tra, or Cle-op´-_[)a]_-tra; Pa-_tr[=o]'_-clus, or

Pat´-_r[)o]_-clus.

II. _Accent._

(1) The accent may be principal, or subordinate: Hel^{2}-les-pon´-tus.

(2) =The principal accent falls on the second last syllable (_penult_):

Am-phi-tri´-te; or on the third last syllable (_antepenult_):

Am-phit´-ry-on.=

_Note (a)_ In words of two syllables, it falls on the _penult_: Cir´-ce.

_Note (b)_ =In words of more than two syllables, it falls on the

_penult_ when that syllable is long; otherwise, on the _antepenult_:

Æ-n[=e]'-as, Her´-c[)u]-les.=

(3) The subordinate accent:

_Note (a)_ If only two syllables precede the principal accent,

the subordinate accent falls on the first syllable of the word:

_Hip^{2}-po_-cr[=e]'ne.

_Note (b)_ If more than two syllables precede the principal accent, the

laws governing the principal accent apply to those preceding syllables:

_Cas^2-s[)i]-o_-p[=e]'-a.

=_Note._ In the Index of this work, when the _penult_ of a word is

long, it is marked with the accent; when the penult is short, the

_antepenult_ is marked.= The reader should however bear in mind that a

_syllable_ may be long even though it contain a short vowel, as by Rule

I, (2), above.

III. _Vowels and Consonants._ These rules depend upon those of

Syllabication:

(1) A vowel generally has its _long_ English sound when it ends a

syllable: _He´-ro_, _I´-o_, _Ca´-cus_, _I-tho´-me_, _E-do´-ni_,

_My-ce´-næ_.

(2) A vowel generally has its _short_ English sound in a syllable that

ends in a consonant: _Hel´-en_, _Sis´_-y-_phus_, _Pol_-y-phe´-_mus_.

But _e_ in the termination _es_ has its long sound: Her´_mes_,

A-tri´-_des_.

(3) The vowel _a_ has an _obscure_ sound when it ends an unaccented

syllable: A-chæ´-_a_; so, also, the vowel _i_ or _y_, not final, after

an accented syllable: Hes-per´-_i_-des; and sometimes _i_ or _y_ in an

unaccented first syllable: _Ci_-lic´-i-a.

(4) Consonants have their usual English sounds; but _c_ and _g_ are

soft before _e_, _i_, _y_, _æ_, and _[oe]_: _Ce´_-to, _Ge´_-ry-on,

_Gy´-ges_; _ch_ has the sound of _k_: _Chi´_-os; and _c_, _s_, and _t_,

immediately preceded by the accent and standing before _i_ followed by

another vowel, commonly have the sound of _sh_: _Sic´_-y-on (but see

Latin grammars and English dictionaries for exceptions).

IV. _Syllabication._

(1) The penultimate syllable ends with a vowel: _e.g._ Pe-_ne´_-us,

I-_tho´_-me, _A´_-treus, Hel´-_e_-nus;

_Except when_ its vowel is followed by _x_ or by two consonants (not

a mute with _l_ or _r_), then the vowel is joined with the succeeding

consonant: _Nax_-os, _Cir_-ce, Aga-_mem_-non.

(2) Other syllables (not ultimate or penultimate) end with a vowel:

_e.g._ _Pi_-ræ-us;

_Except when (a)_ the vowel is followed by _x_ or any two consonants

(not a mute with _l_ or _r_): _e.g._ _Ix_-i´-on, Pel-o-_pon_-ne´-sus;

_and when (b)_ the syllable is accented and its vowel followed by one

or more consonants: _e.g._ _An_^2-ax-_ag´_-o-ras, Am-_phic´_ty-on,

[OE]d-'i-pus.

_Note (a)._ But an accented _a_, _e_, or _o_ before a single consonant

(or a mute with _l_ or _r_), followed by _e_, _i_, or _y_ before

another vowel, is not joined with the succeeding consonant, and

consequently has the long sound: Pau-_s[=a]'_-ni-as; De-_m[=e]'_-tri-us.

_Note (b)._ An accented _u_ before a single consonant (or mute with _l_

or _r_) is not joined with the succeeding consonant, and consequently

has the long sound: _J[=u]'_-pi-ter.

(3) =All words have as many syllables as they have vowels and

diphthongs.=

INDEX OF MYTHOLOGICAL SUBJECTS AND THEIR SOURCES

[Ordinary figures refer to pages of the Text. Figures in italics

preceded by _C._ refer to sections of the Commentary and incidentally

to the corresponding sections in the Text.

In the case of words of which the correct pronunciation has not seemed

to be clearly indicated by their accentuation and syllabication,

the sounds of the letters have been denoted thus: [=a], like _a_ in

_gr[=a]y_; [='a], like _[=a]_, only less prolonged; [)a], like _a_ in

_h[)a]ve_; ä, like _a_ in _fär_; [.a], like _a_ in _sof[.a]_; [a:]

and au like _a_ in _[a:]ll_; æ, [=e], and [oe], like _ee_ in _meet_;

[='e], like _[=e]_, only less prolonged; [)e], like _e_ in _[)e]nd_;

ê, like _e_ in _thêre_; [~e], like _e_ in _[~e]rr_; [=i], like _i_ in

_p[=i]ne_; [)i], like _i_ in _p[)i]n_; [=o], like _[=o]_ in _n[=o]te_;

[='o], like _[=o]_, only less prolonged; [)o], like _o_ in _n[)o]t_;

ô, like _o_ in _ôrb_; [)oo], like _oo_ in _f[)oo]t_; [=oo], like _oo_

in _m[=oo]n_; ou, as in _out_; [=u], like _u_ in _[=u]se_; ü, like the

French _u_; [-c] and [-c]h, like _k_; th, as in _the_; ç, like _s_;

[=g], like _g_ in _[=g]et_; [.g], like _j_; [s+], like _z_; [.c]h, as

in German _ach_; G, small capital, as in German _Hamburg_.]

A´bas, 207

Ab-syr´tus, 232;

_C. 163-167_ (Illustr.)

[.A]-by´d[)o]s, 32, 142;

_C. 34_

Ab´y-la, 219

[.A]-çes´t[=e][s+], 352, 368, 369

[.A]-çe´t[=e][s+], 152; the vengeance of Bacchus, 154, 155

[.A]-[-c]hæ´[.a]ns, their origin, 16; 274, 288;

_C. 148_ (2)

[.A]-[-c]ha´t[=e][s+], 366

[)A][-c]h-e-lo´us, myth of, 203, 204;

_C. 146-147_

[)A][-c]h´e-r[)o]n, 47, 127, 327

[.A]-[-c]hil´l[=e][s+], 75, 91, 179, 237;

his descent, 269, 272, 275, 276;

character of, 274;

in the Trojan War, 279-308;

in Scyros, 279, 280;

wrath of, 283;

and Patroclus, 296;

remorse of, 299;

reconciliation with Agamemnon, 300;

slays Hector and drags his body, 301-303;

and Priam, 304-306;

death of, 307, 308, 313, 328, 345, 453;

_C. 190-194_ (1), _199, 207_

A´çis, 198, 200;

_C. 141_

A´c[)o]n, _C. 138_

Acontius ([.a]-con´sh[)i]-us), _C. 64_

[.A]-cris´[)i]-us, 207;

doom of, 208-214;

_C. 149-154_

Ac-ro-çe-rau´nian Mountains, 118;

_C. 93_

Ac-tæ´on, 89;

myth of, 120-122, 261;

_C. 59_, table E; _95_

Ad-me´ta, 218

Ad-me´tus, 104, 230;

Lowell's Shepherd of King A., 105, 106;

and Alcestis, 106-110

[.A]-do´nis, myth of, 126-128;

Lang's translation of Bion's Lament for A., 126-128;

_C. 100_

Ad-ras-te´a, 5

[.A]-dras´tus, 264, 265

Æ-aç´[)i]-d[=e][s+], Achilles, 272

Æ[.a]-cus, 51, 53, 246, 269;

king of Ægina, 73, 75;

_C. 190-194_ (1)

Æ-æ´a, isle of, 318, 324, 328

Æ-e´t[=e][s+], 230-232;

genealogy, _C. 172_

Æ´[.g]æ, palace of Neptune near, 56

Æ-[.g]æ´[)o]n, _C. 4_

Æ-[.g]e´[.a]n Sea, 177

Ægeus (e´j[=u]s), 235, 250, 251, 252, 256;

_C. 61, 148_ (4), _174_

Æ-[.g]i´na, island of, 53;

daughter of Asopus, myth of, 64, 73-75, 169;

plague of the island, 73-75; _C. 61_

Æ[.g]is, of Jupiter, 21;

of Minerva, 23, 213

Æ-[.g]is´thus, 275, 276, 314, 315;

_C. 190-194_ (2), _228-230_ (In Art)

Ægl[=e], a nymph in pastoral poetry

Æg[)o]n, 185;

_C. 129-130_

Æ-[.g]yp´tus, 207;

_C. 149-154_

Æ-ne´[.a]s, 126, 168, 206, 265, 276, 280, 289, 290, 299-301;

_C. 190-194_ (5), _207, 245-254_.

See _Æneid_

Æ-ne´[.a]s Syl´vius, king of Alba Longa, third in descent from Æneas

Æ-ne´id, 456;

the narrative of, 346-372;

from Troy to Italy, 346;

the departure from Troy, the promised empire, 347;

the Harpies, 348;

Epirus, the Cyclopes, 349;

resentment of Juno, 350;

sojourn at Carthage, Dido, 350-352;

Palinurus, Italy, 352;

the Sibyl of Cumæ, 352-354, 361;

the infernal regions, 354-358;

the Elysian Fields, 358, 359;

the valley of oblivion, 359;

war between Trojans and Latins, 362-372;

gates of Janus opened, 363;

Camilla, 364;

alliance with Evander, 365-367;

site of future Rome, 366;

Turnus' attack, 367;

Nisus and Euryalus, 368-370;

death of Mezentius, 370, 371;

of Pallas and of Camilla, 371, 372;

the final conflict, 372;

_C. 245-260, 299_

Æ-o´l[)i]-a, 39

Æo-lus, of Thessaly, 16, 206, 214;

myths of his family, 229-236;

quest of the Golden Fleece, 230-233;

connection with Medea, 233-236;

_C. 38_ (9), _125, 148_ (5), table I.

Æo-lus (wind god), 39, 170, 175, 177, 323, 324, 350;

_C. 38_ (9), _125, 148_, (5), table I.

See _Hippotades_

Æpytus (ep´[)i]-tus), 241

[.A]-[)e]r´o-p[=e], 275;

genealogy, _C. 172, 190-194_ (2)

Æschylus (es´k[)i]-lus), 455;

references to, 265, 314-316, _C. 10-15_;

translations, _C. 298_

Æsculapius (es-k[=u]-la´p[)i]-us), attributes of, 38;

myth of, 104; 260, 296;

_C. 38_ (8), _80_

Æ-se´pus, 179

Æs[)o]n, 230, 233, 234;

_C. 163-167_ (Illustr.)

Æsop, 2

Æther, 3;

or Light, 4

Æ-th[)i]-o´p[)i]-a, 43, 97, 179, 211;

_C. 128_

Æ-th[=i]'o-pis, 453

Æthra, 250, 251;

_C. 174, 190-194_ (2)

Ætna (et´na), Mount, 25, 96, 104, 159, 223;

_C. 76_

Æ-to´l[)i]-a, 237

Æ-to´lus, 206;

family of, 237-245;

_C. 148_ (3), (5), table I; _168_

Africa, 350, 447, 448

Ag-[.a]-mem´n[)o]n, 99;

family of, 275, 276, 455;

in the Trojan War, 280-300;

quarrel with Achilles, 284, 285;

reconciliation, 300;

return to Greece, and death, 314; 328;

_C. 190-194_ (2), _196_

[.A]-ga´v[=e], 89, 153, 156, 261;

_C. 57_, table D; _182-189_, table N

Age of Gold. See _Golden Age_

[.A]-[.g]e´n[)o]r, father of Cadmus, 68, 87, 206, 207;

genealogy, _C. 59, 148_ (1), _149-154_

[.A]-[.g]e´n[)o]r, son of Priam, 301

Aglaia ([.a]-gla´ya or [.a]-gla´[)i]-a), one of the Graces, 26, 36;

wife of Vulcan, 26

Aglauros ([.a]-glô-r[)o]s), daughter of Cecrops, _C. 174_.

See _Herse_

Agni (ag´n[=e]). See _Hindu divinities_ (1)

[.A]-grot´[~e]-ra, _C. 32_.

See _Diana_

Äh´r[)i]-m[.a]n, 463

A´jax the Great, son of Telamon, 237, 275, 276, 280, 286, 288,

293-299, 308, 328, 453;

_C. 190-194_ (1), _204, 207_

A´jax the Less, son of Oïleus, king of the Locrians, a leader in

the Trojan War, 286

Al´ba Lon´ga, 372

Alberich (äl´b[~e]r-[)i]G), in Wagner's Ring, 410-414, 419-428.

=_Illustrative._= Lang's translation of the Lityerses song (Theocritus,